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The King Salman Global Academy for Arabic Language has launched the “Khawalid” initiative, an audio platform that aims to record 1,000 selected poems from the pre-Islamic era, in line with the Ministry of Culture’s Year of Arabic Poetry.
Abdullah Al-Washmi, secretary-general of KSGAFAL, told Arab News that the initiative, which translates to “living forever,” aimed at enriching Arabic content in various media.
He said: “Strengthening the role of the Arabic language is part of the set of goals from which the King Salman Global Academy for Arabic Language stems.”
One of its goals is to highlight the scientific, cultural and civilizational status of the Arabic language. It aims to create a platform that helps preserve Arabic content in the field of poetry.
Al-Washmi added that it will also make poetry, especially Arabic poems from the pre-Islamic era, more accessible to the public.
He said: “It highlights the value of the Arabic language, which expresses the linguistic depth in Saudi Arabia, to bring it closer to the public and endear them to it, to deepen its status, and to raise awareness of it as an integral part of the identity of the Arab person.”
The initiative will focus on the era that began approximately 150 to 200 years before Islam, and the KSGAFAL will direct work over all stages.
Its task will involve verifying work and its attribution to its author, along with determining the meaning and integrity of the content.
The selection will be limited to poems that are no less than 10 verses, taking into account the diversity of the poets and the selected works.
Al-Washmi said: “Poetry in the pre-Islamic era constitutes an important literary material that can be invested in building linguistic knowledge, enriching the artistic and aesthetic experience, and contributing to linking the contemporary generation with its authentic literary heritage.
“This initiative confirms the KSGAFAL’s interest in the culture and arts of the Arabic language, in addition to its great care in planning, teaching and computerizing it, striving in all of this to achieve its goals, which are a target of the Human Capacity Development Program, one of the Saudi Vision 2030 initiatives.”
Gueddari’s art portrays the strength, resilience, and beauty of Moroccan women, in addition to advocating for their equal representation and recognition in society.
Houda Gueddari’s exhibition has captivated art enthusiasts at an ongoing art fair in the vibrant and culturally rich city of Rabat, with the artist’s work unveiling the remarkable artistic journey of a prominent Moroccan painter. Entitled “My Art, My Path,” the exhibition tackles pressing special issues as the artist uses her paintbrush as a weapon to create change.
In an exclusive interview with the gifted painter, Morocco World News had the opportunity to delve into her creative journey, discovering the personal anecdotes, challenges, as well as triumphs that have shaped her distinctive artistic style.
Between art and a more conventional career
Pursuing an artistic career, however, has not been easy for Gueddari, as she encountered many obstacles along the way. Faced with the pressure of pursuing a more conventional path, the Moroccan artist made a compromise and chose a paramedical career in dental prosthetics that still incorporated artistic elements.
But her passion for art remained unwavering. “I couldn’t let go of my dream,” she said. “I continued to seek opportunities to refine my skills, attending workshops and joining artist associations. These experiences opened doors to my first exhibitions and invaluable connections within the art community.”
The year 2016 marked a pivotal moment in Gueddafi’s artistic journey. With determination and vision, she founded the first art gallery in Fez, a space that showcased her own creations as well as supported and promoted fellow local artists.
“The gallery became a vibrant hub of artistic expression,” she reminisced, adding that “it was a joy to witness the dialogue and appreciation it fostered among art enthusiasts and collectors.”
When the COVID-19 crisis hit Morocco, it brought about unanticipated challenges, necessitating the temporary closure of the gallery amid a nationwide lockdown.
Yet, Gueddari did not allow this setback to extinguish her artistic spirit. “I adapted to the circumstances … I sought alternative ways to share my work with the world,” she said.
This includes the artist’s active presence on social media, notably her Instagram page with nearly 100k followers. Gueddari’s social media platforms serve as a medium for her to share her paintings, inspirations, and thoughts with art enthusiasts.
International recognition
Gueddari has made a name for herself as a renowned artist in Morocco, especially in the city of Fez where she lives.
In addition, her talent shone on the international stage with various achievements, including being selected as a finalist in a prestigious competition in Dubai. She also received acclaim for her work in Florence in 2022, winning the Leonardo Da Vinci international prize.
She fondly recalled her participation in the renowned Biennale art exhibition in Venice, Italy, and exhibiting at the Museum of Modern Art in Barcelona.
As travel restrictions were imposed worldwide, Gueddari redirected her focus toward promoting art within Morocco. In collaboration with the Marriott Hotel in Rabat, she orchestrated the ongoing “My Art, My Path” exhibition.
Speaking about her artworks, she said that she draws inspiration from various movements, including cubism and surrealism. “A little bit Picasso, a little bit Dali … I was inspired by several artists, but the truth is I really just try to be myself,” she explained.
Gueddari sees herself as a “committed artist.” She said: “When I paint, I paint my emotions, I lose my life, I paint everything that happens around me.”
Through her art, Gueddari tackles various themes and social issues, including women’s rights and the crucial role they play in Moroccan society.
“Women play an integral role in society, and their contributions should never be underestimated or undervalued. It is essential to create an environment where women have equal opportunities to thrive, express themselves, and pursue their dreams,” she said.
The “My Art, My Path” exhibition merges traditional and contemporary expressions, embodying the Moroccan artist’s profound connection to her homeland and its rich artistic heritage. “I am very proud to be Moroccan … I am very proud to represent my country as an artist,” she said.
Art as a constant quest for growth, self-discovery
Discussing the obstacles artists worldwide face, Gueddari acknowledged the challenges they have to endure, saying: “The life of a painter demands unwavering dedication and perseverance.”
“It is a constant quest for growth and self-discovery,” she stressed, underlining that these challenges serve as golden opportunities for artists to achieve personal and artistic growth, as well as push the boundaries of their creativity and inspire others along the way.
Despite the difficulties that artists encounter, Gueddari argued that the artistic journey is extremely rewarding. “The world of art teaches us tolerance, acceptance, openness to the other, and openness to the world.”
Through her work and her online presence, the Fez-based artist actively promotes art in Morocco, seeking to deepen the understanding and appreciation of the artist’s spirit and the nation’s artistic landscape.
Talking about the future of art in Morocco, she said that she is “very optimistic,” especially since the government has been giving more importance to art and culture.
After her exhibition in Rabat comes to an end, Gueddari will embark on another journey, with plans to hold exhibitions in various Moroccan cities, including Marrakech and Agadir.
When asked about her message to aspiring Moroccan artists, Gueddari shared a heartfelt, encouraging piece of advice. “Never settle for what you already know,” she said. “Embrace versatility, expand your knowledge, and explore different artistic domains. Stay true to yourself, and draw inspiration from other artists.”
Kassem Istanbouli, Lebanese actor-director, and Hajer Ben Boubaker, French researcher and sound director, were awarded the 19th UNESCO-Sharjah Prize for Arab Culture at an award ceremony at UNESCO Headquarters in Paris on 26th June 2023.
The event, organised by the Sharjah Department of Culture in collaboration with UNESCO, celebrated the achievements of two winners.
The ceremony was attended by Abdullah bin Mohammed Al Owais, Chairman of the Sharjah Department of Culture; Ernesto Ottone Ramirez, Assistant Director-General for Culture at UNESCO; Mohammed Ibrahim Al Qasir, Director of the Department of Cultural Affairs in Sharjah; Ahmed Al Mulla, Deputy Ambassador of the UAE to France, and Aisha Al Kamali, Representative of the Cultural Attaché at the Embassy of the UAE in France, along with dignitaries, writers, intellectuals and accredited diplomats to the United Nations (UN).
Al Owais and Ramirez presented the 19th edition of the UNESCO-Sharjah Prize for Arab Culture to Istanbouli, winner of the Arab Personality Award, and Ben Boubaker, winner of the Non-Arab Personality Award.
The UNESCO-Sharjah Prize for Arab Culture recognizes recipients’ outstanding artistic achievements celebrating Arab art and culture globally. Core to UNESCO’s anti-racism and anti-discrimination agenda, the Prize promotes peace and dialogue to foster intercultural understanding and celebrate diversity.
For this 19th edition of the Prize, the international jury recognized Mr Istanbouli and Ms Ben Boubaker’s extraordinary contributions to promoting the arts and Arab culture and supporting their local communities.
Kassem Istanbouli is a Lebanese actor and director. Since 2014, he has led the rehabilitation of historical cinemas in Lebanon, including Stars Cinema in Nabatieh, and Al-Hamra and Rivoli in Tyre, abandoned or destroyed during civil war.
Mr Istanbouli is involved with several international projects focused on skills enhancement, youth empowerment and collaborative partnerships. In 2020 he co-founded the Arab Culture and Arts Network (ACAN) to design and implement online cultural activities across the Arab region. The Network includes over 700 organizational and individual members from across the world.
Mr Istanbouli is also director and founder of the Lebanese National Theater in Tyre and the Lebanese National Theater in Tripoli and has been a project manager at the Tiro Association for Arts in Lebanon since 2014.
Hajer Ben Boubaker is a French-Tunisian independent researcher and sound director. Her research focuses on a socio-historical analysis of Arab music and the cultural history of the Maghreb community in France and around the world.
In 2018, she created and self-produced the Vintage Arab podcast, which explores Arabic musical heritage. At the intersection of research and art, the podcast allows her to keep a foot in each sphere.
Ms Ben Boubaker is a producer and documentary director for France Culture, where her work questions the sound and political memory of immigration. As a researcher, she is associated with the Arab and Oriental music collection at the Bibliothèque nationale de France, and continues to write for scientific journals, including “Paris, capitale maghrébine: une histoire Populaire” in October 2023.
Created in 1998 and run by UNESCO at the initiative of the United Arab Emirates, the UNESCO-Sharjah Prize awards two laureates per year — individuals, groups or institutions — in recognition of their contribution to Arab art and culture, or for participating in the dissemination of the latter outside the Arab world.
The initiative contributes towards the Organization’s objective of fostering inclusive, resilient and peaceful societies. The Prize carries a monetary value of USD 60,000, which is equally divided between the two laureates.
The Sudanese filmmaker gave up a comfortable career in Bahrain to make movies that could shed light on his homeland’s deep divides. He’s now a Cannes award-winner .
Great art often raises more questions than answers. In the case of “Goodbye Julia,” the Saudi-backed film that won the first-ever Freedom Award at the Cannes Film Festival last month, those questions were born in a single historic moment.
It was February 7, 2011, and Sudanese filmmaker Mohamed Kordofani was sitting with his family in Khartoum as they read out the results to the South Sudanese independence referendum. His country was quite literally split in two and, as his shock turned to shame, a long search for truth began — one that would upend his entire life and turn him into one of the region’s most promising storytellers.
“Something sparked inside of me. Why would 99 percent of a whole nation vote to separate? I couldn’t fathom it, and I began to question everything — about my society, my upbringing, and even myself,” Kordofani tells Arab News.
“I was brought up in a typical Eastern Sudanese household, and the traditions and norms I inherited from previous generations made me think that racism was just a normal part of life. I hadn’t realized the true damage that everyday hate could cause. I had been so confident in my ignorance. I told myself, ‘No more.’ And I’m a better person now because of it,” he continues.
Truth be told, Kordofani had never wanted to be a filmmaker. In fact, at the time of the secession, he was working in Bahrain as an aircraft engineer, settled in a seemingly comfortable life in which he could safely start a family. He was never a cinephile and had no great interest in the artform. But as he wrestled with the deep flaws within himself and his home country, his ideas began to take narrative shape.
“It’s funny to me that I found myself at Cannes when I didn’t come from a cinema background like so many of my peers. I have impostor syndrome about this — wondering why I’m here when so many others are not. Growing up, I watched movies like everyone else, sure, but that was it,” says Kordofani. “I wrote stories for myself in university, but no one would ever read what I wrote. I didn’t know anything about cinema, but I chose filmmaking because I realized it was a tool I could use to tell my stories to biggest audience possible.”
For years, Kordofani led a double life. He would use his annual leave and dip into his savings to make short films, screening them for the local community to great acclaim before traveling back to his workaday life in Manama. By 2020, he realized he had to make a choice: continue with the life that had been prescribed him, or follow what had become his passion. He chose the latter.
“When you’re married and have kids, switching careers can be very scary, but, honestly, I was miserable,” he says. “I said, ‘You only live once’ and, at age 37, I left engineering behind to start a production company at a time when there was no film industry in Sudan. I burned all my bridges, cancelled my engineering license, and put myself on a new path.”
By that time, his efforts to make “Goodbye Julia” were well underway. The idea had come to him at home in Bahrain one night, as he and his wife argued over whether they should get a live-in maid to help around the house. The idea repulsed Kordofani.
“I thought the whole setup was unfair. These people work for a long time, often have no off-days, and it all sounded to me like slavery. It took me back to growing up in Sudan, and the help that we had around the house that wasn’t much different — always made up of people from the south of the country. It made me think back to the separation in 2011, and the plot started forming in my mind,” he explains.
The film follows two women from the north and south of Sudan respectively — Mona, a retired singer racked with guilt for causing a man’s death, and another named Julia, the man’s widow. Mona offers Julia — who doesn’t know about Mona’s involvement in her late husband’s death — a job as her maid in order to atone for her misdeeds, against the wishes of her husband Akram, who is open in his resentment of southerners.
In early drafts, Kordofani was unsatisfied with how one-dimensional all the characters felt. “I was writing with my engineering mentality,” he says. “All of them were binary — zero or one, black or white. It wasn’t until draft three or four that I actually felt I understood that the film wasn’t just about separation. I had to not only delineate their differences, but reconcile them, and reconciliation is about understanding.
“I had to learn to stop judging them, and empathize. That was not hard to do, because they are me,” he continues. “Each of them, from the conservative husband Akram to the socially progressive wife Mona, were a reflection of my own points of view at one time in my life or another, back when I felt I was a victim of my society. And they turned from black-and-white to gray, and that turned them into a good catalyst for dialogue.”
As his script progressed, Kordofani began pitching the film internationally, but found that the predominantly white decisionmakers couldn’t fathom the racial divide of his home nation.
“In one pitch session in Portugal, the first question was, ‘I don’t understand. You are black. And the southerners are black as well. So you’re talking about black-on-black racism? How does that work?’ I responded, ‘Yeah, if this were a comedy, we’d call it “50 Shades of Black,”’ Kordofani says wryly.
The film has found instant success coming off its Cannes debut — it is the first Sudanese film ever to screen at the storied festival — scoring big deals for theatrical releases in countries across the world. Ultimately, though, Kordofani made the film with Sudanese audiences in mind.
After all, part of the reason that he imbued the film with so much complexity — why he asks hard questions without reaching for easy answers — is that he wants to inspire discussion in Sudan, hoping to bridge the divides that continue to plague the country as it verges on a civil war that Kordofani believes is caused by the same underlying social illness as the 2011 secession was.
“We’re a divided people. Political division, ethnic division, and tribal division have always been the root cause of all our problems,” he says.
Kordofani, meanwhile, has begun to accept that he truly is a filmmaker, and a stamp of approval from Cannes could mean he’ll be able to tell stories for the rest of his life. He’s come to terms with the fact that he doesn’t have the answers, whether in politics or his art, and that his journey to find them will continue for years to come. Indeed, accepting his own imperfections may be the big answer he was always looking for.
“When I finished the final scene, I cried so much. We were we were on a bus from Kosti to Khartoum, a five-hour ride, and I think I cried the whole ride,” he says. “It hit me that my intention was to make a film that may change people. And I found out that I was the one who was changed the most by making this film. I feel I finally understood myself.”
source/content: arabnews.com (headline edited)
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TKordofani addresses the crowd after receiving the Freedom Award for ‘Goodbye Julia’ at the Cannes Film Festival on May 26. (AFP)
The National Records and Archives Authority (NRAA) will open a permanent museum-cum-exhibition for records and antiques pertaining to Oman’s historical presence in East Africa next on Friday, February 10. The exhibits also highlight the common history shared by Oman and Kenya in the province of Lamu.
Once restoration tasks are completed and final improvements made, the archival exhibition will be inaugurated in coordination with the Embassy of the Sultanate of Oman in Kenya and the Kenyan Ministry of Tourism, Wildlife and Heritage.
The project constitutes one of the archaeological and architectural landmarks, and aims to play a variety of cultural roles.
Besides affirming Omani presence in the province of Lamu and the depth of the two countries’ historical relations, the exhibition consolidates noble Omani values and reflects the sultanate’s keenness to preserve various aspects of its heritage, culture and civilisation.
The permanent exhibition is established within the framework of cooperation between the NRAA and the Kenyan Ministry of Tourism, Wildlife and Heritage, following a Memorandum of Understanding signed earlier by the two countries.
Through the project, the NRAA seeks to spread awareness about Oman’s history and civilisation in East Africa, notably among the local community and visitors to Lamu Island.
In 2017, the NRAA restored some parts of Mombasa Fort in the Republic of Kenya so that the monument could house a permanent museum-cum-exhibition. The facilities are named as follows: ‘Omani House’, ‘Al Mazrouei Hall’ and ‘Fort Museum’. They all serve as testimony to Omani presence in Mombasa.
Saudi jewelry designer, Maryah Abdudeeb, is revolutionizing the world of wearable art by fusing the elegance of Arabic calligraphy with the beauty of literature. Through her brand, Mashq, she has embarked on a creative journey that begins with the delicate strokes of a calligraphy brush and culminates in the creation of breathtaking masterpieces inspired by poetry and literature.
Mashq, which takes its name from an ancient form of calligraphy, meaning “stretch out,” captures the essence of Arabic letters in a unique and captivating manner. The brand’s founder, Maryah Abdudeeb, drew inspiration from her childhood experiences, where she witnessed her father’s skillful calligraphy and her mother’s ability to transform simple materials into works of art.
Guided by these formative influences, Abdudeeb embarked on a quest to explore the depths of Arabic poetry and literature. Her creative journey was further enriched as she traveled to different countries, marveling at architectural marvels adorned with historic Arabic inscriptions. It was during these encounters that she stumbled upon jewelry pieces engraved with calligraphy, each one narrating a deeply personal story.
With a profound love for Islamic art, Abdudeeb believes in showcasing and appreciating its timeless beauty. To deepen her knowledge and understanding of this art form, she immerses herself in Islamic design books, where she discovers an array of captivating designs and phrases inspired by this rich cultural heritage.
The COVID-19 lockdown proved to be a turning point for Abdudeeb, as she pondered over ways to combine her twin passions: jewelry and Arabic calligraphy. It was during this period of introspection that the concept of Mashq was born.
In March 2021, Mashq made its debut, unveiling its inaugural collection. Abdudeeb personally contributed to each stage of the jewelry-making process, acting as both the calligrapher and designer. Each piece in the collection showcases verses and lines from her favorite works of Arabic poetry and literature, capturing the essence of profound emotions and inspiring narratives.
The transformative design process begins with Abdudeeb meticulously rendering the chosen phrase in calligraphy, striving to convey its true essence. The phrase is then transformed into a three-dimensional representation using specialized jewelry design software. Depending on the size and intricacy of the piece, it is crafted either by hand or with the assistance of cutting-edge machinery.
However, the true measure of success for Abdudeeb lies in the emotions evoked by her creations. By employing a variety of meaningful phrases and materials such as silver, gold plating, and gems, she aims to establish a connection between the wearer and the words. Each piece serves as a reflection of personal sentiments or a wellspring of motivation, empowering individuals to carry their chosen phrase with grace and pride.
The 23rd Arab Radio and TV Festival kicked off on Monday in Tunis under the slogan of “Celebrating Arts and Culture.”
The opening ceremony was hosted on Monday at the City of Culture under the theme: “Arab Perfumes,” and the closing ceremony will be broadcast live by the various Arab TV channels and radio stations.
The official ceremony was attended by several Arab senior officials, including diplomats, professionals from the festival’s media partners and featured artists.
The official guests included President of the Arab States Broadcasting Union (ASBU) Mohammed bin Fahd Al-Harthi, ASBU Director General Abdelrahim Suleiman, Cultural Affairs Minister Hayet Ketat Guermasi and Syrian Minister of Information Butros al-Hallaq.
A tribute was paid to Egyptian actress Sherine, Lebanese filmmaker Georges Ghabbaz, Emirati actress Fatma Houssani, Libyan filmmaker Hassan Garfel, Moroccan filmmaker Sanaa Akroud, Syrian actor Milad Youssef and actress Rawaa Saadi.
The festival further paid tribute to leading figures from the Arab audiovisual landscape, including former chairman and CEO of the Tunisian radio and television broadcasting corporation (ERTT) Abdel Aziz Kacem, Tunisian actor Moncef Baldi, former Director of Egyptian Radio Iness Jawhar, former ASBU Director of the Administrative and Legal Committee Hani Farraj, Bahraini filmmaker Ines Yacoub and Taki Eddine Soubira from Comoros.
The awards of the 14th edition of the Arab Music and Song Contest were handed over during the ceremony, which was held at the ASBU headquarters in Tunis last May.
The Tunisian Radio won the 2nd award (US$ 3 thousand) in the musical works section for a composition entitled “Tamiarat” by Mohsen Matri.
The winning works were selected by a jury made up of musician Mona Chtorou (Tunisia), artisit Mona Abelghani (Egypt), artist Dhia Eddine Jebbar Faraj (Iraq), academic Achour Fanni (Algeria) and poet Hédi Daniel (Syria).
The event highlighted Moroccan caftan as a key part of Morocco’s cultural identity and diversity.
The UNESCO headquarters in Paris hosted on Tuesday evening a spectacular fashion show displaying the vibrant colors and captivating designs of Moroccan caftan. The show was part of the African Week taking place between June 5 and 9.
The event showcased the work of Moroccan designer Fatima Zahraa Al-Filali Al-Idrisi, the visionary creator behind the renowned brand “Fatim Haute Couture Made In Morocco.” She had been specifically invited to represent Morocco at the show.
With an atmosphere infused with the melodies of Tarabi and Andalusian heritage, the Moroccan designer mesmerized the audience with her unique collection of Moroccan caftans.
She showcased “an original variety of Moroccan caftans resembling historical, vibrant, and pleasant works of art,” indicated a press release.
The statement added that Al-Idrisi’s designs “embodied both the luxury and honor of this traditional national garment, the Moroccan caftan, which has remained an authentic and refined heritage throughout different periods and generations.”
Exuding opulence and prestige, each garment embodied Morocco’s rich cultural, historical, and civilizational legacy.
The fashion event saw a harmonious blend of international, African, and Maghreb presence, convening diplomats, professionals, entrepreneurs, artists, media representatives, and members of the African diaspora residing in France.
With her participation in the event, under the theme “Authentic National Heritage,” Al-Idrisi aimed to highlight and celebrate Morocco’s cultural diversity and bring the international audience closer to the different cultural realms that shape the Moroccan identity.
From the Sahrawi caftan to the Amazigh caftan and the Moroccan Jewish caftan, the Moroccan designer showcased a wide range of styles, incorporating regional dimensions, including the Fassi, Rbati, Atlassi, Shamali (Northern), Sharqi (Eastern), and Janoubi (Southern) designs.
The spectacle also celebrated the craftsmanship and attention to detail involved in the creation of Moroccan caftans. This included the fabrics, textures, and captivating colors used in the caftans varied according to regions, customs, occasions, and seasons.
The event also showcased Moroccans’ mastery of caftan styling techniques, embroidery, and ornamentation, a testament to the creative skills and dedication of the North African country’s artisans.
In line with the African Week’s objective of showcasing the continent’s cultural and artisanal heritage, Al-Idrisi incorporated “prominent authentic accessories that enhanced this elegant garment,” added the statement.
The accessories included hand-women and embroidered pouches, headbands, crowns, belts, woven and metallic trims, traditional brooches, earrings, and necklaces.
Adorned with coral and gemstones, the accessories enhanced the overall charm of the caftan designs.
Elizabeth Kassis has turned her Palestinian father’s house into a hotel, nearly 80 years after he emigrated
‘I want everyone in the diaspora to work for Palestine,’ Kassis tells Arab News
Chilean businesswoman Elizabeth Kassis has turned her ancestral home in Bethlehem’s Old City into a heritage hotel nearly 80 years after her father emigrated to Chile.
The Kassis Kassa Hotel is the Old City’s first heritage hotel, reflecting both the city’s traditional architecture and its long-standing association with the South American country.
The Palestinian community in Chile is reportedly the oldest outside the Arab world, with around half a million Palestinians moving there since the mid-19th century.
The hotel was officially opened on June 1, and the first group reservation was received on June 8.
“It was an exciting and challenging project that took years to implement,” Kassis, who was born in Chile, told Arab News. “It is rich in cultural history and has been carefully restored to preserve its original beauty and traditional Palestinian architecture.”
The project “will contribute to raising the level of tourism services in Palestine, as it is being implemented in cooperation with Bethlehem Municipality,” Kassis said.
We wanted the guests to get the full experience of what it means to live in a Palestinian house with real neighbors.
Elizabeth Kassis
“I think the experience of being a guest in a Palestinian house is a unique one. We wanted the guests to get the full experience of what it means to live in a Palestinian house with real neighbors.”
Kassis’ father visited Palestine in 1999, looking for ways to boost Bethlehem’s economy. Along with a group of Palestinian businessmen, he implemented a number of small projects at the turn of the century. He returned in 2015 and purchased his old family home. The restoration project began in 2016, led by his daughter.
Kassis said that setting up the hotel has been one of the most rewarding projects she has ever been involved in. In Chile, she managed her family’s farm and bred Arabian and Chilean horses. She has also worked as a TV presenter and is a talented visual artist who has participated in numerous exhibitions, as well as the co-founder of a band called Three Diaspora, which, she explained, “reshapes old songs that arrived in Chile with the first Palestinian immigrants.” The band has released several albums recorded with musicians from the Edward Said National Conservatory of Music.
Kassis has traveled extensively, but “found herself” in Palestine. “I want everyone in the diaspora to work for Palestine. I want people to feel, smell, eat, and live Palestine. This is my duty toward Palestine,” she said.
Engineer Raed Othman, who worked with Kassis on the project, told Arab News that Kassis loves Bethlehem and Palestinian heritage in general, and has devoted herself to promoting it to the world.
Bethlehem’s mayor, Hanna Hanania, told Arab News that, through her hotel and other efforts, Kassis is “building bridges” between Palestinian expats and their national heritage, especially the tens of thousands of expatriates from Bethlehem in South America.
He added that, as part of its attempts to attract investors to the city, the municipality plans to develop Al-Najma Street, where the hotel is located.
“The fact that Kassis Hotel is on this street will contribute to enhancing our vision regarding activating the location,” Hanania said.
Fadi Qattan, co-founder of the Kassis project, said the hotel promotes Palestinian heritage and culture through its food and its “beautiful location,” adding that he hoped journalists would visit the hotel and write about Palestinian food to “promote an accurate picture of the life and heritage of Palestinians.”
He continued: “The hotel is the first project wholly owned by an expatriate Palestinian family, which will encourage expatriate Palestinian families to return and invest in Bethlehem.”
source/content: arabnews.com (headline edited)
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Kassis said that setting up the hotel has been one of the most rewarding projects she has ever been involved in. (Supplied)
While aspiring to become a boxing champion, Taghmaoui’s fascination with cinema eventually led him to pursue a career in acting.
French-Moroccan Actor Said Taghmaoui has solidified his presence in the Hollywood industry, successfully securing various roles alongside renowned stars.
His latest endeavor sees him teaming up with Golden Globe nominee Mark Wahlberg in an upcoming feature film called “The Family Plan,” produced by Apple Original Films and Skydance.
Written by David Coggeshall, “The Family Plan” follows the story of a suburban father who finds himself on the run with his family when his past catches up to him.
The movie is directed by Simon Cellan Jones and produced by Wahlberg, Municipal Pictures’ Stephen Levinson, and Skydance’s David Ellison, Dana Goldberg, and Don Granger.
In addition to “The Family Plan,” Taghmaoui has also landed a role in the action-packed film “Tin Soldier,” which boasts an impressive cast including Oscar winners Jamie Foxx and Robert De Niro, as well as Scott Eastwood.
During a recent interview with French lecturer and essayist Idriss Jamil Aberkane, Taghmaoui opened up about his journey as an actor. He described himself as an “autodidact,” highlighting the fact that he didn’t attend school but instead pursued his passions with unwavering dedication.
Recalling his boxing days, the actor expressed how the sport played a significant role in his personal growth. He believes that either boxing chose him or he chose boxing, emphasizing its complexity and the introspection it demanded.
While aspiring to become a boxing champion, Taghmaoui’s fascination with cinema eventually led him to pursue a career in acting.
Born in France to Moroccan immigrant parents, Taghmaoui became a naturalized US citizen in 2008 and swiftly made a name for himself in the Hollywood industry.
Despite dropping out of school at a young age, his boxing talent propelled him to second place in his category in France. It was during this time that he met Mathieu Kassovitz, with whom he co-wrote the acclaimed French film “La haine” (1995), which earned the Best Director award at Cannes.
Since then, Taghmaoui has become a prominent figure in cinema and has expanded his repertoire to include films from various countries, such as Italy, Germany, the United States, and Morocco.
He has featured in Hollywood productions like “G.I. Joe,” “Wonder Woman,” “Traitor,” “John Wick,” and “The Forgiven,” showcasing his versatility and talent as an actor.
