Month: August 2025

The Center for Applied Innovation and Baheya Foundation have launched the first AI-powered breast cancer detection system in Egypt and the Middle East, now operational at Baheya hospitals.

The Center for Applied Innovation and the Baheya Foundation have launched the first locally developed AI system for the early detection of breast cancer in Egypt and the Middle East. The system debuted this August at Baheya Hospital in Sheikh Zayed, where it is already assisting doctors in analysing mammogram images.

The technology can scan and identify abnormalities in seconds, classifying them as malignant or benign. It is powered by a database of over 60,000 mammogram images, categorised by type, location, shape, density, and diagnostic confidence. The AI engine has already achieved an accuracy rate of 90%, according to the Ministry of Communications and Information Technology.

The system is currently in use at Baheya’s Haram and Sheikh Zayed branches, with plans to expand across more hospitals nationwide as development continues.

source/content: cairoscene.com (headline edited)

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EGYPT

Four-vessel project off Mexico’s west coast opens a new LNG corridor, boosting global energy security, and setting new industry standards.

The breakthrough project includes the conversion of two LNG carriers into Floating Storage Units (FSUs) and the construction of two newbuild FLNG barges at Drydocks World’s yard in Dubai. Once operational in the second half of 2028, the four-vessel facility will provide more than 4.2 million tonnes per annum (MTPA) of liquefaction capacity, surpassing any existing floating LNG development worldwide.

AMIGO LNG is a joint venture between Texas-based Epcilon LNG LLC and Singapore-based LNG Alliance Pte Ltd.

Located off Guaymas, Sonora on Mexico’s west coast and supplied with natural gas from the US Permian Basin, the facility will expand Mexico’s role in global energy supply by enabling direct LNG exports to meet growing demand in Asia and Latin America. Its strategic location shortens shipping distances to Asia compared with US Gulf terminals, cutting costs and emissions while opening a new LNG corridor at a critical time for global energy security. 

Capt. Rado Antolovic, PhD, CEO, Drydocks World, said: “This contract represents a major milestone for Drydocks World and Dubai.  With our expertise in complex offshore conversions and large-scale new builds, we are setting new global benchmarks for floating LNG solutions. At the same time, this project reinforces Dubai’s position as a hub for advanced maritime engineering that powers global trade and the energy transition.

The EPC project will be executed using a modular build strategy, enabling precision fabrication, seamless system integration and pre-commissioning in a controlled environment. This approach ensures rigorous quality assurance, shorter delivery schedules, reduced environmental impact, and reliable long-term performance.

Dr. Muthu Chezhian, CEO of LNG Alliance Pte Ltd. , said: “By partnering with Drydocks World on the world’s largest FLNG facility, we are securing best-in-class quality, exceptional production capacity, and reliable long-term performance of this critical asset. We are also harnessing the key advantages of FLNG solutions — from faster project schedules to rigorous testing and seamless pre-commissioning in a controlled fabrication yard environment, as well as the substantial environmental benefits this approach delivers.” 

Drydocks World has completed more than 10 major LNG and FSRU conversion projects.

source/content: drydocks.gov.ae

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DUBAI, UNITED ARAB EMIRATES (U.A.E)

Fair was organized by the Muslim World League in cooperation with the Royal Commission for Makkah City and Holy Sites

Prince Saud bin Mishaal toured the diverse pavilions and exhibitions, which offer visitors an educational experience on the life of Prophet Muhammad and Islamic civilization

Makkah Deputy Gov. Prince Saud bin Mishaal bin Abdulaziz recently inaugurated the International Fair and Museum of the Prophet’s Biography and Islamic Civilization at the city’s Clock Towers.

The fair was organized by the Muslim World League in cooperation with the Royal Commission for Makkah City and Holy Sites, the Saudi Press Agency reported. 

Prince Saud toured the diverse pavilions and exhibitions, which offer visitors an educational experience on the life of Prophet Muhammad and Islamic civilization, using advanced visual and digital technologies. 

The fair features a pavilion titled “The Prophet as if You Were with Him,” depicting scenes from Makkah, Madinah, and the migration route.

It includes a panoramic display of the prophet’s chamber, pavilion on prophetic medicine, and presentation of his daily routine. 

Prince Saud was also briefed on the accompanying digital platform, which includes a library and encyclopedias translated into major world languages.

He also visited the permanent exhibition showcasing the Kingdom’s efforts to serve the Two Holy Mosques, Qur’an, and Sunnah.

source/content: arabnews.com (headline edited)

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Makkah Deputy Gov. Prince Saud bin Mishaal bin Abdulaziz inaugurated the International Fair and Museum of the Prophet’s Biography and Islamic Civilization at the city’s Clock Towers. (SPA)

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SAUDI ARABIA

This year has seen a number of artefacts recovered from the Mediterranean Sea off the coast of Egypt. The area has attracted interest for some time due to ongoing searches for the tomb of Cleopatra VII and Alexander the Great. But the new finds add to our knowledge of the ancient city of Canopus, one of several settlements that have largely been lost to the sea.

The discovery of buildings and an ancient dock is particularly crucial for our understanding of this principal port – one of the most important for the economy of Egypt before the foundation of Alexandria in the 4th century BC.

The Nile Delta is where the river flows into the Mediterranean Sea, and the twin cities of Canopus and Thonis-Heracleion were situated on opposite banks. Canopus was on the western side, at the mouth of the westernmost branch of the Nile. Recovering artefacts from the mouth of the Nile is difficult because much of the material not only lies on the seabed, but is submerged under clay and silt.

The preservation of archaeological material underwater is variable. Metal objects do not fare well, but stone is more durable. Organic materials such as wood can last surprisingly well due to the lack of oxygen in waterlogged places, although they become very vulnerable when removed, so rapid protection is essential.

The recent discoveries include the remnants of an ancient harbour and a merchant ship, shedding light on shipbuilding techniques and economic activity.

Statues continue to emerge, building on what we already know of sculptural practices, religion and politics. They offer clues as to the physical appearance of the ancient city.

One of these statues is a huge quartz sphinx holding the cartouches of Pharaoh Ramesses II (carved oval tablets bearing his name). While it is not yet determined how or when that sphinx was brought to Canopus, it emphasises the antiquity of the site. A white marble statue of a Roman nobleman further confirms the city’s status as multicultural and extremely wealthy.

Where Greece and Egypt meet

The foundation date of Canopus is unknown, but the site had been settled for centuries before the Greeks. It was first mentioned in writing in the 6th century BC, in a poem by Solon.

Expanded over time, in a location perfect for trade and military activity in the Mediterranean, Canopus became a key part of the success of the Greek rulers of Egypt. It served the Ptolemaic dynasty well for several centuries before eventually becoming part of the Roman empire around 30BC. However, the coastal position meant that settlements in that area were vulnerable to environmental stresses and earthquakes and rising sea levels eventually submerged them by the 8th century AD.

A large proportion of the western suburbs of Canopus are today underneath the modern Egyptian coastal town of Abu Qir, while the eastern suburbs are underwater.

For ancient people, Canopus was a place of pilgrimage. Countless people travelled to the sanctuaries of the Egyptian gods Osiris and Serapis there to take part in the Mysteries of Osiris. The annual religious festival reenacting the god’s murder, dismemberment and resurrection dated back to the earliest days of ancient Egypt.

The modern site of Abu Qir was also a place of importance to early Christianity, as religious changes took hold across the world.

A sunken city and its treasures

Underwater excavation in the Alexandria area has continued for decades, most notably by French archaeologist Franck Goddio and his team. They work under the auspices of the European Institute for Underwater in collaboration with the Egyptian Ministry of Tourism and Antiquities.

Many initial finds were made during the team’s work in the 1990s-2010s. The British Museum showcased some 200 of its artefacts in their Sunken Cities: Egypt’s Lost Worlds exhibition in 2016. Highlights included a 5.4 metre tall granite statue of Hapy, the personification of the Nile (on loan from the Maritime Museum , Alexandria ) and a massive statue of the Apis bull (from the Graeco-Roman Museum, Alexandria). It showed that Greek rule did not mean the end of Egypt; rather, it was refashioned with a new image.

A sculpted figure of the posthumously deified Arsinoe II, daughter of Ptolemy I, as the Egyptian goddess Isis was also found. It is an intriguing combination of the timelessness of ancient Egyptian statuary, overlaid with the Greek aesthetic, wearing garments rendered in stone so fine they seem transparent.

There is much more to be found beneath the waves, but the strict criteria applied to these underwater excavations mean that most objects will remain there, at least for now, with plans being developed for the world’s first underwater museum.

The targeted nature of the excavations is part of a quest to highlight and celebrate the work being done around underwater heritage. As climate change pushes sea levels ever higher, the need for protection for archaeological sites like Canopus only becomes more pressing.

source/content: theconversation.com /(headline edited) / Claire Isabella Gilmour

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EGYPT

The new facility is located at the Torch and was granted the certificate upon its opening. 

Another bar was raised in fitness in Doha as The Torch Doha’s gym was granted the highest indoor facility of its kind upon its opening on Wednesday.

“Congratulations, you are now officially amazing,” Kanzy El-Defrawy, official adjudicator of the premier record-keeping organisation Guinness World Records, said, declaring the feat.

The gym is located on the 50th floor in the iconic Torch building, 247 metres above the ground.

The official record certificate was handed by El-Defrawy to Abdulla Nasser Al-Naimi, the acting CEO of the Aspire Zone Foundation, and Wael Al-Sharif, the Torch Doha’s Area General Manager.

“This record is a new record title, so there is no previous or current record holder for this title,” El-Defrawy said, adding that all the standard criteria to keep and verify a record were met.

The new gym is a part of The Torch Club, a members-only fitness sanctuary, which “blends cutting-edge technology with Qatari hospitality” while offering culturally attuned wellness services, according to a statement.

Located on the 50th and 51st floors, it offers a panoramic view of Doha, as well as the Aspire Zone facilities, most notably the Khalifa International Stadium and the Aspire Dome.

It is another feat for the iconic building, which also features the world’s largest external 360-degree screen, installed in time ahead of the FIFA World Cup 2022.

Situated at 300m high, the Torch Doha is modelled after an Olympic torch and was constructed in time for the 15th Asian Games in 2006, which the Qatari capital hosted.

It served as a colossal torch throughout the games and was later turned into a full-fledged hotel, with facilities such as a rotating restaurant at the top.

The indoor gym will, hence, add to The Torch Hospitality’s “ever-expanding array of diverse experiences” by offering advanced Technogym services, the statement added.

source/content: dohanews.co (headline edited)

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The Aspire Zone and the Torch. (Photo/ Aspire Zone)

The record certificate was handed to the officials at the press conference. (Photo/ The Torch Doha)

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QATAR

‘From Ocean to Gulf: Heritage Music of the Arab World’ is a series by Ahram Online, in partnership with the AMAR Foundation (Foundation for Arab Music Archiving and Research). In this article, we present the music of the city of Tunis from the dawn of the 20th century till the years of independence.

After featuring the Sultana of Tarab Music, the Prince of Arabic Violin, the Master of Buzuq, Hajja Zeinab El Mansouria, the rich music of  Happy Yemen (8th Century BC-19th Century AD), Happy Yemen in the 20th Century, and Songs of Satire; the history of Tunisian music in the 20th century emerges as a complex blend of Ottoman, African, European, and Arab Middle Eastern influences—shaping the country’s rich contemporary cultural identity in music and beyond.

Many Tunisians rightly endorse this multi-cultural identity. Its variations are reflected across Tunisia’s different regions, echoing the visionary observations of the great Arab historian Ibn Khaldoun (1332–1406), himself born in the country centuries ago.

This multilayered landscape of cultural expressions is associated with social and religious practices and at different instances combines music, dances and classical and colloquial poetry.

Furthermore, it is geographically configured by the plains, the Atlas mountains, and the Mediterranean sea, and forms a continuity beyond political borders with Libya to the southeast, Algeria to the west, and sub-Saharan Africa to the south.

‘A living mosaic’

To Tunisian singer Ghalia Ben Ali, Tunisian music is a living mosaic shaped by centuries of cultural blending and conquests, yet always anchored in the people’s voices.

“I was inspired by the Amazigh music of South Tunisia, for it’s alive. When I was young, helping my mother do house chores, we used to sing. Young girls would create new wedding songs or songs about our daily lives; there were no newspapers or films to talk about this, “she said.

Moufadhel Adhoum, a Tunisian composer and oud player, showcases the diverse music of Tunis City, as well as the North, Mid, and South of Tunisia:

Ma’luf music is of Andalusian origins. As for Mezwed music, it incorporates a bagpipe-type instrument that shares the same name as the genre, accompanied by a darbuka or similar percussion instruments. However, El Kef Governorate, in northwestern Tunisia, bordering Algeria, has its own repertoire of songs inspired by the region’s customs and traditions, as well as the slopes of the Atlas range.

In the South, El Forja music consists of songs associated with weddings and occasions, whereas Stambeli represents an African dimension of Tunisian spiritual music. As for the Sufi practices, they include El-Ziyara music, chants that accompany visits to Shrines.

However, Shaabi music is a blend of Berber (Amazigh), Arabic, and African, influenced by the region’s natural setting, the desert and camel rhythms. It expresses sentiments about love and historic events. Instrumental genres are also present in Tunisia and feature instruments such as oud, rababa, and nai.  

Crossroads
 

Tunisia has consistently been positioned at the “crossroads of the Islamic and European worlds” throughout various historical periods, as noted by historian Kenneth J. Perkins.

In the latter part of the 19th century, these dynamics paved the way for the interaction of the dominant political, economic and military forces at that time, namely Ottoman rule and European powers.

Under the leadership of the Husainid dynasty (1705-1957), Western-inspired reforms based on the Ottoman Tanzimat were introduced during the Ottoman administration. 

Additionally, cultural connections were enhanced with countries such as France, Great Britain, and Italy, alongside other Ottoman states and the Maghreb on a different level.

Colonial cultural dominance

In 1837, a military music academy was founded in Bardo, west of Tunis city, which was succeeded by a symphonic orchestra in 1872.

Communities from these nations living in Tunisia introduced their cultures.

They initiated a significant cultural shift in local music practices, shaped by these nations’ various traditions, which later gained another layer with the establishment of a French protectorate over Tunisia in 1881.

New legislation was implemented to restrict traditional musical traditions among Tunisians, favouring and prioritising the European communities in Tunisia, according to researcher Alla El Kahla. 

Francophone culture became a defining force in Tunisian society, with the capital developing into a cosmopolitan centre that saw the establishment of key institutions, including the National Archives (1874), the National Library (1885), and a network of museums across the country.

Simultaneously, traditional regional arts faced scrutiny regarding their worth, societal standing, and performance settings, as noted by the researcher Ruth Davis. Meanwhile, commercial recording began in Tunisia in 1904, coinciding with its development in Europe, where European brands dominated the market ahead of local or Arab brand names such as Baidaphon.

The foreign brands consisted of Pathé (France), Gramophone (England) through its French brand Zonophone, and Odéon’s French subsidiary (Germany). More about these record companies is available through AMAR’s podcasts and Bernard Moussali’s book, Le Congrès du Caire de 1932 (edited by J. Lambert: chap IV). Local record labels followed in 1930, such as Bembarophone.

A music school rooted in European traditions was founded in 1897, which subsequently became the Conservatoire National de Tunis after the nation gained independence in 1956. The musical life witnessed the emergence of orchestras and venues such as café halls and theatres that hosted European musicians, dancers, and actors performing mainly for foreign audiences. These performances eventually attracted Tunisian artists and audiences to music and theatre.

The Egyptian influence
 

The emergence of theatre groups from Egypt, including the Egyptian Comedy (Al-Comedia Al-Masryia), the Egyptian Troupe (Al-JawqAl-Maṣri) directed by Suleiman El-Qardahi, and Ibrahim Higazi’s troupe (1908 and 1909), came a few years later. Additionally, the Salama Higazi troupe introduced musical theatre to the Tunisian theatre scene in 1913.

These initial encounters sparked the foundational growth of Tunisian theatre. They brought the Arabic language and themes drawn from Arab history and heritage to established spaces that European traditions of music, opera, and theatre had previously dominated. Cultural exchanges from Egypt to Tunisia included screenings of early Egyptian cinema and visits by rising stars such as the Naguib Rihani Troupe (1933), followed two years later by a solo tour from his collaborator Badia Masabni with leading vocalist Nadra.

Other prominent figures, including George Abiad, Zaki Talimat, and Youssef Wehbe, also performed in Tunisia, as documented by Dr. Sayyid Ali Ismael in his study of Tunisian-Egyptian theatrical ties (1889–1962).

The author of the study traces these encounters back to the 1889 Paris Expo, when troupes from Egypt, Tunisia, Algeria, and Morocco shared the stage within the curated “Cairo Street” venue and presented their folk arts. The credit goes to these international expos for the oldest recordings of Tunisian music, notably the 1900 Paris Expo.

It was not long before a Tunisian-Egyptian troupe (Sodq Al-Ekhaa) was created in 1909, subsequently substituted by two Tunisian troupes, Literary Pride (Al-Shahama Al-Adabiyya) and Literary Arts (Al-Adāb), respectively in 1910 and 1911.

Other troupes followed their track across the country. While Al-Adāb expressed opposition to France, Al-Shahama Al-Adabiyya put forth no political agenda. One of the pioneering female names in theatre and music was Habiba Msika (1903-1930), who rapidly rose to stardom in theatres and café halls. Musicians integrated Western and Egyptian elements and practices, with the socio-cultural and political centrality of Egypt at that time.

Egyptian reference points sustained until different perceptions of authenticity grew in succeeding decades, as indicated by the researcher Salvatore Morra, who worked closely on the concepts of authenticity and modernisation in Tunisia.

Revival initiatives looked critically at possible local and regional relevant contexts of Tunisian heritage and identity beyond Egyptian aesthetic idioms and Western influences. Furthermore, the scholar Anas Ghrab points out three mechanisms that significantly transformed the musical aesthetics of traditional Tunisian art music. These include a rise in the number of musicians, the implementation of notation, and the incorporation of new instruments.

source/content: english.ahram.org.eg (headline edited)

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TUNISIA /