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Tunisian poet Abdelaziz Hammami’s words resonated through the prestigious Sharjah Arab Poetry Festival, earning him the coveted Al Qawafi award. Held from January 8th to 14th in the UAE, the festival witnessed a celebration of Arabic poetry from across the region.
Hammami, already a seasoned voice in the poetry world with works published in various newspapers and magazines, stood out amongst the diverse talent. This is reported by TAP, a partner of TV BRICS.
Hammami’s journey with poetry began in his hometown of Kairouan, where he played a pivotal role in establishing the city’s first literary club in the late 1960s. His passion for the craft extended beyond writing, as he also served as a correspondent for the TAP news agency and collaborated with national radio and Tunisian television. This win at the Sharjah festival marks a crowning achievement for a poet who has dedicated his life to the beauty of language.
Hammami is not the only Tunisian celebrating at the festival. His compatriot, Moncef Ouhaibi, had earlier bagged the “Sharjah Prize for Poetic Criticism.” This double triumph signifies a potent resurgence of Tunisian poetry on the international stage.
With 12 awards bestowed upon deserving poets and critics from across the Arab world, the 20th Sharjah Arab Poetry Festival reaffirmed its position as a beacon for literary excellence. Hammami’s victory, in particular, underscores the enduring power of poetry to transcend borders and touch hearts.
In medieval Sicily, a specific variant of Arabic emerged after the Aghlabid and Fatimid dynasties. This language, now extinct, left a living legacy.
The emergence ofSicilian Arabic is a direct consequence of the Islamic conquest of Sicily. This period began in 827 AD, initiated by Euphemius, a Byzantine naval commander in Sicily, who sought aid from Muslim forces to regain his command after being deposed in a rebellion. This appeal set the stage for a protracted conflict, ultimately leading to the complete domination of Sicily by Muslim forces by 902 AD. Notably, the resistance persisted in some Byzantine strongholds, with Rometta succumbing as late as 965 AD.
A new era
Under the new Muslim governance, Sicily underwent a profound transformation. This era facilitated the intermingling of Islamic Arab and Berber settlers with the island’s Latin-Romance, Greek-Byzantine, and Jewish populations. Palermo, in particular, flourished as a significant cultural and political nexus within the Islamic world. The establishment of the Emirate of Sicily during this epoch (831 to 1091 AD) marked a significant phase in the island’s history, enduring until the Norman conquest in the late 11th century.
The emergence of Sicilian Arabic to the island was a byproduct of these migrations and conquests, rooted in the Maghrebi Arabic variant brought by Arab troops and settlers from Tunisia. From this dialect, the Siculo-Arabic language emerged. But this linguistic evolution extended beyond Sicily, influencing the language and cultural landscape of nearby Malta , where Sicilian Arabic eventually gave rise to the Maltese language. The Maltese language, with its deep connections to the Maghrebi Arabic variant spoken in Sicily during the Norman period, is a unique blend, integrating elements of Sicilian Romance and Arabic into a distinct parler. This linguistic transformation was later also significantly influenced by the conquests of Roger II and subsequent shifts towards a more European societal structure in both Sicily and Malta from 1091 to 1127, accentuating the Latin element of the Maltese language.
Between East and West
Maltese, today, is officially classified within the South Arabic branch of the Central Semitic languages, traces its lineage through Sicilian Arabic back to Tunisian Arabic, part of the broader Maghrebi Arabic family. Despite its Semitic roots, a substantial portion of the Maltese vocabulary is derived from Romance languages, predominantly due to the influence of Sicilian Latin and Tuscan. But the language, today, is a surviving descendant of the now-extinct Arabic of Sicily. Moreover, a study entitled “Mutual intelligibility of spoken Maltese, Libyan Arabic, and Tunisian Arabic functionally tested” by Čéplö et al. examines the proximity of Maltese to East Maghrebi Arabic and found an noteworthy degree of intelligibility between Maltese and Tunisian and Libyan Arabic dialects today.
In recognition of his distinguished work in revitalizing and sustaining Jordanian and Arab cinema, the Arab Cinema Center (ACC) is bestowing its 5th Arab Cinema Personality of the Year Award to Mohannad Al-Bakri,the Managing Director of the Jordanian Royal Film Commission (RFC) during the 74th Berlin International Film Festival, which will run from February 15th to 25th.
The award, which coincides with the ACC’scelebration of its own 10th anniversary, is designed to honor and highlight prominent industry figures whosepersistent contributions have helped elevate the Arabfilm industry in the eyes of the international filmmaking community as a whole.
Al Bakri has been instrumental in rousing the country’s film industry from its slumber sinceassuming his position in 2009 through his development of the commission’s funding and training programs, as well as building local production capacity with the opening of Jordan’s first dedicated film studio complex. Under his guidance,Jordan has become a competitive and enticing destination for filmmakers through a combination of extraordinary landscapes, universally praised production services and its cost-effectiveness as ashooting location.
After starting out at the RFC in 2007 as a capacity-building manager, Al-Bakri quickly rose to the title ofmanaging director by 2009. Before that, he kickstarted his professional career at the Hashemite Fund for Human Development where he developed dynamic programs promoting the active role of youths in society.
In addition to his work for the RFC, he was also appointed as Regional Managing Director of Luminus Media – Jordan (SAE Institute) from 2012 until 2015 before joining New York University in Abu Dhabi as director of External Relations and Partnerships from2015 until 2019.
“We take immense pride in honoring Mohannad Al-Bakri, the Managing Director of the Jordanian Royal Film Commission (RFC) with the Arab CinemaPersonality of the Year Award. Since assuming his position, he has made enormous and noteworthy efforts to advance the Jordanian film industry,” saidAlaa Karkouti and Maher Diab — Co-founders ofArab Cinema Center — in a joint statement.
“This is evidenced by the outstanding successJordanian films have achieved so far both locally andinternationally, including INSHALLAH A BOY,which world premiered at Cannes’ 62nd Critics Week,winning two unprecedented awards in the history of Jordanian cinema,” they added.
Last year, the Arab Cinema Center gave its ArabCinema Personality of the Year Award to Mouhamad Keblawi the Founder and Head of Malmö Arab Film Festival in Sweden. Other recipients of the Award include Chiraz Latiri, former general director of theCentre National du Cinema et de l’Image, andrenowned producer and screenwriter Mohamed Hefzy— the Founder of Film Clinic. The inaugural award went to both Abdulhamid Juma and Masoud Amralla Al Ali, chairman and artistic director, respectively, ofthe now-shuttered Dubai International Film Festival.
Established by MAD Solutions, the ACC is a nonprofit organization registered in Berlin. The ACC provides networking opportunities with representatives ofcompanies and institutions involved in co-production,international sales and distribution, film festival,commercial exhibition and industry events.
The organization’s activities include hosting filmmarket stands, networking sessions, one-on-onemeetings, welcome parties, panel discussions andmeetings with international organizations and festivals. It also publishes the Arab Cinema Magazine, which itdistributes at leading international film festivals andmarkets.
A newsletter subscription is now available on theACC’s website, allowing users to obtain digital copies of the Arab Cinema Magazine, as well as news on theACC’s activities, notifications of application dates forgrants, festivals and offers from educational andtraining institutions, updates on Arab films participating at festivals, exclusive news on the Arab Cinema LAB, and highlights from the ACC’s partnersand their future projects.
Additionally, the ACC launched the Arab Cinema Directory in English on its website, the first time that users from both within and outside the Arab-speaking world have easy access to information on Arab cinemaall in one place.
As many as25,000 fragments of artifacts dating back the Islamic caliphates during the first two centuries of the Hijri Calendar, corresponding to the 7th to 8th centuries AD, have been discovered from the Jeddah Historic Area.
The announcement in this regard was made by the Jeddah Historic District Program (JHDP), in collaboration with the Saudi Heritage Commission. The archaeological discoveries were announced as part of the Historic Jeddah Revival Project, initiated by Crown Prince and Prime Minister Mohammed bin Salman..
According to a press release from the JHDP, the project of excavation started in January 2020 with exploratory studies and a geophysical survey. The goal was to unveil the historical significance of four key locations: Othman bin Affan Mosque, Al-Shona, a segment of the Northern Wall, and Al-Kidwah. This archaeological endeavor falls within the purview of the Jeddah Historic District Program. The project aims to preserve national antiquities and archaeological sites, uncover the rich history of the Kingdom, and promote Historic Jeddah as a cultural and tourist destination, in line with the Saudi Vision 2030.
According to the release, in November 2020, the archaeological survey and excavations yielded significant findings, including 11,405 pottery shards weighing 293 kg, 11,360 animal bones weighing 107 kg, 1,730 shells weighing 32 kg, 685 building materials weighing 87 kg, 187 glass artifacts weighing 5 kg, and 71 metal artifacts weighing 7 kg. The combined weight of these archaeological findings is 531 kg; and they constitute a valuable contribution to Saudi Arabia’s archaeological discoveries.
Archaeological investigation at Othman bin Affan Mosque revealed artifacts dating back the first two centuries AH and spanning different historical periods, notably, ebony pillars found near the Mihrab, analyzed and traced back to Ceylon (now Sri Lanka) Island in the Indian Ocean, which highlight the extensive trade connections of historic Jeddah.
According to the release, excavations at the same site also unveiled a collection of ceramic vessels and fragments, including high-quality porcelain. Some of the pieces are made in the Chinese province of Jiangxi and date back to the 16th-19th centuries AD, while older pottery fragments are from the Abbasid era.
The archaeological site at Al-Shona, dating back at least to the 19th century AD, has yielded numerous pottery shards, including porcelain and ceramic from Europe, Japan, and China, dating from the 19th to 20th centuries. Excavations at Al-Kidwah (Bab Makkah – Makkah gate) revealed parts of the Eastern Moat, which most likely date back to the late 18th century.
Tombstones made of Mangabi stone, marble, and granite were found at different locations within historic Jeddah. These tombstones contain inscriptions of names, epitaphs, and Qur’anic verses, dating back possibly to the 2nd and 3rd centuries AH. Specialists are currently studying them carefully.
The archaeological studies at the four historical sites involved excavations, radiocarbon analysis, soil analyses, geophysical surveys and scientific examination of artifacts. Samples of wood from 52 buildings were sent to international laboratories for identification and dating. Moreover, extensive international archival research led to the collection of over 984 historical documents, including maps and drawings of historic Jeddah. They are currently undergoing detailed study.
The Jeddah Historic District Program and the Heritage Commission collaborated to oversee the documentation, registration and preservation of archaeological artifacts found in Historic Jeddah. These discoveries were listed in the National Archaeological Register, and scientific databases were created to preserve the information related to the discovered artifacts.
The archaeological discoveries were announced as a part of the Historic Jeddah Revival Project, initiated by the Crown Prince and Prime Minister Mohammed bin Salman
Tunisian film Four Daughters (Les filles d’Olfa) was nominated for an Oscar for Best Documentary Feature, becoming the director’s second nomination for the Academy Awards.
Ben Hania’s 2020 feature film The Man Who Sold His Skin was nominated for Best International Feature Film at the Oscars in 2021.
Written and directed by Ben Hania, the film Four Daughters, nominated for Best Documentary Feature, focuses on a woman’s search for truth as she gets tangled in a web of lies in her family history. As a daughter and filmmaker, Ben Hania fuses personal and national history as she reflects on the 1981 Bread Riots, drawing connections to modern Morocco.
The film follows Olfa, a Tunisian woman and the mother of four daughters. One day, her two older daughters disappear. To replace them, the filmmaker Ben Hania invites professional actresses and invents a unique cinema experience which would lift the veil on Olfa and her daughters’ life stories.
The film blurs the boundaries between documentary and fiction and between being on-screen and off-screen.
The film has received critical acclaim, winning the Golden Eye award at the Cannes Film Festival, the Best International Film at the Munich Film Festival, and the Jury Award at the International Competition of the Brussels Film Festival. Most recently, it won the Asharq Award for Best Documentary at the Red Sea International Film Festival.
Acamar, Rasalased, Kochab.. these words are examples of star names. At a first glance, they look unidentifiable. So where do they come from? The short answer is Arabic, but the long answer is a bit more nuanced than that.
The story begins in 8th century Middle East , Abbasid Caliphs became more and more interested in science and exploration. So they requested that the scientific works of previous translators be translated in Arabic, the rising scientific lingua franca of the world at that era. Greek and Roman scientific texts, notably Claudius Ptolemy’s Almagest, were translated into Arabic. But this was not merely a linguistic transfer; it also involved a comprehensive assimilation and expansion of knowledge. Ptolemy’s Almagest, translated in the 8th and 9th centuries, became a cornerstone in Islamic astronomy, enriched with commentaries and refinements by scholars of the time. It inspired many Arabs to take on the study of astronomy and carry on the study of space.
The advent of Islamic astronomy
Islamic astronomers like Al-Ḥasan Ibn al-Haytham and Ibn al-Shatir made significant strides in refining observational techniques and developing advanced instruments. Astrolabes and sundials, products of this new civilization, enabled precise measurements of celestial positions and movements. The practical application of astronomy was paramount in the Islamic civilization, particularly in the context of trade and navigation. The vast Islamic trade routes necessitated accurate navigation, and astronomy provided the means to achieve this. Bright stars, visible without telescopes, became vital reference points for navigation, leading to the naming of stars in Arabic, a practice that persisted due to its utility.
The influence extended beyond astronomy into mathematics, where the adoption of Arabic numerals revolutionized calculations. The spread of these numerals to Europe further increase the influence of Arab-Islamic scientific practices on the continent. As Europe entered the Middle Ages and Renaissance, Arabic astronomical texts, including star names, were reintroduced through translations. However, linguistic challenges and imperfect translations led to alterations and Latinizations of some names. Despite these modifications, many Arabic star names have endured and continue to be used in contemporary astronomy, which is why, while most of these names come from Arabic, they are often Latinized, and sometimes slightly modified. Other star names from Arabic include Altair, from Arabic Al-ta’ir, meaning the flying, Menkar, from Arabic Minkhar meaning the nostril, or Sulafat, from Arabic Sulahfat, meaning the tortoise.
The Academy will nurture the development of the language in Mauritania and beyond, bringing together an elite group of scholars dedicated to the cause.
The new headquarters of the Arabic Language Council in Nouakchott, Mauritania, was inaugurated on Monday under the patronage of Mauritania President Mohamed Ould Cheikh El Ghazouani, and through the contribution of His Highness Sheikh Dr. Sultan bin Mohammed Al Qasimi, Member of the Supreme Council and Ruler of Sharjah, and Supreme President of the Arabic Language Academy (ALA) in Sharjah.
Development of the Arabic language
Ahmed Sid Ahmed Dié, Mauritanian Minister of Culture, Youth, Sports and Relations with Parliament, presided over the ceremony, expressing gratitude for the generous contribution from Sheikh Dr. Sultan. The Academy in Mauritania will nurture the development of the Arabic language in Mauritania and beyond, bringing together an elite group of scholars dedicated to this noble cause.
The ceremony was also attended by several senior diplomatic and media figures, as well as heads of Arab language academies.
During the event, Mohamed Hassan Khalaf, an ALA Board of Trustees member and Director-General of the Sharjah Broadcasting Authority, conveyed a message to the community of linguists and researchers in Mauritania from the Ruler of Sharjah. He also spoke about the importance of supporting major scientific projects and continuous efforts to empower the Arabic language in various countries worldwide, highlighting the strong relationship between the UAE and the Mauritania.
Championing Islamic and Arabic culture
Ahmed Sid Ahmed Dié presented a commemorative shield to the Ruler of Sharjah, and was received by Mohamed Hassan Khalaf in appreciation of Sheikh Dr. Sultan’s efforts in championing Islamic and Arabic culture and language, in various countries around the world.
Dr. Khalil Al Nahwi, Chairman of the Arabic Language Council in Mauritania, delivered a speech congratulating the attendees, the entire Mauritanian population and all guardians of the Arabic language. He also reviewed the council’’s achievements over the past five years, praising the support it receives directly from the Ruler of Sharjah and the Arabic Language Academy in Sharjah.
Ahmed Sid Ahmed Dié, along with Mohamed Hassan Khalaf and Dr. Mohamed Safi Al Mosteghanemi, Secretary-General of ALA, unveiled a commemorative plaque marking the opening of the building before the ceremonial cutting of the ribbon, and was followed by a tour of the impressive building, designed in the Mauritanian architectural style.
Built with eco-friendly materials, the new headquarters consists of two floors and includes several administrative offices, study halls, meeting rooms, and an expansive library. The main building is accompanied by a hall named Al Qasimiya Hall to be used for seminars and events. The headquarters also houses a mosque that can accommodate more than 300 worshippers.
Situated in the University district on land provided by the Mauritanian government, the entire construction and furnishing of this significant establishment were funded by the Ruler of Sharjah.
Event will cement the Kingdom’s efforts to promote cultural communication and exchange, scientific and social development.
Saudi Arabia, represented by its National Commission for Education, Culture and Science, is hosting the 44th session of the executive council of the Islamic World Educational, Scientific and Cultural Organization in Jeddah from Jan. 16 to Jan. 18.
ICESCO media department told Arab News: “The proceedings of the executive council of the 44th Islamic Educational, Scientific and Cultural Organization will kick off in Jeddah, Saudi Arabia on Tuesday (Jan. 16, 2024) with the participation of 54 member states. The event will run until Thursday.”
As the representative of the Kingdom, the NCECS said that hosting the event comes as part of the support provided to the education, culture and science sectors. It is also indicated the Kingdom’s role in driving forward educational, cultural and scientific development, both regionally and globally, it said.
Among the items on the executive council agenda are future strategies and action plans. The organization’s budget will also be discussed.
The council’s final recommendations will be handed over and included in a report to be endorsed by the ICESCO’s biannual general conference, the organization’s policy governing body event.
Prince Badr bin Abdullah bin Farhan, minister of culture and chairman of the NCECS, said: “The event will cement the Kingdom’s efforts aiming at creating spheres of cultural communication and exchange as well as scientific and social development. These sectors are considered to be cornerstones for developed human societies.”
As a prominent member of ICESCO, it is the strategy of the Kingdom to pursue all avenues supporting the organization’s goals in the best interests of the Muslim world.
Operating under the Organization of Islamic Cooperation, ICESCO is an intergovernmental organization specializing in the development of education, science and culture. Established in 1982 with its headquarters in Rabat, Morocco, ISESCO acts in line with the OIC’s general strategy aimed at achieving sustainable development in these sectors across all Muslim states.
A group of academics have spent close to a decade scanning historic documents and images and making them available online.
Sudanese academic Badreldin Elhag Musa followed the news with alarm when Al Qaeda-affiliated fighters set fire to two libraries containing historic documents in the Malian city of Timbuktu in 2013.
While local residents managed to smuggle many manuscripts to safety in advance, a Unesco team later found that some 4,200 of the documents stored in the libraries were either destroyed or stolen – about a tenth of its archives .
At the time, Elhag Musa already had concerns about the preservation of rare documents in his country. The events in Timbuktu accelerated the sense of urgency for the scholar, a member of the Sudanese Association for Archiving Knowledge (Saak).
The tragic episode served as a warning that highlighted the plight of cultural heritage artefacts in areas of actual or potential conflict – just like Sudan.
Elhag Musa set a plan in motion, connecting with King’s College London Professor Marilyn Deegan, who has over 20 years of experience in digital humanities. His goal: to find ways to safeguard as much of Sudan’s cultural heritage as possible.
A decade later, the result is Sudan Memory, a project that seeks to preserve and promote valuable cultural materials about Sudan through digitisation. The online platform aims to ensure current and future generations can benefit from the country’s rich heritage.
In total, more than 200 people and over 40 institutions have been involved in the project, which offers 60,000 digitised documents.
The results are invaluable: The materials range from manuscripts, photographs, books and films, covering a myriad of topics, as well as jewellery, traditional dresses, and artefacts from different regions spanning around 6,000 years of history.
“We never expected such success when we started,” Elhag Musa told Middle East Eye.
His colleague Deegan notes, “We’ve digitised… well over 100.000 images,” adding, “We thought we would be able to do millions…but I think we did do a lot.”
Sourcing collections
One of the reasons that prompted Elhag Musa and his colleague at Saak to protect Sudan’s cultural heritage with such urgency was that many of the country’s richest archives, particularly private collections, are in danger.
The reasons are manifold, ranging from extreme weather and lack of appropriate storage to neglect and conflict.
Many valuable collections, whether public or private, are also locked away and not easily accessible to the public.
Yet at the same time, many of Sudan’s archives and collections were in good enough condition to undertake a project like Sudan Memory, as Deegan saw for herself on her first visit to Khartoum, Omdurman and Atbara in May 2013.
“Archives in Sudan are not (like) the British Library, but they are not too bad,” she said.
Although its origins go back a decade, the Sudan Memory team was only able to start digitising documents in 2018, some time after securing funds.
At first, the focus was on large institutions; one of the entities that contributed the most was the National Records Office (NRO), which serves as Sudan’s national archives.
The NRO holds more than 30 million documents, some dating as far back as 1504 CE, and they are currently classified into around 300 collections.
Today, some of these materials can be found in the Sudan Memory archive, including early issues of The Sudan Times newspaper, as well as old magazines, rare books and precious photographs.
Another major collection included in the Sudan Memory project was provided by Al Rashid Studio, the largest private photo studio in the country.
Located in the city of Atbara, once the centre of Sudan’s railway industry and regarded as the cradle of its trade union and communist movements, the studio holds over four million negatives dating back to the 1940s.
Through these negatives, the Rashid family has captured the cosmopolitanism that once defined Atbara, as well as some of the changes Sudan has undergone in recent decades.
“What’s interesting about [it] is looking at the early images and seeing over time how things like fashion changed, and how that’s related to politics,” Deegan noted.
A turbulent process
Building the Sudan Memory archive was not an easy task, primarily as a result of political circumstances in the country.
Training could not start until scanners were imported into the country and these were not installed until July 2018, as the team had to navigate sanctions still in place at the time – a period when former president, Omar al-Bashir, was still in charge.
These restrictions also affected the purchase of other equipment and the transfer of funds to teams within Sudan.
Additionally, in the lead-up to the revolution in Sudan in late 2018 and the period until the formation of the now-ousted transitional government, there was little stability within the country’s institutions with many regularly closing, thereby disrupting the project.
And just as the situation began to settle down and work restarted, the Covid-19 pandemic hit in early 2020, once again putting a hold on scanning in local institutions.
Throughout this turbulent process the project stayed going thanks to the efforts of Katharina von Schroeder, Sudan Memory’s project manager in Khartoum.
“Just like many other projects, Covid times were difficult,” Elhag Musa said.
“But for us the passion was great, and as Marilyn continued to work on targeting international sources [of funding], we went on to focus on training talented team members on digitisation skills,” he added.
As if all this was not enough, the military coup of October 2021, which derailed the fragile transition in the country, further aggravated political instability in Sudan and delayed the project’s launch in Khartoum indefinitely.
“It has just been so turbulent over the last few years,” Katherine Ashley, another of Sudan Memory’s project managers, told MEE.
“But people, if anything, have become as or even more generous and excited to share their collections and do things about it,” she noted.
Private collections
About halfway through the project, the Sudan Memory team decided to expand beyond the country’s major institutions and dive into private collections as well.
And that’s when Ashley, who has extensive experience in the field, came in.
“The big collections are amazing, but the ones that people feel so passionate about are (ones) hidden away in people’s homes; private collections and stories,” she said.
“This is what (made me realise) how important it is to try and make some effort…on Sudan and record some of these oral histories and stories,” Ashley added.
One such preserved collection is that of Sadia el-Salahi , a Sudanese artist and designer born in 1941 in Omdurman and famous for her pioneering work on Sudanese folklore and traditional costumes.
In 1968, Salahi joined the Sudanese Ministry of Culture and became the first Sudanese national to hold the position of head costume designer, according to Sudan Memory.
“She sadly passed away…but we were lucky to record what was left of her collection and also do a video recording about her career and life story,” Ashley said of Salahi, who died in 2022.
Another jewel in the crown of the Sudan Memory project is an interactive 3D reconstruction of Suakin Island , on the west coast of the Red Sea, as it was in 1900.
The portal also features some important documentation about the history of the island, and links to digitised content about it.
To a great extent, the reconstruction of Suakin was possible thanks to Mohamed Nour, a local Sudanese citizen, and his family, who dedicated their life to building a museum of the island’s history through photographs, artefacts and other documents.
“It’s a lifelong work that they are continuing,” Ashley said.
Remembering Sudan’s Jewish community
A significant part of the archive created by Sudan Memory does not come from within the country but by a process they call digital repatriation: content about Sudan acquired from institutions and individuals abroad.
“We are bringing Sudanese materials back into the country,” Deegan noted, adding: “We are pushing Sudanese materials out to the world, but also bringing stuff back in.”
One example is the Tales of Jewish Sudan archive , a collection of stories, photos and recipes from Sudan’s Jewish community compiled by historian Daisy Abboudi, a descendant of the Sudanese-Jewish community born in the UK.
The history of Sudan’s Jews is difficult to trace, but Abboudi has documented that from the early 20th century onwards, Jews from all over the Middle East and North Africa began to arrive after the building of a rail connection to Cairo by the British army.
At its peak in 1950s, Sudan’s Jewish community numbered approximately 250 families, mainly concentrated in Khartoum, Omdurman and Wad Madani. And its members were predominantly merchants involved in the textiles, silks and Arabic gum trades.
“The community was very active, they had a club, a synagogue… It was an equipped, functioning community,” Abboudi told MEE.
“It was small, but I think that that made it even more vibrant and active,” she added.
However, from the mid-20th century onwards, and for reasons ranging from the establishment of the State of Israel to the rise in antisemitic incidents and rhetoric in Sudan, the Jewish community began to shrink amid successive waves of emigration.
According to Abboudi, by the end of 1973 following the Arab-Israeli war, the last remaining Jews left Sudan.
To prevent the memory of the once vibrant Jewish community in Sudan from fading, Abboudi started Tales of Jewish Sudan in 2015 with the aim of preserving its history and stories before it was too late – a goal now shared with Sudan Memory.
“Living in the more Ashkenazi-dominant British community, I felt that my history was neglected, ignored or somehow not present. And that’s why I started,” she said.
“But also for my generation and the generations to come, because I realised that as soon as those people are no longer here, that community will be forgotten,” she explained further.
Another curious example of repatriated Sudanese materials comes from Air Tickets History , a collection belonging to Greek collector, Gklavas Athanasios, that today holds over 4,500 airline tickets and boarding passes from more than 1,000 airlines spanning six continents.
The extensive collection includes several documents dated from 1960 to 1983 from Sudanese airlines, such as Sudan Airways, the national airline; also one of the first airlines in Africa, Mid Airlines, a charter airline established in Khartoum in 2002, and Marsland Aviation.
“I started collecting tickets when I was eight and had my first flight with Olympic Airways, from Athens to Samos Island,” Athanasios told MEE. “But about the Sudanese tickets I unfortunately don’t have much information, as I bought them on Ebay many years ago.”
All in all, the compilation of these documents gathered from major institutions and private collections both inside and outside Sudan helps to build up a complex picture of the memory of a nation.
“We were optimistic, but we didn’t expect at all that we would succeed in the organisation of such magnificent collaboration,” Elhag Musa said.
And the process that has been followed also serves to pave the way to go further.
“What we do have at least is a much broader understanding of what is there and what else could be done in the future,” Ashley said.
The SceneNoise team presents their picks of the 50 best albums released across the MENA region in 2023.
As 2023 comes to a close, the SceneNoise team takes a look at the most prominent albums and EPs released in the MENA region during the year. From pounding post-Shaabi rhythms to free-form Jazz compositions and speaker-rattling Trap and Drill, the year was full of artists taking risks with their sonic identities, as the regional music scene as a whole has begun to embrace change and development when it comes to the styles that shape our sound.
Here are our picks for the top 50 albums and EPs of 2023:
Marwan Moussa – Import / Export
A prominent figure in Egypt’s rap scene and winner of the Best African Rapper award, Marwan Mousa’s 2023 album ‘IMPORT//EXPORT’ delved into two distinct styles. The first half, aptly titled ‘IMPORT’, showcases a fusion of western-influenced trap and drill, while the second half, ‘EXPORT’, embraces the rich sonics of Shaabi music in collaboration with multi-platinum Grammy-nominated producer Khaled Rohaim.
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3Phaz – Ends Meet
3Phaz’s distinctive approach to Egyptian and electronic music in his latest album, “Ends Meet,” has garnered widespread acclaim for its innovative take on deconstructing Shaabi rhythms and Arabic melodies with a blend of traditional sounds from Shaabi and Mahraganat, as well as intersections with Grime, Techno, and Bass-heavy subcultures.
‘Ends Meet’ captures a world that may not be utopian but exudes a sense of liberation and joy through seven percussion-driven compositions, featuring hard-hitting kicks, dynamic rhythmic excursions, and traditional flute-like synth melodies.
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Grande Toto – 27
ElGrandeToto leaves his mark once again on the global music scene with his latest release, ‘27’. The album showcases Toto’s journey from the streets of Casablanca to a sold-out concert at the legendary Olympia in Paris, solidifying his position as the most streamed Arabophone artist on Spotify.
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The Wanton Bishops – Under the Sun
The Wanton Bishops’ album ‘Under the Sun‘ defies genre categorization, encompassing Oriental, Electronic, Blues, Rock and Roll, Psychedelic, Surf, Synth-pop and Dance influences. The album serves as an ode to Beirut, uniting the city’s divided polarity and bridging the gap between the post-war generation and internet millennials.
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Hady Moamer – Zekrayat ElMostabal
Hady Moamer, known under the pseudonym Jean Bleu, has been steadily rising in Egypt’s music scene. After making his mark as both a producer and rapper with the eclectic EP ‘Darbt Bar2‘, Moamer unveiled his second EP, ‘Zekrayat Elmostabal‘ (‘The Memories of The Future’), a captivating collection of tracks that blend Upper Egyptian folklore with modern British sounds, exploring a range of human emotions.
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Pink Seasalt – Out of Luck
Egyptian indie rock band Pink Seasalt took us on a trip with their dreamy and eclectic tunes on their album ‘Out of Luck’. Led by guitarist and songwriter Mahmoud Hafez, the band’s mesmerising live performance at Memphis Records’ Tidal Dream Festival earlier this year showcased their talent and won the hearts of a crowd of fans.
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El Mokh – El Magzar
Egyptian music producer El Mokh, took a new direction to Mahraganat music in his debut album ‘El Magzar.’ Seamlessly blending influences from Lofi, Shaabi, Mahraganat, and Hip-hop, the album features seven tracks that artfully divide into two distinct halves.
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Xander Ghost – Fayadan
Cairo-born, UK-based rapper and producer Xander Ghost’s ten year long career with music has led him to develop a unique blend of electronic music, pop, and rap music that maintains accessibility in his EP ‘Fayadan‘, a fusion of experimental mixes, Synth-Trap beats, and unexpected sounds rarely heard in Arabic rap.
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Noel Kharman – Mouthakerti
Rising to regional notoriety through her viral mash-ups of Arabic classics and modern pop songs, followed by a successful run of original releases, Palestinian artist Noel Kharman finally released her long awaited debut EP ‘Mouthakerti’ (My Diary), where she channels a blend of Arabic Pop influences while tackling love, loss, hope and ambition.
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Taymour Khajah – Barren Land
In music, it’s said that you need to know all the rules before you can break them. On ‘Barren Land’, Kuwaiti multi-instrumentalist, composer, and music producer Taymour Khajah takes this statement to heart as he deftly blurs the lines between technical prowess and rebellious cacophony in his blend of spoken word vocals and free-thinking Jazz instrumentals.
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Dina El Wedidi – Five Seasons
On her latest EP ‘Five Seasons’, Egyptian artist Dina El Wedidi effortlessly laces dense melodic and rhythmic ideas into an accessible fusion of Jazz, Pop, and traditional Arabic music in one of her most intricately arranged releases to date.
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Hamza Namira – Raye2
‘Raye2’ serves as a glimpse into current-day Egyptian Pop music, as the album embraces elements from emerging global trends such as Afrobeats, while still maintaining the quintessential feel-good energy of a Pop record. With artists around the region experimenting with similar sonics, this album stands out for the sheer effort and attention to detail found in its thoughtful production and songwriting.
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Husayn – Switch
After his success with the Egyptian rap group Maadi Town Mafia, Husayn took the opportunity to explore his own personal sound with his album ‘Switch’, where he touches on genres like Pop, EDM, old-school Hip-hop, and Trap, while tying everything together under the concept of making the switch between different personas to interact with different people.
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Muhab – Ya Kahera
Having made a name for himself in the Egyptian rap scene in the last year with the release of two full-length albums, ‘Bye’, and ‘Ya Kahera’, Muhab struck a chord with Rap fans due to some similarities with Egyptian Rap pioneer Marwan Pablo. However, in ‘Ya Kahera’, the artist began developing a sound that he could truly call his own, where he adopts elements of Egyptian Trap and Shaabi instrumentals, while veering further from typical Rap flows and looking more to RnB inspired vocals.
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Assyouti – The Disintegration of Eric Omelette
Considered a pioneering figure in Cairo’s underground electronic music scene, Egyptian producer Assyouti has established himself over the years through his high-octane releases and unmatched energy. On his latest release ‘The Disintegration of Eric Omelette’, Assyouti outdoes himself yet again with a collection of no-nonsense jungle and his personal spin on breakcore.
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Saint Levant – From Gaza With Love
After being propelled into the global mainstream with the success of his 2022 single ‘Very Few Friends’, Palestinian artist Saint Levant took on the task of developing his new-found style of sultry trilingual RnB on his sophomore EP ‘From Gaza, with Love’, where he revisits a series of tumultuous love affairs, funnelled through the melodies that shaped his upbringing.
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Shobee – HOWLS
Moroccan artist Shobee has been consistently rising through the ranks of the kingdom’s rap scene, showcasing smooth flows and an underlying musicality throughout his spontaneous releases. Having released his debut album ‘HOWLS’ earlier this year, the rapper made a point to display his versatile and experimental instrumentals in the concise full-length project, while retaining his low-key energy that he has become highly regarded for.
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Wingii – Magnesto
Much like fellow rapper and Maadi Town Mafia member Husayn, Egyptian rapper Wingii also uses his debut album to explore his own sound with a mix of Jersey Club, Trap, and Drill beats, along with some Alt-rock and piano-based instrumentals in the introspective album named after, and heavily inspired by, the life of his uncle Mangesto.
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Rasha Nahas – Amrat
Departing from big-band arrangements and opting instead for a more minimalistic pallet, Rasha Nahas’ ‘Amrat’ is a story of two chapters; the first driven by loneliness and alienation, written during the pandemic while suffering a hand injury, and the second driven by a longing for home. In the process of writing the album, Nahas’ injury limited her usual guitar-based workflow, leading her to experiment with new sounds and electronic instruments, marking the album as a transformative point in the artist’s career.
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Ouella – Yak Labas
‘Yak Labbas’ is a 6-track EP in which Moroccan artist Ouella expresses his longing for his Moroccan heritage. Born and raised in Egypt, Ouella’s experience has been that of feeling like an outsider in either culture, and in this EP, he dives into his constant need to connect with his roots.
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Maurice Louca & Elephantine – Moonshine
Forming a musical family of sorts while recording the album, Egyptian experimentalist Maurice Louca and the band of free-form Jazz musicians, Elephantine, have developed a close interpersonal connection that sits at the core of ‘Moonshine’. With two drummers, expansive arrangements, and an underlying sense of melancholic expression, the album delivers a sonic experience that is both organic and intoxicating.
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Tardast – Leave to Remain
Speaking on his struggles as a refugee in the UK, Iranian grime MC Tardast’s Farsi flows, signature production style, and traditional influences give ‘Leave to Remain’ its distinct sound, coined as ‘Farsi Grime’ by the artist himself. In this album, Tardast refines this sound even further as he recounts his growth as an artist in the diaspora.
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SANAM – Aykathani Malakon
Lebanese free-rock sextet SANAM’s debut album is an otherworldly exploration of spacious textures, poignant poetry, and visceral instrumentation. Having decided to record the album live with no overdubs, the six seasoned musicians’ varied backgrounds blended together in the undirected harmony that arose from their improvisation.
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Laï – Digital
In her debut EP ‘Digital’, Lebanese singer-songwriter Laï ventures into a dark interpretation of Pop music, full of moody textures and ominous atmospheres, in a style she describes as Anti-pop. The ambitious concept of the album, along with the animated visualizers, present Laï as a digital version of herself, adding to the nuance of emotional exploration found on the release.
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QOW – EL Mosameh Sherine
By sampling and rearranging some of Sherine Abdel-Wahab’s most memorable ballads, Egyptian producer QOW, also known as Omar El Sadek, takes listeners on an unfolding ambient odyssey, where evolving textures and soft melodies draw listeners into the project’s hypnotic draw.
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Baskot Lel Baltageyya – Baskot
While listening through this album, you may pick up on elements from genres such as Alternative Rock, Electronica, or Post-shaabi, but when fused together, the sound of ‘Baskot’ defies categorization, as it does not lean too heavily on any one influence. Instead, the album only weaves these familiar elements within the surreal soundscapes that give the album its character, brought to life through Adham Zidan’s experimental compositions and Anwar Dabbour’s uncanny songwriting.
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ZULI – Komy
While legendary Egyptian producer ZULI’s latest EP ‘Komy’ is full of hard-hitting club bangers, it is only a taste of what the artist has in store for the future, as he explains that the EP is a collection of tracks that have been sitting around for years, with some dating back to as early as 2016 which he wanted to “get out of the way” before releasing his newer material. The EP still stands out as an innovative release, in which the producer looks to collaborators around the region to expand his sonic influence. The producer, along with his collaborators, also made the commendable decision to donate all proceeds to Medical Aid for Palestinians (MAP).
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Zenobia – Warriors Never Die
Musical duo Zenobia ventures into the realm of Palestinian folk songs, specifically those associated with women’s melodies. Zenobia carefully selected four emblematic folk songs traditionally sung by women, originally intertwined with moments in everyday life such as weddings, celebrations, and funerals, amplifying the voices of marginalised individuals, becoming a conduit for the narratives of the unheard.
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Shkoon – Masrahiya
Delving into the Arabic rendition of “theatre” or “a play,” Shkoon’s latest album, ‘Masrahiya,’ explores the intricacies of performances and the masks we wear in our daily existence. ‘Masrahiya’ unfolds as a masterful tapestry within the framework of a three-chaptered album, where themes of tragedy, politics, and irony seamlessly intertwine. The duo characterises their music as a perpetual rebellion against traditional sonic norms, ardently endeavouring to surpass cross-cultural boundaries and reflect on the multifaceted nature of the human condition.
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Mishaal Tamer – The Deep
Mishaal Tamer’s enchanting voice transformed the Saudi singer into the Middle East’s loverboy. Each song on the album casts a spotlight on pivotal moments that have shaped Mishaal’s life and career. The album is a poignant exploration of the artist’s fears and anxieties, and reflects his willingness to confront and share the most intimate chapters of his personal narrative through the medium of music.
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Lana Lubany – The Holy Land
Palestinian Pop artist Lana Lubany’s ‘The Holy Land’ is an introspective, eight-song musical exposé, examining themes of homeland and belonging. Connecting Western and Middle Eastern sounds, Lana Lubany’s distinct, alluring, and rhythmically bilingual music resonates loudly in her latest release. ‘The Holy Land’ presents the narrative of her personal odyssey from self-loss to self-discovery with each song functioning as a distinct chapter representing negativity, temptation, mental turmoil, reaching a point of no return, and ultimately reclaiming personal strength.
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El Kontessa – Nos Habet Caramel
El Kontessa’s inaugural album, ‘Nos Habet Caramel’, unites seven sample-rich, rhythm-infused tracks characterised by percussions, impactful vocal hits, synths, and sounds sourced from Cairo’s environments. Seamlessly merging her production skills with DJ expertise, El Kontessa crafts each track into a condensed and dynamic structure reminiscent of a DJ’s set.
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Tinariwen – Amatssou
‘Amatssou’ is the ninth album by the Tuareg band Tinariwen, with the album’s title meaning “beyond the fear” in Tamasheq, a Berber dialect. The Tuareg band intertwines their trademark winding guitar melodies and mesmerising rhythms with contributions from guest musicians, including Daniel Lanois on pedal steel, piano and strings. The enriched arrangements give the songs a grand and universally resonant quality. Infused with poetic allegory, the lyrics advocate for unity and freedom. Within the songs, themes of struggle and resistance emerge, subtly alluding to recent political turmoil in Mali.
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Youmna Saba – Wishah
‘Wishah’, which translates to ‘Veil’ in Arabic, is a musical composition composed by Youmna Saba featuring voice, oud, and electronic sounds. Structured into five distinct chapters, the composition unfolds to reveal a process of gradual revelation. Each track peels away layers of constructed emotions and perceptions intricately woven over time, exposing a space that no longer holds existence. “Wishah” serves as a poignant farewell to home, capturing the essence of departure and the transformative experience that accompanies it.
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TIF – 1.6
Hailing from Algeria, TIF stands as a trailblazer in the burgeoning North African rap scene, seamlessly blending Hip-hop bass with Oriental influences. Often referencing themes of love, emancipation and homeland in his lyrics, TIF is a master in code switching, with his soft vocals offering a fresh approach to rap. ‘1.6’ is a highly awaited follow-up to his standout performance on ‘Houma Sweet Houma’ in 2022.
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Teen Idle – Nonfiction
In her latest album, ‘Nonfiction,’ New-Jersey-raised Egyptian-born musician Sara Barry explores themes of departure, heartbreak and the challenges of growing up. The album vividly depicts the perpetual process of bidding farewell to childhood and the hardships that accompany adulthood, underscoring our hesitancy to embrace change. Through its 11 tracks, ‘Nonfiction’ skillfully blends indie-rock with bedroom pop, creating a sonic landscape that blurs traditional boundaries.
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Mayssa Jallad – Marjaa: The Battle of the Hotels
‘Marjaa: The Battle of the Hotels’ is a concept album based on singer-songwriter Mayssa Jallad’s dual expertise in music and urban research. Crafted in collaboration with producer Fadi Tabbal, the music intricately weaves Tabbal’s spatial approach to sound with Jallad’s exploration of Beirut’s Hotel District. The album is a homage to Jallad’s master’s thesis in Historic Preservation, a comprehensive study detailing the history of the Battle of the Hotels that unfolded in the late 70s in Lebanon.
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Acid Arab – Three
The Franco-Algerian collective Acid Arab’s latest, titled ‘٣ (Trois)’ features ten tracks of compelling dancefloor hits. The album’s sophisticated production and the captivating performances of eight guest vocalists from North Africa, Syria, and Turkey contribute to its diverse and intriguing nature. Acid Arab incorporates Algerian Gasba, Anatolian Trance, Synthetic Dabkeh, and Bionic Raï. With nearly a decade of exploration in various music genres through collaborations and extensive travels across the Mediterranean and beyond, Acid Arab continues to push boundaries.
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Vargas – I Hate Summer
In his second studio album, Moroccan rapper Vargas ventures into new territories, exploring a fusion of techno, rap, dance, and drill. ‘I Hate Summer’ has a variety of low and high energy tracks which share the same fusion of sounds and genres that are distinct to Vargas’ persona.
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Hassan AbouAllam – Shalfata
Cairo-based Hassan AbouAllam’s latest dance album is made up of four tracks, plus a remix of each of them from renowned producers and dancefloor masters Zuli, 3Phaz, Trakka, and Joaquin Cornejo. The project is marked by clean mixed drums and distorted sound design and vocals, giving listeners some ear candy within every track.
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Marwan Pablo – Akher Qet3a Faneya
After another lengthy hiatus, Alexandria-born rapper Marwan Pablo dropped his long-awaited ‘Akher Qet3a Faneya’. The album was mostly produced by Pablo himself, along with a few tracks produced by frequent collaborator Hadi Moamer. Although Pablo didn’t necessarily switch his sound, he introduced new flavours and twists that added to his discography of bouncy production and social commentary-based rhymes, illustrating the dark realities of his personal experiences in society.
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El Sawareekh – 2oll Ya Rayek
This project illustrates the Mahraganat duo’s originality and consistent efforts to develop their sound. By incorporating numerous elements from genres such as Shaabi, Hip-hop and Pop, they have managed to refresh their influential style in their latest EP.
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Zaid Zaza – Zaza El Waseem
On his latest album ‘Zaza El Waseem’, Ziad Zaza points to change as his main motivation behind the LP. The Fayoum-born, Cairo-based artist juggles multiple genres on this release, dabbling with EDM, Pop and Mahraganat sonics while also staying true to the Drill sonics that have defined his sound in the past.
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MOSHTRQ – VA01 MOSHKILA
After establishing a reputation for themselves within Cairo’s underground music scene, MOSHTRQ’s first release as a collective sees them embarking on an exploration largely centred around fast tempos and left-field sonics. From Postdrone’s warped break-beats and vocal chops to Yaseen and Dakn’s tempo shifting hybrid bass banger, it’s safe to say that every MOSHTRQ artist adds their own distinct sound and character to this release.
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Afroto – Belad
Afroto’s five-track EP ‘Belad’ showcases his diversity as an artist as he expands his vocal style within multiple genres ranging from Shaabi, Trap and Electronica. ‘Belad’ also features regional rap stars Ziad Zaza and Marwan Moussa, who amplify the energy of the EP with their electrifying verses.
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Sabine Salame – Tafi El Daw
Lebanese artist Sabine Salame’s debut album features 10 diverse tracks that take the listener through the different emotional stages of immigration. The album stands out due to its effortless merge of Rap, spoken word and melodic singing. Through the use of dark humour, Sabine is able to translate her personal tragedies of separation and alienation into an overall uplifting experience. The album is a collaboration with fellow Lebanese producer and sound design artist, Jawad Nawfal AKA Munma.
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Mvndila – HYDR
Straight from the heart of Sudan emerges 23-year-old up-and-coming rapper, singer and songwriter Mvndila who delivers heartfelt testimonies about the emotional toll of being a young man in a modern day Sudan on his latest EP ‘HYDER’. The five-track EP comes with heavyweight production credits boasting names like ‘77, Sammany, Swish, Khayyat, and MarwanOnTheMoon, while covering topics such as depression, love and codependency.
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Lil Baba – Seif
Known for his influential production style, Lil Baba’s debut EP as a rapper showcases his singing chops, smooth flows and witty wordplay. The release also brings together members of ‘El Mexic’ collective such as Abo El Anwar, Ahmed Santa, and Abyusif, as well as Egyptian hit-maker 3enba to deliver a diverse list of tracks that maintains a consistent vision and sound throughout.
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Eldab3 – 3awdet Eldab3
Although Eldab3 hasn’t been the most active artist throughout his career, when he does release, he makes sure that he offers a valuable addition to the sound coming out of the region. In ‘3awdet Eldab3’, the artist refines his fusion of Rap, Electronic and Mahraganat to create well-rounded entries that solidify his artistic vision with his most concise collection of tracks to date.
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Abo El Anwar – Akhro Noor
Prolific Egyptian rapper Abo El Anwar dropped his first full-length album ‘Akhro Noor’ in early 2023. The project features a set of heavy hitting tracks that revolve around Jersey club beats, old school Rap sonics, as well as some emotional RnB tracks. The project also features summer-hit Blanco, featuring Maadi Town Mafia member Husayn, where the pair go back and forth along the track while effortlessly merging their flows and lyrics creating a catchy sing-along that took TikTok by storm.
