Arabs & Arabian Records Aggregator. Chronicler. Milestones of the 25 Countries of the Arabic Speaking World (official / co-official). AGCC. MENA. Global. Ist's to Top 10's. Records. Read & Enjoy./ www.arabianrecords.org
The 44th CIFF’s closing ceremony took place on the stage of the Cairo Opera House on Tuesday evening.
Awards of the 44th Cairo International Film Festival are as follows:
International Competition
The Golden Pyramid Award Alam by Firas Khoury (France, Tunisia, Palestine, Saudi Arabia, Qatar)
The Silver Pyramid Award, Special Jury Award, for Best Director Love According to Dalva by Emmanuelle Nicot (Belgium, France)
The Bronze Pyramid Award For Best First or Second Feature Bread and Salt by Damian Kocu (Poland)
Naguib Mahfouz Award For Best Screenplay A Man (Japan), screenplay by Kosuke Mukai
Best Actor Award Maher El Khair for his role in The Dame by (France, Lebanon, Sudan, Qatar, Germany, Serbia)
Best Actor Award Mahmoud Bakry for his role in Alam (France, Tunisia, Palestine, Saudi Arabia, Qatar)
Best Actress Award Zelda Samson for her role in Love According to Dalva (Belgium, France)
Henry Barakat Award for Best Artistic Contribution (Awarded to the Cinematographer) 19B, cinematography by Mostafa El Kashef (Egypt)
The Horizons of Arab Cinema Competition
Saad Eldin Wahba Award for Best Arabic Film Mother Valley by Carlos Chahine (France, Lebanon)
Salah Abu Seif Award Riverbed by Bassem Breche (Lebanon, Qatar)
Best Non-Fiction Film Award Far From the Nile by Sherief Elkatsha (Egypt, USA)
Best Acting Performance Award Carole Abood for her role in Riverbed ( Lebanon, Qatar)
Special Mention for Film I’m Coming Home by Yassine Redissi (Tunisia)
Special Mention for Best Actress Lyna Khoudri for her role in Houria (France, Belgium)
International Critics’ Week Competition
Shadi Abdel Salam Award for Best Film PAMFIR by Dmytro Sukholytkyy-Sobchuk (Ukraine, France, Poland, Chile, Luxembourg)
Fathy Farag Award Joyland by Saim Sadiq (Pakistan)
Special Mention Victim by Michal Blaško (Slovakia, Czech, Germany)
Short Film Competition
Youssef Chahine Award for Best Short Film Rosemary A.D. (After Dad) by Ethan Barrett (USA)
The Special Jury Award My Girlfriend by Kawthar Younis (Egypt)
Special Mention One F*cking Wish by Piotr Jasiński (Czech)
Special Mention Riverbed by Bassem Breche (Lebanon, Qatar)
CIFF Cash Awards
Best Arab Film Award (USD 10,000) 19B by Ahmad Abdalla, Produced by Mohamed Hefzy (Egypt)
Youssef Chahine Award for Best Short Film (EGP 10,000) Rosemary A.D. by Ethan Barrett (USA)
Youssef Cherif Rizkallah Award (Audience Award, USD 15,000) Alam by Firas Khoury produced by Marie Pierre Macia, Claire Gadéa and distributed in Egypt by Mad-Solutions (France, Tunisia, Palestine, Saudi Arabia, Qatar)
Syrian girl, 7, who survived horrors of civil war crowned Arab Reading Challenge champion.
Sham Al Bakour named sixth winner of prestigious title at Dubai Opera House awards ceremony.
A Syrian schoolgirl who survived a deadly missile attack during the civil war in her country has been crowned Arab Reading Challenge champion in Dubai.
Sham Al Bakour, 7, was only six months old when her family’s car was struck during violence in Aleppo in December, 2015.
Her father was killed while she and her mother survived the horrific attack.
She has now completed a remarkable journey from tragedy to triumph to win words of praise from Sheikh Mohammed bin Rashid, Vice President and Ruler of Dubai.
In footage released by Dubai Media office, Sheikh Mohammed is seen speaking to Sham as she clutches her winner’s trophy at a ceremony at Dubai Opera House on Thursday.
Her success was met with warm applause by a large audience at the Downtown Dubai culture spot.
“She sustained injuries in the head and at the hospital doctors stitched them,” said Sham’s mother, Manal Matar, 33.
“I have been her support along with my family and her father’s family.
“I noticed she had a passion for memorising texts and Quran verses since she was less than three years old so I supported her.”
A young symbol of hope
She said that Sham has been an inspiration for the children in her family and school.
“Her cousins wait to see what she reads to learn from her.
“Her school mates will certainly be inspired. This challenge will help raise a generation that can rebuild Syria.
“Love of reading must start at a very young age.”
The young literature lover read 70 books to win a competition that attracted 22 million entrants from 44 countries.
When asked about what she would do with the Dh1 million prize money, she said she would give it to her mother.
“We haven’t thought of what to do with the money yet. The focus is on Sham, she is my investment for a better future,” Ms Mattar said.
Sham secured top spot ahead of Adam Al Qasimi from Tunisia in second, and Rashid Al Khateeb from Jordan, in third.
Reading is ‘food for soul and mind’
The young winner said reading offers an opportunity to transport yourself to new places with every turn of a page.
“I’m very happy to win and would like to invite all my friends and all young people to read. Reading is food for soul and mind,” Sham said.
“Reading takes you places, every story introduces you to different people and takes you to a new place.”
The youngster impressed judges with the confidence and clarity with which she expressed her ideas and opinions.
“It was a unanimous decision on Sham, who showed confidence,” said Lailah Al Obaidi, professor in Arabic language and literature at the University of Sharjah, and one of three judges.
“Sham will pave the way for the generation of the future because at this young age, she will be a motivation for more young readers in the Arab world.”
The annual winner is selected based on the pupil’s ability to articulate general knowledge, their critical thinking and communication skills, plus the diversity of books they have selected.
The Arab Reading Challenge was launched by Sheikh Mohammed in 2015 to encourage a million young people to read at least 50 books in a year.
Helping to shape young minds
Noor Aljbour, from Jordan, won Dh300,000, along with the title of Outstanding Supervisor, in recognition of her work guiding and motivating pupils through the challenges of the Covid-19 pandemic.
“The obstacles and the amount of work to prepare for this edition of the reading challenge were huge because its the first to happen after Covid-19,” Ms Aljbour said.
“Pupils returned to schools lacking the passion for reading, this meant that we needed to encourage pupils not only to read but to also pick up on their studies.”
Morocco’s Mukhtar Jasoulet school won the Dh1 million Best School award.
In the category for Arab pupils living in foreign countries, Nada Al Satri from Belgium was named the champion.
Sheikh Mohammed bin Rashid, Vice President and Ruler of Dubai, with the six finalists at the Arabic Reading competition at Dubai Opera. Left to right, Mohammed Jamil (Bahrain), Rashid Al Khateeb (Jordan), Sham Bakour (Syria), Adam al Qasimi (Tunisia), Ghala Al Enzi (Kuwait) and Areej Al Qarni (Saudi Arabia). All photos: Ruel Pableo for The National
Two graphic designers decided to share their most inspirational street finds with everyone on the internet – and launched an online platform to let everyone else share as well.
In Egypt, where there are streets and roads and passageways, there are signs and posters and billboards dating back decades and even centuries, each reflecting their own era of styles, tastes and contexts. It’s a beautiful mess of typography that often gets lost with time, and the Egyptian Type Archive was born to capture and encapsulate it for good.
The founders, Toka Assal and Abdo Mohamed, met online and bonded over their shared interest in street typography, drawing inspiration from their travels to cities across Egypt, from Aswan to Minya and Port Said. As graphic designers and type artists, they decided to share their most inspirational street finds with everyone on the internet – and launched an online platform to let everyone else share as well.
“When we started we didn’t even have a logo, we just used a picture I took of some text on a microbus that said ‘Semsem’ and ‘Semsema’,” Mohamed tells CairoScene. “We found out later that those were the names of the bus owners, a brother and sister. Although we know it’s not professionally designed, the text really looked like it was. But now everything is digital and fast-paced, so we’re losing the artistry and craftsmanship of typography and calligraphy.”
Exclusively focused on Arabic street typography in Egypt, the Egyptian Type Archive has amassed a loyal community on Instagram. They collectively document any text they stumble upon, from the quirky to the horrific to the beautiful, whether it’s an ancient sign on a vintage shop or an announcement sprayed on the walls of a local cafe.
“My favourite finds are food carts, their typography has a very distinct style embodying the essence of street art,” Asal shares. “It’s also very instinctual with the text written tackling hasad or rizq.” Here Asal refers to written prayers or phrases traditionally used to ward off the evil eye, or invite God’s blessing – a visual manifestation of deeply held beliefs and spirituality.
Mohamed and Asal’s view on what constitutes art or on the nature of street typography questions notions of ‘professionalism’, where they treat every sign and piece as a story on its own. Initially, they wanted to document the names of the calligraphers until they found that – more often than not – the text is created by commission, so the artists don’t normally sign their names under their work.
Although strangers in the street often regard them with confusion when they see them taking pictures of manhole covers or old movie posters, the founders believe their documentation serves a purpose to typographers, designers, and Egyptians at large. Through their work, and the work of their burgeoning community, they preserve a dying visual culture and ensure it survives to the next generation of Egyptian creators.
H.H. Dr. Sheikh Sultan bin Muhammad Al Qasimi, Supreme Council Member and Ruler of Sharjah, launched on Tuesday, 19 new volumes of the Historical Dictionary of the Arabic Language at the headquarters of the Arabic Language Academy in Sharjah.
The 19 new volumes of the Historical Dictionary of the Arabic Language cover four letters, bringing the total number of letters edited so far to 9, thus increasing the number of completed volumes of the project to 36.
The volumes of the Historical Dictionary of the Arabic Language were issued, directed and printed in Al Qasimi Publications in Sharjah.
Sharjah Ruler welcomed the attendance of members of the Academy from different countries, praising their great efforts in working on the historical dictionary, which is one of the valuable achievements that must be worked and built in order to spread, learn and teach the Arabic language.
His Highness announced an endowment to support these Academies in fulfilling their mission to the fullest, pointing to the importance of establishing private centres owned by the Academy.
Sheikh Sultan addressed the great efforts in supporting the learning of the Arabic language in Sharjah, pointing out to the vision and idea of establishing Al Qasimia University, which came as a culmination of His Highness’ efforts to support the Arabic language and Islam. “Here in Sharjah, we established Al Qasimia University, and this university is mine, and it graduates many students from Japan to the Americas,” he said.
The Ruler of Sharjah stressed the importance of preserving Arab traditions in any place and time of all members of society, because this is a part that integrates with speaking the Arabic language and shows belonging.
His Highness said, “We have worked to establish special institutions for the Arabic language, and we have established them with decrees and laws in order to preserve them, so as not to make them blown by the wind, and make the lovers of this language responsible for them.”
The Ruler of Sharjah concluded his speech by talking about the ancient history of Sharjah, as it was mentioned in the report of the leader sent by Alexander the Great when he came to Persia in the year 331 BC. M, pointing out that Sharjah and its people preserve the language, literature and poetry, highlighting their roles in supporting and spreading science and knowledge.
For their part, a number of attendees from the Academy expressed their appreciation to His Highness the Ruler of Sharjah for providing great support for the Arabic language.
The Sharjah Ruler launched the first 17 parts of the “Historical Dictionary of the Arabic Language” at the opening of the 40th edition of the Sharjah International Book Fair 2021. With the official launch of the dictionary’s website, people can search and read all the completed volumes.
Read on for a list of regional female filmmakers who have been taking the industry by storm.
Farida Khelfa
Farida Khelfa is an Algerian-French documentary filmmaker. She is currently set to release a new film titled “From The Other Side of the Veil” that aims to dismantle misconceptions and stereotypes that often surround Arab women.
Kaouther Ben Hania
The Tunisian filmmaker made headlines in the film industry after her critically acclaimed movie “The Man Who Sold His Skin” was shortlisted for the Oscar’s Best International Feature Film award this year.
Ayten Amin
The Egyptian director has long chronicled the lives of women in modern Egypt. Her feature film “Souad” was selected for the cancelled 2020 Cannes Film Festival.
Danielle Arbid
Danielle Arbid is a Lebanese filmmaker. Her work has screened at numerous film festivals in France and the rest of the world, including New York, San Francisco, Tokyo and more.
Annemarie Jacir
The Palestinian filmmaker has written, produced and directed award-winning films such as “A Post Oslo History.” Her movie “Wajib” (2017) won her 18 international awards.
Nujoom Al-Ghanem
The Emirati filmmaker, writer and poet had to overcome societal stigma and family disapproval to make it. She defied the odds and produced films such as “Amal” (2011) and “Sounds of the Sea” (2015).
In a career spanning decades, Iraqi-born Sadiq has shown her creations worldwide and dressed the stars, but she remains rooted in the traditions of her homeland.
With verses from love poems and flowing calligraphy, Jordan-based fashion designer Hana Sadiq stitches a testament to the beauty of Arab women.
The artistic handwriting of Arabic script dominates her embroidered modern designs, with poetry or letters scattered in bright colours.
She uses various calligraphic styles, from the elaborate Diwani to the curving Thuluth and features on some of her outfits the lines of renowned Arab poets including Mahmoud Darwish and Nizar Qabbani.
“Arabic calligraphy is the most beautiful,” says Sadiq, 72, showing off her love of jewellery with strings of beads around her neck, dangling earrings, and unusual stone rings.
At her home workshop in downtown Amman, Sadiq notes that the earliest writing was born several millennia before Christ in what is now Iraq, arguing that it was a place “without which all the other civilisations would not have existed”.
Sadiq has split her time between Amman and Paris since 1982, having both French and Jordanian nationality as well as Iraqi citizenship.
‘How beautiful she is’
She has exhibited from Europe to the United States as well as the Middle East, returning home with an extensive collection of antique silver ornaments, along with thousands of pieces of Arab textiles and costumes.
Her kaftans, traditional robes, feature bright and stunning colours. They reflect the influence of her grandmother who wore a traditional Iraqi “Hashemite dress” and walked “elegantly like a peacock”.
The folk outfit is made of very thin fabric with wide sleeves and transparent sides, decorated with beautiful floral ornaments, golden or silver, on a black base. It was the favourite of Iraqi women in the 1950s and 60s.
Sadiq traces her interest in fashion to her childhood, when she would visit her grandfather’s textile shop in Baghdad.
She went on to design for celebrities and royals, including Jordan’s Queen Rania and Queen Noor. But whoever the client, her work has been guided by pride in the Arab woman’s femininity.
Unlike more revealing Western fashion, her designs envelope the woman’s body, “but it shows high femininity,” says Sadiq, who is also the author of a book, “Arab Costumes and Jewelry, a Legacy without Borders”.
She argues that Western clothes are not the best fit for the bodies of Arab women but have spread to the region anyway. “Unfortunately this is the result of globalisation,” she says.
“What matters to me, in all my work, is that the woman remains female and that a man is attracted to her as a female,” she adds. “Which means when a woman passes in front of him, he must notice and see how beautiful she is.”
Her kaftans, traditional robes, feature bright and stunning colours, reflecting the influence of her grandmother who wore a traditional Iraqi Hashemite dress and walked “elegantly like a peacock”.
The Abu Dhabi Arabic Language Centre (ALC) launched a series of music books at Frankfurt Book Fair 2022.
Consisting of a number of publications, the series is a notable addition to the ALC’s roster of publications and focusses on Emirati and Arab singing and music.
It includes biographies of artists Eid Al-Faraj and Ibrahim Jumaa written by author Ibrahim Al-Hashemi, a book on Umm Kulthum’s reasons for selecting the poems she sang, alongside a variety of other titles, including educational books.
The launch ceremony was attended by Dr. Ali bin Tamim, Chairman of the ALC, and Saeed Hamdan Al Tunaiji, Acting Executive Director of the ALC and Director of the Abu Dhabi International Book Fair (ADIBF), along with media representatives and book enthusiasts.
“The Abu Dhabi Arabic Language Centre continues to drive the advancement of the Arabic language and enrich the Arabic library with original titles in an effort to encourage creativity and support authors,” said Al Tunaiji. “The series of music books we have launched is a means to shed renewed light on music and singing in the region. For the first time, the series presents biographies of musical pioneers in the UAE, in addition to documenting traditional performing arts and exploring new perspectives on Arabic singing by experts.”
The series includes two books from the ‘Pioneers Among Us’ initiative, where poet and writer Ibrahim Al-Hashemi documents the life of Eid Al-Faraj, a singer, composer, and poet. The first biography of its kind for this artist, it chronicles Al-Faraj’s journey from birth through childhood, education, and various stages of his career until the present time, illustrated by a collection of photographs.
In the second book, Ibrahim Jumaa: The Etheric Melody of the Sea, Al-Hashemi presents the life and achievements of a pioneer of music and composition in the UAE, and documents the songs and poems he wrote, composed, and presented at festivals and special occasions. The publication features photographs from Jumaa’s life, showcasing the awards and honours he received during his career.
“This music book collection completes the book series we previously launched at the Abu Dhabi Arabic Language Centre,” added Al Tunaiji. “These works, wherein Emirati authors document the lives and professional careers of UAE musical pioneers, will greatly enrich the regional cultural scene and promote more in-depth research into the UAE’s musical heritage. The series offers a new perspective on Arab musical heritage, which is sure to spark new dialogue around it.”
The collection includes Dr. Hamad bin Sarai’s book Wahhabi Art: Kinetic and Verbal Performance from Emirati Folklore, which consists of field research documenting a form of folk performance art closely related to the agricultural environment, through interviews with people who practice the art form.
Meanwhile, the Encyclopaedia of Sung Poems, compiled by researcher Dr. Hammad Al Khatri, includes poems sung in the UAE, which are usually closer to popular taste and extend deep into the history of the community. The poems address phenomena and symbols from the surrounding environment and embody authentic Emirati vocabulary that expresses the culture of the people.
In the book Folk Songs for Children and Women in the United Arab Emirates, Dr. Fatima Al Mazrouei tries to remedy the lack of documentation of traditional folk songs, especially in the emirate of Abu Dhabi, where she collected many songs for her book which were never previously featured in published songbooks. The author also sought to collect children’s songs – often referred to as ‘Al-Ragousat’ in Abu Dhabi – in addition to songs about names, especially girls’ names.
Writing about the connection between Umm Kulthum and Arabic poetry, Dr. Ahmed Youssef Ali’s book Umm Kulthum: Poetry and Singing chronicles the legendary singer’s efforts to elevate Arabic song by performing the works of some of the greatest poets of her time and before. Umm Kulthum had a modest upbringing, only receiving religious education and being taught traditional culture, but her exceptional taste allowed her to select the poetic texts that would best serve her songs, sometimes rearranging the verses for the greatest effect.
Egyptian composer and researcher Hassan Zaki Shehata sheds light on four composers whose works have achieved tremendous success and fame in his book Rhythms of Light: A Musical Biography of Four of the Geniuses of Oriental Melody, where he analyses the works of Ahmed Sedqi, Abdel Azim Abdel Haq, Mahmoud Al Sharif, and Ali Ismail.
The collection also presents two books by composer and music researcher Muhammad Saeed Hegab. ‘The Flute: A Morsel of Cane with a Scent of Legends traces the history of the flute in an attempt to separate reality from the myths that were associated with the instrument in ancient times. The author lists the various forms of the flute and the phonetic differences between them, highlights the importance of the flute in different cultures, and explains how the instrument is manufactured and played. Meanwhile, Hegab’s The World of Bowed Instruments traces the history of string-based, bow-using instruments back to their beginnings and explores the evolution of the various families of bowed instruments. The book focusses on the instruments’ use in the musical traditions of the Arab region and similar traditions in neighbouring cultures, offering an overview of how they are made and played.
In Iraqi Musical Heritage and Civilisational Communication, Dr. Muhammad Hussein Kamer, a professor of sciences and musical theory and an expert in the al-gouza and Iraqi maqam instruments, explores the subjects of cultural communication, the connection between modern and traditional music, music education, and music learning in schools. The author discusses traditional Iraqi music, focussing on the al-gouza instrument, and offers detailed studies on the Iraqi maqam, its history, types, and characteristics.
Music researcher Bassam Abdel-Sattar’s educational book The Qanun Instrument includes an introduction to the oriental instrument and its components, highlights its role in the traditional school of music, details its musical range. The publication includes lessons and technical exercises for playing the instrument, as well as a practical guide directed at musicians who play the qanun or are looking to learn it.
The collection also features The Medium in the Rules and Theories of Arabic Music, a theoretical and applied study of the rules and theories of Arabic music, written by Egyptian author Ahmed Youssef Al-Taweel, Professor and Vice Dean of the Higher Institute of Arabic Music at the Academy of Arts.
The History of Music in Arabia and Andalusia, written by Julian Ribera and translated by Hussein Hassan, is being reprinted. The book highlights the role of the Muslims of Andalusia in preserving music and passing it down to later generations, where its legacy inspired numerous European musicians.
Three Palestinian libraries in East Jerusalem are involved in a project to index and restore manuscripts dating back hundreds of years, some to the 12th century.
Funded by the Aliph Foundation (International Alliance for the Protection of Heritage in Conflict Areas), the project aims to preserve the manuscripts at a controlled temperature and humidity to preserve them from damage, while cataloguing them electronically for presentation on the Internet.
Khader Salameh, director of the Khalidi Library, told Al-Fanar Media that the manuscripts are part of the heritage and history of the Palestinian people. They tell the culture and customs of a wide range of people and reflect their lifestyles and ways of thinking, he said.
Biographies of Jerusalem Families
The bulk of the manuscripts and documents represent the biographies of families living in Jerusalem between 1896 and 1930 from newspapers, magazines and handwritten documents.
Salameh said the project aimed to link civil, personal, and family libraries in Jerusalem with each other to help researchers find manuscripts and archival documents. The three libraries embody “the collective history of the people of the city of Jerusalem,” he said.
The Khalidi Library was founded in 1900 and is the first Arab public library established by private initiative in Palestine. It is located in the Old City of Jerusalem and has resisted attempts to seize the property since 1967, thanks to the efforts of the Khalidi family in Jerusalem and abroad.
The bulk of the manuscripts and documents represent the biographies of families living in Jerusalem between 1896 and 1930 from newspapers, magazines and handwritten documents.
The preservation team is currently working on indexing these documents. They include papers describing the first prayers arranged for women inside the Dome of the Rock at Al-Aqsa Mosque in 1952, and older documents—including one about the tombs of three warrior princes who participated in the liberation of Jerusalem from the Crusaders during the 12th and 13th centuries.
Lack of Appropriate Conditions
Doaa Qirsh, director of projects at the Issaf Nashahshibi Center, told Al-Fanar Media that the project’s documents and 500 manuscripts often relate to Jerusalem families, and particularly involve Islamic law and Arabic literature.
In Palestine and Jerusalem in particular, she said, there are thousands of ancient manuscripts in the collections of Islamic endowments or family libraries.
Qirsh, who is also the center’s librarian, said most of these manuscripts suffer from wear and tear and lack appropriate conditions for preservation.
“This has necessitated the establishment of several laboratories for restoration, the most important of which are the Manuscripts Restoration Center of the Islamic Endowments Department inside the Haram al-Sharif (Temple Mount), another in Abu Dis, in East Jerusalem, and a new laboratory in the Khalidi Library.”
According to Qirsh, coordination between the libraries will help them provide a cultural service to the Jerusalem public and researchers.
The Issaf Nashashibi Center’s library is the only Palestinian public library in East Jerusalem regularly open to the public, she said. Other libraries in the city are not permanently open because of lack of resources.
The Restoration Process
Rami Salameh, who is in charge of restoring the manuscripts, said they first had to be documented and examined to see if they needed restoration.
If they require restoration, the first stage is mechanical cleaning using soft brushes and special sponges. Some manuscripts also need washing with a solution of alcohol and water, carefully mixed so that the ink used in the manuscript does not dissolve. The final step is binding.
“We cannot restore all manuscripts because it takes time and financial support,” Rami Salameh said. “Therefore, we chose only 20 manuscripts to restore because of their relationship to the Holy City and the number of their papers.”
Salameh is carrying out this work in the Manuscript Restoration Laboratory at the Khalidi Library. The limited budget means he cannot always employ additional professional restoration staff.
“There are thousands of manuscripts that need restoration to preserve them from extinction,” he said.
Documents in the Khalidi Library’s Collection
Shaima Al-Budairi, digital librarian at the Khalidi Library, told Al-Fanar Media that the paper in some manuscripts had degraded through being stored in damp places. Indexing and restoring them will protect them from further damage, she said.
‘Exceptional Importance’
Mufid Jalgoum, a professor of history at Al-Quds Open University, said the project was of “exceptional importance” because of the thousands of manuscripts the city holds.
Dozens of Jerusalem manuscripts were moved abroad after the Ottomans surrendered the city to Britain in 1917, Jalgoum said, and many more were taken after the Palestinian Nakba in 1948. “Zionist groups stole, at that time, what the Palestinian families had of books and libraries,” he said.
“Preserving the remaining manuscripts requires a restoration strategy and financial support from cultural institutions, so that this heritage becomes available to researchers and scholars,” Jalgoum said. Libraries should assist in the restoration and preservation, and the work must be done to international standards, he added.
Cultural institutions should attach particular importance to the establishment of a museum of Palestinian manuscripts in Jerusalem, Jalgoum said.
Such a facility, he said, would protect against what he considered to be “an attempt to get rid of the written narrative as archaeological, historical, geographical and social evidence about the history of the Holy City.”
Three Palestinian libraries in East Jerusalem are involved in a project to index and restore documents that tell the stories of families living there more than a century ago. Above, a group of visitors in the Khalidi Library. (Photos via Facebook)
A number of Arab films are being screened at the ongoing 60th New York Film Festival.
The films include titles from Lebanon and Morocco.
With its screening in the New York Festival, the Lebanese feature narrative film Tales of the Purple House by Abbas Fahdel makes its North American Premiere.
The film will be screened on 11 October, followed by a Q&A with the director.
Another Lebanese film, Beirut the Encounter, will screen on 7 and 16 October.
Directed by Borhane Alaouié, this 1981 production went through a new restoration, allowing the US audiences to view it in an improved condition.
Morocco is represented with Life on the CAPS by Meriem Bennani. The film will be screened on 7 and 9 October, as part of the Currents Program 5: After Utopia segment of the festival.
The New York Film Festival opened on 30 September and runs until 16 October.
As the festival is ongoing, two other Arab films are currently being screened in New York’s cinemas: Casablanca Beats by Moroccan director Nabil Ayouch and Lebanese documentary Sirens by Rita Baghdadi. Both films had their US premiere on 16 and 30 September respectively.
France has made the Yemeni writer Ali Al-Muqri a knight of the French Order of Arts and Letters.
Al-Muqri recently received a letter from Roselyne Bachelot-Narquin, the French minister of culture, telling him that he was among the honorees chosen as members of the order this year.
Al-Muqri has been living in France at the invitation of the Arab World Institute since 2015, after fleeing the war in his home country. He had lived in Sana’a, the capital, which is now controlled by the Houthi rebel movement. People close to Al-Muqri have warned him he risked being pursued by the Houthis if he returned to Yemen.
The Order of Arts and Letters, one of four “ministerial orders” in France, is awarded to people who have distinguished themselves through artistic or literary creation or by contributing to the influence of arts and letters in France and the world. It has three ranks: commander, officer, and knight (chevalier).
Al-Muqri said in a telephone interview with Al-Fanar Media that he had not been aware of his candidacy for this order and was surprised by the letter.
He believes that his being named for the prestigious French order is “a tribute to Arabic literature, and a reward for writing a literary work that has its own narrative and cultural characteristics.”
He said Arabic literature was marginalized because it was rarely translated and he hoped his award would shed more light on it.
Novels and Prize Nominations
Ali Al-Muqri began his literary career as a cultural editor for several Yemeni publications before beginning to write prose, poetry and novels himself. His works have been translated into French, English, Italian, Kurdish and Persian.
“Black Taste, Black Odour” and “The Handsome Jew” were longlisted for the International Prize for Arabic Fiction in 2009 and 2011, and “Hurma”, in its French translation, won an honourable mention from the Arab World Institute Prize for Fiction and the French prize for Arabic literature. “Adani Incense” was shortlisted for the 2015 Sheikh Zayed Book Award.
Between Home and Exile
Despite his years in self-imposed exile in Paris and his freedom to write, “far from the guilt feelings that affected his literary works,” Al-Muqri said he still “experiences the hardships of alienation far from his homeland.”
“I live in double exile, and I miss every detail of my life in Yemen,” he said. “Where is the writing corner in my house in Sana’a, where I used to write my literary works, my books piled around me? I miss my habits and my rituals that were the primary motivator and the inspiration for my writing.”
Al-Muqri said that particular places in Yemen and the way of eating and drinking there gave a feeling of continuity that he misses.
The issues of Yemeni life inspired more than one of his novels, which he attributes to his constant endeavor to “explore the human self and evoke the causes of its anxiety through exposure to the problems facing people, whether they are in freedom of expression or because of discrimination against a person because of his colour, his sexual identity or because he was marginalized by a dictatorial authority.”
Al-Muqri said that he could write more in Yemen than he can in France. The war took him forcefully from his country and made him feel alienated and unable to get hold of the things that inspired and motivated him to write.
But that feeling has not prevented his ability to integrate with French society, he said. Thanks to his personal experience and knowledge of European culture, he has been able to adapt and engage in his new life in the host country.
Yemeni Literature in Wartime
Al-Muqri said most Yemeni writers and authors had lost their jobs because of the war and many of them had resorted to other types of work so they could continue to live.
Most were no longer able to obtain the basic requirements of life, such as electricity, clean water, or a regular salary. Al-Muqri said the absence of these things “makes any writer or author unable to write and think.”
The war has greatly hindered literary life in his country, Al-Muqri said, but it remains active despite the restrictions and censorship imposed by the authorities.
Al-Muqri said he was working on a new novel. He hopes to continue writing “in freedom and safety” and to return to Yemen after the situation stabilizes.
Ali Al-Muqri has lived in France since 2015. He hopes the honour he has won there will draw more attention to Arabic literature in translation. (Photo courtesy of Ali Al-Maqri)
