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A collection of 100 pieces of gold jewelry dating back to the Abbasid era has been discovered in Saudi Arabia’s Al-Qassim region, the Saudi Heritage Commission announced on Tuesday.
The ancient artifacts are thought to have formed a complete adornment set, and were designed to look like flowers with stone settings fixed within gold frames.
There is also a large disc-shaped piece inlaid with colored stones arranged symmetrically in a central pattern, as well as a large group of multi-colored beads and delicate gold spacers.
The items were crafted using hammering and hand-forming techniques on gold sheets, along with decorative pressing and stone inlay within the frames.
These techniques reflect the advanced craftsmanship of the period and the development of gold jewelry-making during the Abbasid era, according to the commission.
They were found at the Dariyah archaeological site as part of the fourth season of the commission’s archaeological survey and excavation project.
Dr Jasir Suliman Alherbish, CEO of the Saudi Heritage Commission, said in a statement: “This discovery at Dariyah reflects the abundance of the Kingdom’s cultural heritage and its longstanding role as a crossroads of trade routes and cultural exchange.
“It underscores the Heritage Commission’s commitment to research, documentation and preservation, further strengthening understanding of the Kingdom’s history and safeguarding its cultural legacy.”
Excavations also revealed architectural features dating back to the Abbasid period, including the foundations of stone buildings, mud walls, fire hearths and plastered rooms, in addition to pottery vessels and metal tools.
These finds indicate human settlement dating back to the late ninth century A.D. and confirm the strategic importance of the site along pilgrimage and trade routes.
Located in the southwest of Al-Qassim Region, Dariyah is one of Saudi Arabia’s significant archaeological sites, with evidence of activity from the pre-Islamic period into the early Islamic era.
It was historically an important stop on ancient trade and pilgrimage routes, including the Basran Hajj route from Iraq.
Its surviving remains, set among mountains and valleys, include archaeological mounds, stone building foundations, pottery and glass fragments, soapstone artifacts and Islamic inscriptions in the surrounding area, reflecting the site’s long-standing historical and cultural significance.
source/content: arabnews.com (headlines edited)
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The set of ancient gold jewelry dates back to the Abbasid era. (Supplied)
In interview with Arab News, Jordan Media Institute dean Dr. Ziad Rifai discusses urgent need to equip citizens with tools to navigate today’s information ecosystem
Working alongside UNESCO and the Jordanian government, JMI has spearheaded 2 successive national media literacy strategies, establishing Jordan as a regional model
Sitting comfortably in his office in Amman, Dr. Ziad Rifai does not immediately strike you as someone whose grand mission is to fight information warfare.
The dean of the Jordan Media Institute and architect of its media literacy program — one of the first and most comprehensive initiatives of its kind in the Arab region — draws on decades of experience, appearing at times measured while promising to take on a David vs. Goliath challenge.
“Everybody now that has a phone basically has a TV, a radio station, a newspaper. All the media have been consolidated into this small phone,” he told Arab News. “And with that, with the amount of abuse that we’ve witnessed — the hate speech, the echo chambers, the misinformation, the disinformation, the rumors — all that necessitated that we need to do something about it.”
Founded in 2006 by HRH Princess Rym Ali as the first institution in the region to offer an Arabic-language MA in journalism and modern media, in partnership with the University of Jordan, JMI has evolved to keep pace with a rapidly shifting industry. Over the years it has introduced new courses — including mobile journalism and data journalism — alongside its media literacy program.
“Our focus is on journalism, creating journalists who are experienced, dedicated, ethical. That’s the core of our mission,” Rifai said. “But, as you know very well, the media scene is changing rapidly. So, while keeping the basic principles, we had to branch out into the new media scene.”
Rifai, who has worked across newsrooms, the UN, Jordan TV and the Higher Media Council, has watched this transformation unfold over five decades. He recalls a Jordan with one radio station, then the arrival of a single television channel and a handful of newspapers. Invoking Wilbur Schramm — the American scholar widely regarded as the father of modern communication theory, whose four-press model was first published in 1956 — he says the world has grown far more complex since then.
“Things have gotten so mixed up,” he added. “We are in a phase that’s as big as inventing the printing press, if not more. The problem is that the forces that are pushing the change, nobody knows who they are. And I’m not so sure if anybody can control where they’re going. Not to mention if they know where they’re going.”
That chaos, he suggested, is most acutely felt in the information ecosystem, where speed routinely outpaces safeguards — and where the general public is left with few tools to navigate the difference.
“The biggest challenge we have is with the speed that things change. The problem is how to catch up and have enough time to do interventions, awareness, education and introduce legislations.”
AI has become the defining example. In April, UNESCO examined how algorithmic AI systems are transforming information dynamics and amplifying risks — from misinformation to deepfakes — ultimately threatening trust in media and democratic integrity. The report argues that media and information literacy is the critical response. Yet follow-up initiatives, Rifai said, too often become mired in bureaucracy.
“For any initiative like this to take hold in a society, you need a champion. You need someone who believes in the idea and who pushes (it) forward,” he added.
JMI has been that champion in Jordan, working with the government domestically and relying on UNESCO as an international partner to strengthen credibility.
“We are the catalyst, we’re the advocates. UNESCO has the expertise and the global knowledge, but not the local,” said Rifai. “However, without the state, nothing will take hold, especially in our region.”
The model, he argues, is replicable. JMI is already exporting its expertise to a group of countries across the region.
“If (a country) took the strategy that we have and looked at it, they might change dates, they might change budgets, they might change partners, but the basic pillars of the strategy would probably be applicable in most of our region because the phenomenon is universal.”
JMI’s work operates on two levels: national policy design and hands-on training. Following an experimentation phase around 2014, Jordan moved to official adoption in 2019, when media literacy was placed on the government’s priority list alongside pilot projects in schools and youth spaces. The first National Strategy for Media and Information Literacy (2020–2023) earned recognition from UNESCO and a number of Arab and European officials, establishing Jordan as the first Arab country with a comprehensive, formal MIL plan. In late 2025, Jordan launched a second strategy for 2026–2029, again with UNESCO and JMI as core partners.
“The second strategy has full ownership of the government and all the elements of sustainability — that’s what the first strategy did not have,” Rifai said.
The program targets all age groups and all sectors of society, adjusting only in terms of sophistication.
“It essentially targets all sectors of operation. What differs is the level of sophistication,” said Rifai, adding that a 50-year-old housewife can be as active a disseminator of misinformation as a teenager. MIL concepts are now integrated into school curricula across subjects including religion, social sciences and Arabic — but Rifai is candid about the gap between integration and application.
“In my previous career at the UN, we integrated concepts of reproductive health and family planning in two books. The challenge was that teachers didn’t teach it. It was in the book, but in the classroom, they just skipped it. Either because they didn’t believe in it, or because they thought it wasn’t important.”
Monitoring implementation, he acknowledges, is the next frontier. “If awareness is not translated to behavioral impact or behavioral change, it’s not worth the objective. At the end of the day, the campaign should change behaviors and not just create that awareness. Awareness might be the first step in that direction.”
The ambition extends beyond classrooms. This week, JMI signed a memorandum of understanding with Jordan’s Higher Council for the Rights of Persons with Disabilities to develop a code of ethics for journalists covering disability — an area Rifai describes as a blind spot in regional media.
“People with disabilities are absent, at least in our region, from the media scene,” he said. “Whenever you see a person with disability in media, it’s either portrayed as, ‘oh, poor guy,’ or, ‘oh, how wonderful, he got a degree in science.’ Both, from their perspective, it’s the wrong approach. Just treat them like normal human beings.”
He framed the partnership as explicitly two-directional: JMI bringing journalism expertise, the council bringing lived experience.
Rifai acknowledges the world remains full of challenges, but believes the goal is to take back enough control to exploit technology’s possibilities rather than be consumed by them.
“It’s not easy to predict where we’re going. What we know for sure is that things seem to be going out of hand, in terms of media proliferation. We’re being pushed to becoming more and more reliant on (a specific technology), and less and less having any input on controlling where it’s going.”
He sees it, ultimately, as a double-edged sword. “The chaotic scene has its pitfalls,” he said, “but at the end of the day, it is allowing everybody to say what they want. For the first time, there’s freedom of information and everybody now is telling his or her story without the control. It could go either way, and I wouldn’t put money on either side of that prediction.”
For JMI, however, the mission remains constant. “No matter what happens with the media, we should not lose sight of that importance of having a proper journalism. At the end of the day, what matters is what you’re going to say and how you’re going to say it. We will continue to hold the principles and the ethical message of proper journalism. That will continue to be our role, no matter what new technologies or wars come.”
source/content: arabnews.com (headlines edited)
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Dr. Ziad Rifai, dean of the Jordan Media Institute and architect of its media literacy program, spoke to Arab News about one of the first and most comprehensive initiatives of its kind in the Arab region. (Supplied)
Authors, scholars and institutions from Arab world and beyond honoured as Abu Dhabi prize celebrates two decades of cultural influence.
The 2026 winners of the Sheikh Zayed Book Award were announced on Friday, marking two decades of one of the Arab world’s most influential literary prizes.
Established in 2006 and held under the patronage of President Sheikh Mohamed, the award has grown into a fixture on the region’s cultural calendar, drawing submissions from across the world and supporting the global reach of Arabic literature.
This year’s winners reflect that international scope, with recipients from countries including Egypt, Morocco, Germany and the UAE.
Egyptian writer Ashraf Elashmawy took the Literature prize for his novel Births in the Zoo, a work that explores shifts in Egyptian society through closely observed, character-driven storytelling. Moroccan researcher Mustapha Rajouane won in the Young Author category for a study examining how rhetoric shapes narrative in the modern Arabic novel.
In Translation, Iraqi-American scholar Nawal Nasrallah has been recognised for her English edition of a 13th-century Arabic culinary text, bringing a complex historical manuscript to a wider readership. Jordanian academic Zuhair Tawfiq received the Literary and Art Criticism award for his study of how Arab and western cultures have historically imagined one another.
German writer and translator Stefan Weidner won in the Arab Culture in Other Languages category for a major anthology of pre-Islamic Arabic poetry, while the Emirates Literature Foundation was honoured for its role in developing the UAE’s literary scene and supporting readers and writers.
The Encyclopaedias and Lexicons category went to Egyptian academic Mohamed Elkhosht for his six-volume Encyclopaedia of World Religions, and veteran Egyptian singer Nagat Al Saghira was named Cultural Personality of the Year, recognising a career that has helped shape modern Arabic song and language.
More than 4,000 submissions were received from 74 countries, underlining the award’s growing international profile. Since its launch, it has attracted more than 33,000 entries and honoured 136 winners, including writers, translators and cultural institutions.
Mohamed Khalifa Al Mubarak , chairman of the Department of Culture and Tourism – Abu Dhabi, said the award continues to build on the UAE’s long-standing investment in culture and knowledge, while Ali bin Tamim, secretary general of the award, described it as a platform that has helped shape contemporary Arabic literary and research landscapes.
A programme of events is planned throughout the year to mark the award’s 20th anniversary. Winners will be honoured at a ceremony in Abu Dhabi, with Al Saghira receiving Dh1 million for being Cultural Personality of the Year, and other category winners awarded Dh750,000 each.
Shahira Fahmy has been announced as the first Egyptian Jury President of the Arab World Institute Design Award 2026.
As the first Egyptian architect to serve as Jury President of the Arab World Institute Design Award, Shahira Fahmy joins a panel of designers, curators, editors and cultural figures shaping the fourth edition of the Paris-based award programme. Organised by the Institut du Monde Arabe, the award recognises emerging and established designers from across the Arab world, with a focus on craftsmanship, material innovation and contemporary design practices.
“Design in the Arab world has always carried memory, resourcefulness and a strong understanding of place,” says Shahira Fahmy. “What interests me about this award is its ability to create visibility for designers responding to current realities while remaining connected to local knowledge and cultural identity.”
The Arab World Institute Design Award 2026 invites projects created between September 2024 and April 2026 across four categories: Emerging Talent Award, Contemporary Craftsmanship Award, Impact Award in partnership with Arab Bank Switzerland, and the Grand Prize for established architects and designers. The programme examines how design engages with sustainability, craft traditions, production processes and material research across the region.
Founded in Cairo in 2005, SFA – Shahira Fahmy Architects expanded to Dubai in 2024 and works across architecture, heritage restoration, urban planning, and interior design. The practice is known for projects including the restoration and rehabilitation of Zone 1 in AlUla Old Town, Dar Tantora The House Hotel and Beit Bin Nouh for the Royal Commission for AlUla. The work contributed to AlUla Old Town’s nomination for the Aga Khan Award for Architecture in 2025.
“For me, architecture and design are tied to people and context,” Fahmy says. “Whether working on a heritage site in AlUla or a contemporary urban project, the process begins by listening to what already exists.”
A graduate of Cairo University, Fahmy taught at the university for a decade and has lectured internationally at institutions including Columbia GSAPP and The American University in Cairo. Her work has also been recognised through fellowships at Harvard University, including the Loeb Fellowship at the Graduate School of Design, the Hutchins Fellowship at the W. E. B. Du Bois Research Institute, and the Berkman Klein Fellowship at Harvard Law School.
Joining Fahmy on this year’s jury are Daniele Gerkens, Memia Taktak, Mette Degn Christensen, Michèle Maria Chaya, Nicolas Lecompte, Samer Yamani, Sheikha Reem Al Thani, Aidan Imanova, Ali Khadra and Arnaud Morand.
“It is important to see platforms like this continue conversations around Arab design through ecology, craftsmanship, material experimentation, and the future of communities across the region,” Fahmy adds.
Finalist projects will be shortlisted in May 2026. The selected projects will then be reviewed by the jury ahead of the awards ceremony at the Institut du Monde Arabe in Paris in September 2026, as part of Paris Design Week.
The 20th session of UNESCO’s Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, meeting Thursday in New Delhi, has clearly and unequivocally confirmed the primacy of Algeria’s inscription of the Caftan as an essential component of its rich cultural heritage, the Ministry of Foreign Affairs, the National Community Abroad and African Affairs said in a statement.
On this occasion, the Committee decided to modify the name of the element inscribed in 2024 on the Representative List of the Intangible Cultural Heritage of Humanity to explicitly include the Caftan, as well as the Quat and the Lhef. The Algerian element now bears the new designation: “Women’s ceremonial costume in the Eastern region of Algeria: knowledge and skills associated with the making and adornment of the Gandoura and the Melehfa.”
The Committee also approved the modification of the file titled “Rites and craftsmanship associated with the wedding costume tradition of Tlemcen,” inscribed since 2012 on the Representative List. It decided to add the mention “the Wearing of the Caftan” to section B3 of the ICH-02 form, in accordance with the submitted document.
These decisions represent “a new major diplomatic success for Algeria, both on the international cultural scene and within the framework of multilateral diplomacy.” They reaffirm “the historical and cultural primacy of Algeria’s inscription of the Caftan on the Representative List of the Intangible Cultural Heritage of Humanity and strengthen the international recognition of this exceptional intangible heritage,” the statement added.
The decision “consolidates Algeria’s place on UNESCO’s Representative List” and constitutes explicit recognition of the “sustained and continuous efforts of the State to promote, preserve and highlight Algeria’s rich cultural heritage, the product of centuries of history reflecting the depth and authenticity of our nation.”
This recognition “also reflects the relevance of the approach adopted in implementing the instructions of the country’s high authorities to promote our cultural heritage in all its components and forms, while protecting it from any attempt at imitation, appropriation or falsification,” the statement concluded.
‘Gaza: Doctors Under Attack’ won the current affairs category after being dropped by the BBC over impartiality concerns, and was later picked up by Channel 4
BBC reportedly broadcasted an edited version of the acceptance speech that removed remarks about Israel
The filmmakers behind “Gaza: Doctors Under Attack” criticized the BBC over its decision to shelve the documentary during their acceptance speech at the BAFTA TV Awards on Sunday.
The film won in the current affairs category after being dropped by the BBC over impartiality concerns, and was later picked up by Channel 4.
Accepting the award, journalist and presenter Ramita Navai said that the film highlighted findings from an investigation into attacks on Gaza’s healthcare system.
“These are the findings of our investigation that the BBC paid for but refused to show,” she said. “But we refuse to be silenced and censored. We thank Channel 4 for showing this film.”
Navai said that more than 1,700 Palestinian doctors and healthcare workers had been killed and more than 400 detained during Israel’s war on Gaza.
She dedicated the award to Palestinian medical workers held in Israeli prisons.
Gaza: Doctors Under Attack wins a BAFTA Award
Executive Producer Ben de Pear, "Just a question for the BBC, given you that you dropped our film will you drop us from the BAFTA TV screening later on tonight?"
According to local reports, the BBC did not air Navai’s speech in full and instead broadcast an edited version that removed her remarks about Israel, reigniting criticism of the corporation’s handling of Gaza-related coverage.
The BAFTA awards are broadcast on BBC One after a two-hour delay.
The documentary, which features firsthand accounts from Palestinian health workers in Gaza, was honored at London’s Royal Festival Hall nearly a year after the BBC declined to air it.
Executive producer Ben de Pear also used the acceptance speech to thank Jaber Badwan and Osama Al-Ashi — the journalists behind the film — before addressing the BBC directly.
“Finally, just a question for the BBC: Given you dropped our film, will you drop us from the Bafta screening later tonight?”
The BBC commissioned the documentary from independent production company Basement Films more than a year ago, but delayed its release while reviewing another Gaza-related documentary, “Gaza: How to Survive a War Zone.”
It later said that it would not air “Gaza: Doctors Under Attack,” arguing that the film risked creating “a perception of partiality that would not meet the high standards that the public rightly expect of the BBC.” The broadcaster also said that impartiality remained “a core principle of BBC News.”
The film was later acquired and broadcast by Channel 4 in July.
source/content:arabnews.com (headline edited)
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The documentary, which features firsthand accounts from Palestinian health workers in Gaza, was honored at London’s Royal Festival Hall nearly a year after the BBC declined to air it. (Getty/File)
As country debates easing return of treasures, attention turns to regional pieces still held in its national collections.
French lawmakers are debating a new bill aimed at simplifying the return of colonial-era cultural objects to their countries of origin, drawing renewed attention to artefacts still held in France’s national collections, which number in the tens of thousands.
The draft legislation was unanimously approved by the Senate in January and now requires backing from the lower house, the Assemblee Nationale, before it can become a law.
While not all cases are at the same stage, these five objects from Algeria, Egypt and Jordan sit within that broader restitution debate, whether through formal state requests, public campaigns or long-standing calls for their return.
1. Baba Merzoug, Algeria
The 16th-century cannon known as Baba Merzoug at the Arsenal of Brest in western France. AFP
The 16th-century bronze cannon from the Ottoman era in Algiers is housed at the naval base in the French coastal city of Brest after being taken by French forces in 1830 following the capture of Algiers.
While seized as a spoil of war, the cannon remains a politically charged symbol of French colonial rule in Algeria. The Algerian government formally requested its return in 2012, and the cannon was explicitly cited during the April 2026 parliamentary debate over France’s proposed restitution framework.
2. Emir Abdelkader’s effects, Algeria
Rather than a single object, this refers to personal items associated with the 19th-century Algerian leader Emir Abdelkader, who led the resistance against French invasion before his surrender in 1847.
Held across French collections including at Musee de l Armee in Paris and Musee Conde in Chantilly, the objects include a steel sabre, pistol, ceremonial cloak and related belongings linked to Abdelkader’s life and leadership.
Algeria has included these effects on a formal restitution list submitted to French authorities in 2021, and they remain a sensitive part of the wider dispute over colonial-era holdings.
3. Dendera Zodiac, Egypt
The Dendero Zodiac is an ancient bas-relief that formed part of the ceiling of the Temple of Hathor in Upper Egypt and is now held at the Louvre in Paris.
Removed in the early 19th century, it has been part of the Louvre collection since 1822 and has become one of the most recognisable Egyptian antiquities in a French museum.
While there is no verified formal Egyptian state request for its return, the object has been repeatedly cited in public repatriation campaigns, including those led by archaeologist and former antiquities minister Zahi Hawass.
4. Mesha Stele, Jordan
Also known as the Moabite Stone, the Mesha Stele is a 9th-century BC basalt monument from present-day Jordan and is considered one of the most important inscriptions from the ancient Levant.
Discovered in 1868 by the Anglican missionary Frederick Augustus Klein at Dhiban, it was later shattered by the Bani Hamida tribe over an ownership dispute, before the fragments were recovered and reassembled in France.
In June 2014, non-governmental Mesha Centre for Studies and Human Rights delivered an official request for the stele’s return to the French embassy in Amman.
The Jordan Times reported in 2015 that French ambassador Caroline Dumas discussed the request with representatives and said she would convey their public appeal to the French government. No formal response has been reported.
5. The Seated Scribe, Egypt
One of the Louvre’s most famous Egyptian works, the Seated Scribe is a painted limestone sculpture from the Old Kingdom, dating back to circa 2600BC-2350BC. It is famed for its striking realism and remarkably preserved features.
Found at Saqqara in the 19th century by the French archaeologist Auguste Mariette, it is among the most celebrated masterpieces of the Louvre’s Department of Egyptian Antiquities.
While the Egyptian government has not included the Seated Scribe on any formal restitution lists, it has appeared in broader public discussion in Egyptian cultural circles around the recovery of major artefacts held abroad.
H.E. Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, Chairperson of Qatar Museums, has been ranked second globally in the 2025 ArtReview Power 100 list.
She first appeared on the Power 100 in 2011 at No. 90, quickly rising to No. 11 in 2012 before reaching the top position at No. 1 in 2013.
The Power 100 is compiled by a panel of around 30 individuals from across the globe, and from all parts of the artworld, who propose those people who have shaped the art that has emerged in their locality over the past year. The criteria for inclusion are that each person on the Power 100 has had an influence on the art being made and shown now; that they have been active in the last 12 months; and that their presence stretches beyond a local scene (while many act locally, the influence of that local action can reverberate internationally).
What emerges is a means of capturing an artworld that is not purely an economic system, or an aesthetic one, but a complex social system. Through this list, ArtReview gives a portrait of the network of relationships that shaped the art of 2025.
Abu Dhabi’s newest cultural landmark earns global recognition from TIME in 2026.
Abu Dhabi has added another standout to its cultural scene. The Zayed National Museum has been named one of TIME’s World’s Greatest Places for 2026, placing it among 100 destinations that offer something truly special for visitors.
Nestled within the growing Saadiyat Cultural District, the museum has quickly become a place people are curious about. It opened its doors in December 2025 and has since drawn attention for both its design and what it represents.
Rather than feeling like a traditional museum, it leans more towards a calm, reflective space where you can spend a few hours moving through stories of the UAE’s past.
Even before stepping inside, the building itself makes an impression. Designed by Norman Foster, the structure is inspired by the wings of a falcon in flight. The shape is striking but not over the top, and it ties back neatly to Emirati heritage.
Inside, the journey stretches back around 300,000 years, tracing human life in the region long before the country we know today. At the heart of it all is the story of Sheikh Zayed bin Sultan Al Nahyan, whose life and values shape much of what you see. The galleries are not overwhelming, which makes it easy to take your time and actually absorb what is on display.
Some pieces naturally draw more attention than others. The Abu Dhabi Pearl, believed to be one of the oldest natural pearls ever discovered, is one of those quiet highlights.
Another is the Blue Qur’an, known for its deep colour and fine detail, offering a glimpse into the artistic traditions of the Islamic world.
One of the more unexpected features is a full-scale reconstruction of an ancient Magan boat. It gives a sense of how people in this region once travelled and traded, long before modern borders existed. It is the kind of exhibit that makes history feel more real and less distant.
Places are selected through nominations from TIME’s international network of correspondents and contributors, as well as an open application process.
With several major institutions now based in the same district, it is becoming a place where visitors can easily spend a full day, or even more, exploring art, history and ideas.
For residents, it is another reason to take a closer look at what is on their doorstep. For travellers, it adds one more stop to an already evolving map of must see places in the region.
Seven days after the legendary Iraqi singer Sajida Obaid died, women sat wrapped in black veils and abayas, their faces wet at her family home in the northern city of Irbil. Some were family members and others were fans who had loved her for decades.
Bitter black coffee, the drink of Iraqi mourning, passed quietly from hand to hand. The music drifting in from outside filled the spaces between sobs.
Outside, men sat under a canvas tent in the street. A traditional band beat the daf as some of the men wiped their eyes. In Iraq, the seventh day marks a return, a final gathering before grief begins to thin into memory.
Obaid died on April 4 at the age of 68 after a battle with lung cancer. The news was overshadowed by the Iran war that had spilled over into neighboring Iraq. But for her fans, her death felt personal — the loss of a woman whose voice had given them, for a few hours at a time, something close to freedom.
A space for women to let loose
In Iraq, a woman moving through public life carries weight with her; eyes watching what she wears, how she moves, whether she is stepping too far outside the lines. So Obaid decided to hold parties only for women. Every staff member including the DJ, the waiters, the security, and the organizers was a woman. No phones were allowed to prevent photography. To protect the women in the room, their freedom stayed inside those walls.
Women who would never dream of dancing in front of male audience came. They dressed how they wanted and danced the way they had forgotten they could.
Virgin Jaji, 68, was one of them. While the Arab world traditionally begins its mornings with the dreamy songs of the Lebanese singer Fayrouz, Jaji said she has listened to Obaid every morning for years, in the car, at home, even at the gym. “Even my parrot only dances to Sajida Obaid’s music.
“In her women’s parties we danced like we had no cares in the world,” Jaji said, her eyes red from crying. “We felt free. Truly free.”
Mina Mohammed, 40, said, “The first time I heard about a women-only party by Sajida, I borrowed money from friends just to be in that hall. Her voice will always take me back to the best moments of my life.”
A quick rise to stardom
Obaid was born in Baghdad in 1957, the daughter of a Roma family. In Iraq, Roma people are known as “Kawliya,” a community long tied to music and performance, but also one that has lived for generations at the edge of society. Sajida began singing at 12, performing at parties to help her family pay the bills.
By her teenage years she was already a known name. Her voice was warm and commanding, rooted in the dance rhythms of the Kawliya and in the older, more tender Iraqi style known as mawal. By the 1980s, it had reached the most powerful and most dangerous men in Iraq.
Saddam Hussein’s security guards would pull her away mid-performance from other people’s weddings and bring her to sing. She performed at the weddings of Saddam’s children and at birthday parties for his sons and daughters. It was the complicated price of being a national star in an era of dictatorship. She traveled the world, performed at international festivals and sometimes played as many as seven shows a week.
Shrinking space for Iraqi women
But the women-only parties were always special to her, said her brother and manager, Aayed Awda.
“Those parties were something the women themselves asked for, including women from the most conservative families, because they wanted a place where they could dress freely, move freely, be themselves,” he said. “Sajida believed deeply in helping women and giving them that space.”
Obaid’s songs sometimes pushed social boundaries, like “Inkasarat al-Sheesha” (“the shisha broke”), about a woman who has lost her virginity and must now face her family. “What will I tell my mother?” the lyrics ask. In Iraq, that is not a light question. Obaid sang it with a full voice, without apology.
Many Iraqi women feel that the gains they had made in rights over the years are receding. Last year, Iraqi Parliament passed amendments to the country’s personal status law that opponents say would in effect legalize child marriage and erode women’s rights in matters like divorce and inheritance.
“Iraq feels like it’s moving backward, and the space for women’s freedom is shrinking,” said Mohammed, the fan who borrowed money to attend Obaid’s parties. She hopes that the carefree moments they brought can “be carried forward, even in small ways, like women-only DJ nights with her music.”
A quiet end
In her final months, the woman who had sung on stages across five continents lived quietly in Irbil, in the home of her elder brother’s family. She had no children. She had married twice and divorced twice. She rarely went out. She spent her days close to the people she loved and played with the children in the house.
“She was gentle and warm, and she never once caused harm to anyone,” said her niece Sahar Sabti, 38, who shared the home with her. “She took care of everyone around her.”
About four months before Obaid died, doctors found lung cancer, Sabti said. She still insisted on flying to Canada for a concert. But when she came home to receive her first chemo session, her body gave up.
She was hospitalized in Irbil, where she remained for more than two weeks before being sent home on oxygen. Her family took her to the hospital once more, and this time she didn’t come home.
Her brother recalled the 40 years they worked together, and their sibling bickering about the shade of her makeup, the cut and color of her dress, the theme of the next party.
“We disagreed on everything,” Awda said, his voice breaking. “And I miss every single one of those arguments.”
On the seventh day of mourning, as the drum outside finally fell silent and the women inside dried their faces, they spoke about Obaid the way people speak about someone who has stepped out of the room for a moment.
“For me and my friends, dancing and Sajida are the same word,” said Leila Botrus, 55. “She brought people together everywhere she went through joy, through music.”
Outside in the tent, the band played its last song of the evening. The coffee in the cups grew cold, but the women stayed a little longer together.
In that room, filled with women sitting close together, it felt as though Sajida had left behind exactly what she always gave them; a space of their own.
