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The Prince Sultan bin Abdulaziz Al Saud Foundation steering committee has met to review the strategy of its program to strengthen the use of Arabic at UNESCO.
The virtual meeting was attended by the foundation’s Director General Saleh Al-Khulaifi as well as UNESCO Assistant Director General for the Social and Human Sciences Sector Gabriel Ramos, and UNESCO Permanent Representative Princess Haifa Al-Muqrin.
UNESCO officials praised the foundation’s efforts to develop new businesses and projects that serve the Arabic language, thereby contributing to the program’s goals of promoting dialogue between different cultures, consolidating cultural communication, and implementing projects that serve the language and heritage.
They also praised international organizations for providing more programs and activities related to the Arabic language, such as translating research, literature, session minutes, meetings and field reports.
They added that spreading Arabic around the world was the quickest way to strengthen global dialogue and cohesion.
Many initiatives have been implemented in the past, most notably UNESCO’s celebration of World Arabic Language Day on Dec. 18 each year, as well as the launch of “Arab Latinos!”
That event, which was held in August in Sao Paulo, promoted intercultural dialogue for social inclusion and built on the Arabic cultural imprint in Latin America.
source/content: arabnews.com (headline edited0
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Prince Sultan bin Abdulaziz Al Saud Foundation aims to strengthen the use of Arabic at UNESCO. (UNESCO)
Nujoud Fahoum Merancy started the Twitter hashtag ‘YallaToTheMoon’ to support latest mission.
A Palestinian-American woman is one of the leaders of the Artemis missions, a programme by Nasa that aims to fly astronauts to the Moon.
Nujoud Fahoum Merancy, 43, is the chief of exploration mission planning at the US space agency and has been working in the space sector for more than two decades.
She started the Twitter hashtag ‘YallaToTheMoon’ to support the Artemis 1 mission, which is scheduled for another launch attempt on Saturday, from Florida’s Kennedy Space Centre. ‘Yalla’ is an Arabic word that translates to ‘let’s go’ or ‘come on’.
Before the historic event, Ms Merancy spoke to The National about her Palestinian roots and her involvement in the Artemis programme.
A stellar career
The Artemis 1 mission is an unmanned flight around the Moon that will test the performance of the Space Launch System rocket and Orion spacecraft.
If successful, it would pave the way for Nasa to launch Artemis 2 and 3, crewed flights around the Moon and the first human lunar landing mission under the programme.
“As a Palestinian-American, I’m very excited to be a part of this programme,” she said.
“And, really, Nasa and Artemis, it is a much more diverse workforce than it was during the Apollo era.
“It’s important to me and to a lot of us that it represents all of humanity and Artemis itself is international because we have international partners.”
Ms Merancy, a mother-of-two, earned her bachelor’s degree in aerospace engineering from the University of Washington in Seattle.
From there, she joined the aerospace company Boeing to work on the International Space Station.
She then started working on the development of Orion, the spacecraft launching on top of Nasa’s mega Moon rocket on Saturday that will fly around the Moon — and one day carry astronauts.
“From that, I’ve transitioned into the mission planning for Artemis, which is designing and integrating the missions across all the programmes for Artemis, and that’s my current role,” she said.
Connecting with her Palestinian roots
Ms Merancy went viral on the internet in 2019 when she posted her official Nasa photo, in which she wore a blazer embroidered with Palestinian tatreez, a traditional cross-stitch, that she bought during a visit to her father’s home town of Nazareth.
Her father moved to the US more than 40 years ago to go to college.
Although she was born in the US and does not speak fluent Arabic, she said her Palestinian roots were important to her.
“I don’t speak Arabic, unfortunately, it’s one of those regrets that I’ll always have,” she said.
“I know the basics, a few words here and there, and the polite greetings.
“But I do enjoy the food and that is something I grew up on. And then as an adult, I started cooking.
“So, I have a whole bunch of Palestinian cookbooks just to learn other recipes that my family didn’t teach me.
“I do like to cook Palestinian food and that’s probably the biggest connection to the culture that I have.”
Palestinian presence in the space sector
Other Palestinians are involved in the Artemis programme or are making a name for themselves in the US space sector through other projects.
Soha Alqeshawi, born and raised in Gaza city with her seven siblings, currently works for Lockheed Martin as a software engineering associate manager and looks after Orion’s back up-flight software.
And Loay Elbasyouni is a Palestinian-American electrical engineer who helped design Nasa’s Mars rover, Perseverance.
“My parents did their best to provide me and my siblings with a good education and shield us from the effects of the continuous horrific conflict that Gaza has been living under,” Ms Alqeshawi told Portuguese journalist Margarida Santos Lopes in 2015.
“Living under constant fear and despair where everything is uncertain and basic life necessities such as electricity and sometimes water are unavailable for most of the day.
“Although I was the only one in my family who had the opportunity to leave Gaza for the US to study and work, all of my brothers and sisters are college-educated with degrees in science, engineering and business.”
“Going to school was sometimes a dangerous journey that could have death waiting at any step of the way.
“However, that made us more determined to achieve our dreams in receiving an education.’
Nujoud Fahoum Merancy went viral in 2019 when she posted her official Nasa photo, in which she wore a blazer embroidered with Palestinian tatreez, a traditional cross-stitch that she purchased during a visit to her father’s hometown of Nazareth. Photo: @nujoud
The dance troupe’s victory, which earned them the seven-figure prize , offered a sliver of hope to the country and its population, who continue to battle a flurry of crises and bad news.
“We haven’t shed happy tears in so long in this country and Mayyas made it happen,” says Reem Nasra, 24, a recruiter in Beirut.
Mayyas first made international headlines when they received a golden buzzer from judge Sofia Vergara for their performance during the auditions, securing their spot in the semi-finals.
“There are no words to explain to you what we were feeling over here,” Vergara said at the time. “It was the most beautiful, creative dancing I have ever seen.”
Since then, the Lebanese group put on a series of breathtaking routines as they advanced to the final. And, their journey to the top connected with compatriots around the world.
“They are an example of what a synchronised group of Lebanese are able to achieve,” says Eli Lattouf, 26, a postdoctoral researcher at Harvard Medical School in the US. “Such a win delivers a global message.”
Lebanon is currently facing an economic crisis described as one of the worst in 150 years by the World Bank. According to a UN study, the financial collapse has pushed more than 80 per cent of the population into poverty while inflation and living expenses reached record highs.
The country’s plight has made global news, highlighting everything from its fuel crisis to the deadly Beirut port blast in 2020.
To see Lebanon represented in a different light, as a beacon of art and culture, was refreshing, says Lattouf.
“Most people know the Lebanon they see on the news, which might not be totally misleading, unfortunately,” he tells The National. “This time the world sees not one, but a group of Lebanese, full of art, creativity and discipline.”
Lattouf’s sentiment is echoed by many other Lebanese people, who are proud of the group’s outstanding representation on a global platform.
“This is our Lebanon, the real one,” says Rima Hijazi, 26.
Watching from her home in Choueifat, south-east of Beirut, the agricultural engineer fortunately had electricity overnight to stream the final live. Many other households across Lebanon were without power, which prompted private TV station LBCI to campaign for generator owners to keep the lights on ahead of the show.
Lebanon’s electricity crisis is merely one of the many obstacles Mayyas had to overcome while rehearsing.
Despite the many hindrances, the girls put in long hours of work, determined to grab the title.
According to the group’s founder and choreographer Nadim Cherfan, the team were in the studio on a daily basis and would “only leave when the power goes off”.
“When it’s about art, nothing stands in your way,” he previously told The National.
Their hard work and diligence made them all the more deserving of the win, according to many Lebanese. It is also testament to the country’s potential, despite the odds.
“This win means that despite everything we are going through, our will to live and be successful beats all miseries,” says Yara Youssef, 25, a marketing coordinator in Beirut.
Between pride and hope, Mayyas also evoked a solemn feeling for some.
“It’s a bit sad knowing that if you have potential here in Lebanon, you have to leave in order to reach your goals,” Hijazi tells The National. “We’re in the wrong spot to bloom.”
But despite their international achievement, Mayyas are returning to Lebanon, where they will continue to work on their art.
While Cherfan has been asked why he continues to work in Beirut, he is adamant on going back to where they started.
“I’m never leaving my country because my country has never left me,” he says.
Watch the moment Mayyas won on ‘America’s Got Talent’ here (below):
As the world looks back on the storied life of Queen Elizabeth II, fashion lovers could be pleasantly surprised to find the longest-serving British monarch championed Arab creativity on one of the most memorable days of her life.
On Nov. 20, 1947, the then-21-year-old princess married naval officer Prince Philip of Greece in a gown created by court designer Norman Hartnell.
The regal dress was made of ivory silk from China — not Japan or Italy given the recent end of World War II — and featured 10,000 seed pearls imported from the US — as well as show-stealing Damask brocade from Damascus, Syria.
The brocade fabric was brought from the Al-Muznar factory in the Bab Sharqi neighborhood of Damascus’s Old City and featured embroidery of “two love birds” exchanging kisses in a pattern known locally as “the lover and the beloved.” Woven with 12-karat gold thread, the brocade fabric was reportedly sent to the queen by Syrian President Shukri al-Quwatli.
The dress was meant to symbolize “rebirth and growth” in Britain after the war, according to the Royal Collection Trust.
It took 350 women seven weeks to make, and featured elaborate floral motifs of jasmine, smilax, lilac and white rose-like blossoms added to the train. The design was inspired by Italian artist Botticelli’s 1482 painting of Primavera.
source/content: arabnews.com (headline edited)
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On Nov. 20, 1947, the then-21-year-old princess married naval officer Prince Philip of Greece. (Getty Images)Princess Elizabeth’s wedding dress, designed by Norman Hartnell, and the Duke of Edinburgh’s Royal Naval uniform are displayed at an exhibition at Buckingham Palace on July 27, 2007 in London. (Getty Images)
It is in times of crisis and conflict that we reveal our character most clearly. This is true today in Yemen, where even the promise of a truce brokered largely by the UN, the US and Saudi Arabia has yet to cement peace or accelerate reconstruction. To do these things, Yemenis must also rebuild the bonds of faith and community that allow any society to thrive.
Within the context of these challenges, it is all the more remarkable that Yemenis recently started restoring a 160-year-old Jewish cemetery in Aden. What started as a volunteer effort has now garnered the support of local authorities and Yemeni institutions.
It amounts to a project of interfaith tolerance and embrace in a place where such sentiments have been in short supply. In the last couple of years, Yemen’s Jewish community — one of the world’s most ancient — has disappeared. Most of the remaining few fled to nearby countries after facing persecution and even arrest by the Houthi rebels. Just a century ago, they counted in the tens of thousands and could claim a lineage of almost 3,500 years.
Jewish tradition holds that the cemetery in Aden is where the biblical Abel was buried millennia ago. He is part of the tradition of each Abrahamic faith and the collective memory of Yemeni tolerance remains despite the societal havoc of the last decade.
Each of the Abrahamic religions instructs us to act with kindness toward our brothers and sisters of other faiths. It should be inspiring to all of us to see Yemen’s internationally recognized government and the people of Aden acting in this spirit. I hope this renewed focus on a Jewish cemetery can demonstrate how faith and incremental action can help us overcome the tribulations and pitfalls of extremist politics, sects and conflicts of the past — real or imagined.
The Jewish community of Yemen is no longer, but Yemenis are honoring their own shared past and patrimony by preserving its memory. By respecting the role of Jews in Yemen’s long and storied history, Yemeni leaders are showing inclusivity and a will to protect minorities in the nation’s future as it emerges from this tragic conflict.
The contrast with the Houthi rebels and the racist ideology they propagate is stark. The Houthis prey on religious differences of doctrine and ritual to divide once-harmonious communities in Yemen. Children are drilled to hate in schools, while state workers must chant mantras of death for peoples, such as those in the US and Israel, whom they have never met and of whom they have no conception. Their celebration of innocent Yemenis or Saudis killed is reprehensible.
Analysts today speak of the truce in Yemen in terms of money, men and ideology. These things shift and change, but the need for a functioning society to incorporate people of different beliefs holds true.
The Houthis seem to hold a firm grip over large parts of Yemen. But in this land, with its rich and resilient tribal, religious and societal mosaic, intolerance makes any sense of “control” inherently fragile. The history of Yemen shows that cultish indoctrination does not change a people. Some of its most ancient buildings have crumbled and priceless literature has been lost, but the tolerant Yemen of yore remains alive in stories, poetry and prayer, as well as the hearts of its people.
The cemetery restoration effort is a microcosm of what will need to take place to return Yemen to its true form and traditions of tolerance. While some tear down history and desecrate places of worship and commemoration to create a vacuum to fill with hate for their own benefit, reconstruction efforts like the cemetery can remind all Yemenis of the primacy of tolerance in their culture.
We all pray for an end to the war in Yemen, continued peace and rapid reconstruction. Let us add to these prayers that Yemenis remain on the path to rebuild not just brick by brick, but to rebuild and restore the diversity of the Aden of old in the image of tolerance of our Creator.
Architect Omar Degan reflects on the experience of designing a restaurant that celebrates local identity and cultural tradition in the Somali capital.
Think back to your childhood. Even if the memories are blurred, many of the flavours and aromas remain. The time we spent with parents and grandparents is often remembered in scents and spices — returning us to those moments, even after many years. Passed down through the generations, dishes and cuisines are vessels of culture and tradition and embodiments of the world’s diversity. Think of a plate of tagliatelle in Bologna, a freshly baked naan in New Delhi, the sweet taste of a chai bought in the streets of Mogadishu, or a mate tea savoured in Buenos Aires. Each is a powerful reflection of its place and people.
I think about architecture in the same way. Just as culture and tradition is conveyed through gastronomy, the built environment can be a physical representation of local knowledge, passed down through the generations. Like food, buildings can convey ways of knowing, rooted in working with local materials and resources, and adapting to climate and culture. In this way, architecture should celebrate and enhance the places it transforms. It’s a paradigm few would disagree with — yet one that’s rarely reflected in how we build.
A neo-colonial conception of modernity still shapes buildings around the world. It’s a flat, globalized approach in which a tower in Toronto is similar to one in Shanghai, and in which the glass used for a New York skyscraper can be nearly indistinguishable from the cladding of a residential building in Mombasa. This is an architecture that does not earnestly strive to understand places, people and traditions, but seeks to pursue a vision of universal modernity which finds its expression in a detachment from local knowledge.
So how can architecture celebrate cultural diversity? As a Somali practitioner — and principal of Mogadishu-based DO Architecture Group — my answer is always rooted in the local community. And appropriately enough, it’s reflected in a recent project that brought together food and architecture: In 2019, I designed a restaurant called Salsabiil in the outskirts of Mogadishu.
From outside, Salsabiil’s façade appears modest and simple — almost private and introverted. But like an old book cover with layers of dust on its surface, a surprise awaits inside. Crisp white walls, ceilings and floors greet visitors as they enter, with the room framed by plantings that hint at the once-abundant local greenery that’s been lost through decades of deforestation.
Mogadishu was once known as “The White Pearl of the Indian Ocean” for its white buildings, beautiful palm trees and stunning blue coastal waters. As a reminder of the city before the civil war, the restaurant interior is pure and clean, white and simple. Decorating this crisp white canvas, traditional Somali fabrics adorn the pillows and upholstery, including the textiles traditionally used for women’s dresses (a fabric called Halindi) and men’s macawiis sarongs.
The motif also extends to the ground floor restrooms, where fabric patterns traditionally associated with men’s and women’s clothing are used as door coverings. In lieu of formal signage — and the western gender binary that it reflects — the restrooms are rooted in the culture and tradition of Somalia. Regardless of age or social background, the designs are a signifier that every local person knows.
Throughout the restaurant, photos portraying scenes of daily life in pre-war Mogadishu guiding visitors through a visual journey of stories and nostalgia. Designing Salsabiil was also a personal journey through my own culture and identity. I explored and studied things that I’d never had the possibility to experience — from discussing old ways of building furniture with community elders to finding the appropriate pictures to frame, the creation of this space was an adventure.
As a resident of Mogadishu, my hope is that Salsabiil continues to serve as a local landmark and a meeting place for the community — and as a representation of the cultural identity of Somalia. As an architect, I hope it offers a modest case study of integrating architecture and culture, demonstrating the power of weaving cultural identity and social fabric into the built environment. I didn’t want to impose a design vision on the community; I wanted the community’s culture to become the main protagonist of the space. It’s a contemporary environment, but one strongly rooted in tradition.
Salsabiil’s case is not unique in the world. It doesn’t matter if you are in Somalia, New York City or the mountains of Peru. If we understand the knowledge embedded in culture, community and history, then we also understand how to make a humble but substantial architecture — an architecture that embraces its environment. On a global level, it translates to an embrace of the world’s cultural diversity. Like local cuisines, local designs are something to celebrate.
On Twitter, I’ve documented the tremendous variety of African architecture, chronicling how vernacular building styles offer a culturally rich and climate-sensitive response to local conditions. From humble residential interiors to major cultural landmarks, traditional structures across the continent present diverse alternatives to the ubiquitous — and carbon-intensive — concrete, glass and steel design introduced in the colonial period. And today, globally renowned African practitioners like Diébédo Francis Keré and Mariam Kamara are introducing traditional methods into contemporary practice, nourishing richer and more culturally responsive new architectural traditions.
My own practice follows the same principles. To me, designing for a better future means embracing locality and diversity. In this way, I hope the design process itself can — directly or indirectly — become a means to fight climate change, racism, inequality, poverty and much more. Of course, these are large and intractable problems, and their solutions lie far beyond the drafting table alone. But I know this much for a start: The architecture of the future is not made of glass and steel, but of community, culture and diversity.
Omar Degan is a Somali Architect, Principal and founder of DO Architecture Group, an office specialized in post-conflict reconstruction and cultural diversity. Born in 1990, Omar has dedicated his career in the study of emergency contexts and developing countries, focusing on the interactions between culture and architecture. In 2021, he was selected as one of the African Leaders by the Obama Foundation, recognizing his work in the post-conflict reconstruction of Somalia.
As Egypt promotes the trail of the Holy Family as a major tourist experience, Ahram Online republishes an account of stops and cities where the Virgin Mary, Joseph and Jesus found safety and shelter in the country.
“Now when Jesus was born in Bethlehem of Judaea in the days of Herod the King, behold, there came wise men from the east to Jerusalem, saying, Where is he that is born King of the Jews? For we have seen his star in the east, and are come to worship him.”
(Matthew 2:1-2)
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The story of the holy family’s journey from Palestine to Egypt has long been recorded with dedication by historians and authors around the world. Many look upon the journey as a mark in the history of Egypt, not merely a religious event. Egyptians look with fondness and pride on the passage of the holy mother and her child through the land of Egypt, and the fact that they found solace here.
The flight to Egypt
The Virgin Mary gave birth to Jesus in Bethlehem of Judaea in Palestine. Upon his birth, wise men preached to the people of the city, declaring that Jesus was the chosen one, and that, “according to prophecies” they had seen in the stars, he would become the next king of the Jews. Upon hearing the news, King Herod was overcome by terror at the possibility of losing his throne. He decided that killing Jesus was the only way to protect his royal status.
In a dream, Joseph, the carpenter, was ordered by God to escort Jesus and his mother to Egypt, where they would find refuge. Both Western and Eastern traditions agree that the method of transport most likely used by the holy family on their journey to Egypt would have been a donkey. In this situation, the Virgin Mary would have been seated on the donkey, holding the child Jesus in her arms and Joseph would have walked by their side, leading the way.
The holy family in Sinai
Keller writes in his book, The Bible as History (1955): “A day’s journey from Gaza brought the holy family to the ancient township of Jenysos, which is mentioned by Herodotus, the Greek historian.” Today, this village, which is part of the Gaza Strip, is known as Khan Younis. “The next town on the holy family’s route would have been Raphia (Rafah), the frontier town between the Gaza Strip and the province of Egypt.”
Continuing for another 44 kilometres, beyond Raphia, and after almost two days of traveling, the mother and child reach Wadi Al-Arish, a point at which they are safe enough to obtain food and shelter. The holy family passes by other towns in Sinai such as Al-Muhammadia and Al-Farma, located 35 kilometres east of El-Qantara City. Churches from the 5th and 6th century have recently been discovered in Al-Farma.
Route to the Nile Delta
The holy family continued on its trip to the Nile Delta, stopping at the city of Musturod, only 10 kilometres from Cairo. “The Virgin Lady”, a 12th century church, was found in the city.
Keller adds in his book: “The city of Musturod was again visited by the holy family on their return journey to Palestine.” After leaving Musturod and passing by Belbes, the holy family travel west to the Valley of Natroun, crossing the western branch of the Nile (the Rasheed branch).
The holy family in Cairo
The movie Journey of the Holy Family portrays the settlement of the blessed family in Al-Mataraya district near Ein Shams (Old Heliopolis). They find shade under a sycamore tree that came to be known as “Mariam’s Tree,” which has evolved into an engrossing attraction for religious tourists. The holy “Mayron oil,” or the “Chrism,” is nowadays prepared from the oil of the tree.
An ancient church was built in the area by the name of “The Virgin Mary” and is visited by people to this day. Paintings can be found inside the church, including maps of the holy family’s journey, as well as a statue of Jesus and his blessed mother guarded by Joseph the Carpenter.
In his book The Geography of Coptic Egypt (1989), French historian Amelenio narrates some of the stories passed down about the miracles of “Mariam’s Tree.”
One such story tells how “the French army sat by the tree, drank from its well and wrote their names on its stems.” It is believed that some of the wounded soldiers were healed by its oil. Amelenio adds: “Al-Matarya district became the most popular shrine in Egypt; a place where people flooded to for blessings and spiritual remedies.”
The second district visited by the holy family in Cairo was Al-Zeitun, where a church by the name “The Virgin Mary” was constructed in Toman Bey Street. It is said that appearances of the blessed lady were witnessed around the domes of the church up until recent years.
Another spot visited by the holy family was Zowela Avenue on at Been El-Soreen Street in El-Gamaleya district. An ancient church is found there with the same name, “The Virgin Mary”. It is considered one of the largest churches in Egypt and is distinguished by its basaltic style.
The holy family moved on to “Old Egypt” (Al-Fustaat) where they dwelled for a short time in a cave in Abi Serja’s Church, within the walls of the Roman Babylon fortress. “The cave is about 20 feet tall, 15 feet wide and does not have any windows,” as described by Amelenio, who believes the holy family’s stay in the cave did not exceed a week. After leaving Al-Fustaat, they moved to Maadi district and settled at the location where the Virgin Mary Monastery and church were later built by the Nile.
Amelenio explains that during Ottoman rule in Egypt, the church had a marina for boats allocated for the transport of people and soldiers traveling to and from Egypt. Some villages in Upper Egypt were visited by the holy family such as Assiut and Minya. In the book History of the Coptic Nation, author Samy Saleh records that the holy family took the same route on their journey back to Palestine. They first go to Maadi, passing through Old Egypt, then follow the road to Ein Shams, back to the city of Mustorod, and finally El-Arish, and from there to Gaza.
The trail of the blessed
At present, many Egyptian historians and archeologists are calling for a project to track each town or city visited by the holy family, so as to make it easier for tourists to visit the blessed spots, thus reviving the symbolism of the holy journey and its message of peace and goodwill to all men.
The Iraqi scholar Suhad Yasin has waged a long battle against financial and administrative obstacles to continue her work on purifying polluted water.
Her graduate studies started later than most and became a long journey over 13 years of dropping out and restarting, but she persevered. Two years ago, the University of Duhok awarded her a doctorate in polymer chemistry.
Now Yasin works from an independent laboratory she set up at the University of Duhok, where she and her students use cheap, available materials to treat polluted water.
Iraq, like many Arab countries, suffers from water scarcity and stress. One study predicts the Tigris and Euphrates rivers will dry up completely by 2040.
Apart from the scarcity issue, some Iraqi waterways also face problems with contamination by heavy metals like aluminum, cadmium and chromium, adding urgency to research like Yasin’s.
An Interrupted Academic Journey
In an interview with Al-Fanar Media, Yasin described her career in industry and academe.
After obtaining her bachelor’s degree in chemistry at the University of Mosul in 1993, she joined a laboratory in a local pharmaceutical factory, eventually becoming production manager.
As violence increased in Mosul over the next decade, however, Yasin was forced to return to her family’s home city of Duhok in 2006. She got an administrative job at the Ministry of Industry of the Kurdistan Region of Iraq.
But she did not find administrative work satisfying, Yasin said, so she took a competitive exam to study for a master’s degree at the University of Duhok.
By then a wife and mother, Yasin faced challenges in studying at the University of Duhok, both with learning in English and in overcoming the skepticism of some academics. Her thesis supervisor questioned her ability to complete the work. “He told me, ‘I regret being involved in the supervision of your thesis. It will be difficult for you to complete your studies at your age because of your family responsibilities.’”
But Yasin said his words only increased her motivation. “I needed to prove to my supervisor and myself that I was not a problem, but an energetic researcher who had missed an opportunity,” she said.
Yasin got her master’s degree with excellence in 2009 with a thesis on removing chromium from water using modified pomegranate peel .
Starting from Scratch on a Ph.D.
She then applied to transfer from her job at the ministry to work as an assistant teacher in the chemistry department of the University of Duhok’s Faculty of Science.
She taught at the University of Duhok for six years but was not given an opportunity to pursue a Ph.D. because the university lacked facilities and funds for research in her specialisation. Throughout this time, she continued her research on purifying polluted water.
In 2015, the university offered her an opportunity to pursue a doctorate and she took it. There was considerable opposition to her studying for a Ph.D. at the age of 50, but she managed to convince the head of the department.
Based on the advice of her master’s supervisor, who had changed his mind about her ability, she chose nanofiber technology as the subject of her doctorate. Her new supervisor initially opposed the idea, saying the university could not afford the materials required for research on this topic. But he finally relented when she persisted.
Yasin said she had nothing but the lab walls when she started her doctoral research: no equipment, devices, or “cofactors”, molecular compounds needed in certain chemical reactions. “The resources were almost zero,” she said. “I had to buy everything myself and start from scratch.”
Lining up Support
Yasin contacted professors and scholars from various Arab countries to ask for help. By chance, she heard of a physics professor at the University of Basrah who had designed a device that would help her with her research. “I contacted the professor at the University of Basrah immediately and she agreed to help me,” Yasin said.
Yasin then had to convince her dean at the University of Duhok to manufacture a similar device so she could work. He agreed, but she still needed funding for her research.
She wrote to several international organisations asking for financial support and eventually received a three-year grant of about $207,000 from the National Academy of Sciences in the United States, in 2018. She used the money to establish an independent laboratory at the University of Duhok to conduct her research on using nanomaterials to treat water.
Yasin acknowledges that funding scientific research is a general problem in Arab countries, but she insists that scholars themselves have a duty to find funding for their research.
“We must not stand idly by. I work day and night to get new financial support,” she said. “With each refusal, I realise that I have to work more.”
Suhad Yasin, of the University of Duhok, overcame many obstacles during 13 years of interrupted graduate study to continue her research on purifying polluted water. (Photo courtesy of Suhad Yasin)
Dr. Abdulaziz bin Mohammed Alsubayel, chairman of the board of trustees of the King Abdulaziz Center for National Dialogue and secretary general of the King Faisal International Prize, has won the cultural pioneer award during the Ministry of Culture’s second session of the “National Cultural Awards.”
He received the prize in recognition of his distinguished literary and cultural career, as well as his roles in cultural administration, where he held a number of leadership and academic positions while serving Saudi culture, intellectuals and literature.
The event was held under the patronage of Saudi Crown Prince Mohammed bin Salman.
A global prize, called the “international cultural excellence award,” will be launched in the next session of the event, organizers announced. The award will recognize and celebrate global and regional cultural personalities and institutions that enrich the cultural landscape, and reaffirms the Kingdom’s determination to open new avenues for cultural creativity and expression and encourage cultural dialogue with the world.
Deputy Culture Minister Hamed bin Mohammed Fayez said in a speech delivered on behalf of Saudi Minister of Culture Prince Badr bin Abdullah bin Farhan: “I am delighted to welcome you to the Capital of Culture, the Beacon of Knowledge, and the Oasis of Art in a cultural event in which we celebrate the creative personalities, with the support of the Custodian of the Two Holy Mosques and the patronage of His Highness the Crown Prince, who is supportive of our culture and the champion supporter of it.
“The historical depth and civilization of our homeland and the creativity of our people have put the Kingdom in an advanced cultural place, which enabled the Ministry of Culture to highlight our creative treasures as per the Vision 2030,” he said.
Fayez said: “The National Cultural Awards initiative was an inspiration for creators and an essential pillar for further advancement of cultural and cognitive development.”
Cultural sector award recipients were also recognized.
Kifah Bu Ali won first place in the literature prize while Jarir Bookstore won the publishing award. Shareef Bogona, a translator and poet, won the translation award while Samira Alotaibi won the fashion award. Ahmed Alneghaither, a researcher in drawings and engravings, won the national heritage award and Abdulsamad Alhawsawi won the culinary art award.
Badr Al-Hamoud, a writer and filmmaker, received the “youth cultural” award for his efforts in the film industry, publishing initiatives, translation and technical projects. He founded the Center Menaverse for Innovation and Development, the world’s first center to interactively disseminate cultural products, and has established a platform called “Meaning” to spread knowledge, artistic and philosophical content. He managed the translation projects of 30 books in philosophy and humanities.]
Kifah Bu Ali won first place in the literature prize while Jarir Bookstore won the publishing award. Shareef Bogona, a translator and poet, won the translation award while Samira Alotaibi won the fashion award. Ahmed Alneghaither, a researcher in drawings and engravings, won the national heritage award and AbdulsamadAlhawsawi won the culinary art award.
Artist Muhannad Shonu won the visual arts award while Ali Khobrani won the theater and performing arts award. Bandar Bin-Obaid won the music award while Faisal Battoyoor won the film award and Muhammed Shafea won the architecture and design award.
The Diriyah Gate Development Authority won the cultural institutions award in the state sector while the Misk Institute of Art won the cultural institutions award in the non-profit sector. The Music Home School of Art won the cultural institutions award in the private sector.
Ahmed Qirran Al-Zahrani, deputy dean of communications and information for graduate studies and academic research at King Abdulaziz University, told Arab News that nations founded on cultural legacy were able to elevate their homelands to the forefront of the cultural landscape around the world.
Cultural symbols deserved to be honored and acknowledged for their contributions to the nation, as well as to preserve cultural memory and encourage future generations to follow in their footsteps, he said.
Al-Zahrani said that the Ministry of Culture had a significant obligation to revitalize heritage, assist the cultural movement and financially and morally encourage intellectuals.
The cultural movement was evident in domestic cultural activities such as organizing book fairs, holding cultural festivals, holding conferences, supporting cultural institutions, honoring intellectuals, participating in outdoor cultural events and supporting intellectuals individually participating in festivals, meetings and outdoor exhibitions to represent and communicate local culture beyond geographical boundaries.
Abdulaziz Al-Kheshaiban, chairman of the board of the Media and Public Relations Society in Onaizah, said that recognizing local cultural symbols was connected with recognizing cultural pioneers, creators and achievers.
He said that the cultural movement was witnessing a diversity of platforms, and that official literary clubs, private literary meeting places and cultural cafes were the most important of these.
Al-Kheshaiban said that education and knowledge were important in the evolution and progress of cultures.
source/content: arabnews.com (headline edited)
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The National Cultural Awards ceremony was held under the patronage of Crown Prince Mohammed bin Salman. (SPA)
Algeria won the 2022 U-17 Arab Cup after beating Morocco on penalties in the final at Abdelkrim Kerroum Stadium in Sig on Thursday night, September 08th..
The match had ended 1-1 in front of 20,000 people, and extra time brought no further goals, before the host nation won 4-2 in the deciding shootout.
Morocco took the lead on 51 minutes through Mohammed Rachidi and were within seconds of winning the trophy, but Ismael Chehima scored a 90th minute equalizer.
In the shootout, Morocco missed twice to Algeria’s one, much to the delight of the large home crowd in attendance.
Algeria had reached the final by beating Saudi Arabia 5-4 on penalties after their semifinal clash had finished 0-0, while Morocco overcame Yemen 2-0.
source/content: arabnews.com (headline edited)
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Hosts Algeria have won the 2022 Arab Cup U-17. (Twitter: @UAFAAC)
