Arabs & Arabian Records Aggregator. Chronicler. Milestones of the 25 Countries of the Arabic Speaking World (official / co-official). AGCC. MENA. Global. Ist's to Top 10's. Records. Read & Enjoy./ www.arabianrecords.org
Somalia’s football story this week has extended beyond the headlines surrounding World Cup refereeing to a landmark moment for the country’s women’s game.
While attention has focused on Somali referee Omar Artan and reports that he was unable to travel to the United States to officiate at a FIFA tournament — a missed opportunity that would have marked a first World Cup finals involvement for Somalia — the country’s women’s Under-17 team has quietly made history of its own.
Competing at the CECAFA Women’s U-17 Championship in Dar es Salaam, Tanzania, Somalia fielded its first-ever women’s team in an international football competition.
Although the side exited at the group stage, their final match delivered a series of milestones that marked a significant moment for football development in the country.
Somalia recorded the biggest victory in the nation’s football history with an 8–2 win over Sudan and celebrated the first international hat-trick scored by a Somali player in a debut tournament appearance.
Sundus Mohamed scored twice, including Somalia’s first-ever goal in women’s international tournament football, while Najmo Mohamed claimed a hat-trick. Captain Halimo Isse, Maryan Osoble and Hibo Salad also found the net.
Shortly after the match, Somali Football Federation president Ali Abdi Mohamed called the squad to congratulate the players and coaching staff.
“You did well and I was sure you can,” he told the team, while praising captain Halimo Isse for her leadership throughout the tournament.
Reflecting on the wider significance of the team’s debut, Mohamed described the performance as an encouraging sign for the future of women’s football in Somalia.
“Somalia is a developing nation recovering from decades of civil war and we are very new to the women’s football environment, but we are improving,” he said.
“If our first international appearance was such a positive experience, I am sure we are developing and we will do much better in the months and years to come.”
Mohamed also acknowledged support from international football bodies.
“I would like to thank FIFA and CAF for their constant financial assistance, education and guidance. Without them we could not have achieved such progress,” he said.
He added that the federation plans to continue investing in the women’s game.
“We have spent significant time, money and energy on women’s football and I am fully committed to increasing our investment. Our women and girls are doing an excellent job and I am very proud of them.”
Somalia’s participation in the tournament has extended beyond the playing squad. Two Somali female match officials — referee Fadumo Mohamed Nor and assistant referee Iqara Ali Ahmed — remain in Tanzania after continuing to receive appointments during the competition.
The Task of the Translator Research Lab, developed and facilitated by artist and editor Sarasija Subramanian, runs until Aug. 30
Brings participants together for collective reading, watching and listening sessions, alongside exercises exploring language, accessibility, subjectivity and the idea of the original
A research lab at Jameel Library is inviting people to take a broader view of translation — as a way of moving between languages, images, sounds, experiences and different forms of knowledge.
The Task of the Translator Research Lab, developed and facilitated by artist and editor Sarasija Subramanian, runs until Aug. 30. It brings participants together for collective reading, watching and listening sessions, alongside exercises exploring language, accessibility, subjectivity and the idea of the “original.”
“The starting point for us was the idea of translation as something much bigger than moving from one language to another,” said Khaled Al-Qahtani, library and research coordinator at Jameel Library.
“We are constantly translating between languages, but also between images and words, between what we see and what someone else might experience, between different ways of knowing and understanding.”
The week-long program explores what happens when an image is described for someone who cannot see it, when sound is translated into words, or when an experience is communicated through another form.
Al-Qahtani said: “We wanted the lab to create a space where we could slow down and actually examine those processes. What happens when you describe an image for someone who cannot see it? What happens when you translate sound into words, or an experience into another form? What is gained, what is lost, and what kinds of new meanings can emerge?”
For Subramanian, the project comes from her interest in “expanded translation,” a concept that considers movement between mediums as translation.
“The lab comes from my own interest as an artist and editor in the field of expanded translation, where translation is not only about moving from one language to another, but also thinking of information and ideas moving from one medium to another,” she said.
Subramanian works with drawing and tracing as forms of translating images, while her publishing house, Reliable Copy, works with artists to translate their ideas and research into books.
“The primary drive of the lab is to be able to consider these kinds of shifts between mediums as translation, and consequently to question translation’s need to be faithful to the ‘original’, and to rethink the mandate that we must be objective and impersonal during the process,” she said.
The lab also examines accessibility through tools including alt-text, audio descriptions and closed captions.
Subramanian said such tools were often viewed as additional accommodations for visually impaired audiences but could also encourage people with sight to look more closely.
“When we write alt-text for a painting, or audio-descriptions for a film, we see the image or the video through a very different point of view, which reveals to us details and nuances that we would otherwise overlook,” she said.
She compared translating an image to translating a text from English into Arabic, where every word, punctuation mark and piece of context must be considered.
“It is the same with an image, or a video,” she said, adding: “As such, the lab as a whole is to look at material we encounter on a daily basis closely, and rethink the ways in which we communicate and share.”
Subramanian said this approach also challenges the idea of a single, fixed interpretation, allowing different perspectives to become part of the process: “The question then, or the task, is to be able to use these subjectivities as a tool and an aid, instead of seeing them as inherently wrong.”
For Al-Qahtani, Jameel Library was a natural setting for the project because libraries already bring together different languages, histories and forms of knowledge.
“Libraries are already spaces of translation in a way,” he said.
The project, he added, sought to make the library more than a place for presenting research, turning it into a space where research could unfold collectively through experimentation, conversation and making.
Accessibility also requires cultural institutions to question assumptions about how audiences are expected to look, listen, read or participate.
“We often design cultural experiences around an assumed audience and an assumed way of looking, listening, reading or participating,” Al-Qahtani said. “Accessibility asks us to question those assumptions.
“For me, accessibility is not something that should come at the end of a process, as an additional service or adjustment. It can actually change the way we think about the work from the beginning.”
Guest lecturer Sara H. Hammami, a librarian, book artist and poet, sees translation as closely connected to culture and human connection.
She said translation could create movement toward understanding, curiosity and respect, but that this required openness from everyone in a multilingual environment.
“In any multilingual space this requires a curiosity regardless of the language one is starting in/moving towards it must be reciprocated by everybody for the kind of fluidity and warmth that can be brought forward from a space of translation,” she said.
Her work across libraries and translation has also shaped her view of accessibility. Cultural institutions, she said, have a responsibility to make audiences feel welcome: “The more people are given the opportunity and chance to attend and participate in these conversations and spaces, the stronger and more imaginative we become as a cultural landscape,” Hammami said.
In Saudi Arabia, she sees language equity as an important starting point.
“I feel language equity in a multilingual space is one of the first and most accessible ways to start building accessibility for our public,” she said. “I wonder what it might do for us and our language if we were to enter more cultural landscapes and find materials not only in Arabic, English, or French, but also in Tagalog, Urdu, or Bengali. I imagine a future in which everyone feels invited to these spaces and moments.”
Artist Park McArthur also approaches translation through questions of access, language and power.
“Translation and access could be shared phenomenon known by different names,” McArthur said, adding that stories and ideas move between languages through translation, whether through curiosity or other forces: “The power dynamics of language and access make something like force hard to pin down, actually. Power is an element of language and access.”
McArthur said language also extends beyond the linguistic.
“Artistic traditions and experimentation teach me that language is linguistic, while it is also a way of doing things, a means of gathering, a ritual, a performance,” she said.
She wants audiences to reconsider the traditional relationship between an original work and its translation. She also argued that the original also depends on translation for its circulation and continued use.
“We are perhaps more accustomed to approaching the act of translation as ‘dependent upon’ an originary text. An originary text is dependent upon versioning and translation for its circulation, its use, for its ongoing care,” she said.
Her own contribution to the program illustrates that relationship. An artistic experiment describing a day at the beach as a space for gathering was translated from English into Arabic by Al-Qahtani.
“Khaled’s translation, which I have no linguistic access to, extends this gathering, this day at the beach, which I dream of,” McArthur said.
While the lab is designed for participants who responded to the open call, its wider public programming opens the conversation to a broader audience.
source/content: arabnews.com (headline edited)
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A research lab at Jameel Library is inviting people to take a broader view of translation — as a way of moving between languages, images, sounds, experiences and different forms of knowledge. (Supplied)
Mohamed Safwamar began powerlifting at the age of 12. Seven years later, the Syrian athlete has built a career spanning national, Arab and regional titles, capped by four gold medals at the World Championships in South Africa.
The 19-year-old’s rise has been marked by steady progress through successive competitions, with each event providing an opportunity to improve his performance and lifting totals.
“I started powerlifting when I was 12 and have worked over the past several years to improve my performance and establish a strong presence in competitions,” Safwamar told SANA.
His early success came at home, where he won the Syrian championship and claimed the Syrian Champion of Champions title in the men’s category three times.
Safwamar then moved onto the regional stage, winning the Arab Championship, the West Asian Championship and the West Asian Champion of Champions title.
His career reached a new milestone at the World Championships in South Africa, where he competed in the over-120 kg category and swept four gold medals in the squat, bench press, deadlift and overall total.
“It is an achievement I am proud of, and it gives me additional motivation to continue training and improving my performance,” he said.
Safwamar has been ranked Syria’s top powerlifter by the Syrian Arab Powerlifting Federation and was crowned a world champion in 2026.
Despite his growing medal collection, Safwamar is already looking to the next stage of his career. He aims to break world records and win the world championship title in the men’s category, goals he says will require sustained training as well as greater support and sponsorship.
The Syrian Powerlifting Federation is looking to Safwamar as one of its leading prospects for further success on the international stage.
Through his lens, the Syrian photographer reveals the intricate artistry and harmony of mosque ceilings across the UAE.
An image may capture a moment, but for Syrian photojournalist Imadeddin Alaeddin, it is a portal to something deeper. His latest work, ‘Mosques of the UAE: A Harmony of Art and Spirituality’, showcased at Xposure 2025 International Photography Festival in Sharjah, explores the often-overlooked beauty of mosque domes.
“Attending the Xposure Photography Exhibition last year sparked an idea for a project that goes beyond simply capturing images. I wanted to document the beauty of mosques from a fresh perspective, and in the domes of UAE mosques, I found a unique harmony of art and spirituality,” Alaeddin tells SceneHome.
Over a journey spanning 30 mosques across the UAE, Alaeddin’s lens turned skyward, revealing the intricate floral motifs, Quranic inscriptions, and stained glass illuminations that often go unnoticed. His images frame these ceilings as celestial compositions, where geometry and craftsmanship converge in quiet reverence.
Roaming from Dubai to Sharjah, he uncovered the forgotten details of Islamic architecture. “I sought to present a different vision of Islamic architecture, where artistic details blend with spiritual depth, making the exhibition an opportunity for visitors to discover a new perspective on these sacred spaces,” he reflects.
Photographing these domes came with challenges. Restricted prayer times meant limited access, while fluctuating lighting conditions required adaptability. “Some mosques rely on programmed lighting systems that activate only at specific times, so I had to make the most of natural light,” Alaeddin explains. “I considered using laser devices to fine-tune angles, but out of respect for the sanctity of the space, I chose to rely solely on my eye and experience.”
His photographs capture a world of colour and light, where crimson and deep blue hues pulse against pale cream backdrops, creating a mesmerising interplay of contrast. Each dome tells a story—its patterns, calligraphy, and muqarnas whispering the legacy of those who built them…
The dome of Al Muherabah Mosque in Dubai
Adorned with gilded Arabic calligraphy, its inscriptions encircling the space in a rhythmic embrace. Soft blue hues filter through the stained-glass windows, casting a tranquil glow of natural light.
Sheikh Mohammed bin Rashid Al Maktoum Mosque in Dubai
An ocean of geometric carvings unfolds within a meticulously structured composition, where the pendentive, drum, and dome align in perfect harmony. Hanging pendants appear to defy gravity—as if suspended mid-fall—yet, when captured upside down, they create an uncanny sensation of descent, pulling the viewer into the depths of the celestial expanse above.
AlRushd Mosque in Al Dhaid, Sharjah
Here, sections of the columns supporting the dome appear to lean toward a singular perspective, drawing the eye inward. The overall cream palette exudes serenity, while deep crimson calligraphic bands introduce a striking contrast—infusing the space with a quiet intensity and a sense of warmth.
Al Dhaid Mosque in Al Dhaid, Sharjah
A luminous green band of gilded calligraphy encircles the dome, its vibrancy heightened by the delicate interplay of light and shadow. Yet, the true marvel lies in the muqarnas bridging the drum and the dome—cascading like snow-capped peaks dissolving into the pale eggshell palette. Against this serene backdrop, the bold green creates a striking contrast. Suspended at the heart of it all, a traditional metal chandelier descends, its dark tones amplifying the depth of the dome, framing it in mesmerizing concentric circles.
Sheikha bint Saeed Al Maktoum Mosque in Dubai
An octagonal drum dome reveals a harmonious transition from the square base to the triangular squinches, followed by the octagon and finally the dome. This visual layering unfolds like a cascading symphony, where geometry orchestrates a delicate balance of structure and ornamentation. The spotlights arranged around may have altered how it appears in the photograph, yet they still shine like constellations in perfect alignment.
Al Farooq Omar bin Al Khattab Mosque in Dubai
Four half-domes converge seamlessly into the central dome, creating a harmonious architectural crescendo. The vivid color palette transforms the sacred into something unexpectedly jubilant—bright mustard yellow and deep red infuse the space with an electrifying contrast, where surprise and awe intertwine. Together, the domes form a floral-like composition, culminating in the central dome, where stained glass windows encircle the drum, casting ethereal light across the space.
Al Noor Mosque in Sharjah
A whisper of timeless Ottoman mosques lingers here, yet within, golden carvings elegantly drape the ceiling before unveiling the dome’s radiant white expanse. Four half-domes converge seamlessly into the central dome, their pristine grandeur exuding a profound sense of calm and serenity. Artificial lights, arranged in concentric circles, intensify this feeling of infinity, drawing you into a luminous reverie.
Sharjah Grand Mosque in Sharjah
Gazing upward, the dome reveals a masterpiece where art and spirituality intertwine. Thuluth calligraphy flows across its surface, framing Quranic verses with the Names of Allah, creating a sense of divine rhythm. Gilded floral and geometric patterns echo Ottoman elegance, while striped arches introduce a striking contrast. A grand chandelier hangs at the center, casting a warm glow that enhances the mosque’s tranquil beauty.
Mary the Mother of Jesus Mosque in Abu Dhabi
What sets this mosque apart is not just its architectural splendor but its profound message of tolerance and coexistence, after the mosque’s name was changed from Mohammed Bin Zayed Mosque in 2017. Graceful calligraphy and intricate blue patterns weave across the dome, where light filters through geometric windows, casting a tranquil glow.
Sheikh Rashid bin Mohammed bin Rashid Al Maktoum Mosque in Dubai
The dome’s intricate floral geometry stretches endlessly, its layers unfolding like a lotus in bloom. Seen from beneath, it feels infinite—a vanishing point so profound, it’s like gazing at the horizon itself, only framed by sacred symmetry.
Khor Kalba Mosque in Sharjah
Beige and blue unfold beneath the dome, evoking a sense of serenity and transcendence—like the sky meeting the clouds in a seamless embrace. A band of calligraphy frames the base, grounding the composition. Yet, it is in the quiet interplay of these hues, in the restraint of ornamentation, that the true opulence reveals itself—where absence speaks as powerfully as presence.
Amina bint Ahmed Al Ghurair Mosque in Ajman
A masterpiece of harmony, this dome weaves intricate geometry with the richness of golden Kufic calligraphy, encircling the space with a quiet grandeur. Light filters through, casting shifting shadows that bring the patterns to life, creating an atmosphere where structure and ornamentation merge into a seamless expression of devotion.
English club — founded by Kuwaitis Faisal Al-Serbel and Fahad Obaid in 2025 — has secured a spot in the 12th tier of English football.
The West Midlands Regional League Division 1 — situated in the 12th tier of the English football pyramid — has just welcomed its latest addition. Birmingham Albion FC, incorporated in 2025, have officially secured their status as one of English football’s newest clubs.
Unusually, this is a side founded by two Kuwaitis with a passion for the game — Faisal Al-Serbel and Fahad Obaid.
The two businessmen have taken an unusual path. While investment from the Middle East into English clubs is no longer a novel concept, the idea of starting a football club from scratch is rare.
“The idea gained a lot of attention from the media because of how unusual it is,” Al-Serbel told Arab News. “You rarely find Arabs founding a club from scratch.
“We are more associated with acquiring, or buying an existing club — which is an idea we considered — but ultimately, we chose the path of starting a new club,” he added.
This is the first time a Kuwaiti has founded a new club in England, but not the first time a club has been owned by a Kuwaiti. Nottingham Forest were owned by the Al-Hasawi family between 2012 and 2017, while Ebbsfleet United were owned by Dr. Abdullah Al-Humaidi’s KEH Sports between 2013 and 2026.
Andover Town — also in the 12th tier of English football, but in the Hampshire Premier League Division 1 — was recently acquired by Mohammed Al-Kanderi. Higher up the pyramid, Salisbury FC (6th tier) is owned by Ali Al-Hamad, Bristol Rovers (4th tier) by Hussain Al-Saeed and MK Dons (3rd tier) by the Al-Ghanim family.
Birmingham Albion FC have hit the ground running in recent months, securing a ground-share agreement with Coton Green Football Club for the use of facilities at the Dave Henderson Memorial Ground for the 2026/27 season, alongside bringing in Approach as the club’s official shirt sponsor, with jerseys available on their official app.
Approach is a multi-service marketplace app based in Kuwait — illustrating how the club intends to bridge its community focus in Birmingham with ties back to Kuwait.
“Starting a club from scratch back in the Middle East is considered an unusual decision,” Al-Serbal said, “but if you acquire a big club, the decision would be applauded.”
Football in the Arab world often struggles to see clubs outside the traditional big sides break into the upper echelons without significant financial support. Notable recent examples include Al-Qadsiah in Saudi Arabia and Al-Hussein in Jordan, both of whom have begun to upset the status quo.
“What is special about clubs in the lower leagues is that everyone in the community cares about them — it truly feels like their club,” Al-Serbel explained.
“As soon as we started the club we had a lot of volunteers willing to join us, but of course, there were some negative voices surrounding our background and why we were not English.
“But, we are focused on bringing something good to the community in Birmingham, whether through programs, academies or cultural events.”
Recent social media reports suggested that Birmingham Albion FC were aiming to sign Kuwaiti players.
“We did suggest to players in the Kuwaiti League that they join us for a sort of live-in period during the international breaks,” Al-Serbel said, “but there are rules here — you cannot play in the division if you are not a full-time resident or citizen. That means we cannot sign players from the Kuwaiti League.
“However, we still want them to come to the club and train in England from time to time and see how football works, even at the lower rungs of the pyramid.”
That lower rung of the pyramid is an interesting challenge for the avid “Football Manager” player, who would salivate at the idea of taking a club from the 12th tier to European glory. But Al-Serbel outlined the team’s five-year targets — and none of them were that ambitious.
“Our five-year goal is to be promoted across two divisions at most, and one division at minimum,” he said. “Aiming for four divisions as a maximum and two divisions as a minimum — that is not realistic in football.
“We also have a plan to have our own stadium by 2027, and God willing, we will achieve it.”
Birmingham Albion FC may not make the same fireworks as other Arab-acquired clubs like Paris Saint-Germain and Newcastle United in the near future. They may never even make it out of non-league football. And yet, this is where the story becomes even more compelling.
For too long, the lack of development at grassroots and community level has represented a missing piece in the growth of football as an industry in the Arab world. Certain individual clubs have found great success, but never the whole ecosystem.
The success of a club like Birmingham Albion FC — not necessarily in terms of results — could be a game-changer for the Arab world.
It could show people back home that football clubs are not just what they have become in the modern era: entities driven purely by financial goals. A success story like this can spark a mindset shift toward the idea that football clubs exist for the community before anything else.
In a country where youth creativity increasingly thrives in the digital marketplace, a growing number of Iraqis are turning their gaze far back — to the dawn of civilization itself. Amid handmade crafts, digital art, and jewelry design, many are drawing inspiration from the symbols and stories of Sumer, the world’s first known civilization, which emerged more than 5,000 years ago in the fertile plains of southern Mesopotamia — the land that is today Iraq.
For these young Iraqis, the fascination extends beyond aesthetics. It reflects a concerted effort to reconnect with a heritage that laid humanity’s earliest foundations of urban life, law, and writing.
From Uruk and Ur to Eridu and Lagash, the influence of the Sumerian past still resonates across Iraq’s soil and memory. Now, those echoes are finding new expression — not in clay tablets, but in metal, leather, and digital design.
Future Wears History
Among those spearheading this revival is Mustafa al-Rudaini, an artist and archaeologist from Baghdad who blends ancient language with contemporary craftsmanship. He converts cuneiform inscriptions — the wedge-shaped characters of Sumerian — into bracelets, pendants, and artworks that merge history with modern design.
“The idea came to me while studying archaeology,” Rudaini explained to Shafaq News. “I realized how disconnected many Iraqis have become from their own ancient identity. Through art, I wanted to rebuild that connection.” His designs are meticulously researched, each symbol reflecting historical and linguistic accuracy.
Al-Rudaini’s work offers a window into the rebirth of a language once thought lost forever. The Sumerian language, spoken by the inhabitants of southern Mesopotamia around 3100 BCE, was the world’s first written tongue — etched into wet clay with reed styluses.
Although it disappeared as a spoken language by 2000 BCE, scholars preserved it through Akkadian translations, and in the 19th century, it was deciphered from cuneiform tablets unearthed in Iraq. Today, Sumerian attracts archaeologists, philologists, and increasingly, Iraqis seeking a renewed link to their ancient roots.
Al-Rudaini’s revival aligns with this growing curiosity. Online, Iraqis share posts about learning Sumerian symbols, while universities report rising interest in Mesopotamian studies. “There’s a sense of cultural reawakening,” al-Rudaini observed. “We’re rediscovering who we are — not just as Iraqis, but as heirs of civilization itself.”
His handcrafted pieces, featuring inscriptions such as “freedom,” “love,” “life,” and “strength” in cuneiform, resonate deeply with Iraq’s youth.
“Every piece carries a message,” he noted, emphasizing that it’s not merely jewelry — it is identity in tangible form.
Heritage Sells
Al-Rudaini’s creations quickly attracted attention on social media, drawing buyers from Iraq and abroad. “Orders came from students, archaeologists, and even tourists,” he mentioned. “People want to feel connected to something that embodies pride — a history that began here.”
Beyond individual artistry, the revival reflects a broader cultural movement — an embrace of Iraq’s layered heritage beneath modern complexities. The Sumerian aesthetic has permeated décor, tattoo art, and fashion. “Sumerian symbols are not just historical artifacts,” al-Rudaini highlighted. “They have become a form of expression — a way of saying: We remember.”
Dr. Munahel al-Saleh, a sociologist at the University of Baghdad, interprets this fascination as both emotional and psychological. “After decades of conflict and fragmentation, Iraqis are reclaiming continuity,” she observed, noting that by reaching back to Sumerian roots, they find stability and meaning that transcend modern divisions.
She further emphasized that Sumerian imagery — once confined to museum walls — has become an accessible language of pride. “These cultural revivals are not nostalgia. They are acts of resilience. The youth are using art and language to signal: We existed long before destruction, and we will exist long after it,” she added.
Oldest Word Rings
This rediscovery extends beyond scholars and artists. Across Iraq, young people increasingly explore cuneiform symbols and integrate them into daily life.
Tiba Hassan, a university student from Najaf, wears a necklace engraved with the Sumerian sign for “hope.” “It reminds me that my ancestors once wrote this same word in clay thousands of years ago,” she reflected. “It’s a bridge between me and them.”
Similarly, Raad Mahmoud, a craftsman from al-Nasiriyah — near the site of ancient Ur — described how visitors to his shop frequently request Sumerian-themed souvenirs. “They view it as a mark of authenticity,” he remarked, emphasizing that it is distinctly Iraqi, not imported or imitated.
For Dalia Qasim, a graphic designer in Mosul, cuneiform patterns have become an integral part of her digital creations, from posters to logos. By weaving these ancient symbols into modern design, she creates a bridge between past and present, allowing Iraq’s earliest expressions of language to resonate within contemporary visuals.
These individual accounts point to a larger truth: the revival of Sumerian symbols mirrors the revival of memory. The world’s oldest written language — once buried beneath millennia of dust — now speaks again through the hands of Iraq’s new generation.
Algeria boosted its medal tally on Tuesday with three additional bronze medals at the ongoing Mediterranean Games in Taranto, Italy.
In freestyle wrestling, Chaïma Chebila claimed the bronze medal in the Under 53 kg category after a dominant 6-1 victory over Morocco’s Zineb Ech-Chabki.
Earlier on Tuesday, another Algerian wrestler, Ibtissem Doudou, secured the bronze medal in the Under 50 kg category by overcoming Egypt’s Malak Ahmed Hassan Mohamed with a tight 3-2 score.
These two bronze medals raise the Algerian wrestling team’s overall tally to seven medals (one gold, one silver, and five bronzes).
Meanwhile, Nour El Houda Maïdi earned a bronze medal in the “Raffa” (Boules) competition. Maïdi successfully edged past San Marino’s Stella Paoletti with a narrow 7-6 victory.
Boxing: A Trio Advances to the Semi-Finals
In boxing, three Algerian fighters punched their tickets to the semi-finals, officially guaranteeing at least three more bronze medals for the national delegation. The advancing boxers are:
Mustapha Abdou (80 kg), who defeated Tunisia’s Youssef Rafrafi via unanimous decision (5-0).
Ismaïl Bekhsis (66 kg), who secured a flawless 5-0 victory over his Turkish opponent, Kanli.
Amine Zanaz (55 kg), who edged past Morocco’s Ismail Bin Siyar with a 3-2 split decision.
These three boxers join their compatriot, Djoher Bennan (65 kg), who had booked her spot in the women’s semi-finals earlier in the tournament.
Following the fifth day of the 20th Mediterranean Games which are set to run until Thursday, September 3, Algeria’s overall medal count has climbed to ten, comprising one gold, one silver, and eight bronzes.
Egyptian harpist Manal Mohei Eldin captivated audiences at the King Abdulaziz Center for World Culture, or Ithra, with three nights of performances blending classical harp techniques with traditional Arabic rhythms and melodies. The final show will be on Friday.
Known as one of the most prominent musicians in the Arab world, she is celebrated for calibrating the harp strings to speak “fluent Arabic” by incorporating traditional Oriental rhythms and melodies with classic techniques.
Arab News spoke exclusively to Mohei Eldin on Thursday night.
“As an Egyptian harpist, it is such an honor to receive this important invitation to showcase my work and my art in the Kingdom of Saudi Arabia,” she said.
“It is not my first time here (at Ithra) — I’ve had the pleasure of working with the great Omar Khairat two years ago, but it is my absolute honor to say that this is my debut as a soloist playing my Arabic, oriental rhythms with my ensemble in the Kingdom.”
Indeed, while she was on stage previously at Ithra in 2024 as a key orchestra member supporting the legendary Egyptian composer and pianist, Khairat, this is her first show as a soloist, with her ensemble.
The Oriental Strokes Ensemble, who joined her on stage, consists of Shady Abdel Salam on violin I, Hossam Ezzat on violin II, Emad Morsy on the viola, Alaa Abdallah on cello. Also, Karim Wassef on bass guitar, Beshoy Rezkalla on accordion, Mahmoud Kamal on nay, Hesham Kamal on percussion, and Doha El-Guerzawi on percussion.
“It pleases me greatly that our first presence in the Kingdom is at Ithra specifically, where we are performing three nights,” Mohei Eldin added.
“The audience at Ithra is very involved and passionate. To be honest, I expected the majority of the seats to be occupied by Egyptians, but to my surprise, most turned out to be Saudis.”
On Thursday night, in between songs, someone from the audience shouted out a request for the musicians to play “Nassam Alayna El Hawa” by Lebanese songstress Nouhad Wadie Haddad, better known by her stage name, Fairouz.
“I don’t know him (the person who shouted out the request), but I played it even though it was not in the original program. It is clear to me that he knew my work and knew I had played that before. It makes me very happy that the Saudi audience loves music and they really know music,” she added.
The program consisted of such crowd favorites as “Zourouni Kol Sana Marra,” composed by Sayed Darwish; “Asmahan Medley,” composed by Farid Al-Atrash, Mohammed El-Qasabgi and Medhat Assem; and “Aziza Dance,” composed by Mohamed Abdul Wahab.
Images of the classic Egyptian stars who inspired the sounds were shown on the large screen as a backdrop.
A professor at the Cairo Conservatoire, Mohei Eldin began her musical journey in her native Egypt and has since performed on some of the world’s greatest stages.
She became a pioneer when she enrolled at 10 years old to pursue learning the harp at the Cairo Conservatoire, where she graduated with honors in 1987.
Upon receiving the coveted German Academic Exchange Service scholarship, she continued her journey with the instrument in Germany with Prof. Buss Lorberth at the Hochschule fur Musik und Darstellende Kunst in Frankfurt and training with Giselle Herbert at the Hoch Conservatory Musik Hochschule in Wurzburg.
Since then, she became the first Egyptian solo harpist at the Cairo Symphony Orchestra, and she famously performed at the opening of the Egyptian Pavilion at the Louvre Museum in Paris and the Ancient Treasures Exhibition at the National Museum of Women in the Arts in Washington, D.C.
“The vast majority of Arabs love to sing along to words, and the fact that they came to listen to only musical instruments, and on an instrument (the harp) that isn’t very familiar to many in the region, honestly made me very, very happy,” she concluded.
source/content: arabnews.com (headline edited)
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Known as one of the most prominent musicians in the Arab world, Manal Mohei Eldin is celebrated for calibrating the harp strings to speak “fluent Arabic” by incorporating traditional Oriental rhythms and melodies with classic techniques. (Supplied)
A board game designed and developed in Oman has earned international recognition after Abu Dhabi-based agribusiness group Al Dahra Holding won the Training Initiative of the Year award at the ICA Compliance Awards APAC & MENA 2026 for its ethics and compliance training programme built around the board game Fish Tycoon.
Developed by Muscat-based Arab Board Games, Fish Tycoon is a story-driven tabletop game that places participants in realistic workplace ethics and compliance dilemmas. Players vote, debate and make difficult decisions, with every choice shaping the outcome of their characters’ stories and encouraging meaningful discussions around ethical conduct.
Hasan Al Lawati, Founder of Arab Board Games, said the international recognition reflects the growing potential of Omani innovation in corporate learning.
“This award is a testament to the quality of Omani game design and our belief that training should be engaging, immersive and memorable. We have transformed learning from passive presentations into interactive experiences where participants become part of the story, making every decision count.”
Over the past three years, Arab Board Games has developed a range of customised training games covering ethics and compliance, organisational values, codes of conduct, health and safety, leadership, communication, alliance building and soft skills. The company has delivered its game-based learning experiences to organisations across Oman and the wider region, demonstrating how a product designed in Oman can compete successfully on the international stage.
