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Egyptian actor Youssef Omar will join the cast of the British-Chinese production Shashou, set in Hong Kong.
Youssef Omar is a rising Egyptian actor known for his versatile roles in film and TV series, including, most recently in Ramadan, TV series A Woman’s Youth (Shabab Emraa, 2025), where he co-starred opposite Ghada Abdel Razek.
He gained widespread recognition with his breakthrough in the 2018 drama Rahim (dir. Mohamed Salama) and has since starred in popular series like Sittat Bayt Al-Maadi (Women’s Maadi House, 2021), where he played Timo El-Badry (Timo), acting alongside Mira El-Helbawi, Tara Emad, and Enjy Kiwan.
Both series were directed by Mohamed Salama, with the latter catapulting Omar to fame.
Youssef has also successfully transitioned to the silver screen in high-grossing movies such as Awlad Hareem Kareem (2023) and El-Hareefa (2024), starring Nour Ehab, Khaled El-Zahaby, and Bayoumi Fouad.
In 2024, Omar starred in Meen Yasadaq (Who Would Believe?), a film directed by Zena Ashraf Abdel Baky. The film was screened during the 45th Cairo International Film Festival, further solidifying Omar’s status as an up-and-coming talent to watch out for.
Produced and directed by UK producer, screenwriter, and filmmaker Bizhan Tong, Shashou offers Omar his first international role.
Alaa Karkouti and Maher Diab, co-founders of MAD Solutions, which distributes the film in the MENA region, described the film as a thriller that is “an Arab spin on the packaging strategy that Hollywood has long deployed.”
Shashou is set in the shady world of ex-special forces, where outcasts Kelly Frost, Rachel Chan, and Inferno unite to stop a billionaire’s plot to destabilize Hong Kong.
Festival president Hussein Fahmy announced the appointment during the Berlin International Film Festival.
The Cairo International Film Festival has named Mohamed Tarek as its new artistic director, following his tenure as deputy artistic director. Festival president Hussein Fahmy announced the appointment during the Berlin International Film Festival.
Since its inception in 1976, the Cairo International Film Festival has been a cornerstone of the region’s cinematic landscape, held annually at the Cairo Opera House.
Tarek’s career spans film programming, festival consultancy, and jury roles at major international festivals. A graduate of the Locarno Industry Academy in Beirut and the Durban Talents programme, he has worked with CIFF, Dublin International Film Festival, El Gouna Film Festival, and Manassat Film Festival. His expertise also extends to projects with El Nahda Association, MedFest Egypt, and the Goethe Institute Cairo.
After exploring the Iraqi keffiyeh in their first collection, Suez spotlights a forgotten art in ‘Common Thread’.
Three thousand years ago, the art of khayamiya lined the streets of Egypt. Translating to “tent-making,” this ancient hand-stitching practice was once used to fashion tents for royalty, aristocracy, and the wealthy. Today, the practice nears extinction; the only image the word “khayamiya” evokes in our minds is one of cheap printed Ramadan-themed tablecloths. Only 18 khayamiya artisans remain on Egypt’s Khayamiya Street in Bab Al Khalq. Their work is now far from central to the city’s fabric.
Returning the forgotten khayamiya to the spotlight, the London-based Egyptian-Iraqi label Suez is reviving the art in its new collection, “Common Thread.”
“Khayamiya has been something I’d been wanting to incorporate for some time now—since we last spoke,” Suez founder Serag El Meleigy tells Scene Styled. “I think it was the perfect next step for Suez; me being half Egyptian and spending a lot of time in Egypt also made it that much more special.”
As a pursuit, Suez is archival. The label seeks to immortalize crafts that were once popular but have been lost on the road to modernity. Suez, observing that our attire has become synonymous with that of the colonizer, rejects homogeneity and sifts through millennia of historical archives to return culture to our costumes.
“We utilized the khayamiya in two forms: first in its true hand-stitched form, and secondly in a printed form—both of which we purchased from the artisans on Khayamiya Street,” shares El Meleigy. “The first khayamiya blanket I bought was back in 2023, so my ideas have been brewing with the khayamiya for some time now.”
Shortly after his first purchase, El Meleigy returned to Khayamiya Street for more. This is when “Common Thread” was born. The two blankets, both created by the same khayamiya artist, Esaam Ali, were fashioned into two beautiful single-piece collared jackets in two colorways—red and blue.
In respect to the amount of work, skill, and creativity poured into their making, whether as the original khayamiya blanket by Ali or the jacket itself by El Meleigy, the khayamiya jackets are special pieces. Surely, they could be dressed down, but something about the fabric, the common thread that holds them, demands a more prestigious welcoming of the pieces.
“The 1-of-1 khayamiya jackets are obviously statement pieces. We’ve seen them worn for a live recording performance, and we’ve had people say they’d save theirs for big events. I love the idea of these 1-of-1 jackets evolving into some form of suit for big occasions—but the Egyptian version.
Besides participating in the cultural evolution of our occasion wear, Suez’s “Common Thread” weaves the khayamiya practice into daily casual wear.
“The meander garments made way for the incorporation of ‘loud patterns’ in subtle ways—they are made for every occasion,” explains El Meleigy. “The elastic waist of the pieces gives them the benefit of comfort, but the straight-leg structure creates an illusion of formality that can be dressed up or down.”
“I heard one girl wore her keffiyeh meander trousers, from our previous collection, to a wedding, and someone else wore the full keffiyeh set at her dad’s MBE receival ceremony at a royal palace.”
To El Meleigy, “Common Thread” is an exciting pursuit, one he is consistently looking for ways to make even more tailored. In the future, he hopes to work more directly with khayamiya artisans, involving their work directly in garment-making, and potentially seeing them embroider on clothes, rather than refashioning their blankets. Before we know it, the art of khayamiya will be back on hoodies, tracksuits, shorts, and more.
King Abdulaziz Public Library (KAPL) has revealed that it acquired 400 rare copies of the Holy Qur’an from various Islamic eras, especially manuscripts from the 10th to 13th centuries AH.
The collection is a treasure trove embracing the radiance of Arab and Islamic art in calligraphy, engravings, designing, illumination, and creativity.
Notable among these rare copies of the Qur’an is a roll with the Ayatul Qursi (The Throne Verse) and other decorations engraved along its length. It was colored and gilded with plant decorations at the beginning and end. The text was written within two gilded frames. It was copied by Fakhr al-Din al-Suhrawardi in 1284 AH.
Another of the rare Qur’an copies consists of 30 sheets, with two facing pages forming a complete part of the Holy Book. The first page was decorated with wonderful plant motifs in which bright colors and gold water were used. The rest of the pages were arranged and were completely gilded. The side frames contain colored and gilded plant motifs. This was copied in the Naskh script in 1240 AH/1824 AD.
There is also a copy of the whole Qur’an, from Surat Al-Fatiha to Surat An-Nas, written in black ink with diacritical marks inside red and blue tables. It was completed in Makkah in the month of Ramadan 1025 AH (1616 AD) by venerable scholar Mulla Ali Al-Qari.
There is another copy that contains the complete Qur’an, written in black ink with precise diacritics within golden panels. At the beginning of some suras, there are floral and geometric designs decorated with gold leaf and a number of color combinations. It was written in 920 AH, (1514 AD), and is bound in leather.
Among the notable possessions is also a complete copy of the Qur’an, written in black ink with precise diacritics within tables colored in gold, green, red, and blue. It was decorated with plant motifs dyed with gold water. This is considered one of the royal manuscripts, written with great care over a long period of time. It is also bound in waxed leather decorated with gold-colored motifs and flowers with the beauty of Islamic art.
The library owns a distinctive Holy Qur’an written in the 13th century AH. The decorative colors are blue, red, white, and gold, in the form of roses, small circles, and flowers. The Qur’an was written in the Naskh script, known for its extended and clear letters. It was written in black, with punctuation marks also in black.
A Holy Qur’an written in the 13th century AH contains floral and geometric decorations with coloring and gilding and golden clouds between the lines. It was written in a creative style called “mirror”, where a letter or word in the first line corresponds to the last line, and so each line corresponds to a line according to the type of correspondence.
The collection of Qur’ans in the King Abdulaziz Public Library is distinguished by several types that can be viewed in different ways — the type of script, the region in which it was written, the date of its copying, or its decoration.
All the Qur’ans in the library have decorative intros and conclusions. In addition, there are early Andalusian and Moroccan Qur’ans written on square parchment, as well as Indian Qur’ans with various plant decorations. There are also examples of beautiful Chinese and Kashmiri Qur’ans, as well as some Mamluk examples.
As for the scripts, they range from the Kufic to the Naskh, Thuluth, Timbuktu, and the late Sudanese, in addition to the scripts of the Levant, Iraq, Egypt, and Yemen, as well as many Najdi and Hijazi Qur’ans, indicating the richness of Islamic arts. Each Islamic nation added its own artistic visions and color combinations, decorations, and culture in transcribing the Holy Book.
If you were going to have a creature named after you then a scorpion may not be your first choice, but Ahmed Ibrahim Awale believes the Pandinurus awalei will serve as an inspiration to budding Somali scientists.
The 66-year-old scientist from Somaliland has been honoured by the three researchers who discovered the new scorpion species in the region in recognition of his decades of work in conservation and environmental protection.
“Most of the species identified in Somalia and Somaliland are named after a place, a characteristic that a plant or animal may have or somebody from Europe or America,” he told the BBC in his lively voice on the line from his office in Hargeisa.
“But for many young people here, it will encourage them to know that this species is named after Awale – after all Awale is a Somali.” His pride in having this honour clearly shines through.
‘Large but not that lethal’
Since the 19th Century, researchers, mostly from Europe, have been exploring the rich ecology of the Somali region, but Mr Awale wants to add to the growing number of Somalis taking up zoology and botany.
The 15cm large-clawed scorpion that now carries his name was found in an arid landscape near Agabara village about 50km (30 miles) north of Hargeisa, the capital of the self-declared republic of Somaliland.
It is not as venomous as some of its smaller cousins as there is often an inverse relationship between the size of a scorpion’s claws and the power of its sting, Mr Awale explains.
But Pandinurus awalei is just one of 50 scorpion species that live in Somaliland, some of which are only found in the Somali region.
This fact gives a hint at its rich biodiversity. As well as a host of animal species, there are at least 3,000 species of plants that have been identified and more than 700 of them are endemic to the region – and that number is growing.
“Every year new discoveries are coming,” says Mr Awale, who himself found a new species of aloe in 2014.
“This articulates the message that all that is coming from Somaliland and the region is not that bleak. We always hear negative news and this marks a shift in the narrative that is different from the mainstream perception of piracy, extremism, famine and instability.”
True to his name – Awale means “the lucky one” in Somali – he made his own discovery by chance.
He was driving off-road “in the middle of nowhere” on one of his many field trips when he spotted huge clumps of more than 1,000 aloe plants.
“It was something I had never seen in my life,” he says and he went to investigate.
The plant was also a different colour to other aloes and though the local people knew it as dacar-cas (red aloe), they did not know how unusual it was.
After taking a sample and going through a lengthy research and verification process – which included searching the archive at London’s Royal Botanic Gardens and the East African Herbarium in Nairobi – it was proved last year that this was a new species. Mr Awale and his team of researchers named it Aloe sanguinalis (red aloe).
The discovery was the culmination of a lifetime’s passion that he partly puts down to where he grew up.
Born in 1954 in Adadlay, a village 95km east of Hargeisa, he lived near the Gaan Libah mountain, “which is one of the most beautiful places in Somaliland in terms of biodiversity”.
He came from a family of pastoralists, but his father, who ran a small shop in the village, paid for his education and in the end he studied agriculture and environmental science at the Somali National University in Mogadishu.
‘Extinction threat’
Mr Awale’s upbeat message about the biodiversity of Somaliland is tempered by a concern for its future.
Like everywhere else, species are under threat and some are dying out.
A combination of changes of land use for urban development, the clearing of forests for charcoal, the proliferation of invasive species and climate change are “pushing a number of species into extinction”.
For Mr Awale, this is not about prioritising the needs of the natural world over human need.
“Biodiversity is the web of life,” he says.
“We draw on that natural resource for our sustenance, for our medicine, our shelter. The richer the biodiversity, the richer our quality of life will be too.
“A declining biodiversity means that we are becoming poorer and that makes our survival problematic.
To push this message in Somaliland, in 1995 he helped set up Candlelight, an organisation aimed at creating a society that is aware of environmental concerns.
He has also written books and articles, and appears on the radio and TV to increase awareness about the issue.
Mr Awale says he has noticed some changes in government policy, but most importantly he has a growing number of young people engaged in the work.
Despite being recognised by having a scorpion named after him, the environmentalist knows that this is not his struggle alone.
“The Somalis have a proverb: ‘A single finger cannot wash a face.’
“In other words: It’s no use myself being prominent and well known, if I don’t have people supporting me.”
As for the lesson that the discovery of Pandinurus awalei teaches, he is convinced “that there are more species to be discovered… if the time and space allows there will be a lot of discoveries”
Hanan Sultan, a young Omani jewellery designer based between Muscat, Dubai and London, is passionate about fine arts and fashion, but has found ‘jewellery design’ as the perfect middle ground. Skillful at combining traditional and contemporary materials in her creations, Hanan, however, is personally fond of yellow gold and rubies. “Creativity has no limits and… I have yet many miles to go…” she tells Hubert Vaz in an exclusive chat. Excerpts:
What, according to you, defines the value of a piece of jewellery?
The value of a piece of jewellery, to me, lies within its design execution. As a bench-trained jewellery designer, I’m very detail-oriented and committed to craftsmanship by blending traditional making skills with modern technology to achieve an unparalleled level of quality and luxury. I’m truly dedicated to creating timeless pieces that capture a balance of luxury, comfort, and emotional value using the finest materials – precious metals and stones.
When did you figure out that this was your cup of tea?
I realised that it was my cup of tea at an early age when I felt a strong passion for creativity. This passion led me to study (foundational) Fine Arts at Pratt in New York, followed by (foundational) Fashion Studies at the London College of Fashion. I recognised that the world of jewellery was perfect for me when I comprehended that it encapsulated both, fine arts and fashion. I eventually did my BA in Jewellery Design at Central Saint Martins in London. During my summer holidays, I did internships and courses with different institutes and jewellery brands in Dubai, London and Paris. This expanded my early industry knowledge and provided me with invaluable experiences.
To deepen my expertise, I pursued an MA in Jewellery and Metal at the Royal College of Art in London, which allowed me to refine my creative process and technical skills. Through hands-on experiences and continuous learning (as an Omani jewellery designer), I’ve developed a design approach that blends innovation with traditional jewellery design.
What distinguishes your creations from the rest in the fray in UAE/Oman or elsewhere?
My designs stand out for their precision and craftsmanship, achieved through CAD and CAM technologies, which allow for intricate details and consistent finishing. While I value the cultural significance of traditional handmaking techniques, I focus on blending modern innovation with timeless aesthetics to create unique and enduring pieces.
How differently, do you think, the Western world view jewellery unlike those in Asia and the Middle East?
I find that some of the western world’s overview on jewellery includes accessories, conceptual ‘wearable objects’, incorporating all sorts of contemporary non-precious materials, whilst Asians and Middle Easterns think of jewellery as ‘high/fine jewellery’ that usually incorporates precious metals and stones, most popularly, 18, 22, 24 carat gold, natural diamonds and precious gemstones.
Are the tastes of Arab women changing – is there a need for novelty and wow factor among the younger generation?
Arab women’s tastes, like women everywhere, are constantly evolving. This is due to the rise of the Internet, journalism, social media exposure and easy accessibility to global travel. There’s always a desire for novelty and ‘wow factor’, especially amongst younger generations. It’s human nature to seek fresh and exciting perspectives.
Do you like religious symbols used in jewellery or would you rather keep it creatively different?
Religion, like jewellery, is extremely personal. I appreciate how jewellery can help people of many different backgrounds connect to their faith. Some religious symbols are especially meaningful precisely because they are private and intimate.
As an Omani jewellery designer, which is your best creation so far, and was it sold to any affluent/prestigious buyer?
My favourites include pieces from my frankincense inlay collection. I’ve had buyers from the Gulf, America, Canada and the UK approach me to acquire some of these pieces.
When you customise jewellery, do you follow the client’s requirement or educate them about what’s best for them?
It is important for me to listen to my clients’ wants and needs as well as present them with different options and solutions, ultimately educating them to make the decision that would suit them best.
How popular is your business?
Working in Dubai has been great for me, professionally, because I’ve been able to share my work with a global audience. The global accessibility of Dubai has meant that I’ve been able to make in-person sales to American, British, and European clients, as well as cultivate existing relationships in the Middle Eastern and Asian markets. Muscat is much quieter, on the whole, but provides a clarifying balance from the bustle of doing business in Dubai. Oman will always be my home and it would be very fulfilling to one day be able to showcase my work in Muscat, my hometown, as an Omani jewellery designer.
Do you also shoulder management/business promotion tasks?
At the moment, I’m managing all aspects of the business, from creative direction to production to logistics, marketing and sales. This is to be expected for young designers at the beginning of their career. But I’m looking forward to being able to focus even more exclusively on the creative processes as the brand grows and I develop my team.
If not in this field which other profession is close to your heart?
If not jewellery design, I would love to explore more of fine arts, arts education, academic arts, or research – something deeply creative and thought-provoking. Fashion design and journalism also intrigue me, they share a similar focus on storytelling, aesthetics, and pushing boundaries, which all align with my passion for design and creativity.
As a young designer entrepreneur have you reached anywhere close to your ultimate goal?
I believe, that creativity has no limits and endless possibilities, so I for sure think that I have yet many, many miles to go.
Red is timeless…
Asked about her personal preference of jewellery, Hanan Sultan struck a unique note. “Yellow gold and rubies are my personal favourites. My friends even call me ‘the queen of rubies’. They hold a special place in my heart because they’re a part of my familial heirlooms, and I love the idea of carrying that legacy into the future. Rubies, to me, resemble their colour – red is timeless and powerful.
The fourth Hollywood Arab Film Festival (HAFF), celebrating Arab Heritage Month from 9 to 13 April at Hollywood Universal Studio Cinema in California, will feature multiple Egyptian films, including Seeking Haven for Mr. Rambo and The Tale of Daye’s Family.
Actor Ahmed Helmy will receive the Life Achievement Award, and actress Elham Shaheen will head the jury panel.
Directed by Egyptian filmmaker Karim El-Shenawy, The Tale of Daye’s Family (Daye: Seret Ahl El Daye) will open HAFF.
The Tale of Daye’s Family: Opening film
The Egyptian-Saudi co-production Daye, written by Haitham Dabbour, follows the story of an 11-year-old albino Nubian boy who dreams of going on a magical journey from south to north Egypt to pursue his dream of becoming a singer.
Daye, the first Egyptian film to feature an albino actor as the protagonist, had its world premiere as the opening film of the fourth edition of the Red Sea International Film Festival and competed at the Berlin International Film Festival.
The film stars Saudi actress Aseel Omran, Sudanese actress Islam Mubarak, and Egyptian actors Haneen Said and Badr Mohamed.
El-Shennawy directed the highly successful TV series Lam Shamseya (2025), screened during Ramadan. The series shed light on the unique topics of child sexual abuse and family disintegration.
He also directed the film Gunshot (2018), which starred Ahmad El-Fishawi, Mohamed Mamdouh, and Rubi. Before that, El-Shenawy was an assistant director (AD) in several noteworthy productions, including Mohamed Diab’s Clash (2016), which garnered over a dozen awards, including four wins at the Carthage Film Festival (2016) and countless nominations, including at the Un Certain Regard section of the Cannes Film Festival.
Clash was Egypt’s nomination to the Academy Awards but was not shortlisted.
Seeking Haven For Mr. Rambo: Screened in the Narrative Feature section
Six films will compete in the upcoming edition of HAFF, including Seeking Haven For Mr. Rambo by Khaled Mansour.
The film had its world premiere in the Orizzonti Extra section at the 81st Venice International Film Festival (28 August—7 September 2024). It was then screened in numerous festivals and released commercially in Arab countries.
The drama film tells the story of Hassan (Essam Omar), a young man in his thirties who is forced to confront his past fears. He embarks on a journey of self-discovery, which includes a quest to save his dog and best friend, Rambo, from an unknown fate.
HAFF will also screen Mira Shaib’s Arze (Lebanon), Oday Rasheed’s If You See Something (Iraq), Hala Matar’s Electra (Bahrain), and Sina Mohammed’s Transient Happiness (Kurdistan).
Additionally, 16 short films will compete in the short film section, including the Egyptian film Wishes For My Heart (Sherine Diab), Jordanian films The Chant (May Ghouti) and Shadows (Rand Beiruty), Syrian film Weaning (Houssam Hamo), and Algerian film NYA (Imene Ayadi).
Ahmed Helmy: Life Achievement Award
During the festival’s activities, actor Ahmed Helmy will receive the Life Achievement Award, and his film Sorry for the Disturbance (2008) by Khaled Marei will be screened, followed by a discussion.
Helmy, a High Institute for Theatre graduate, is one of the region’s most popular artists.
He launched his career on television with the programme Laab Eyal (Kids’ Games). He rose to stardom in 1999 for his role in Sherif Arafa’s comedy Aboud Ala El-Hedoud (Aboud on the Borders), which starred Karim Abdel Aziz.
He has starred in over 25 successful feature films, including Sahar El-Layaly (2003), Saye Bahr (2004), Zaky Chan (2005), Alf Mabrouk (2009), Bolbol Hairan (2009), Horoob Etirari: Forced Escape (2017), and Scarecrow (2019), among many others. He also voices a storyteller in Amr Salama’s 2014 film La Moakhza (Excuse my French).
Helmy is a prominent promoter of children’s rights and often raises awareness on early childhood development issues in the region.
Elham Shaheen – Head of Jury
Egyptian actress Elham Shahine has been appointed the head of the jury for the narrative feature films programme.
Shaheen launched her career with director Kamal Yassin, who gave her a role in his play made for television, Hooreya Men Al Marikh (Mermaid from Mars).
She then went on to star in numerous TV series, including Akhu El Banat (Brother of the Sisters), A’al El-Bahr (The Ocean Said), Hatta la Yakhtaniq Al-Hob (So Love Doesn’t Suffocate), Nisf Rabia Al-Akhar (The Second Half of Spring), Layaly El-Helmeya (Nights of Helmeya), and Samhoony, Makansh Asdy (I’m Sorry, I Didn’t Mean To).
She also won many awards for her roles in The Gentle and Ya Dunia Ya Gharamy (Oh World, Oh my Love).
HAFF
The 4th edition introduces the new programme, Voices from Los Angeles, which includes screening six films by young filmmakers from American universities.
The festival launched the first edition of HAFF industry days, where five projects in development are competing: Egyptian film The Land Beyond by Nadine Salib, Iraqi film Madness and Honey Days by Ahmed Yassin, Sudanese film Blue Card by Mohamed El-Omda, Lebanese film Plus One by Zayn Alexander, and Palestinian film The Hearse to the Final House of Happiness by Wisam Al-Jafari.
Organized in the heart of Hollywood by the Hollywood Arab Film Festival Foundation, HAFF showcases Arab narrative, documentary, and short films.
Dozens of renowned filmmakers are expected to attend.
The Emirates Libraries and Information Association (ELIA) celebrates Arabic Manuscript Day each year on April 4th to honour the rich history of Arab and Islamic knowledge. This day recognises the importance of Arabic manuscripts, which serve as valuable sources of information and cultural records showcasing the contributions of Arab and Muslim scholars in many areas of study.
To mark this occasion, the association is hosting a symposium called “Manuscripts: Their History and Present,” in collaboration with the Sharjah Heritage Institute. The event will feature well-known researcher Prof. Dr. Bashar Awad, who will discuss how Arabic manuscripts have developed over time, their significance in preserving our shared history, and the challenges they face due to modern technology.
Fahad Al Maamari, the Chairman of the Board of Directors of the Emirates Library and Information Association, highlighted that this celebration shows the association’s dedication to protecting our written heritage and increasing understanding of its importance. He pointed out that manuscripts are not just old documents; they represent the creativity of Arab thinkers and serve as a link between the past, present, and future.
Through events like this, the association aims to promote efforts to preserve, restore, and digitize these manuscripts, ensuring they are accessible for future generations and can be used in various research and academic endeavors.
It features an exhibition, seminars, training courses, linguistic proficiency tests, and student competitions in partnership with Spanish universities and academic institutions.
The King Salman Global Academy for the Arabic Language is hosting the Arabic Language Month program in Spain throughout April, the Saudi Press Agency reported.
The event is a comprehensive initiative aimed at developing Arabic language curricula, promoting the language, and highlighting Saudi Arabia’s efforts in this field.
The progeam is designed to strengthen academic and educational ties between Saudi Arabia and international institutions, the SPA reported.
It features an exhibition, seminars, training courses, linguistic proficiency tests, and student competitions in partnership with Spanish universities and academic institutions.
As part of the academy’s global Arabic teaching program, the initiative has been implemented in countries such as Uzbekistan, Indonesia, China, India, France, Brazil, Thailand and Malaysia, expanding its international reach and fostering global partnerships.
source/content: arabnews.com (headline edited)
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The program is designed to strengthen academic and educational ties between Saudi Arabia and international institutions. (SPA)
