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NASA’s mapping of Mars now bears the names of three iconic Algerian national parks, Algerian physicist Noureddine Melikechi, a member of the US space agency’s largest Mars probe mission, has told AFP.
The Tassili n’Ajjer, Ghoufi and Djurdjura national parks have found their Martian namesakes after a proposition by Melikechi, which he sought as both a tribute to his native Algeria and a call to protect Earth.
“Our planet is fragile, and it’s a signal to the world that we really need to take care of our national parks, whether they are in Algeria or elsewhere,” the US-based scientist told AFP in a recent interview.
He said the visual resemblance between some of the Martian landscapes and the ones after which they were labeled was also a key reason for the naming.
“The first one that came to my mind was the Tassili n’Ajjer,” he said of the UNESCO-listed vast plateau in the Sahara Desert with prehistoric art dating back at least 12,000 years.
“Every time I see pictures of Mars, they remind me of Tassili n’Ajjer, and now every time I see Tassili n’Ajjer, it reminds me of Mars,” added Melikechi, who left Algeria in 1990 for the United States, where he now teaches at the University of Massachusetts Lowell.
The ancient art found in Tassili n’Ajjer depicts figures that can seem otherworldly, he said.
Some of the paintings show single-eyed and horned giants, among others which French archaeologist Henri Lhote dubbed as “great Martian” deities in his 1958 book, “The Search for the Tassili Frescoes”.
“Those paintings are a signature… a book of how people used to live,” said Melikechi.
“You see animals, but also figures that look like they came from somewhere else.”
‘Historic’
Melikechi’s second pick was the Ghoufi canyon in eastern Algeria, whose rocky desert landscape was the site of an ancient settlement off the Aures Mountains.
Now a UNESCO-listed site and a tourist attraction, it has cliffside dwellings carved in the mountain, a testament to human resilience in a place where survival can be adverse.
“Ghoufi gives you a sense that life can be hard, but you can manage to keep at it as you go,” Melikechi said.
“You can see that through those homes.”
The third site, Djurdjura, is a snowy mountain range some 140 kilometers (about 90 miles) east of the capital Algiers.
Comapred to Tassili or Ghoufi, it bears the least resemblance to Mars.
Melikechi said its pick stemmed of Djurdjura’s “reminder of the richness of natural habitats”.
He said the naming process came after Perseverence, NASA’s Mars rover exploring the Red Planet, made it into uncharted territory.
That area was then split into small quadrants, each needing a name.
“We were asked to propose names for specific quadrants,” he said.
“I suggested these three national parks, while others proposed names from parks worldwide. A team then reviewed and selected the final names.”
The announcement, made by NASA earlier this month, sparked celebrations among Algerians.
Algerian Culture Minister Zouhir Ballalou hailed it as a “historic and global recognition” of the North African country’s landscapes.
Melikechi said he hopes that it will attract more visitors as Algeria has been striving to promote tourism, especially in the Sahara region, with authorities promising to facilitate tourist visas.
Official figures said some 2.5 million tourists visited the country last year—its highest number of visitors in two decades.
“These places are a treasure that we as humans have inherited,” Melikechi said.
My dearest friend Fatima Hassouna has been martyred.
Writing this feels unreal – as if I am waiting for her familiar voice to echo in my ear.
We had a playful way of saying “hello” to each other. And Fatima had the most magical of laughs.
She could disarm you instantly.
But the silence remains and the void caused by her absence is too vast to comprehend.
Fatima was a photographer and a filmmaker. More importantly – for me – she was an extremely warm human being.
She was strong and – in a good way – stubborn.
I knew Fatima from childhood. But life – as it often does – had pulled us apart for many years.
It wasn’t until Israel launched its genocidal war against Gaza that we became close again. This happened unexpectedly during a film project.
Fatima was behind the camera, and I was there with a pen in order to write articles.
Our reunion – despite the chaotic circumstances – rekindled something profound. Our shared grief and resilience made our friendship deeper.
Fatima was deeply committed to her craft. She never simply documented a moment. She became part of it.
She had a rare ability to earn trust quickly.
The subjects of her photography were not just faces or stories. They were people she befriended.
Fatima’s camera wasn’t a barrier. It was a bridge.
She always said that she wanted not just to carry a message but to show kindness to the people she filmed or photographed.
At Fatima’s core was a sense of purpose. She came from a place of love.
We lived just a street apart in Gaza City all our lives.
After the genocide began, we would walk everywhere together. There were no taxis around and prices were rising ever higher.
Each morning, Fatima would call.
“Wait for me,” she would say. “Let’s walk together.”
And so we did.
Those walks were more than just a means of getting from A to B. They were our little escapes.
We shared everything: sorrows, secrets, silly thoughts.
I never had to pretend to be anything I wasn’t when I was with Fatima.
There were no walls between us. Just warmth and honesty.
Tender rebellion
When Fatima got engaged recently, her happiness was contagious. Despite the hunger, and the overwhelming darkness that Israel’s genocidal war had brought, she lit up like a child planning a birthday party.
We would go to the market almost daily, hunting for clothes that she could wear as she went out with her fiancé.
I remember how excited she was, how we laughed even as we carried heavy bags for long distances.
Her joy in those days amounted to a tender rebellion, a statement that love and life still mattered in the face of devastation.
We developed a ritual with our friends.
Every week, we would gather in one of our homes. We cooked whatever food we had, brewed bitter tea – we had no sugar – and sang.
We sang until the pain dulled and the laughter returned.
Those nights were our anesthesia. They allowed us to breathe in suffocating times.
Fatima was always our anchor.
She told stories, and her laughter filled the room. We could see sorrow in her eyes, but it was mixed with hope.
An unbreakable hope.
Fatima had an enchanting voice when she sang. Like something from heaven.
When the sound of Israel’s drones became too much for me to bear, I would listen to a recording of Fatima singing. Her voice brought me peace.
It served as a reminder that something pure still existed in this world.
Friendships formed – or in this case, revived – during genocide are unlike any other. They are shaped by shared experiences of hunger, sleepless nights and the constant nearness of death.
When Fatima was killed, it was like a limb had been severed from my body. I felt incomplete.
I still do.
Every night, I continue to wait for her call. I wait for the way she would tell me – without preamble – how she was feeling that day.
She would always wish to God that she would never be deprived of me.
But now I am deprived of Fatima. And it hurts more than words can express.
Fatima and I worked as a team. During the genocide, we would go down to al-Yarmouk – the football stadium that has became a huge shelter for displaced people – she with her camera, I with my notebook.
We inspired each other.
Fatima told me that she loved how I put people’s experiences into words.
“I love your ideas,” she said. “They make me want to shoot better.”
I wish that she was still around to tell her how much I loved her eye for a good photograph or image.
How she saw not just the suffering in a person but the soul behind it.
How she brought dignity to every frame.
Last winter, we were working in al-Yarmouk stadium, where the conditions were especially dire. Seeing the suffering around her, Fatima said that we must help.
I asked her to speak with the director of the film project she was working on about distributing blankets. She did and soon we were part of a mission to not only document hardship but to relieve it.
That day, we weren’t just storytellers. We were part of the story.
And Fatima was glowing. She had done something she had always dreamed of: She had made a difference.
Fatima was only 25.
Just 25.
Yet her heart carried the weight of centuries, and her spirit was brighter than a thousand suns. She was childlike and wise, gentle and fierce, brave and vulnerable.
She was exceptional. I carry her memory with me every moment.
I see her in the morning light, in the silence of a street where we once walked, in the stories we still need to tell.
Losing her is unbearable. But remembering her – keeping her voice, her laughter, her vision alive – is my way of holding on.
She was my sister, my confidante, my light.
May the world never forget the name Fatima Hassouna.
May the stories she told outlive the genocide that took her.
And may we all learn from her to live with courage, to work with purpose, and to love – always – with everything we have.
Asmaa Abdu is an academic writer and a project coordinator at the UCAS Technology Incubator in Gaza.
Pilgrims recreating historic 8,000 km route used by Andalusian Muslims
Three friends rode on horseback from Spain to Saudi Arabia to perform the Hajj, reviving a pilgrimage route last used by Andalusian Muslims more than 500 years ago.
They reached Saudi Arabia’s Northern Borders region last week in time for Hajj after travelling through Spain, France, Italy, Slovenia, Croatia, Bosnia, Serbia, Turkiye, Syria and Jordan on a 8,000 km (4,970 miles) journey.
The three Spanish Muslims, Abdelkader Harkassi, Abdallah Hernandez and Tariq Rodriguez, are fulfilling a long-held ambition after embracing Islam 35 years ago.
The three riders are accompanied by Bouchaib Jadil, a construction master living in Spain, who is providing logistical support to the team by leading the way in a car.
It all started when Abdullah Hernandez reverted to Islam 35 years ago.
He told Arab News about how he felt grateful toward Allah for blessing him with guidance — Heidaya — and he promised to complete the Hajj pilgrimage the way his Andalusian ancestors did.
The team practiced for two years before setting off in October 2024 from Al-Monaster Mosque, south of Spain.
After crossing the border of Jordan on May 2, the three Spanish friends arrived in Qurayyat city in Al-Jawf Province, in northern Saudi Arabia on Friday after a remarkable seven-month horseback journey.
During their stop in Qurayyat, the pilgrims were hosted by the head of Al-Haditha Center, Mamdouh Al-Mutairi, who welcomed them to the Kingdom and wished them a pleasant stay and an acceptable and easy Hajj, meeting with students and supporters.
The pilgrims were received with a warm welcome from the residents of Qurayyat, who posed for memorable photos with them.
Hernandez told Arab News: “The team is very excited as we are getting closer to Makkah and Madinah. These holy cities are very special to us, and we have been dreaming of reaching them for a long time. Our hearts feel full of love and hope, and we are looking forward to this moment with deep respect and happiness.
“Through this journey we want to recover a historical Andalusian route from Spain to the Harram of Makkah. It is also a trip of challenges where every step is felt by us and the horses, but also is a journey for the soul,” he added.
One of the Hajj pilgrims, Harkassi, said they were happy to revive a lost tradition. He added that the team saved money and trained for several years for the journey.
He said: “We embarked on this journey with pure intentions to realize the Hajj.”
He added: “We are almost there, and hopefully, the rest of the journey will be easier.”
Their journey, spanning diverse landscapes and extreme weather conditions, is being shared with followers on social media.
“Crossing borders has been the biggest challenge. Some countries were more difficult to cross than others as horses are not considered a mode of transport anymore, but instead they need to be ‘imported’ into each country as livestock, but Alhamdulillah, we have managed to complete all the paperwork so far,” said Hernandez.
Their expedition, known as “Hajj on Horseback,” was warmly welcomed by Muslims and non-Muslims. Hernandez added: “We’ve been received with open arms everywhere we’ve gone — each country has somehow managed to be even more welcoming than the one before, MashAllah.
“Whether in Muslim or non-Muslim countries, people have shown incredible hospitality: Inviting us into their homes, sharing meals with us, listening to our stories and engaging in meaningful conversations about Islam.
“The warmth we’ve experienced in Muslim countries has been especially profound, reflecting the deep sense of unity within our Ummah. This beautiful spirit is clearly visible in our recent videos from Turkiye and Syria.”
The team set off with limited funds, but received support from local Muslims along the way to finance the costs of the unique journey.
source/content: arabnews.com (headline edited)
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Abdelkader Harkassi, Abdallah Hernandez and Tariq Rodriguez are fulfilling a long-held ambition by completing a historic Hajj pilgrimage on horseback. (Supplied)
AD Ports Group, and the General Authority for Suez Canal Economic Zone (SCZONE), the integrated investment destination for linking industry and global trade, today signed a 50-year renewable usufruct agreement, to develop and operate a 20 km2 industrial and logistics park near the Egyptian coastal city of Port Said on the Mediterranean Sea.
The East Port Said Industrial Zone provides an opportunity to turn a unique location on the Mediterranean Sea into a key hub for international trade and investments serving the East-West trade routes, right at the entrance of the Suez Canal.
The agreement to develop KEZAD East Port Said Industrial and Logistics Zone was signed in Cairo, and witnessed by Egyptian Prime Minister, Dr. Mostafa Madbouly, in the presence of Dr Sultan Al Jaber, Minister of Industry and Advanced Technology, Mohamed Hassan Alsuwaidi, UAE Minister of Investment, Lieutenant General Engineer Kamel Al Wazir, Deputy Prime Minister for Industrial Affairs Egyptian Minister of Industry and Transport, Mariam Al Kaabi, Ambassador of the UAE to Egypt, Captain Mohamed Juma Al Shamisi, Managing Director and Group CEO of AD Ports Group and Mr. Waleid Gamal El-Dien, Chairman of SCZONE.
The agreement was signed by Ahmed Al Mutawa, Regional CEO of AD Ports Group, and Admiral Mohamed Ahmed Mahmoud, Vice Chairman of SCZONE for the Northern area.
AD Ports Group will develop, construct, finance, operate, and manage the industrial and logistics zone in phases, with a focus on phase 1 to start with, an area covering a total of 2.8 km2. An estimated total investment of $120 million will be allocated to market and technical studies as well as to phase 1 development over the next three years. Construction on the initial 2.8 km2 Phase 1 is expected to start by the end of this year.
The development of Phase 1 will be anchored by key potential clients and partners, including one of the region’s foremost construction and development groups, Hassan Allam Holding.
Captain Mohamed Juma Al Shamisi, Managing Director and Group CEO, AD Ports Group, said: “KEZAD East Port Said is a milestone that highlights the strong economic relations between the UAE and Egypt. In line with the vision of our wise leadership, this strategic cooperation is another sign of our Group’s growing focus on Egypt, where we continue to enhance and develop our integrated trade, transport, and industrial ecosystem, offering clients unparalleled end-to-end solutions and services. This infrastructure investment will provide a long-term source of economic growth for Egypt, while enhancing the Suez Canal role in promoting and supporting the East-West trade corridor.”
Waleid Gamal El Dien, Chairman of the Suez Canal Economic Zone, said: “The launch of this project in the East Port Said Industrial Zone represents an important strategic step that reaffirms the depth of the strong fraternal relations and the growing strategic partnership between the Arab Republic of Egypt and the United Arab Emirates, as well as the prominent position held by SCZONE as a pivotal global trade hub for industrial and logistics activities. This project enhances SCZONE’s ongoing efforts to support global supply chains by providing a competitive and integrated investment environment, underpinned by advanced infrastructure, and a unique geographic location, connecting three continents via one of the world’s most vital maritime routes.”
Gamal El Dien added: “Over the past few years, the SCZONE has become a cornerstone for the investment expansion plans of many leading regional and international companies, thanks to its integrated model of combining industrial zones and affiliated seaports. Among these is the KEZAD East Port Said Industrial and Logistics Zone, which seamlessly connects with East Port Said Port, a key strategic location on the Mediterranean Sea. The port features deep berths for large vessels, efficient operations, and excellent connectivity to advanced road and transportation networks. The expertise of a global organisation such as AD Ports Group will help SCZONE achieve its goals.”
Ahmed Al Mutawa, Regional CEO of AD Ports Group, said: “KEZAD East Port Said is being built to attract investments, promote industrial and logistics growth, create jobs, increase exports, develop skills, and facilitate technological transfer. It will complement AD Ports Group’s growing business ecosystem in Egypt, and capitalise the natural assets of the Suez Canal area for Egypt, while supporting the country’s manufacturing sector, and increasing the ease of doing business in Egypt as a preferred gateway to global markets.”
Admiral Mohamed Ahmed Mahmoud, Vice Chairman of SCZONE for the Northern area, said: “We are working on developing an integrated model that combines industry, maritime transport, and logistics services within a flexible and investment-friendly regulatory environment. East Port Said Industrial Zone stands at the heart of this model due to its strategic location at the northern entrance of the Suez Canal and its direct connection to the modern East Port Said Port, a key hub in global trade, consistently ranked among the top international ports thanks to its operational readiness and advanced capabilities. Furthermore, the integration with West Port Said Port enhances its readiness to offer comprehensive and attractive logistical solutions for investors. Therefore, this project represents a qualitative leap in the development of the northern part of SCZONE, not only in terms of the scale of anticipated investments but also in the advanced industrial and logistical activities to be implemented.”
In addition, AD Ports Group and Hassan Allam Holding, which is one of the Group’s development partners in Egypt, signed a memorandum of understanding (MoU) to develop and invest in the industrial zone and explore other projects.
AD Ports Group in December 2024 appointed Hassan Allam Construction, the construction arm of Hassan Allam Holding and one of the premier engineering and construction companies in the region, to build AD Ports Group’s new multipurpose cargo terminal in Safaga, on Egypt’s Red Sea coast.
The Group in 2023 obtained a concession from Egypt’s Red Sea Ports Authority (RSPA) to build and operate the USD 200 million Safaga multipurpose terminal project, which will be the first internationally operated multipurpose cargo terminal in Upper Egypt.
Since 2022, AD Ports Group has invested significantly in Egypt, acquiring Transmar, a regional shipping company, TCI, a port operator and stevedoring company, and in 2024, Safina B.V., a provider of maritime agency and cargo services. AD Ports Group has also secured long-term concessions to develop and operate three cruise terminals at the Red Sea ports of Safaga, Hurghada, and Sharm El Sheikh. In addition, AD Ports Group has initialled agreements for the right to develop and operate a cruise terminal and a Ro-Ro terminal in Ain Sokhna.
The East Port Said project aligns with long-standing ties between the UAE and Egypt, and the objectives of leadership in both countries to support the commercial and industrial sectors and attract high-quality investments. This project also supports the global trend of establishing regional manufacturing centres, thus shortening and sustaining global supply chains, and enhancing connectivity with major global markets.
AD Ports Group is an integrated trade, transport, logistics, and economic zones group with a presence in more than 50 countries. Based in Abu Dhabi, the Group has a maritime fleet of 247 vessels, 34 terminals, in addition to an economic and industrial land bank of over 550 km2, the largest integrated trade, logistics, and industrial business grouping of its kind in the Middle East. Furthermore, SCZONE offers unique investment potential, making it one of the most prominent destinations on the global investment map. It is supported by a strategic geographical location, advanced infrastructure, and modern ports connected to fully integrated industrial zones. These include four industrial zones, East Port Said Industrial Zone, East Ismailia Industrial Zone, Qantara West Industrial Zone, and Sokhna Industrial Zone, which are seamlessly integrated with six seaports: East Port Said, West Port Said, Al-Arish, Sokhna, Adabiya, and Al-Tor, covering a total area of 455 square kilometers. Over the past 33 months, SCZONE has successfully attracted 274 investment projects from around the world, either through direct agreements with it or via industrial developers, with a total investment value of $8.3 billion. These projects span a wide range of sectors, reflecting strong global investor confidence in SCZONE’s viability as a strategic platform for industry, exports, and logistics services.
In an interview with The New Arab, Nahil Bishara’s grandchildren speak about their grandmother’s artistic legacy and her role in preserving Palestinian identity.
History is full of remarkable yet forgotten women whose stories have yet to be told.
One such case is the late Palestinian artist and designer Nahil Bishara, an active and erudite woman who sought to preserve her Palestinian identity through endless creativity despite living through constant political instability in her homeland.
“Generally, artists at the time created art to sell, but she never created art to sell. She created art to anchor her Palestinianness”
Nearly three decades after Nahil Bishara’s passing, her grandchildren are ready to share her story with the world.
“She was always up to something artistic,” the artist’s UAE-based grandson, Assad Bishara, told The New Arab.
“She was somebody who wanted to master any kind of artistic medium she could get onto her hands. Whatever she got her hands on, she created something out of it,” Assad added.
Echoing this sentiment is his sister, Talia Bishara, a public relations specialist in culture, who fondly remembers her grandmother as a woman of taste of the Sixties era.
“She was an elegant woman, whose hair was styled in a chignon with a million pins,” recalled Talia.
“She wanted to project an image. Her persona in society was also very important. Generally, artists at the time created art to sell, but she never created art to sell. She created art to anchor her Palestinianness.”
From Ramallah to Jerusalem
Nahil was born in Ramallah in 1919, shortly after the end of the First World War, and spent most of her life in Jerusalem, where she nurtured her artistic talent.
In 1940, at the age of 21, the artist married Dr Assad Bishara, a renowned gynaecologist who, as Talia claimed, “a whole generation of Palestinians were born under his hands.”
According to Talia, Dr Assad was open-minded and supportive of his wife’s dreams.
As Talia puts it, “Whenever I speak about my grandmother, I have to speak about my grandfather too. He was a larger-than-life person. He wasn’t the type that restricted her to staying at home and raising a family. She did those things, but on top of that, she was exploring her artistic talent and supporting her community of Palestinian women.”
Beyond her personal achievements, Nahil also lived through important political events of the twentieth century, including the Nakba — the mass displacement of Palestinians — which led to the Israeli occupation in 1948.
‘A force and an avant-gardiste’
During this period, Nahil was offered a rare opportunity to study in England, but she refused, choosing instead to remain in her country as an act of defiance.
A woman who made history, she became the first Arab and Palestinian to study art at the Bezalel School of Arts and Crafts in Jerusalem, which had been founded as a Jewish art institution in the early 1900s.
Interestingly, at the time, Nahil was one of the few Palestinian artists to formally study art. But her education didn’t stop there.
Always striving to expand her mind and skill set, she undertook a design course by correspondence with an American university in Washington, DC. Then, in the 1960s, Nahil found herself in the Italian city of Perugia, where she studied classical painting and ceramics.
Known for always being on the move, Talia shared, “All her life, my grandmother loved art. She was a force and an avant-gardiste. She wanted to be ahead of everyone in her time.”
‘She wanted to constantly create’
To this day, Nahil is remembered as a Renaissance woman.
The educated artist spoke four languages (including Italian and French), tried her hand at stitching, woodworking, and glassblowing, hosted cultured dinners, volunteered at refugee camps, and mastered interior decoration.
Her most significant project was decorating the interior of the Young Men’s Christian Association (YMCA) building in Jerusalem, which was later converted by the Israelis into a hotel called Aelia Capitolina. Today, the hotel is known as the Legacy Hotel.
“People were visiting Jerusalem from all over the world. I think she felt a responsibility to show the world a different image of Palestine”
By using locally sourced materials, Nahil designed its chandelier (made with Palestinian refugees), crafted wooden tables, and donated around 30 of her paintings to the establishment.
“I think she saw that there was power in creation, rather than focusing on destruction. She wanted to constantly create,” explained Talia.
“People were visiting Jerusalem from all over the world. I think she felt a responsibility to show the world a different image of Palestine.”
Another momentous event in Nahil’s career occurred in 1964 when she was commissioned by the Kingdom of Jordan to create a bust of Pope Paul VI in honour of his pilgrimage to Palestine. Today, the bust sits in the Vatican.
‘Capturing everything she could to preserve Palestine’
Exploring Nahil’s artistic legacy, she was known for creating religious landscapes, depictions of Palestinian refugees, and floral arrangements, the latter of which her husband particularly enjoyed.
“She was concerned with the preservation of identity because it was being erased”
Her grandchildren believe that her art carries a strong message beneath the surface, with Assad sharing, “For her, it was about capturing everything she could to preserve Palestine. She was concerned with the preservation of identity because it was being erased.”
During The New Arab’s interview, Talia showed her grandmother’s artwork of female refugees, one of whom is holding a child, painted in 1948.
Talia explained that she was literally holding a piece of history in her hands, adding, “When I watch the news today, it’s like history is repeating itself,” referring to the ongoing bombardment in Gaza.
“A portion of our civil society has been cut off and turned into refugees who live in tents, and this was something that had to be captured,” commented Assad on the theme of displacement in Nahil’s art.
Celebrating a forgotten artist
In 1997, Nahil died of cancer, yet her memory remains alive in the hearts and minds of her family and friends.
Recently, the once-forgotten Nahil has slowly been re-entering the public sphere. Thanks to Talia, Nahil’s name now appears in Google searches, and some of her artworks have found homes in public cultural institutions, such as the Barjeel Art Foundation in the UAE and Dar El Nimer in Lebanon.
According to Talia, some museums have expressed interest in acquiring Nahil’s work since she became more vocal in sharing her grandmother’s story.
For Talia, this recognition has motivated her to one day publish a catalogue of Nahil’s artworks.
“My whole life I wanted to do something for her,” Talia said.
“I didn’t study art but I know its importance and can feel it. I started connecting with art people, but it wasn’t an easy journey. It fuelled me even more after the 7 October attacks,” she added.
“Everyone should be interested in championing these names and putting them on the stage because you need the past… The past is your present. It’s our role to preserve it.”
Iraq has taken a significant step towards preserving its cinematic heritage with the launch of the Cinémathèque Iraq project, a national initiative aimed at digitizing, restoring, and protecting Iraqi film archives. The project was officially announced during an event at the French Institute in Baghdad, attended by Iraqi filmmakers, artists, and cultural figures.
Under the supervision of the Iraqi Visual Memory Committee in the Prime Minister’s Office, the project is being developed in collaboration with the French Embassy in Iraq, with the goal of reviving Iraq’s film industry and ensuring that its rich cinematic history is accessible to future generations.
A mission to restore and preserve Iraqi cinema
Project director Warith Kweish emphasized the initiative’s importance, stating:
“Cinémathèque Iraq aims to restore and preserve more than 100 Iraqi films by training local experts in film archiving and preservation. The project also includes building specialized infrastructure in Iraq for film storage and restoration, ensuring that our visual history is safeguarded using advanced digitization techniques.”
Kweish highlighted that the project’s long-term vision is to make Iraq’s cinematic heritage available to a global audience, showcasing the country’s rich film history on both Arab and international platforms.
Classic Iraqi films undergo restoration
As part of the first phase of the project, two of Iraq’s most iconic films have been selected for restoration and digitization:
“Saeed Afandi” (1957) – One of the most influential films in Iraqi cinema, has arrived in Paris for restoration using modern digital techniques. The film is expected to be screened at the Cannes Film Festival, marking the first time an Iraqi film is featured at the prestigious event.
“Aliya and Issam” – A classic romantic drama is currently undergoing restoration to prepare it for cinematic screenings in Iraq and abroad.
French Ambassador Patrick Durel, who attended the launch, expressed his enthusiasm for the project, stating:
“We are proud to collaborate with Iraq on this cultural initiative. This project is a crucial step toward preserving Iraq’s cinematic legacy and sharing its stories with the world.”
Building a strong foundation for Iraq’s film industry
Beyond archiving and restoration, Cinémathèque Iraq is envisioned as a comprehensive initiative to develop the country’s film industry. Filmmaker Jamal Amin, who has been involved in the project, explained:
“This initiative aims to establish a strong cinematic foundation in Iraq by supporting filmmakers and enhancing industry infrastructure. Our goal is to create a sustainable film ecosystem that includes training, production, and international collaboration.”
The project seeks to attract local and international investment in Iraqi cinema, providing grants for film projects and facilitating the growth of Iraq’s independent film industry.
Future expansion and international cooperation
Filmmaker Falah al-Azzawi highlighted the project’s potential for international partnerships, stating that Cinémathèque Iraq will expand its reach by:
Collaborating with global film institutions to gain expertise in film preservation.
Encouraging private-sector participation to support Iraq’s film industry.
Establishing cultural exchange programs with international filmmakers.
According to Prime Ministerial Advisor Hassan al-Sudani, the government plans to expand the initiative beyond cinema, with upcoming projects focused on restoring Iraq’s television and radio archives.
The launch event was also attended by prominent cultural figures, including the head of the Iraqi Artists’ Syndicate, Jabbar Joudi, and the director of the Department of Cinema and Theater. They praised the project as a landmark effort to protect Iraq’s artistic and cinematic history.
A new era for Iraqi cinema
With the Cinémathèque Iraq initiative, Iraq is positioning itself as a key player in regional cinema, working towards preserving its cinematic past while building a future for Iraqi filmmakers. As the country embraces digital restoration and industry development, it is opening doors for global recognition and participation in international film festivals.
Through this initiative, Iraq is not only reclaiming its cinematic heritage but also laying the groundwork for a thriving film industry that can compete on the global stage.
Egyptian star Angham will perform at London’s Royal Albert Hall on 23 September, marking a significant cultural milestone as the first Egyptian female artist to grace the iconic stage.
Angham’s performance on this stage comes 58 years after the legendary Egyptian singer and musician Abdel Halim Hafez performed on it in 1967 and received one of the greatest ovations of his career.
The September performance will celebrate Angham’s extraordinary career, spanning over three decades.
Throughout her long artistic journey, Angham has become one of the most influential voices in the Arab world, captivating audiences across the Middle East and North Africa.
“With her powerful vocals, emotional depth, and rich discography, Angham continues to inspire generations and break new grounds in Arabic music as the true enduring voice of Egypt,” read a press release.
Her legacy
Angham was born in 1972 to a family of artists. Her father, Mohamed Ali Soliman, was a composer, violinist, and singer. Her mother was the renowned artist Magda Abdel-Haleem.
She started her career alongside her father in the late 1980s before graduating from the Cairo Conservatory and embarking on her independent path.
Angham has released over 25 albums, including Fil Rokn El Baeed El Hady (In The Far Distant Corner, 1987), Awal Gawab (First Letter, 1988), Shokran (Thank You, 1989), Shayfak (I See You, 1992), Betheb Meen (Who Do You Love?, 1997), Bahibbik Wahashteeny (Loving You, I Miss You, 2005), Mahaddesh Yehasebni (Do not Judge Me, 2010), Ahlam Bareaa (Innocent Dreams, 2015), Rah Tezkerny (You Will Remember Me, 2018), Hala Khassa Geddan (Very Special Case, 2019), and Mazh (What?, 2020).
The star performs extensively in Egypt and across the Arab world.
Royal Albert Hall
London’s Royal Albert Hall, one of the world’s most iconic concert venues, was opened in 1871 by Queen Victoria and named in memory of her husband, Prince Albert.
The hall is renowned for hosting a wide range of events, from classical concerts and opera to rock performances, sporting events, and the annual BBC Proms.
Among the top names that have graced the stage of this hall are Adele, The Beatles, Eric Clapton, Luciano Pavarotti, Diana Ross, cellist Yo-Yo Ma, pianists Lang Lang and Martha Argerich, and world-renowned orchestras conducted by Herbert von Karajan and Sir Simon Rattle.
The hall has also hosted high-profile events, such as Cirque du Soleil.
Its distinctive circular architecture and domed roof make it a landmark of Victorian design and a centrepiece of British cultural life.
Presale tickets for Angham’s concert will start from Wednesday, 30 April, followed by general sale on Friday, 2 May.
As part of the state visit of His Majesty Sultan Haitham bin Tarik to the Kingdom of the Netherlands, the Sultanate of Oman signed a historic Joint Development Agreement (JDA) to establish the world’s first commercial-scale liquid hydrogen corridor linking Oman to the Netherlands and Germany. The agreement marks a critical point in the global energy transition journey and brings Oman one step closer to becoming the leading hub for green hydrogen production and export.
The corridor will enable the export of RFNBO-compliant liquid hydrogen from Oman’s Port of Duqm to the Port of Amsterdam and key logistics hubs in Germany, including the Port of Duisburg, and onward to other European countries.
At the heart of this corridor is the world’s largest hydrogen liquefaction, storage, and export terminal to be established in the Port of Duqm. Hydrom, as the orchestrator of Oman’s green hydrogen sector, will ensure upstream production is aligned with national plans and that the project integrates seamlessly into Oman’s broader hydrogen infrastructure and policy framework. OQ, Oman’s energy transition enabler, leading the liquefaction infrastructure, will develop the hydrogen plant along with related storage and export facilities, contributing directly to the corridor’s supply capabilities and Oman’s national hydrogen targets. The centralised facility will draw from Duqm’s growing renewable hydrogen developments, leveraging the port’s strategic location as a global maritime hub and Special Economic Zone.
The centralised liquefaction plant will be supported by revolutionary maritime transportation vessels developed by ECOLOG to ship liquid hydrogen with zero boil-off, ensuring greater efficiency and reduced losses. On the European side, the corridor will be anchored by re-gasification import terminals in the Port of Amsterdam from which the hydrogen will distributed to industrial offtakers in the Netherlands and Germany via gas pipeline networks, rail connections, and barge distribution through the Dutch canal network.
“Today’s landmark signing demonstrates how Oman is turning its hydrogen ambitions into concrete projects aligned with global demand and national priorities,” said H.E. Eng. Salim bin Nasser Al Aufi, Minister of Energy and Minerals and Chairman of Hydrom. “While this corridor will enable the large-scale export of Omani hydrogen to Europe, its true value lies in how it supports our broader vision of an integrated sector that advances our national objectives. From industrial diversification and infrastructure development to job creation and capacity building, we are committed to building a future-ready sector that will position Oman at the center of green hydrogen global supply chain and deliver tangible economic value for the country.”
The New Arab sat down with Yemeni documentary photographer and storyteller Thana Faroq to discuss intentional photography, craft, and nurturing intimate narratives of displacement and resilience.
Thana Faroq is a Yemeni photographer and educator based in the Netherlands. Her photography projects, which have been supported by the Arab Documentary Fund and the Magnum Foundation among others, blend text, physicality, emotional density, and visual storytelling, to explore immigrant lives and the complexities of belonging and trauma.
The New Arab interviewed Thana Faroq on the occasion of her new book, How Shall We Greet the Sun, which follows a group of displaced young women including Faroq herself, as they negotiate their multilayered presence in the Netherlands.
“My work is mainly driven by current events and broader themes, such as intergenerational trauma and memory resilience in relation to migration and refugees”
The New Arab: You’ve completed several series and projects, including your new photo book, How Shall We Greet The Sun. How do your various projects communicate with one another?
Thana Faroq: At the core of all my work, including How Shall We Greet The Sun, lies an exploration of women’s resilience, adaptability, and the quest for belonging. These themes are the threads weaving my projects together, creating a continuous dialogue.
A consistent focus in my projects has been on the aftermath of pivotal events, particularly in migration. I’m drawn to understanding and portraying the lingering effects, the changes, and the adaptations that individuals and communities undergo in their post-disaster homes.
My projects often converse with each other, providing different facets of a broader narrative about migration, displacement, and the aftermath of these transformative events.
It is essential to explore these events not only in terms of their immediate impact but also in the ripples they create over time. How does our survival, resilience, loss, and search for identity and belonging look like? While my earlier works might have explored the immediacy of events, more recent ones, like How Shall We Greet The Sun, dive deeper into the lasting, often nuanced, emotions and memories that remain.
Do you feel that your work has evolved in terms of craft, technique, and vision? I saw that you have incorporated more poetry and written text recently.
Certainly. I spent my formative years in Yemen and from the age of seventeen, my educational journey took me across the globe, in Canada, the US, and the UK, which significantly broadened my perspectives.
It’s also crucial to acknowledge the life-altering events I’ve encountered: the war in Yemen, the subsequent move from my homeland, and the pursuit of asylum in the Netherlands. These profound experiences have shaped my life and continue to influence my understanding of the world.
This, in turn, has expanded my artistic vision. I’ve become more intentional about the themes I choose to explore and the stories I wish to tell.
Over the years, I’ve continually sought to refine my craft, exploring new techniques, tools, and mediums, especially sound and moving images. I love writing and it has become part of my creative journey and output.
I can’t label my written explorations as ‘poetry’ in the traditional sense, but I do have a deep affinity for playing with words, treating them as visual elements in their own right. I don’t view them merely as ‘texts’ but as visual companions to my images.
When paired with my visuals, these words offer an additional narrative layer, adding complexity and depth to the story I’m telling.
How do you approach storytelling in your work? Stories have a beginning, a middle, and an end, but using real-life subjects means that this linear, theoretical approach might prove restrictive.
I agree with you and I don’t personally stick to the classical structure of storytelling. All my stories are rooted in real-life experiences which means I will have to challenge this conventional approach of storytelling.
I ask myself very often: does a linear progression truly capture the essence of this experience, or is a non-linear narrative more authentic? And so my starting point might differ, I might start in the middle of a story with an emotional state that sets the tone for the narrative. My approach focuses on deep research and understanding. I immerse myself in the subject matter.
This helps me understand the nuances, the emotions, and the various perspectives that exist. Though all my projects exist in a final outlet (for example, a book) the creative process is never linear. I have a lot of responsibility to stay true to the essence of my subject’s experiences and sometimes this means breaking away from traditional structures or inventing new ones.
Also, storytelling isn’t just about the narrative; it extends beyond the mere sequence of events or plot points that make up a story. It’s about conveying experiences, emotions, and messages. For me, it’s about the use of texts, imagery, and symbolism to evoke feelings and provoke thought.
Though photography is my main medium, I include sensory elements, such as sounds and texts which can elevate the story and make it more immersive, especially in installation settings. This multilayer experience is powerful. I’m deeply intentional in my approach.
Before capturing or selecting an image, I reflect on its purpose: ‘What story am I conveying? How does this differentiate from the masses? What emotions or messages am I trying to evoke? This reflection ensures that my work carries depth and isn’t merely a fleeting visual in an endless scroll.
Are you looking for that person’s specific story in your photos or rather how they symbolise something bigger, larger than their own selves?
My work is mainly driven by current events and broader themes, such as intergenerationl trauma and memory resilience in relation to migration and refugees.
Every individual is a microcosm of the larger society they inhabit, and their stories, while personal, often resonate with universal themes. I work to make my images evoke shared experiences or emotions for a wider audience and, to a certain extent, the individual here becomes a symbol of something larger while ensuring that the individual’s story doesn’t get lost in symbolism.
Narratives that illustrate their character, resilience, culture, family ties, and personal history can help dismantle stereotypes and build a deeper understanding. This also means providing contextual cues within the composition. I write a lot during the process and these texts allow the viewers to draw connections between the personal and the universal.
“Photography, as I see it, is a shared endeavour from the research phase to execution. I prefer to refer to those I photograph as ‘collaborators’ involved every step of the way, valuing their insights and feedback. This often paves the way for deeper intimacy”
How do you nurture trust and intimacy with your subjects? Is there a story you chose not to tell?
My personal background plays a crucial role. As a woman refugee myself who has experienced the impacts of war and trauma first-hand, I share a common ground.
When I interact with my subjects, I approach them not just as a photographer, but as someone who has walked a mile in similar shoes. I don’t shy away from sharing my personal journey when appropriate, as I find that this openness can lead to mutual trust and safety.
Photography, as I see it, is a shared endeavour from the research phase to execution. I prefer to refer to those I photograph as ‘collaborators’ involved every step of the way, valuing their insights and feedback.
This often paves the way for deeper intimacy. Open communication and transparency are also pivotal. I make it a priority to be clear about how the photographs will be utilised, whether as an exhibition, a book, or any other medium, which helps bolster trust and comfort.
I approach each shoot with sensitivity, recognising and respecting the emotions and vulnerabilities of my collaborators. This journey of empathy, trust, and intimacy is complex and requires time, honesty, and sincerity.
There have been instances where I’ve chosen not to share certain stories out of respect for the privacy of those photographed.
For instance, in my recent book How Shall We Greet the Sun, there are many emotional transitions that migrant women undergo as they settle in a new place. Discussing these transitions isn’t always easy. I only choose to reveal such narratives when my collaborators are ready and confident to share them with the world.
For the young generation of aspiring artists in Yemen and elsewhere, could you share what helped launch your career and any advice you may have for others who can’t rely on institutional support and backing?
In my journey as an artist and photographer, I’ve come to understand a few key truths that I believe have been instrumental in shaping my career, especially in places like Yemen where institutional support might be sparse.
While talent is a gift, discipline and hard work are choices. Talent might get you started, but discipline will carry you through. It’s crucial to stay true to your artistic vision.
Instead of creating what you think others might want to see, focus on what you passionately believe needs to exist in the world. Also, the art world and photography, like any other field, constantly evolve.
Stay open-minded and eager to learn from others, peers, mentors, friends, and family… every interaction can offer a fresh perspective that can enrich your work.
Farah Abdessamad is a New York City-based essayist/critic, from France and Tunisia / Follow her on Twitter:@farashstlouis
