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The fonts, celebrating the Kingdom’s culture, will be available free of charge.
The Ministry of Culture on Monday launched an initiative creating three new Saudi fonts.
The fonts, celebrating the Kingdom’s culture, will be available free of charge to individuals and organizations wishing to use them in design, artistic, and creative works, the Saudi Press Agency reported.
The Masmak font has been named after the historic Masmak Fortress, characterized by its durability and strong structure. The font has been described as clear and easy to read and was developed without reference to traditional calligraphy methods, the SPA said.
The second new font, Al-Naseeb, resembles handwritten notes, and has been recommended for use in headlines, texts, literary works, poetry, and children’s stories.
Watad, the third font, was inspired by the tent peg with its letters having curved corners. Its suggested use was for text relating to festivals and sporting events.
The Ministry of Culture launched the initiative in celebration of the Arabic language. In a statement, it said: “It is introducing a unique touch that gives a Saudi identity to Arabic fonts and celebrates Saudi heritage and cultural symbols.”
Within the alienated and antagonist cultures inside Israel’s borders, Arabic and Hebrew—related, but mutually unintelligible languages—cross-fertilize each other.
“Translation” originally meant moving a body. Dead saints and live bishops, for instance, were translated from one place to another. Today, we mostly only use “translation” to mean words transported into other languages, where, unlike bodies, they often change completely.
When Anton Shammas’s Arabesques was first published in 1986, it crossed a notable translational fault line. It wasn’t the first Hebrew-language book written by a Palestinian in Israel, but it became the most famous. The best-seller’s English translation made it to the New York Times’s seven best novels of the year in 1988, but it’s the Hebrew original that drew the attention of scholars Adel Shakour and Abdallah Tarabeih.
“Almost all Israeli Arabs have at least some Hebrew proficiency, and the language is taught in Arab schools,” they explain. “For Israel’s Arab citizens, Hebrew is the key to the dominant Jewish majority and most of its social, financial, and educational resources; it is therefore essential in the minority’s daily life.”
Modern Hebrew is the official language of Israel. The minority Palestinians have a complicated relationship to the majority’s language. Living in Israel means Hebrew is a necessity, but Palestinian identity is intimately connected to Arabic. The language of “Islamic liturgy and the Quran” has a high status among Israeli Palestinians, the majority of whom are Muslim.
“Israeli Jewish society appears to perceive Arab culture as inferior, less modern, and less sophisticated,” write Shakour and Tarabeih, an attitude that includes Arabic. Hebrew, meanwhile, is intimately connected to the identity of Israeli Jews, who in the larger Middle East are a language, religious, and ethnocultural minority.
The fraught relationship between a Jewish state and the non-Jews within it as well as surrounding it, language-wise, meant “Hebrew attained prominence in the non-Jewish literary sphere only in the 1980s, with the works of Anton Shammas, a Christian, and Naim Araidi, a Druze.” (The first Hebrew novel by an Arab, Atallah Mansur’s 1966 In A New Light, proved to be “a fleeting phenomenon.”)
In the press of linguistic intimacies in Israel, the two Semitic—related, but mutually unintelligible—languages cross-fertilize each other, even in the “mutually alienated cultures” found within the state’s borders.
Shakour and Trabeih note that Palestinian “Arabic has borrowed many Hebrew words and even sentences.” Meanwhile, Hebrew, which was revived and modernized in the nineteeth and twentieth centruries, has adopted words from Arabic, as well as a host of other languages including Aramaic, Yiddish, Ladino, Polish, Russian, English, and so on.
Shammas, a noted translator of Arabic into Hebrew (especially of Emile Habibi), is a conscious language bridge-builder between the two languages. Part of this language-bridging means he invents neologisms, new words, in Hebrew.
As Shakour and Tarbeih detail, “Shammas creates new verbal forms in Hebrew by deriving them from nouns along the lines of such derivation in Arabic.” Their first example adds another language to the mix: “the Arabic verb šaksbaranī derived from the noun Shakespeare leads him to use the same derivation in Hebrew.”
Such neologisms can make texts “more obscure” to native readers of a language who have never encountered the word before. Shammas does it to “give the work a highly authentic flavor” to the Arabic culture he wants to introduce to the Jewish Israeli audience.
Perhaps unsurprisingly, some partisans of both Arabic and Hebrew have criticized Shammas’s translations for daring to speak across antagonistic borders. Some Israeli Jews think only Jews can create Hebrew literature. For them, Hebrew is part of the Jewish national character, part of the Zionist project. Some Palestinians think he’s using the enemy’s language, putting a spin on the Italian saying “Traduttore, traditore.”
The saying, meaning “the translator is a traitor,” is usually meant to signify the compromises necessarily made to help language slip across borders into other words. Of course, both languages here, like most languages, are already infiltrated by each other, something language’s border guards never seem to accept.
An Emirati, a Moroccan, a South Korean, two Brits and three Americans were honored with the King Faisal Prize 2023.
They served people and enriched humanity with their pioneering work so deserve to be honored and recognized for their distinguished efforts, the King Faisal Foundation said when honoring the winners of the King Faisal Prize 2023.
A glittering award ceremony was held in Riyadh on Monday under the patronage of King Salman, and on his behalf, Prince Faisal bin Bandar, governor of Riyadh Region, attended the ceremony for handing over the King Faisal Prize to the winners this year.
The annual awards are the most prestigious in the Muslim world and recognize outstanding achievement in services to Islam, Islamic studies, Arabic language and literature, medicine and science.
This year an Emirati, a Moroccan, a South Korean, two Brits and three Americans won the prestigious prize, which in its 45th session recognized COVID-19 vaccine developers, nanotechnology scientists and eminent figures in Arabic language and literature, Islamic studies, and service to Islam.
The prize for service to Islam was awarded jointly to Shaikh Nasser bin Abdullah of the UAE and Professor Choi Young Kil-Hamed from South Korea.
The prize for Islamic studies was awarded to Professor Robert Hillenbrand from the UK.
The prize for Arabic language and literature was awarded to Professor Abdelfattah Kilito of Morocco.
The prize for medicine was awarded jointly to Professor Dan Hung Barouch from the US and Professor Sarah Catherine Gilbert from the UK.
In his acceptance speech, Barouch said, “The Ad26 vaccine for COVID-19 demonstrated robust efficacy in humans, even after a single shot, and showed continued protection against virus variants that emerged. This vaccine has been rolled out across the world by the pharmaceutical company Johnson & Johnson, and over 200 million people have received this vaccine, particularly in the developing world.”
Gilbert said that she was “humbled to join the other 2023 laureates, and to follow-in the footsteps of the men and women whose work has been recognized by the foundation for more than four decades. This award is in recognition of my work to co-create a vaccine for COVID-19. A low-cost, accessible, efficacious vaccine that has now been used in more than 180 countries and is estimated to have saved more than six million lives by the start of 2022.”
The prize for science was awarded jointly to Professor Jackie Yi-Ru Ying and Professor Chad Alexander Mirkin, both from the US.
Ying’s research focuses on synthesis of advanced nano materials and systems, and their application in biomedicine, energy conversion and catalysis.
Her inventions have been used to solve challenges in different fields of medicine, chemistry and energy. Her development of stimuli-responsive polymeric nanoparticles led to a technology that can autoregulate the release of insulin, depending on the blood glucose levels in diabetic patients, without the need for external blood glucose monitoring.
“I am deeply honored to be receiving the King Faisal prize in science, especially as the first female recipient of this award,” she said in her acceptance speech.
This year two women scientists have been honored as winners of the King Faisal Prize for medicine and science categories.
The woman behind the Oxford–AstraZeneca COVID-19 vaccine, Professor Sarah Gilbert, the Saïd chair of vaccinology in the Nuffield department of Medicine at Oxford University, was honored with the medicine award.
The other woman scientist honored with the King Faisal Prize in science is Professor Jackie Yi-Ru Ying; the A-star senior fellow and director at NanoBio Lab, Agency for Science, Technology and Research. She is a professor at Massachusetts Institute of Technology, and was chosen for her work on the synthesis of advanced nanomaterials and systems, and their applications in catalysis, energy conversion and biomedicine.
The King Faisal Prize was established in 1977. The prize was granted for the first time in 1979 in three categories: Service to Islam, Islamic studies and Arabic language and literature. Two additional categories were introduced in 1981: Medicine and science. The first medicine prize was awarded in 1982, and in science two years later.
Since 1979, the King Faisal Prize in its different categories has awarded 290 laureates who have made distinguished contributions to different sciences and causes.
Each prize laureate is given $200,000 (SR750,000); a 24-carat gold medal weighing 200 grams, a certificate inscribed with the laureate’s name and a summary of their work that qualified them for the prize, and the certificate signed by chairman of the prize board, Prince Khalid Al-Faisal.
Russian ambassador to Egypt Georgiy Borisenko has awarded the Dostoyevsky Medal to Anwar Ibrahim – the under-secretary of the Ministry of Culture and former head of the ministry’s Foreign Cultural Relations Department – for his work in translating Russian literature into Arabic.
The honouring ceremony took place at the headquarters of the Russian Embassy in Cairo on 6 March. It was attended by a delegation from the Egyptian Association of Graduates of Russian and Soviet Universities headed by Sherif Gad.
Ambassador Borisenko expressed appreciation for Ibrahim’s efforts in translating classic and contemporary Russian literature into Arabic, thereby promoting Russian culture.
“The Arab reader is lucky when he reads translated Russian literature through creative translators like Anwar Ibrahim,” Borisenko said.
Borisenko wished Ibrahim continued success in his literary career, which he described as part of the soft power between Russia and the Arab peoples.
The Dostoyevsky Medal was established by the Russian Writers Union to be awarded to translators on the occasion of the 200th anniversary of the birth of the great Russian writer Fyodor Dostoyevsky, who is one of the most iconic writers of the Russian literary canon.
For his part, Ibrahim said that “this honour is a new birth for me, and I am extremely proud of receiving the Dostoyevsky Medal.”
Toghan, Secretary-General of the Association of Graduates, affirmed that the award for Ibrahim is a tribute to all graduates of the association, especially since Anwar is the first Arab to receive the prestigious medal.
Dostoyevsky, who was born in 1821 in Moscow and died in 1881 in St. Petersburg, gave up an engineering career early in order to write.
In 1849, he was arrested for belonging to a radical discussion group and was sentenced to be shot. He was reprieved at the last moment and sentenced to four years of hard labour in Siberia, where he developed epilepsy and experienced a deepening of his religious faith.
Dostoyevsky’s novels are especially concerned with faith, suffering, and the meaning of life; they are famous for their psychological depth and insight and their near-prophetic treatment of issues in philosophy and politics.
By the end of his life, he was acclaimed as one of his country’s greatest writers, and his works had a profound influence on 20th-century literature.
The world’s longest calligraphic mural has been installed on the road leading to Makkah’s Grand Mosque, in the latest beautification of the holy city.
The 75-meter mural, designed by artist Amal Felemban, joins a host of sculptures and installations already adorning Makkah in a project run by local authorities to boost its visual appeal and depict Saudi heritage and culture for pilgrims.
Felemban told Arab News that it was important to retain and promote the ancient art of mural painting, as it portrays Saudi culture and aesthetics and links the old world with the modern.
“In the modern era, they brighten up streets and cover some of the ugliness of the gray buildings,” she said, adding that murals and sculptures reflected the true spirit of the city.
“My mural tells the story of the urban heritage in the holy capital, as it received a wonderful echo of this authentic Hijazi art, and it is different from the rest of the murals near large mosques,” she said.
HIGHLIGHTS
• The Municipality of Makkah installed the longest calligraphic mural in the world on King Abdul Aziz Street, the road that leads to the Grand Mosque.
• Artist Amal Felemban shared that murals are one of the oldest forms of art that can beautify the streets and show local culture and heritage to pilgrims and visitors.
“Mine are not letters or poetic verses, but were rather inspired by the authentic urban culture of this country.
“Many pilgrims do not have a sufficient knowledge about Saudi Arabia, nor about our culture and civilization, so we need to show it through arts, murals and sculptures.”
Felemban said that the municipalities in all Saudi regions must pay great attention to this form of art, which reflects Saudi culture and attracts more tourists.
“Millions of visitors from all over the world will flock to our beloved Kingdom, which requires us to show our heritage and culture properly.”
My mural tells the story of urban heritage in the holy capital.
Amal Felemban, Artist
Artist Badr Al-Sulaimani said that the murals and sculptures in the holy city bring joy and pleasure to the hearts of pilgrims from all over the world.
He added that they helped highlight many creative artists from inside and outside the Kingdom in various competitions and bring a historical dimension to contemporary art.
“This proves the importance of employing arts and creating an attractive artistic environment, using all the techniques that contribute to providing a cultural and artistic dose for passers-by,” Al-Sulaimani said.
The Municipality of Makkah organizes competitions for painting murals and drawing Arabic calligraphy, which it describes as one of the most significant written and visual arts which is associated with the Holy Quran.
A team from Umm Al-Qura University’s Department of Visual Arts is also participating in improving the city’s landscape.
source/content: arabnews.com (headline edited)
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The beautification of Makkah continues with new murals adorning street walls on the way to the Grand Mosque. (SPA photos)The murals feature Arabic calligraphy, a pillar of Islamic art. (SPA)
The 12th edition of the Luxor African Film Festival (LAFF) kicked off on Saturday in the great southern Egyptian city of Luxor with the attendance of dozens of celebrities, filmmakers and critics.
Running until 10 February, the LAFF will host screenings of over 50 films from 31 countries participating in its various competitions and parallel programs, as well as a number of talks and seminars.
During the opening, the festival’s organisers honoured Egyptian actors Mohamed Ramadan and Hala Sedky, Egyptian composer Hesham Nazih, Senegalese director Mansour Sora Wade, and Mozambican producer Pedro Pimenta.
A number of late artists were also celebrated, including Egyptian actor Salah Mansour, Algerian actress Chafia Boudraa, and Tunisian actor Hichem Rostom.
LAFF will pay tribute to Senegalese cinema and its filmmakers, as Senegal is the country guest of honour for this edition.
Under the helm of the LAFF founder, scriptwriter Sayed Fouad, the festival is hosting 10 cinema workshops in different disciplines.
Many prominent African filmmakers and actors are members of the various juries.
With 12 films competing, the long narrative and documentary film jury committee comprises Senegalese director Mansour Sora Wade, Tunisian director Sonia Chamkhi, Moroccan actress Amal Ayouch, Egyptian screenwriter Abdel-Rahim Kamal, and Egyptian producer Mohamed Hefzy.
The slogan of LAFF’s 12th edition is ‘Cinema is the Quest of Immortality’. This slogan is reflected in the festival’s poster design by Mahmoud Ismail Abou Al-Enin, which depicts boats sailing towards the sun and to the Nile’s West bank of Luxor, where funerary temples and tombs are filled with inscriptions representing ancient beliefs in eternal life after death.
With Filmmaker Azza Elhosseiny as LAFF’s co-founder and executive director, star Mahmoud Hemeida continues as the honorary president in this edition.
Since its founding, the festival has aimed “to spread awareness about the importance of cinema in Africa and the world.”
In its eleventh edition, the LAFF screened 45 films from 35 countries in the competitive segments.
The LAFF is organised by the Independent Shabab Foundation with the support of the Egyptian ministries of culture, tourism and antiquities. LAFF also takes place in cooperation with Luxor governorate, the Film Syndicate, and numerous sponsors.
“Tears in my eyes as I listen to the last broadcast by BBC Arabic, closing down after 85 years. It meant so much to so many people here over the decades,” tweeted British journalist Jim Muir, Middle East correspondent for the BBC News, “Now the airwaves are dead. End of an era.”
BBC’s Arabic radio service officially ended its decades-long broadcast on Friday, leaving behind a legacy that many believe to be everlasting.
The station launched in early 1938 as the BBC Empire Service’s first foreign language radio broadcast.
“BBC Arabic will always be a beautiful picture from the good old days; its professionalism a great education and its stars exceptional mentors and examples to follow,” journalist Eyad Abu Chakra told Arab News.
He added that the radio station was his father’s favorite. “Despite his reservations on some of its political coverage and views, he always admired its professionalism, informative program, and high caliber presenters,” he added.
“I grew up admiring several names, whom I was later honored to meet and befriend after settling in London in the fall of 1978,” Abu Chakra continued, “the Bush House canteen was one of my favorite meeting places in the late 1970s. It took me short walks from my Asharq Al-Awsat office in Gough Square and, later, High Holborn, to Bush House, where I enjoyed the hospitality of the BBC giants of the day.”
“To name just a few of my BBC dearest friends, departed and alive, there were the greats Musa Beshuti, Akram Saleh, Hassan Al Karmi, Nadim Nasser & Madiha AlMadfa’i, Majed Serhan, Huda Al-Rasheed and many others.”
Many journalists and public figures took to Twitter to express grief and share fond memories of BBC’s Arabic radio station. Some believed the event marked a decline in the United Kingdom’s soft power while others recalled their days at the studios.
“It’s far beyond sad and painful to see BBC Arabic radio shutting down today,” wrote Egypt-based BBC Arabic correspondent Sally Nabil on Twitter.
“It’s incredibly difficult to describe how we feel!” She added.
Amal Mudallali, former permanent representative of Lebanon to the UN, said: “As someone who worked for the BBC Arabic, I do not understand the decision.
“It is the only thing people know and remember about Britania, as we call it, in the region for generations.”
The final words and signature statement of BBC Arabic radio presenter Mahmoud Almossallami, “Huna London” (This is London), seems to have brought tears to many eyes.
Almousallami’s daughter, Osha, wrote: “I grew up listening to my dad presenting on BBC Arabic, and now here he is, presenting the final hour of BBC Arabic before it’s closed and taken off the air.
“It really is the end of an era.”
The head of David Nott Foundation, Elly Nott, wrote: “Huna London no more,” hailing BBC Arabic radio for helping her to learn its language.
BBC News Lead Technical Operator Jack Mooney shared a footage showing the last moments as the Arabic news network went off the air, while sound producer Tome Roles wrote: “I’ll always treasure the magic of sitting in a tiny studio at 3 am in London, picturing the sun rising thousands of miles away, and wondering about the lives of those tuning in.”
“It’s a painful moment,” wrote photographer Ali Al-Baroodi.
“BBC Arabic was one of few windows to the world in the time of the economic blockade (in the) 1990s (and) ISIS occupation,” he added, “Iraq was under (a) huge blackout. My father used to stock batteries for his radio in prep for the tough times.”
BBC correspondent Emir Nader shared the last two minutes of the Arabic radio’s final broadcast and wrote: “Today is a tragic day for Arab media… One of many huge losses following cuts in BBC World Service’s budget.”
source/content: arabnews.com (headline edited)
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The online Arabic service will remain. (BBC/Sourced)
Artists from the Middle East are showcasing their work at an exhibition titled “Perceptible Rhythms/Alternative Temporalitie” in Washington, running until April 28.
Sarah Abu Abdallah
The Saudi artist’s “Fortitude” explores issues of obscurity and value, probing the social and cultural conditions of contemporary Saudi Arabia.
Artists from the Middle East are showcasing their work at an exhibition titled “Perceptible Rhythms/Alternative Temporalitie” in Washington, running until April 28.
The leading Iranian-born artist’s “Study for a Monument” presents bronze-cast reproductions of flora native to modern Iraq whose environment has been decimated by decades of political and ecological turmoil.
Jeddah’s inaugural Islamic Arts Biennale celebrates the legacy of Islamic art in a place close to Makkah, the fountainhead and cradle of Islam.
Saudi Arabia witnessed a historic moment with the opening of the inaugural Islamic Arts Biennale, which presented historic and contemporary works of Islamic art from around the world.
On the evening of Jan. 22, the Western Hajj Terminal at King Abdulaziz International Airport in Jeddah was filled with crowds of people waiting in eager anticipation. This was not the usual throng of pilgrims that use the terminal each year to travel to Makkah for the annual Hajj pilgrimage, but one awaiting the beginning of another voyage — a metaphorical one into the realm of Islamic art through the first-ever Islamic Arts Biennale hosted by the Kingdom.
The crowd gathered under the impressive canopies of the Hajj Terminal, designed by Skidmore, Owings & Merrill, which won the 1983 Aga Khan Award for Architecture.
The biennial event, which includes many newly-commissioned and never-before-seen works of art, marked a historic moment not just for Saudi Arabia and the Diriyah Biennale Foundation that staged the event, but for the legacy of Islamic art, which has witnessed hardly any large-scale international exhibitions since the 1976 World of Islam Festival in London.
Jeddah’s inaugural Islamic Arts Biennale celebrates the legacy of Islamic art in a place close to Makkah, the fountainhead and cradle of Islam, while forging a dialogue between the past, present and future through contemporary artworks by 60 established and emerging artists from Saudi Arabia and around the world, and with over 60 new commissions and 280 historical artifacts.
The effect is illuminating, mystical and enlightening in that this biennial, like its theme “Awwal Bait” which means “First House” in Arabic, celebrates the beauty and heritage of Islamic art in the birthplace of Islam.
“The Islamic Biennale, staged in this location at the Western Hajj Terminal, has meaning and anticipation for the future,” Saad Alrashid, a leading Saudi scholar, archaeologist and one of the curators of the event, told Arab News.
“Jeddah is the gate of the Haramain and has a deep history. There is an accumulation of strata of civilization in Saudi Arabia and throughout the ages this area was the crossroads of civilization between East and West and up to the North. Staging the Islamic Biennale here presents to the world the idea of connection between all Muslims and everybody that comes and goes from Saudi Arabia geographically, historically and politically.”
In the same vein, the theme “Awwal Bait” explores how the Holy Kaaba in Makkah and the Prophet’s Mosque in Madinah aim to inspire Muslims both culturally and metaphysically to explore their sense of belonging and ponder the definition of home.
“At its core, the Biennale is about giving contemporary objects a home by giving them a lineage and giving historic objects a home by giving them a future,” Sumayya Vally, artistic director of the Biennale, told Arab News.
“Seeing the Biennale come to life through the voices and perspectives of our artists has been profound,” she added. “Each of them has boldly and sensitively taken on the opportunity of this platform to contribute to an emerging discourse on Islamic arts that we hope will continue.”
Staging the Islamic Arts Biennale was the result of a global effort. More than 18 local and international institutions, including the General Presidency for the Affairs of the Two Holy Mosques, alongside artifacts loaned by other prestigious international institutions with an interest in Islamic Arts, such as Benaki Museum in Athens, the History of Science Museum at the University of Oxford, the Louvre in Paris and the Victoria and Albert Museum in London.
The Biennale was curated by a multi-disciplinary group of specialists, including Omniya Abdel Barr, an Egyptian architect and Barakat Trust Fellow at the V&A, and Julian Raby, director emeritus of the National Museum of Asian Art at the Smithsonian Institution in Washington, DC.
“It was challenging to find objects that have survived that were made in Makkah and Madinah,” said Abdel Barr to Arab News. “We searched within collections to see how we could create a conversation between historic objects while also keeping in mind the contemporary context and this was the most interesting part.”
Regionally, the Diriyah Biennale Foundation has secured loans for the exhibition from institutions such as the King Abdulaziz Library, the National Museum, King Faisal Center for Research and Islamic Studies and King Saud University — all in Riyadh — and Makkah’s Museum of Antiquities and Heritage, the General Presidency for the Affairs of the Two Holy Mosques and Umm Al-Qura University. From the wider region, works have been loaned from the Al-Sabah Collection and Dar Al-Athar Al-Islamiyyah in Kuwait, the Museum of Islamic Art, Cairo, and the Museum of Islamic Art, Doha, among others.
The viewing experience is mystical, like a pilgrimage in itself. It begins in darkness with American Lebanese artist Joseph Namy’s commission “Cosmic Breath” presenting recorded calls to prayer from countries around the world played together, working as if in unison with the installation across the room by Saudi artist Nora Alissa, titled “Epiphamania: The First Light,” which depicts various black and white shots of pilgrims around the Kaaba shot impressively from beneath her abaya. Nearby is an Islamic astrolabe that is positioned towards Makkah. The trio of works mark the first example in the carefully curated show, demonstrating the dialogue generated from historic and contemporary Islamic works of art.
The structure of the Biennale is divided into four galleries and two pavilions that house artworks regarding daily Islamic rituals and Hajj. These sections intend to evoke both personal and collective emotions about the spiritual life of Muslims around the world.
Large-scale, newly-commissioned works are found outside around the terminal’s expansive and evocative canopies, amid rays of sunlight and views of Jeddah that periodically include airplanes taking off high into the sky. The works outside communicate with nature and the Aga Khan award-winning architecture of the terminal itself.
Outside are also the pavilions of Makkah and Madinah, which present material from the Two Holy Mosques, Masjid Al-Haram and from the Hujra Al-Sharifa in Madinah. The focus here is on the initial journey that the Prophet Mohammad and his followers took from Makkah to Madinah to escape persecution. The objects on display, once again a mixture of historic and contemporary, shed light on the sense of universal belonging that ensues from the Muslim pilgrimage and journey home afterward.
Surrounding the pavilions are works by artists including Dima Srouji, Shahpour Pouyan, Moath Alofi, Reem Al-Faisal, Alia Farid, and Leen Ajlan.
Of note is Bricklab’s architectural installation “Air Pilgrims Accommodation 1958” inspired by Jeddah’s historic Hajj housing, which Vally describes as a site that “gathered people from all over the world to stay in one place — a place for cultural production and trade.”
“The idea emanating from the works outside is for them to generate invitations for gathering, for discussion and exchange,” Vally told Arab News.
This is reflected in Tanzanian artist Lubna Chowdhary’s “The Endless Iftar” which is a 40-meter-long table inspired by rituals of eating and gathering from around the world during Ramadan.
Also positioned outside is “My Place is the Placeless” by Iranian London-based artist Shahpour Pouyan, presenting three large-scale differently colored architectural domes that represent the three major traces in the artist’s DNA after he took a test that revealed his origins go beyond his native Iran to include Scandinavia, Central and South Asia, and the Middle East.
“It’s about human interconnectedness in an effort to break down ethnic labels and identities,” Pouyan explained to Arab News.
Like the other works on show, Pouyan’s work reflects not just on Islamic culture but on its universality, its ability to connect beyond the Middle East and offer a unifying force that goes beyond religion, nationality and culture.
As Alrashid states: “Islam is a communication of knowledge and culture.”
He added: “Since the 2030 Vision we sense that we are more welcoming just like the Makkans in the past welcomed visitors during Hajj.
“We are showing the whole world how they can enjoy Islamic art,” he said. “The Biennale is not just an exhibition or something from the past — it continues through culture, through integration with the multiculturalism of Muslims.”
Perhaps the most powerful theme of the exhibition is the idea of Islam and its art across the ages as a physical and metaphorical unifying element that continues to connect diverse cultures and people throughout the world. It is also a way, as Vally stressed to Arab News, “to define what it means to be Muslim from our own perspective, through our own art and culture to the rest of the world and to show how Islam has the power to unite us all, even non-Muslims, through its history, traditions and spiritual practices.”
source/content: arabnews.com (headline edited)
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Ka’bah Door made by Shaikh Mahmoud Yousuf Badr for King Abdulaziz bin Abdulrahman Al Saud in 1947. (AN Photo by Ali Khamaj)
The opening of this year’s Cairo International Book Fair, set for 25 January, comes against a backdrop of a surge in the demand for historical and other non-fiction offerings, as well as uncertainty over an expected rise in prices.
Publishers have already announced an expected considerable hike in the price of books, no less than 50 percent for some titles and much more for others, which they attribute to the tripling in paper prices in less than six months due to the currency devaluation.
“We want to maximise our reach to as many readers with limited budgets as possible,” said Yehiya Fekri of Al-Maraya. Bigger publishers, including Al-Shorouk, Al-Massraiya Al-Lebananiya and Al-Karma, have promised very big discounts on as many titles as possible and special packages for titles that were put out for the book fairs of the past two years.
However, the pricing issue is no less controversial than that of genre. The domination of fiction during over 20 years, which allowed for many new novelists to make an imprint on the contemporary Egyptian and Arab literature scene, is being challenged.
This year, publishers say there is a growing interest in non-fiction, old and new titles alike.
Abdallah Sakr, director of publishing at Al-Mahroussa argued that the limited number of new titles of some branches of non-fiction, “particularly theory,” and the parallel interest of readers prompted his publishing house to gather, revise and reprint the three volumes of prominent 20th century intellectual Louis Awad, Tarikh alfekr almasry (“History of Egyptian Intellect”).
“Those are three big volumes that we worked on for three consecutive years as they were originally published by different publishers with some considerable intervals,” Sakr said.
Sherif Bakr, of Al-Arabi, said that there is a “definite interest in philosophy.” This is why, he added, Al-Arabi decided to publish Arabic translations of titles like Philosophy and Football and Socrates on Sneakers, which he expects to do very well in this year’s book fair.
“Non-fiction, in general, is making a strong come-back; I think we saw a glimpse of this last year with the first post COVID-19 book fair; but clearly this year our list of publications was designed to allow for a considerable number of non-fiction titles,” said Nora Rashad, director of publishing at Al-Massriya Al-Lebenaniya Publishing House.
They had embraced the domination of fiction over the past two decades. However, she added, this year more than last year, non-fiction is gaining ground. “I am not sure where this is coming from because there has always been some really interesting titles coming up in the non-fiction space but it might be a post pandemic thing with people looking for titles that offers some answers to questions they thought about during the pandemic,” she said.
For this year’s book fair, Al-Massriyah Al-Lebnaniyah is offering several non-fiction titles including Ezzat Al-Kamhawi’s Al-Tahi Yaktol Walkateb Yantaher (“The Cook Kills and the Author Commits Suicide”) which is a literary reflection on life and the works of prominent authors and the legacy of some important cooks.
History is also getting a lot of attention this year. With an introduction from Khaled Azzab, a prominent researcher, Al-Massriyah Al-Lebenaniyah is putting out a new edition of Mohamed Farid’s late 19th century Tarikh Al-Dawla Alaliyah Alothmaniyah (“History of the Sublime Ottoman State”) and an Arabic translation of Stanley Lane Paul’s Saladin and the Fall of the Kingdom of Jerusalem.
However, this passion for history is not just a new development that goes hand-in-hand with this year’s renewed interest in non-fiction. According to several publishing houses, this desire for alternative narratives of history has been going on for well over a decade.
Al-Karma has been on with several reprints of history books. For this year, it is putting out a new edition of Souliman Fayyad’s Al-Wagh Al-Akhar Llkhelafa Al-Islamiyah (“The Other Face of Islamic Khalifat”) that challenges the dominant incomplete narratives of almost strictly prosperous Islamic rule to shed light on the images of coercion and discrimination that some faced under the rule of Muslim Khalifas. Another walk in the history lane comes from Al-Karma with Helmy Al-Namnam’s title Yaom Honein – Qiraa Tarikhiya (A History Take on the Battle of Honein). This books promises to be controversial as it addresses an often marginalised battle that Muslims, under Prophet Muhammad, had to go through in a preemptive tactic.
Al-Shorouk, which had previously dedicated an entire series to modern and contemporary history, is also coming in with the most recent title of Mohamed Aboul-Ghar’s Al-Filaq Al-Masry (“The Egyptian Legion”). Typical of the history volumes written by Aboul-Ghar, this book offers a lengthy research work that documents the forced conscription of Egyptian men from villages all across the country to work with the British army during World War I. It details the incredible socio-economic and political consequences that contributed to the start of the 1919 Revolution that called for the independence of Egypt from the British occupation. In a sense, this book could well be part of the rich set of volumes that Al-Shorouk has been putting out for four consecutive years in a bid to re-visit the 1919 Revolution.
Al-Maraya, too, is going to this year’s book fair with several history titles including Nossous Wakirat Hawl Tarikh Al-Capt from the 10th to the 19th centuries (“Texts and Narratives from the History of Copts: 10th to 19th Centuries”) by Magdi Girgus, who was just awarded a prize from the Swairas Culture Foundation for his book Al-Moalem Ibrahim Al-Gohary (“Master Ibrahim Al-Gohary”) on the life and history of one of the most controversial Coptic figures, which was put out last year by Al-Maraya.
Al-Arabi, for its part, is putting out a series of history books under the title of “Papers from History.” “This project is the labour of years of hard work and it includes some translated titles and some titles written in Arabic,” said Bakr. Of these papers there is Mozakerat Aila Massiyhiya bayn Al-Qahira waRas Ghareb (“Memoires of a Christian Family Between Cairo and Ras Ghareb”) by Iliyah Mahfouz Bashir. The book tracks the history of the family of a man who was born to a Christian family in the 1930s in Ras Gharb, next to the Red Sea, where the father was working for an oil company before he retired and dragged the entire family to Cairo.
Also in history, there is also a wide range of memoires, biographies and letter collections. Al-Karma is putting out part two of its massively successful book Akhi Al-Aziz – Morassalat Hussein and Galal 1961-1989 (“Dear Brother – Correspondence of Hussein and Galal Amin – 1961-1989”). Like the first volume that shared parts of letters exchanged by the Amin brothers, a prominent diplomat and intellectual and a prominent economist and writer, the second volume shares reflections on life, politics and culture that were included in letters that they sent to one another as they lived in Egypt and abroad.
Al-Karma is also putting two books that offers alternative narratives on the lives of two key figures of Egypt’s contemporary non-classic poetry: Salah Jahine, the celebrated figure of this year’s book fair, and Ahmed Fouad Nigm. Mona Kattan – Soura Shakhessiya Lezawgat Shaar (“Mona Katta – A portrait of the Spouse of a Poet”) introduces the second wife of Jahine in a narrative that sheds a lot of light on the prominent poet/cartoonist. Meanwhile, Wenta Al-Sabab ya Baba” (“It is All Because of You, Dad”) is the narrative of Nigm’s daughter Nawara, who shares reflections on the father-daughter relationship and the impact thereof on the life of the daughter.
Meawhile, Al-Shorouk is putting out what promises to be one of the most interesting titles of the book fair, Albert Arie -Mozkerat Yahoudi Masry (“Albert Arie – the Memoires of an Egyptian Jew”). The memoires of Arie, who passed away in the spring of last year at the age of 92, offers an incredible insight on the history of Egyptian Jewry in Egypt before and after the 1948 War, including the national affinity that some, including Arie himself, held to the country. It also offers an image of life in Egypt, specifically in Cairo, where Aries was born and lived all his life.
On Cairo, Al-Shorouk is also putting out its Wassat Albald – Maware Elhekayat (“Downtown – Beyond the Stories”), an essential collection of photos that documents the architectural splendor of Cairo. Meanwhile, Al-Ain is putting out Al-Qahera Waomranha (“The urban History of Cairo”) by Nezar Al-Sayyad, a prominent Egyptian-American architectural historian.
Novels with historical inspirations have also been quite fashionable for the past few years. Following a very successful first novel, Yaacoub (“Jacob”) with Al-Shorouk last year, Afifi is putting out his second take with the same publisher at a historical novel Salam Ala Ibrahim (“Peace Be on Abraham”). Like Jacob – which tells a history mixed with fiction in the life of a prominent but highly controversial Egyptian Coptic figure during the French Expedition – Peace Be on Abraham applies the same technique in recalling the history of Mohamed Ali’s son Ibrahim. For its part, Al-Maraya is offering Magued Wahib’s Alam Yahouzah (“The Pains of Judas”) that mixes fiction with history in the account of Judas Iscariot who betrayed Jesus.
Other fiction titles that are expected to get considerable attention at this year’s book fair include Ahmed Samir’s second novel Rassail Al-Ganna (“Letters of Heavens”), Mahmoud Abdel-Shakour’s Alwan Aghostos (“The Colours of August”) from Dawwen and Adel Essmat’s Ayyam Adiya (“Ordinary days”) from AlKotobKhan.
Classics still have a big space in the book fair. Al-Massriyah Al-Lebenaniyah is putting out more reprints of the titles by Ihssan Abdel-Koddous, who, according to Rashad, “did really very well in last year’s book fair.” Al-Diwan is also coming up with more of its Naguib Mahfouz editions, Al-Karma is on with its reprints of Khairy Shalaby and Al-Shorouk is on with its reprints of Tawfik Al-Hakim.
However, according to Bakr, the demand now is for very different types of fiction. So, he said, while novels recalling big political events or documenting certain historical eras or reflecting on personal experiences remain in demand, there is also “a firmly growing demand for criminal novels – including detective novels.” The fact that there is a bigger taste for translated books, “and for that matter better quality translations, allowed for many titles of this genre to be published to please the appetite of a considerable audience of readers in Egypt and elsewhere in the Arab world.”
Meanwhile, according to Sakr, comic books are also “picking up really well.”
“In the past five years Al-Mahroussa has put out over 40 titles that have been essentially very well received by young people – aging from 15 to 30, but also younger and older.” For the book fair this year, Sakr said, Al-Mahroussa is putting out three new comics, including Magdi Al-Shafai’s Al-Gassous Al-Engelizi (“The English Spy”) that depicts early elements of the revolt of Egyptians against British Occupation.
There are over 1,000 publishers who are taking part in this year’s book fair, including 44 publishers from Jordan, this year’s guest of honour.
