Understanding Iran and Why It Distrusts Britain

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Understanding Iran and Why It Distrusts Britain

Getty Images
Getty Images

The English Job by Jack Straw

The subtitle of Jack Straw’s new book promises to help the reader in “understanding Iran”. However, what one gets in 390 pages might best describe as a misunderstanding of Iran today, a misunderstanding that has prevented Britain, along with other Western powers, to develop a realistic Iran policy and has helped prolong the crisis caused by the Islamic Republic unorthodox behavior in the international arena.

Straw’s misunderstanding, perhaps caused by his “absolute infatuation” with his imaginary Iran, has three aspects.

The first is that he thinks that because Iran, as he reminds the reader, is an ancient civilization, has produced great poets, weaves exquisite carpets and offers one of the world’s hautes cuisines, deserves indulgence for its weird activities in other domains such as hostage-taking, hate-mongering, human rights violations and the export of terror in the name of revolution. It is like offering indulgence to Stalin because one appreciates Pushkin and Tchaikovsky and enjoys a dish of borscht with a glass of “little water’ on the side. In another register, what would you say if we gave Hitler a pass because we like Schiller, Beethoven and potato salad? That Cyrus the Great was a great king and, arguably, even the founder of human rights, as Straw suggests, does not justify, citing just one example, the mass murder of Syrians by a mercenary army led by the Iranian mullahs.

The second “misunderstanding” concerns Straw’s strange belief that the Khomeinist ruling elite includes a “reformist” faction that craves close relations with Western democracies, and must, therefore, be supported to weaken and eventually get rid of the “ hardline” faction led by “Supreme Guide” Ali Khamenei. But, who are the “reformists” Straw claims to have discovered in Tehran? He cites a number of names among them former Presidents Hashem Rafsanjani and Muhammad Khatami, the current president Hassan Rouhani, former presidential candidates Hussein Moussavi and Mehdi Kariba, under both house arrest, and lower rank current or former officials such as Muhammad-Javad Zarif, Kamal Kharrazi whom Straw calls “ my old friend”, and Mostafa Tajzadeh.

The trouble is that Straw is unable to cite a single reform proposed, let alone carried out, by his “reformist” faction in Tehran. Worse still, he forgets that there have been more executions and political arrests under Khatami and Rouhani than during the supposedly “hardline” Mahmoud Ahmadinejad’s presidency.

The third misunderstanding is that in dealing with the Islamic Republic, all choice is limited to just two options: swallowing whatever Iran does or launching a full-scale war against it.

Straw was one of the most zealous advocates of the war to destroy Saddam Hussein’s regime in Iraq, asserting that the Ba’athist regime was beyond reform.

However, when it comes to the Islamic Republic, the former British Foreign Secretary becomes a dyed-in-wool peacenik. The only sane way is to use diplomacy to change Tehran’s behavior. In an elliptic manner, Straw claims some credit for what we now know as the Comprehensive Joint Plan of Action (JCPOA), or the “Iran nuclear deal” concocted by the Obama administration. Straw first sold the ideas to President George W Bush’s Secretary of State Condoleezza Rice in 2006 just before his boss, Prime Minister Tony Blair, moved him to another post.

In the past two decades, Straw has visited Iran seven times, five as Foreign Secretary. In one visit he was part of a British parliamentary delegation with Lord Lamont and, the current Labour Party leader, Jeremy Corbyn then working for the Islamic Revolutionary Guard’s Press TV channel. In one private visit, he and his wife, along with a couple of friends, were harassed and in the end hounded out of Iran by one of the nine security agencies operating in the Islamic Republic.

Straw is critical of President Donald J Trump for rejecting secret diplomacy when Tehran’s leaders see any public attempt at rapprochement as humiliating for their regime. He claims that the “nuclear deal” would have been completed with further secret talks about other issues of interest to Western powers, including the Islamic Republic’s intrusion in the internal affairs of several Arab countries. The first JCPOA could have been followed by other JCPOAs, even dealing with human rights issues, with the ultimate aim of marginalizing and eventually clipping the wings of the “Supreme Guide”.

Nevertheless, Straw offers no evidence than any deal made with the Islamic Republic in the past 40 years has had a long-lasting impact on the Khomeinist strategy and behavior. The Khomeinist rulers of Iran have perfected the art of diplomatic cheat-retreat-advance. Whenever their bones began to creak, they offered some concessions, which were subsequently withdrawn once the pressing of the bones ceased. More importantly, perhaps, Straw fails to realize that his “moderates” including Rouhani and Khatami, lack the popular support base needed to marginalize Khamenei let alone get rid of him.

Straw has adopted several erroneous assumptions, commonplace among so-called “Iran analysts”, including the division of authorities in the Khomeinist system between elected and un-elected officials. In that context, we are invited to believe that Khamenei, supposedly un-elected, enjoys less legitimacy than, say Rouhani, who is elected. However, the fact is that the Assembly of Experts, itself elected by popular vote, elects Khamenei. At the same time, Rouhani, like his predecessors, could not become president without an edict (hukm tanfizi) from the ”Supreme Guide”. In other words, it matters not one farthing who is or isn’t elected in a system in which all elections must either be regarded of equal value or rejected as fake from the start.

Straw is also wrong in believing that the Islamic Majlis, which he wrongly calls “The Iranian Consultative Assembly”, is subordinate to the Council of the Guardians which he calls, again wrongly, a solely “a creature of the Supreme Guide”.

To buttress his assumption that the mullahs have an almost natural claim to ruling Iran Straw exaggerates the role played by Shi’ite clerics in Iranian politics over the past five centuries. A fatwa issued by an obscure ayatollah to forbid smoking tobacco is blown out of proportion as an earth-shaking event. Clerics did play a role in the Constitutional Revolution of 1906 but only as second fiddle. The mullahs also supported the Shah in dismissing Prime Minister Muhammad Mossadeq in 1953, an event that Straw dubs a “coup d’etat” plotted by British Intelligence and the CIA. The fact

that the Shah had already appointed and dismissed Mossadeq as prime minister on two occasions without anyone talking of coup d’etat is conveniently ignored.

Straw hates the Pahlavi Shah and tries hard to present them in as bad a light as possible, possibly to justify the mullahs’ revolt in 1979.

Straw also exaggerates the role the British played in Iran. Iran’s own corrupt ruling elite, especially in the final decades of Qajar rule, used intervention by Britain and Russia, the two imperialist enemies of Iran at the time, as an excuse to explain away their own corruption and ineptitude.

No foreign power could impose its will on even the weakest nations without the assistance of at least some elements in that nation’s ruling elite. True the Persian expression” It’s all the work of the English!” reflects abiding resentment about the role played by Britain in Iranian affairs for over a century. However, the expression is more often used as a joke rather than a serious comment on history. There was never a major British human presence in Iran few Iranians ever saw even a single specimen of the vilified “Inglisi”. The Anglo-Iranian Oil Company was operating in less than one per dent of Iranian territory and , at its peak, employed under 200 non-Iranians, most of them Sikh guards and drivers from Punjab. Also, Britain never featured among Iran’s top five trading partners and couldn’t compete with France and Germany, and from 1960 onwards the United States, as poles of attraction for Iranians seeking higher education abroad.

The British did invade Iran, in conjunction with the Soviets, in 1941, not 1942 as Straw says, but did not “occupy the whole of Iran” as he seems to believe. In fact, the British Expeditionary Force, largely consisting of recruits from colonial India, was stationed in five localities in Iran and from 1943 onwards were put under US command until total withdrawal two years later. The myth of “The English Job”, like its French equivalent “perfide Albion” is designed to perpetuate enmity between two nations that, when all is said and done, experienced the attraction-revulsion that marks many human relatio0ns in history.

The popular novel “Dear Uncle Napoleon” by Iraj Pezeshkzad uses the “this is an English job” as a joke. Incidentally, it was written in 1970 not in the 1940s as Straw asserts.

Straw’s book, an enjoyable read, includes too many factual errors and dicey speculations to be cited here. I doubt if Ayatollah Khamenei’s second son Mujtaba has any chance of succeeding him as “ Supreme Guide”, even if the regime survives. Straw also exaggerates the status of Ayatollah Nasser Makarem Shirazi and Ayatollah Sadeq Larijani who now heads the Expediency Council. Straw may be admiring of Larijani because he speaks “fluent English” but the fact is that he lacks a genuine status within the Shi’ite clergy.

Khamenei’s mother tongue is not “Turkic”, a non-existent language, but Persian as his mother hailed from Isfahan and claimed descent from the poet Kamaleddin Ismail. Khamenei’s father was from Azerbaijan and spoke Azeri, an Altaic language.

The late Ayatollah Khomeini couldn’t have extensive knowledge of Greek philosophy as most works by the Greeks, including Plato and Aristotle cited by Straw, are still not translated into Persian or any other languages of the Muslim world.

Some of Straw’s assertions are too weird to merit comment. For example, he says: “Iran is the most secular of societies, people laugh at what the mullahs have to say.”

And, yet, he believes that mullahs are bound to rule Iran seemingly forever. But even then he is not sure of his analysis. He writes: “Just below the surface, Iran is far from calm, the regime {is} going one way, the majority of the population another.”

From an apologist for the Islamic Republic, this is something!



Would You Like a Cicada Salad? The Monstrous Little Noisemakers Descend on a New Orleans Menu 

Zach Lemann, curator of animal collections for the Audubon Insectarium, prepares cicadas for eating at the insectarium in New Orleans, Wednesday, April 17, 2024. (AP)
Zach Lemann, curator of animal collections for the Audubon Insectarium, prepares cicadas for eating at the insectarium in New Orleans, Wednesday, April 17, 2024. (AP)
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Would You Like a Cicada Salad? The Monstrous Little Noisemakers Descend on a New Orleans Menu 

Zach Lemann, curator of animal collections for the Audubon Insectarium, prepares cicadas for eating at the insectarium in New Orleans, Wednesday, April 17, 2024. (AP)
Zach Lemann, curator of animal collections for the Audubon Insectarium, prepares cicadas for eating at the insectarium in New Orleans, Wednesday, April 17, 2024. (AP)

As the nation prepares for trillions of red-eyed bugs known as periodical cicadas to emerge, it's worth noting that they're not just annoying, noisy pests — if prepared properly, they can also be tasty to eat.

Blocks away from such French Quarter fine-dining stalwarts as Antoine's and Brennan's, the Audubon Insectarium in New Orleans has long served up an array of alternative, insect-based treats at its “Bug Appetit” cafe overlooking the Mississippi River. “Cinnamon Bug Crunch,” chili-fried waxworms, and crispy, cajun-spiced crickets are among the menu items.

Periodical cicadas stay buried for years, until they surface and take over a landscape. Depending on the variety, the emergence happens every 13 or 17 years. This year two groups are expected to emerge soon, averaging around 1 million per acre over hundreds of millions of acres across parts of 16 states in the Midwest and South.

They emerge when the ground warms to 64 degrees (17.8 degrees Celsius), which is happening earlier than it used to because of climate change, entomologists said. The bugs are brown at first but darken as they mature.

Recently, Zack Lemann, the Insectarium's curator of animal collections, has been working up cicada dishes that may become part of the menu. He donned a chef's smock this week to show a couple of them off, including a green salad with apple, almonds, blueberry vinaigrette — and roasted cicadas. Fried cicada nymphs were dressed on top with a warm mixture of creole mustard and soy sauce.

“I do dragonflies in a similar manner,” Lemann said as he used tweezers to plop nymphs into a container of flour before cooking them in hot oil.

Depending on the type and the way they are prepared, cooked cicadas taste similar to toasted seeds or nuts. The Insectarium isn't the first to promote the idea of eating them. Over the years, they have appeared on a smattering of menus and in cookbooks, including titles like “Cicada-Licious” from the University of Maryland in 2004.

“Every culture has things that they love to eat and, maybe, things that are taboo or things that people just sort of, wrinkle their nose and frown their brow at,” Lemann said. “And there’s no reason to do that with insects when you look at the nutritional value, their quality on the plate, how they taste, the environmental benefits of harvesting insects instead of dealing with livestock.”

Lemann has been working to make sure the Bug Appetit cafe has legal clearance to serve wild-caught cicadas while he works on lining up sources for the bugs. He expects this spring's unusual emergence of two huge broods of cicadas to heighten interest in insects in general, and in the Insectarium — even though the affected area doesn't include southeast Louisiana.

“I can’t imagine, given the fact that periodical cicadas are national news, that we won’t have guests both local and from outside New Orleans, asking us about that,” said Lemann. “Which is another reason I hope to have enough to serve it at least a few times to people.”


Saudi Heritage Commission Celebrates World Heritage Day at Thee Ain Historic Village 

The festivities included captivating sound and light shows projected onto the facades of 58 heritage houses in the village, a folk performance, a heritage council, and the traditional preparation of Saudi coffee. (SPA)
The festivities included captivating sound and light shows projected onto the facades of 58 heritage houses in the village, a folk performance, a heritage council, and the traditional preparation of Saudi coffee. (SPA)
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Saudi Heritage Commission Celebrates World Heritage Day at Thee Ain Historic Village 

The festivities included captivating sound and light shows projected onto the facades of 58 heritage houses in the village, a folk performance, a heritage council, and the traditional preparation of Saudi coffee. (SPA)
The festivities included captivating sound and light shows projected onto the facades of 58 heritage houses in the village, a folk performance, a heritage council, and the traditional preparation of Saudi coffee. (SPA)

The Saudi Heritage Commission and the Chamber of Commerce and Industry in Al-Makhwah Governorate of the Al-Baha region celebrated on Thursday World Heritage Day at the Thee Ain Historic Village.

The event was attended by Al-Makhwah Governor Ghalab bin Ghaleb Abu Khashaym.

The festivities included captivating sound and light shows projected onto the facades of 58 heritage houses in the village, a folk performance, a heritage council, and the traditional preparation of Saudi coffee.

Thee Ain Historic Village is renowned for its authentic heritage, rich history, and breathtaking beauty. According to the United Nations Educational, Scientific, and Cultural Organization (UNESCO), the village dates back to the end of the 10th century.

It stands as one of the most significant heritage villages in the Kingdom, featuring 58 stone-built palaces situated atop a mountain of white marble. The village is home to a mosque where obligatory and Friday prayers are held.


Saudi Arabia: Centuries-old Defensive Moat, Fortification Wall Discovered in Historic Jeddah

Remains of a centuries-old defensive moat and fortification wall, which once encircled the city, were found in the northern part of Historic Jeddah. SPA
Remains of a centuries-old defensive moat and fortification wall, which once encircled the city, were found in the northern part of Historic Jeddah. SPA
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Saudi Arabia: Centuries-old Defensive Moat, Fortification Wall Discovered in Historic Jeddah

Remains of a centuries-old defensive moat and fortification wall, which once encircled the city, were found in the northern part of Historic Jeddah. SPA
Remains of a centuries-old defensive moat and fortification wall, which once encircled the city, were found in the northern part of Historic Jeddah. SPA

Saudi Arabia’s Jeddah Historic District Program released the results of the archaeological excavations in Historic Jeddah as part of the first phase of the Archaeology Project.

In a recent archaeological discovery, remains of a centuries-old defensive moat and fortification wall, which once encircled the city, were found in the northern part of Historic Jeddah near Allegiance Square and east of Al-Kidwah Square.

According to historical sources, Jeddah was a fortified city as early as the late 10th - early 11th century AD. However, laboratory analysis indicates that the mentioned discoveries belong to a later phase of the fortification system, as they were likely constructed around the 18th-19th century AD.

By the middle of the 19th century AD, the moat had fallen out of use and was soon filled with sand. However, the fortification wall survived until 1947. Some parts of the moat's retaining wall have remained intact up to three meters in height.

Archaeological excavations also unearthed 19th-century AD European imported ceramics, demonstrating Jeddah's far-reaching trade connections. Moreover, a fragment of 9th-century AD pottery was discovered at Al-Qidwah Square.


Centuries-old Artworks Saved from Copenhagen's Stock Exchange Blaze

Charred remains stand on the Old Stock Exchange building, following a fire in Copenhagen, Denmark, April 17, 2024. REUTERS/Ali Withers
Charred remains stand on the Old Stock Exchange building, following a fire in Copenhagen, Denmark, April 17, 2024. REUTERS/Ali Withers
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Centuries-old Artworks Saved from Copenhagen's Stock Exchange Blaze

Charred remains stand on the Old Stock Exchange building, following a fire in Copenhagen, Denmark, April 17, 2024. REUTERS/Ali Withers
Charred remains stand on the Old Stock Exchange building, following a fire in Copenhagen, Denmark, April 17, 2024. REUTERS/Ali Withers

Art conservators are assessing the damage to centuries-old paintings recovered from a blaze that destroyed Copenhagen's Old Stock Exchange this week, the National Museum of Denmark said on Thursday.
As the blaze ripped through the 400-year-old Copenhagen landmark on Tuesday, passersby jumped off their bicycles to help firefighters, conservators and soldiers retrieve valuable paintings.
"It had to be fast," Nina Wajman, a curator at the National Museum of Denmark, told Reuters.
Conservators retrieved paintings from the half of the building that had not caught fire, while firefighters in smoke-helmets and soldiers of the Royal Life Guards recovered paintings from the part that was ablaze, hastily loading them on to trucks.
"They might not have done it in the way an art expert would, but that's minor, I think," said Wajman.
She entered the building to recover a portrait in oil of Christian IV, Denmark's 17th-century king who oversaw the construction of the building, which was originally built for trading in commodities.
"I wasn't sure that it had been rescued, so I went in to look for it and it was still there," Wajman said.
Some paintings were severely damaged by water or fire or because they were hastily torn off the walls.
Conservators are still inspecting the paintings, which were brought to a depot of the National Museum, and are trying to get an overview of the damage and what is missing.
"We had great focus on the valuables inside the building. But the problem was that I needed all my firefighters to contain the fire as long as we could," Jakob Vedsted Andersen, head of the fire department in greater Copenhagen, told Reuters.
"So we had to ask people for help to bring out the paintings and the sculptures," he said.
Employees at the nearby Danish Chamber of Commerce, including its CEO, helped to carry paintings as big as 3 meters wide into a section of the nearby Christiansborg palace.
Klavs Lockwood, a local, was at the site early on Tuesday.
"These paintings were very big and heavy, so I quickly offered my help," he said.
He said the painting he helped carry had been torn in several places.
"You could see it was taken off the wall in a hurry."


Michelangelo's Scribble Sells for $200,000 at New York Auction

The small work by Michelangelo depicts a block of marble, with the word "simile," or "similar" in English, according to Christie's auction house. ANGELA WEISS / AFP/File
The small work by Michelangelo depicts a block of marble, with the word "simile," or "similar" in English, according to Christie's auction house. ANGELA WEISS / AFP/File
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Michelangelo's Scribble Sells for $200,000 at New York Auction

The small work by Michelangelo depicts a block of marble, with the word "simile," or "similar" in English, according to Christie's auction house. ANGELA WEISS / AFP/File
The small work by Michelangelo depicts a block of marble, with the word "simile," or "similar" in English, according to Christie's auction house. ANGELA WEISS / AFP/File

A square scribbled on a yellowed piece of paper by Renaissance genius Michelangelo sold for $201,600 -- 33 times its estimated value, auction house Christie's said Wednesday.
Found stuck to the back of a frame, the small drawing accompanied by a letter from Michelangelo's last direct descendant was initially expected to sell for between $6,000 and $8,000, AFP said.
But Christie's in New York said the piece went under the hammer for "33.6 times its low estimate," without disclosing any details of the buyer.
The small work depicts a block of marble, with the word "simile," or "similar" in English. It is believed to have been drawn while Michelangelo worked on his famed Sistine Chapel ceiling, a Christie's specialist told AFP in January.
The drawing is coupled with a letter written by Cosimo Buonarroti in 1836, in which he offers the piece by his "illustrious forefather Michelangelo" to Sir John Bowring, the future governor of Hong Kong, whose signature appears at the bottom of the sheet.
Christie's specialists found the letter and diagram attached to the back of a different drawing that had been in a private collection for decades, the auction house said in a media statement.
Though unsigned by Michelangelo, Christie's said that research confirmed the great Italian artist was responsible for the small drawing.
Fewer than 10 of Michelangelo's works are thought to be privately owned, according to Christie's, with most housed in the Casa Buonarroti, a museum in Florence, Italy.


World Heritage Day... Saudi Arabia Celebrates its Rich Treasures

More than 5,393 craftsmen are registered in the National Register of Handicrafts (Ministry of Culture)
More than 5,393 craftsmen are registered in the National Register of Handicrafts (Ministry of Culture)
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World Heritage Day... Saudi Arabia Celebrates its Rich Treasures

More than 5,393 craftsmen are registered in the National Register of Handicrafts (Ministry of Culture)
More than 5,393 craftsmen are registered in the National Register of Handicrafts (Ministry of Culture)

As World Heritage Day falls on April 18, Saudi Arabia celebrates the qualitative transformations it has achieved in the heritage and antiquities sector since the launch of its national strategy for culture, which falls within Vision 2030.

Over the past years, Saudi Arabia has made tremendous efforts to preserve its diverse cultural heritage.

These treasures are evident through traditional costumes that reflect the national identity and the rich cultural heritage, and handicrafts that constituted a source of livelihood and guaranteed a decent life for members of society in the past.

Moreover, excavation projects have uncovered valuable discoveries in various Saudi archaeological sites, and shed light on the Kingdom’s cultural wealth and its importance as a bridge linking the thriving cultural experience on its land.

Seven sites on the UNESCO World Heritage List

The story of heritage and antiquities in Saudi Arabia is full of diversity, and blends authenticity with modernity.

Recently, the Kingdom presented a model of its rich cultural experience to the world, when seven Saudi sites were put on the UNESCO World Heritage List. Those include: Al-Hijr Archaeological Site, Al-Turaif District in ad-Diriyah, Historic Jeddah, the Gate to Makkah, Rock Art in the Hail, Al-Ahsa Oasis, an Evolving Cultural Landscape, Ḥima Cultural Area and the Harrat Uwayrid Reserve.

Through individual and collective efforts, Saudi Arabia registered a number of elements on the UNESCO lists of Intangible Cultural Heritage. Those include falconry, Arabic calligraphy, traditional weaving of Al-Sadu, Al-Qatt Al-Asiri (female traditional interior wall decoration in Asir), Almezmar (drumming and dancing with sticks), Arabic coffee (a symbol of generosity), Majlis (a cultural and social space) and Alardah Alnajdiyah (dance, drumming and poetry in Saudi Arabia).

These achievements reflect the scale of the Saudi effort in the heritage sector, as shown by the increase in the number of archaeological sites to 8,917 across the Kingdom, in addition to around 3,646 urban heritage sites, and more than 5,393 craftsmen registered with the National Register of Handicrafts.

Riyadh hosted the work of the 45th expanded session of the World Heritage Committee of UNESCO last September, in the presence of about 3,000 guests from 21 countries. The event shed light on the rich and diverse Saudi heritage sites and the important archaeological discoveries that received global attention.


Saudi Heritage Commission Announces New Discovery in Umm Jirsan Cave

The Saudi Heritage Commission announced the discovery of new evidence of human settlement in Umm Jirsan cave in Madinah Region. SPA
The Saudi Heritage Commission announced the discovery of new evidence of human settlement in Umm Jirsan cave in Madinah Region. SPA
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Saudi Heritage Commission Announces New Discovery in Umm Jirsan Cave

The Saudi Heritage Commission announced the discovery of new evidence of human settlement in Umm Jirsan cave in Madinah Region. SPA
The Saudi Heritage Commission announced the discovery of new evidence of human settlement in Umm Jirsan cave in Madinah Region. SPA

The Saudi Heritage Commission has announced the discovery of new evidence of human settlement in Umm Jirsan cave "Harrat Khaybar", located in Madinah Region.

The research was conducted by the Heritage Commission of the Ministry of Culture with the participation of some archaeologists from the commission and in collaboration with King Saud University, the Max Planck Institute, and the Saudi Geological Survey through the "Green Arabian Peninsula project," which focuses on multidisciplinary field research, the Saudi Heritage Commission said in a statement.

According to the statement, the study was published in the journal "PLOS ONE," the first comprehensive study of archaeological research in caves in the Kingdom.

The study involved archaeological surveys and excavations in Umm Jirsan cave, revealing ancient evidence of human occupation dating back to the Neolithic period, around 10,000-7,000 years ago, encompassing the Copper Age and Bronze Age periods.

The cave was shown to have been utilized by pastoral groups, using Radiocarbon c14 that supported the discovery of animal remains such as bones dated back to 4100BC, as well as human skulls dated back to 6000BC, and other artifacts including wood, cloth fragments, and stone tools. In addition to rock art facades depicted scenes of grazing animals and hunting activities.
The discoveries provided evidence of human occupation within the cave, which remarkably preserved thousands of animal bones, including those of striped hyenas, camels, horses, deer, caribou, goats, cows, and wild and domestic donkeys, in good condition despite the passage of time. Furthermore, an analysis of human skeletal remains using radioactive isotopes indicated a dietary shift over time, with ancient human groups primarily relying on a meat-based diet and gradually incorporating plants, suggesting the emergence of agriculture.
The study also highlighted the feeding habits of animals such as cows and sheep, which primarily consumed wild grasses and shrubs, and the region exhibited significant animal diversity throughout different historical periods.
The scientific study underscored the importance of caves utilized by ancient human groups and the ancient volcanic magma paths within Saudi Arabia.


France Prepares to Commemorate D-Day’s 80th Anniversary 

This photograph taken on April 12, 2024 shows cutting board silhouettes of British soldiers installed as part of the "Standing with Giants" installation at the World War II British Normandy Memorial ahead of the upcoming D-Day commemorations, in the village of Ver-sur-Mer which overlooks the Gold Beach in northwestern France. (AFP)
This photograph taken on April 12, 2024 shows cutting board silhouettes of British soldiers installed as part of the "Standing with Giants" installation at the World War II British Normandy Memorial ahead of the upcoming D-Day commemorations, in the village of Ver-sur-Mer which overlooks the Gold Beach in northwestern France. (AFP)
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France Prepares to Commemorate D-Day’s 80th Anniversary 

This photograph taken on April 12, 2024 shows cutting board silhouettes of British soldiers installed as part of the "Standing with Giants" installation at the World War II British Normandy Memorial ahead of the upcoming D-Day commemorations, in the village of Ver-sur-Mer which overlooks the Gold Beach in northwestern France. (AFP)
This photograph taken on April 12, 2024 shows cutting board silhouettes of British soldiers installed as part of the "Standing with Giants" installation at the World War II British Normandy Memorial ahead of the upcoming D-Day commemorations, in the village of Ver-sur-Mer which overlooks the Gold Beach in northwestern France. (AFP)

Eighty years on, Normandy's beaches and fields still bear the scars of violence that erupted during World War Two on D-Day, history's largest amphibious invasion on June 6, 1944, drone footage shows.

Commemorations in June will mark the day when more than 150,000 allied soldiers invaded France to drive out Hitler's forces.

At the Normandy American Cemetery, perched above Omaha Beach at Colleville-sur-Mer, dotted with white cross headstones and US flags, 9,386 soldiers are buried.

Along the coast lie the remains of the artillery batteries of Longues-sur-Mer, from which the forces of Nazi Germany shelled invading forces on Omaha Beach.

Allied troops built the Winston Harbour nearby, in Arromanches-les-Bains, to bring in the supplies needed to force the Germans out of France, with its concrete caissons still visible to this day.

The D-Day beaches, spread over 120 km (75 miles) of the Normandy coastline, attract large numbers of tourists each year.


Painting of Winston Churchill by Artist Whose Work He Hated Is up for Auction 

Matthew Floris, a Sotheby's employee poses with a portrait, a surviving study of Winston Churchill in the bedroom where Churchill was born at Blenheim Palace, north of Oxford, home to the Duke of Marlborough and Churchill's family home, on April 16, 2024. (AFP)
Matthew Floris, a Sotheby's employee poses with a portrait, a surviving study of Winston Churchill in the bedroom where Churchill was born at Blenheim Palace, north of Oxford, home to the Duke of Marlborough and Churchill's family home, on April 16, 2024. (AFP)
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Painting of Winston Churchill by Artist Whose Work He Hated Is up for Auction 

Matthew Floris, a Sotheby's employee poses with a portrait, a surviving study of Winston Churchill in the bedroom where Churchill was born at Blenheim Palace, north of Oxford, home to the Duke of Marlborough and Churchill's family home, on April 16, 2024. (AFP)
Matthew Floris, a Sotheby's employee poses with a portrait, a surviving study of Winston Churchill in the bedroom where Churchill was born at Blenheim Palace, north of Oxford, home to the Duke of Marlborough and Churchill's family home, on April 16, 2024. (AFP)

A portrait of Winston Churchill by an artist whose work the British leader loathed went on display Tuesday at Churchill’s birthplace ahead of an auction in June.

The painting by modernist artist Graham Sutherland was made in preparation for a larger portrait that Churchill hated and which was later destroyed — an episode recounted in the TV series “The Crown.”

The surviving oil-on-canvas study shows Churchill’s head in profile against a dark background. It is expected to sell for between 500,000 pounds and 800,000 pounds ($622,000 and $995,000) at Sotheby’s in London on June 6.

Sutherland was commissioned by the Houses of Parliament to paint Churchill to mark his 80th birthday in 1954. The full-length portrait was unveiled in Parliament that year, with Churchill calling it, with a smirk, “a remarkable example of modern art.”

Churchill is said to have complained that the painting “makes me look half-witted, which I ain’t.” It was delivered to his home and never seen again. The Churchill family disclosed years later that it had been destroyed.

Its fate was recreated with poetic license in an episode of “The Crown” in which Churchill’s wife, Clementine, watches the painting go up in flames.

Andre Zlattinger, Sotheby’s head of modern British and Irish art, said that in the surviving study, “Churchill is caught in a moment of absent-minded thoughtfulness, and together with the backstory of its creation, it gives the impression of a man truly concerned with his image.”

Sotheby’s put the picture on public display inside the room where Churchill was born 150 years ago at Blenheim Palace, a country mansion 60 miles (100 kilometers) northwest of London. Visitors can see it there until Sunday. It will go on show at Sotheby’s offices in New York May 3-16 and London May 25-June 5.


Artist, Curators Refuse to Open Israel Pavilion at Venice Biennale Until Ceasefire Deal

A visitor walks next to the 'Las Meninas a San Marco' sculpture part of the installation by the Spanish artist Manolo Valdés, at the San Marco's Square during the 60th Biennale of Arts exhibition in Venice, Italy, Tuesday, April 16, 2024. (AP Photo/Luca Bruno)
A visitor walks next to the 'Las Meninas a San Marco' sculpture part of the installation by the Spanish artist Manolo Valdés, at the San Marco's Square during the 60th Biennale of Arts exhibition in Venice, Italy, Tuesday, April 16, 2024. (AP Photo/Luca Bruno)
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Artist, Curators Refuse to Open Israel Pavilion at Venice Biennale Until Ceasefire Deal

A visitor walks next to the 'Las Meninas a San Marco' sculpture part of the installation by the Spanish artist Manolo Valdés, at the San Marco's Square during the 60th Biennale of Arts exhibition in Venice, Italy, Tuesday, April 16, 2024. (AP Photo/Luca Bruno)
A visitor walks next to the 'Las Meninas a San Marco' sculpture part of the installation by the Spanish artist Manolo Valdés, at the San Marco's Square during the 60th Biennale of Arts exhibition in Venice, Italy, Tuesday, April 16, 2024. (AP Photo/Luca Bruno)

The artist and curators representing Israel at this year’s Venice Biennale have announced that they won't open the Israeli pavilion exhibit until there is a ceasefire in Gaza and an agreement to release hostages seized by Hamas on Oct. 7.

Their decision, praised as courageous by the festival’s main curator, was posted on a sign in the window of the Israeli pavilion on the first day of media previews, ahead of the Biennale contemporary art fair opening on Saturday.

“The art can wait, but the women, children and people living through hell cannot,” the curators said on Tuesday in a statement together with the artist. It expressed horror at both the plight of Palestinians in Gaza and that of the relatives of hostages seized in Hamas' Oct. 7 attack on Israel.

Israel is among 88 national participants in the 60th Venice Biennale, which runs from April 20-Nov. 24. The Israeli pavilion was built in 1952 as a permanent representation of Israel inside the Giardini, the original venue of the world’s oldest contemporary art show and the site of 29 national pavilions. Other nations show in the nearby Arsenale or at venues throughout the city.

This year, the Israeli exhibit has been titled “(M)otherland” by artist Ruth Patir.

Even before the preview, thousands of artists, curators and critics had signed an open letter calling on the Biennale to exclude the Israeli national pavilion from this year’s show to protest Israel’s war in Gaza. Those opposed to Israel's presence had also vowed to protest on-site.
Italy’s culture minister had firmly backed Israel’s participation, and the fair was opening amid unusually heightened security.

Written in English, the announcement Tuesday of Israel's delayed opening read: “The artist and curators of the Israeli pavilion will open the exhibition when a ceasefire and hostage release agreement is reached.” Two Italian soldiers stood guard nearby.

In a statement, Patir said she and the curators wanted to show solidarity with the families of the hostages “and the large community in Israel who is calling for change.”

“As an artist and educator, I firmly object to cultural boycott, but I have a significant difficulty in presenting a project that speaks about the vulnerability of life in a time of unfathomed disregard for it,” Patir said in the statement.

Patir, who remained in Venice on Tuesday, declined further comment. Neither the Biennale organizers nor the Israeli culture ministry commented.

The curators of the Israeli pavilion, Mira Lapidot and Tamar Margalit, said they were delaying the opening of the exhibit because of the “horrific war that is raging in Gaza,” but that they hoped the conditions would change so the exhibit could open for public view.

“There is no end in sight, only the promise of more pain, loss, and devastation. The exhibition is up and the pavilion is waiting to be opened,” they said. For now, a video work made by Patir can be seen through the pavilion window.

Adriano Pedrosa, the Brazilian curator of the main show at the Biennale, praised the gesture.

“It’s a very courageous decision,” Pedrosa told The Associated Press. “I think it’s a very wise decision as well” because it is “very difficult to present a work in this particular context.”

The national pavilions at Venice are independent of the main show, and each nation decides its own show, which may or may not play into the curator’s vision.

Palestinian artists are participating in collateral events in Venice and three Palestinian artists' works are to appear in Pedrosa's main show, titled “Stranieri Ovunque — Foreigners Everywhere,” which has a preponderance of artists from the global south.

Pedrosa, the artistic director of Brazil’s Sao Paulo Museum of Art, said one of the Palestinian artists, New York-based Khaled Jarrar, was not physically in Venice because he couldn't get a visa.