Museums Commission Marks Saudi National Day with Cultural Programs

The Museums Commission logo
The Museums Commission logo
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Museums Commission Marks Saudi National Day with Cultural Programs

The Museums Commission logo
The Museums Commission logo

The Museums Commission has announced a special program of celebrations marking Saudi National Day across its museums, with the National Museum of Saudi Arabia in Riyadh, the Red Sea Museum and Tarek Abdulhakim Museum in Jeddah hosting dedicated events starting Wednesday.

The programs invite families and visitors of all ages to celebrate the national occasion through the stories, traditions and cultural expressions held within the Kingdom’s museums.

Inspired by this year’s Saudi National Day identity, “Our Pride in Our Nature,” the celebrations reflect the commission’s vision of museums as living national spaces, places where the Kingdom’s past is not only displayed, but experienced, shared and carried forward.

Each museum has developed a program rooted in its own identity: the National Museum guides visitors through the story of the Kingdom’s unification and the making of its national identity, the Red Sea Museum celebrates the occasion through the lens of Jeddah and the Red Sea, and Tarek Abdulhakim Museum brings the celebration to life through music, learning and creative family experiences.

From September 23 to 26, the National Museum will present an interactive journey that takes visitors through a series of stations across the museum, each revealing a different part of the story that shaped the Kingdom’s identity.

The journey opens with a shadow-theater performance telling the story of King Abdulaziz’s vision and the unification of the Kingdom, before leading visitors through stations dedicated to national figures who left their mark on the Kingdom’s history, the diversity of its regions, and the symbols, customs, and traditions passed down through generations.

Throughout the celebration, the museum lobby will feature live folk-art performances from across the Kingdom’s regions, presented in collaboration with the Theater and Performing Arts Commission.

Families can also enjoy interactive games and creative activities, alongside a new sensory discovery wall designed especially for the museum’s youngest visitors and a dedicated recording station where visitors can share their own messages about the Kingdom and its future.

On Wednesday, the Red Sea Museum, housed in the historic Bab Al-Bunt building in Jeddah, will host a full day of celebrations from morning until night. Families and children will be welcomed with all-day activities including national-themed face painting, creative coloring sessions and guided tours exploring the museum’s building, collections and stories connected to the Kingdom.

Coinciding with the International Day of Sign Languages, the museum will present “A Nation’s Story,” an inclusive storytelling experience delivered with Saudi Sign Language interpretation and open to Deaf children and people with disabilities, inviting children to reflect on the meaning of homeland, belonging and national identity.

The celebration will also mark the launch of Minaa Encounters, a new recurring platform supporting emerging Saudi photographers, artists and creative talent. Its first edition, “Between Sea and Stone,” invites visitors to rediscover Jeddah and its port through the work of emerging Saudi photographers, who will be present to discuss their work with the public from September 23 to 25. The showcase will remain on display until September 30.

Also from September 23 to 25, Tarek Abdulhakim Museum will celebrate Saudi National Day through a series of musical workshops and interactive experiences for children and families.

Held daily from 4:00 p.m. to 10:00 p.m., the program invites visitors to explore the Kingdom’s rich musical traditions through hands-on activities.

Designed to encourage participation and discovery, the workshops offer visitors of all ages an opportunity to engage with music as an important part of Saudi Arabia’s cultural heritage.



Bones from Iraqi Cave Hint at Violence and Compassion in Neanderthals

The entrance to Shanidar Cave in Iraq's Kurdistan region, a site of important Neanderthal remains, is seen in an undated photograph released on October 15, 2026. Prof Graeme Barker/Handout via REUTERS
The entrance to Shanidar Cave in Iraq's Kurdistan region, a site of important Neanderthal remains, is seen in an undated photograph released on October 15, 2026. Prof Graeme Barker/Handout via REUTERS
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Bones from Iraqi Cave Hint at Violence and Compassion in Neanderthals

The entrance to Shanidar Cave in Iraq's Kurdistan region, a site of important Neanderthal remains, is seen in an undated photograph released on October 15, 2026. Prof Graeme Barker/Handout via REUTERS
The entrance to Shanidar Cave in Iraq's Kurdistan region, a site of important Neanderthal remains, is seen in an undated photograph released on October 15, 2026. Prof Graeme Barker/Handout via REUTERS

The bones of a Neanderthal from a cave in Iraq's Kurdistan region are offering evidence of both violence and compassion in the closest evolutionary cousins of our species, exhibiting a wound apparently from a fatal spear attack as well as signs of an earlier nonfatal injury that may have elicited kindly care.

Researchers have discovered at Shanidar Cave in the Zagros Mountains of northern Iraq a partial skeleton of a Neanderthal, aged in the mid-40s, that included a left shoulder blade, or scapula, with a circular hole six-tenths of an inch (15 mm) wide indicative of a deeply penetrating stab.

The bones of this individual, who they call Shanidar A, were unearthed from under about 25 feet (7.5 meters) of rocks and sediment inside the cave and date to about 75,000 years ago.

The researchers were unable to determine Shanidar A's sex.

According to Reuters, the researchers said the injury's shape suggests it was caused by a forceful thrust using a sharpened wooden spear, a type of weapon Neanderthals are known to have used, rather than a spear with a stone tip. It was a weapon employed in hunting large mammals that were an important food source.

"The ⁠spear would have ⁠gone through the skin and major muscles, especially the pectoralis, as well as the ribcage and muscles between the ribs, and the lung," said biological anthropologist Emma Pomeroy of the University of Cambridge in England, lead author of the study published on Thursday in the journal Scientific Reports.

"The location could be like the kind of 'heart shot' hunters use to kill animals quickly by puncturing the heart, but that is a bit speculative. We do see heart shots as a hunting strategy both today and in the archaeological record. Neanderthals would have known this would lead to a quick death," Pomeroy said.

University of Cambridge archaeologist and study co-author Graeme Barker, who has led Shanidar Cave excavations since 2015, said the likeliest scenario ⁠is interpersonal violence.

The researchers said the violence probably occurred either between members of a particular Neanderthal group or between members of rival Neanderthal groups, calling a Homo sapiens attack or an accidental injury less likely.

The researchers found shards of bone displaced by the weapon. The injury indicated that the spear entered from above with a downward trajectory, penetrating the left chest cavity from the front and traveling through the body before punching the hole in the scapula, causing quick death.

In addition to the scapula, the researchers found some ribs, a nearly complete right hand and seven teeth, mostly from the front of the lower jaw, belonging to Shanidar A. The teeth bore evidence that this Neanderthal had survived brutal injury at least a year before death — a blow to the face resulting in front teeth being smashed and lost. One tooth was split, with half remaining rotated in the mouth and others pushed out of position.

"The pain would have been extreme, and basic needs like eating and drinking would have been difficult, perhaps meaning Shanidar A needed food mashing and being able ⁠to rest. It's likely that Shanidar ⁠A did need some care from members of the group for some basic needs during recovery," Pomeroy said.

Shanidar A was one of five Neanderthals, four adults and one infant, whose bodies were carefully tucked behind a rock pillar in the cave in a burial cluster within a generation or so of each other. The cave was occupied by Neanderthals for tens of thousands of years as a seasonal campsite, and later by Homo sapiens.

Neanderthals were more robustly built than Homo sapiens, with larger brows. They lived as hunter-gatherers and inhabited Eurasia from the Atlantic coast to the Ural Mountains from about 400,000 years ago until a bit after 40,000 years ago, disappearing after Homo sapiens became established in the region.

The two species interbred, with modern non-African human populations bearing residual Neanderthal DNA.

The cave, overlooking the Great Zab river valley, has been a source of information about Neanderthals since the 1950s, with Shanidar A now offering new insight into their behavior.

"We see evidence of two contrasting facets of human nature – care and violence – juxtaposed in the same individual," Pomeroy said.

"We see evidence all around us today that violence and care are both aspects of how we humans behave, and we see this here in Shanidar A, too. Neanderthals were like us in many respects, both the good and the bad, and this find really highlights that, going against stereotypes of Neanderthals as unintelligent, uncaring cavemen and cavewomen," Pomeroy said.


Riyadh Art Program and Wrth Sign MoU to Strengthen Cooperation in Cultural and Creative Fields

The agreement aims to develop initiatives that bring together contemporary and traditional arts, serve the objectives of both parties, and enhance their cultural impact - SPA
The agreement aims to develop initiatives that bring together contemporary and traditional arts, serve the objectives of both parties, and enhance their cultural impact - SPA
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Riyadh Art Program and Wrth Sign MoU to Strengthen Cooperation in Cultural and Creative Fields

The agreement aims to develop initiatives that bring together contemporary and traditional arts, serve the objectives of both parties, and enhance their cultural impact - SPA
The agreement aims to develop initiatives that bring together contemporary and traditional arts, serve the objectives of both parties, and enhance their cultural impact - SPA

The Riyadh Art Program, one of the programs of the Royal Commission for Riyadh City, signed a memorandum of understanding (MoU) with the Royal Institute of Traditional Arts "Wrth" to strengthen cooperation in cultural and creative fields.

The agreement aims to develop initiatives that bring together contemporary and traditional arts, serve the objectives of both parties, and enhance their cultural impact, SPA reported.

The MoU covers the development of joint creative initiatives that bring together contemporary and traditional arts through the exchange of expertise, art residency programs, and seasonal events.

It also includes cooperation to enhance the presence of both parties' projects and programs at relevant international events and forums.


Van Gogh Work Unseen in Public for 60 Years on Show in Hong Kong

Staff members pose with Vincent van Gogh's "Chataigniers en fleurs" (Chestnut Trees in Blossom) at a media preview ahead of its auction in New York, at Sotheby's in Hong Kong, China, October 13, 2026. REUTERS/Joyce Zhou
Staff members pose with Vincent van Gogh's "Chataigniers en fleurs" (Chestnut Trees in Blossom) at a media preview ahead of its auction in New York, at Sotheby's in Hong Kong, China, October 13, 2026. REUTERS/Joyce Zhou
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Van Gogh Work Unseen in Public for 60 Years on Show in Hong Kong

Staff members pose with Vincent van Gogh's "Chataigniers en fleurs" (Chestnut Trees in Blossom) at a media preview ahead of its auction in New York, at Sotheby's in Hong Kong, China, October 13, 2026. REUTERS/Joyce Zhou
Staff members pose with Vincent van Gogh's "Chataigniers en fleurs" (Chestnut Trees in Blossom) at a media preview ahead of its auction in New York, at Sotheby's in Hong Kong, China, October 13, 2026. REUTERS/Joyce Zhou

Hundreds of people queued on Tuesday outside a Hong Kong gallery to see a Vincent van Gogh painting on public display for the first time in six decades.

The Dutch artist's "Chataigniers en fleurs" ("Chestnut Trees in Blossom") was on show in Hong Kong ahead of its November 18 auction in New York, where it is expected to smash records and fetch around $180 million, according to Sotheby's.

It was one of 12 works owned by late Argentine collectors Nelly Arrieta de Blaquier and Carlos Pedro Blaquier. Others by Claude Monet, Camille Pissarro and Paul Cezanne will also go under the hammer.

The van Gogh, which according to Sotheby's was unseen by the public for over 60 years, portrays a blossoming chestnut tree with a solitary man walking past three women in Japanese attire.

Completed in 1890, it is from the last two months of van Gogh's life.

"It's one of the last, most expressive and hopeful works by van Gogh in this final phase of his career," Scott Niichel, a vice chairman at Sotheby's, told AFP.

It is one of approximately 70 works van Gogh created after leaving the psychiatric asylum of Saint-Remy, where he had created his famous "The Starry Night.”

During these final days of his life, van Gogh was producing at a frantic rate -- averaging around one work a day.

He died shortly after at the age of 37, two days after shooting himself in the chest following well-documented mental health struggles.

"This manic frenzy of paint application suggests he has so much more to give, and he's just racing to put it to canvas," Niichel said, noting the thickness of the paint layers.

"Orchard with Cypresses" set the current record for a van Gogh price point, selling for $117.2 million in a 2022 auction.

Niichel said that "anything is possible" for who might claim the painting in November.

"Our revealing in Hong Kong suggests that Asia is certainly a possibility."