Arabs & Arabian Records Aggregator. Chronicler. Milestones of the 25 Countries of the Arabic Speaking World (official / co-official). AGCC. MENA. Global. Ist's to Top 10's. Records. Read & Enjoy./ www.arabianrecords.org
The renowned Egyptian literary critic Salah Fadl, who was 84 years old, passed away yesterday after a battle with illness. He was described by the Arabic Language Academy as a “major figure in Arabic and literature” and “had a march full of dedication and accomplishment as he was a literary critic well-versed in arts of Arabic literature and comparative literature.” To commemorate his long life of accomplishments, we will shed light on some of his greatest achievements throughout his career.
Early Life
Fadl was born in an Egyptian Delta village called Shabas Al Shuhadaa in March 1938 and majored in Arabic language and literature at Cairo University where he graduated in 1962. From 1962 to 1965, he was hired as a researcher at Cairo University. Fadl then sought new horizons away from Egypt as he traveled to Spain on a scholarship to earn a doctorate in literature from the Central University of Madrid.
Life Abroad
During his study period abroad, he taught Arabic literature and translation at the Faculty of Philosophy and Arts at Madrid University from 1968 to 1972. At the same time, he worked with the Supreme Council for Scientific Research in Spain on a project aiming to revive and promote the philosophical legacy of Ibn Rushd (a jurist who wrote on many subjects, including philosophy).
Fadl then returned to Egypt to become a Professor of Literature and Criticism at the Faculty of Arabic Language and Girls College at Al Azhar University. His stay in Egypt didn’t last too long as he then went to Mexico to serve as a visiting Professor at Mexico College for higher studies from 1974 to 1977. There, Fadl established an Arabic language and art department. Additionally, he taught in numerous universities in Egypt and abroad, including Bahrain, Yemen, and Mexico.
Books
The scholar was an exceptional writer who wrote numerous publications in the fields of criticism, comparative literature, theatre, novels, and poetry. Amongst his most famous works was “Medieval Spanish Poetry: A Study and Examples” (1974), “The Realistic Approach in Literary Innovation” (1978), and “Structuralist Theory in Literary Criticism” (1978). Through these publications, Fadl helped enrich Arab literature by producing books that are used as a source of knowledge today.
Just before his death, he applauded the Abu Dhabi Centre for choosing Taha Hussein as the face of the Book Fair while serving as president of the Cairo Academy of the Arabic Language. He explained that this initiative strengthens ties between Egypt and the UAE and their desire to value the two nations’ icons in various spheres of creativity and culture.
Fadl had success in a variety of disciplines before taking on the role of Egypt’s cultural attaché, where he worked to strengthen ties with the countries he visited. His legacy will remain as he contributed to the Arab world through his interesting perspectives and rich knowledge in several fields.
Owner Dona Murad says the motto is Bahraini hospitality, Copenhagen technique and New York energy.
If you ever find yourself in Cooper Square, in the Lower East Side of Manhattan, you might find a queue forming outside a cosy-looking bakery.
That would be Librae, New York’s — and possibly the whole of America’s — first Bahrain-owned-owned bakery. It’s the brainchild of Dona Murad, a Bahraini entrepreneur married to a New Yorker.
“We always wanted to have something in his hometown to represent the both of us,” Murad says on the phone from Dubai, where she lives when she’s not in the Big Apple.
“We wanted a space that brought together different cultures, religions and diversity.”
One quick look at the menu confirms they have achieved exactly that. Highlights include the rose pistachio croissant, a feta and dill scone and a lumee babka bun.
Lumee, or black lime, is liberally used in Bahraini cuisine.
“It’s used in tikka and stews and we wanted to create a pastry that was Bahrain and New York,” Murad says.
“So we took black lime, crushed it up, made it sweet in a lemon curd and put it into a babka, that’s classic New York.
“We gave it oomph and our own identity.”
Murad arrived in New York before the opening with black lime in her suitcase, knowing it was always going to be on the menu.
Another unique dish is the Marmite cheddar and scallion escargot, which is also on the menu at Hopscotch, Murad’s first cafe in Bahrain.
“Marmite is so hard to find in New York. We were buying it on Amazon in tiny little bottles, scraping every morsel out of the corners,” Murad says with a laugh.
“But we took that and put it in our morning bun and get the occasional English or Australian person who gets excited to see it on the menu.
“We love using flavours familiar to us, experimenting with them, putting them together in things that become delicious, like a disco in your mouth.”
Murad describes Librae as a “third culture cafe”, where they use “a little bit of this, a little bit of that”, with flavours and design influences from all over the world, from Bahrain to Bali and Morocco to India.
They also create new desserts for religious occasions, whether it’s for Eid and Ramadan, Christmas or Hanukkah.
It’s not just the flavours that stand out, either, but the technique used in the baking.
Murad and her husband, Andre, love the food scene in Copenhagen and so they were inspired by the Denmark capital’s unique fermentation process, which uses more salt and fat than usual with sourdough.
“Their approach to fermentation is quite a scientific one so giving examples might be a bit tedious, but if I had to explain it in two words it comes down to ‘no shortcuts’,” Murad says.
“Our croissant for example takes over 72 hours to get just the first step.”
Murad says their motto is “Bahraini hospitality, Copenhagen technique and New York energy”.
They were also really inspired by Denmark’s bakery culture, which, she says, is “small, warm and they have really good coffee”.
The combination of great pastries and delicious coffee was important to her when setting up.
“You don’t get two great products in one space. Usually people ignore one or the other,” Murad says.
“It might be a great bakery but they don’t care about coffee, so we wanted to do both.”
This is a similar premise she used in creating Hopscotch and Grind, a roastery she also owns in Bahrain.
Hopscotch opened six years ago and remains a go-to spot for food and coffee lovers on the island.
Nowadays, her brother and mother run the business in Bahrain, while she hops between the US and UAE.
Other dishes on Librae’s menu also hail from Hopscotch. The labneh zaatar morning bun customers find in New York, for example, is inspired by the zaatar labneh twist in Bahrain.
“It’s the evolution of the brand,” says Murad. “Librae is like the cooler, younger sister.”
As someone with no experience of running a business in New York, Murad was nervous about opening Librae.
But what made it even more risky was that they were doing it when there was still a mask mandate in the city because of the pandemic.
“It was scary, it was so polarised there,” she says. “You had people who would not walk into some places for certain reasons, so we were scared at the beginning. We didn’t have our foot in the door.
“Before opening, we were making almost 400 croissants a day. We refused to open until we had a croissant I would stand in line for … so I was standing outside the door, handing out croissants to people on the street.”
People would nudge away from Murad, looking at her as if she was “crazy”, she says, but every third person would respond.
“We would form a connection, tell our story and that got people talking to us and interested. Those people came back and stood in line to support us.”
They finally opened in May last year and the community has responded well.
“It’s so surreal,” Murad says. “I go outside and I look at the line forming and get goosebumps.
“Our communities responded here, in Bahrain, Saudi Arabia, all over the Gulf and a lot of people in New York. We have regulars now.”
Another aspect she brought from the Gulf was the idea of relaxing in a cafe.
“Coffee culture in New York is very different to Dubai or Bahrain,” she says. “We wanted to create a bakery where people would sit down and dwell and enjoy, somewhere to have a good cup of coffee and pastries.
“There are a lot of coffee shops that are beautiful and New York runs on caffeine because it’s such a fast-paced society. This is a space that brings the way we enjoy coffee to the centre of Manhattan.”
Murad hasn’t had much time to think about her next step, but she hasn’t ruled out opening something new in the UAE.
“If the right opportunity comes along, it’s my second home, so why not? Dubai has so many great options, but there is always room.”
As for Librae, which is simply named after her star sign (“You know how when you don’t know how to pronounce something it automatically becomes cooler,” she says with a laugh), she’s focused now on growing the brand.
“I want to continuously learn in the industry. I enjoy what I do. Whatever opportunity comes my way, I want to be able to take it. I want to expand Librae’s horizons and see where it takes me.”
Palestinian Chilean singer Elyanna is set to perform for the first time at Coachella, the popular music festival that is held annually at Indio, California.
The 10-day event will run from April 14 to 23.
Elyanna, who is famous for her songs “Ghareeb Alay,” “Ala Bali” and “Ana Lahale” with Canadian Lebanese singer Massari, will be the first Arab artist to perform on the Coachella stage.
“I am honored and grateful for all the love and support I have received in the past couple days,” she wrote to her 575,000 followers on Instagram. “Last year I attended Coachella, and this year I will be the first Arabic singing artist to perform there. Your wildest dreams will come true, so keep on dreaming! See you in the desert.
“I’m so proud and excited to bring my culture and music to Coachella,” she said in another post.
Elyanna’s celebrity fans, including Massari, Dutch Palestinian supermodel Bella Hadid, US Iraqi beauty mogul Huda Kattan, Egyptian rapper Felukah, Palestinian singer Noel Kharman and Syrian swimmer Yusra Mardini, all took to Instagram to congratulate the star.
CNN has promoted senior international correspondent Nima Elbagir to the role of chief international investigative correspondent.
A London-based Sudanese journalist, Elbagir has broken countless stories for CNN from war and crisis zones, reporting on human rights abuses in places like Ethiopia’s Tigray region, Libya, Democratic Republic of the Congo, Nigeria and Yemen. In 2017, her undercover reporting exposed migrants being sold at slave auctions in Libya and prompted responses from the government and the United Nations.
Elbagir has scooped up numerous awards in her career, including the Royal Television Society’s Television Journalist of the Year Award in 2020, a duPoint Award, a Polk Award in 2017, the International Center for Journalists 2018 Excellence in International Reporting Award, the 2018 IWMF Courage in Journalism Award, a 2019 Gracie Award, and the LA Press Club’s 2019 Daniel Pearl Award.
Elbagir joined CNN in Feb. 2011 as a full-time reporter based at network’s Johannesburg bureau, before later moving to Nairobi, Kenya. Prior to joining CNN as a freelancer in 2010, Elbagir worked in various capacities for the UK’s Channel 4 for a number of years from 2005: she freelanced from Kabul, Afghanistan for Channel 4 News; reported for the Unreported World documentary strand; and both reported and presented for Channel 4 News and More4 News.
source/content: adweek.com/TVNewser/CNN-Revolving Door (headline edited)
Sharjah HQ of waste management operator Beeah aims to lay foundations for a greener future.
A striking Sharjah building in the shape of a sand dune is primed to be a beacon of sustainability and serve as a fitting legacy for renowned architect Zaha Hadid.
The headquarters of waste management operator Beeah was the last project designed by Zaha Hadid before her death in 2016.
Her team constructed a modern masterpiece across 9,000 square metres, using sustainable materials to create a building with 40 per cent of its power provided by the sun.
Illuminated, sweeping staircases take visitors up to an art gallery on the first floor, with screens showing a time-lapse video to explain the building’s five year construction.
Now open to full capacity of 500 workers, the building is breaking new ground in how to provide a sustainable working environment.
Green vision
“We aim to operate as sustainably as possible, and used recycled materials in the construction of the building,” said Nada Taryam, managing director of Beeah HQ, which manages waste management across the country.
“Native plants have been used in the landscaping and reduced the amount of water consumption.
“A power pack stores excess energy from the photovoltaic panels, so we have a holistic strategy to achieve sustainability.
“Every project has its own specific requirements when energy comes into play, but the basis on which we have built this design can be learnt from.
“All of these sustainability measures can be taken and applied to other projects.”
The building’s high thermal mass allows heat to be absorbed during the day and dissipated at night to encourage cooling, while its curved structure allows the flow of natural sunlight to reduce the energy required for lighting.
An artificial intelligence system enables the building near the Alsajaa industrial area to learn to become more efficient as more people use it.
Its developers say it conforms to the highest standards of energy efficiency in the world.
Windows are positioned to reduce solar glare, while special glass cuts radiant thermal energy to keep the building cooler during summer.
While the glass limits the entry of infrared and ultraviolet light, solar panels supported by Tesla-made battery packs capture the power of the sun and store it to run the building’s air conditioning system.
The building’s components and management systems are integrated to maintain and improve its efficiencies.
Conference rooms are equipped with technology to automatically transcribe meeting minutes and email them to participants.
The building is the third in the UAE to be designed by Zaha Hadid architects, following the Sheikh Zayed Bridge, opened in Abu Dhabi in 2010, and The Opus hotel and apartments complex opened in Business Bay, Dubai, in 2018.
“As it learns from its occupancy, this building could potentially become one of the most sustainable buildings in the UAE,” said Ms Taryam.
“Certain decisions were taken, such as using glass reinforced panels on the ceiling which refract the sunlight so contribute to its efficiency and temperature control.
Defying convention
“There is a misconception about what these kind of buildings should look like, and we have defied that.
“There isn’t a rule book to say green buildings should be lined with solar panels. We have proved we can integrate architecture as well as sustainability to create something iconic.
“Zaha Hadid has something that distinguishes her from any other architect of her time. Every project of hers has its own context, but her ideas are adapted for each specific project.”
The headquarters of Sharjah waste management operator Beeah was the last project designed by Iraqi architect Zaha Hadid before her death in 2016. All photos: Andrew Scott / The National
Why doesn’t the crocodile fly? : Meet the winners of Sawiris’ 18th Cultural Award, celebrated on 08th January 2023.
The annual event was held at Ewart Memorial Hall of the Tahrir Cultural Center, downtown Cairo.
The event was attended by many cultural and literature figures and artists and included a performance by the popular musical troupe Masar Igbari.
A New Prize
The event kicked off at 7 pm with a short speech by movie star Mahmoud Hemeda, followed by a mini-documentary celebrating 20 years of Sawiris Foundation’s contribution to social development through influencing the lives of about 700,000 people throughout Egypt.
Renowned Doctor and scholar Mohamed Abul-Ghar, member of the award’s board of trustees, introduced a special prize that went to the posthumously released book of late journalist Mohamed Abul-Gheit, titled ” I am Coming, Light”. Prominent writer Mohamed Shoeir, deputy of Akhbar El-Adab magazine, was the one who suggested that the prize go to Abul-Gheit’s book even though it hadn’t been on the list of entries for the competition. Abul-Gheit had been a celebrated journalist who passed away this December after a battle with cancer. The prize, which is worth EPG 150,000, will be given to his wife and child.
Children Books
The prize for Best Children’s book under 12 years old was a tie between writer Ahmed Korany’s book Lemaza La yateer Al Timsah (Why Doesn’t the Crocodile Fly?), illustrated by Nemma Zidan, and writer Ashraf Abul-Yazid’s book Qetati Toalef Ketaba ( My Cat Writes a Book).
Critic and Narrative books
The prize for Best Critic and Narrative writings was also a tie between renowned poet Bahaa Jaheen, for his book Al Molk Wal Malek (The Creation and Creator), and writer Magdy Gergis for his book Al-Moalem Ibrahim Al-Gohary.
Play Script
The first prize for best play script went to playwright Ahmed Nabih for his play Nozhet El-Sindbad fi Dawayer Baghdad (Sinbad’s Voyage in the Circles of Baghdad). The second prize for best play script went to playwright Emad Motawaa for his play Mosiqa Hadiaa (Soft Music).
Screen Play
The prize for Best Screenplay, youth section, went to screenwriter Mohamed Al-Samman for his script Ardioon (Earth People).
The prize for Best Screenplay, older generation, went to screenwriters Ahmed Hawari and Ibrahim Al-Battout for their script Hekayet Risha w Samaka (The Story of a Feather and a Fish)
Best Novel and Short stories
The first prize for best Novel and Short stories, youth section, went to writer Mohamed Sorour for his short stories Thalath Fekhakh le Zeab Awar (Three Traps for a One Eyed Wolf). The second prize for best Novel and Short stories, youth section, went to writer Mohamed El-Barmy for his short stories Lel Mohebein Wal Awghad wa Qotaa Al Toroq ( For the Lovers, the Bastards and the Villains)
The first Prize for best Novel, youth section, went to novelist Sharl Aql for his novel Ahmar Lareng (Larenge Red ).
The second Prize for best Novel, youth section, went to novelist Ahmed Ibrahim Ismail for his novel Abu Gamea.
The first prize for Novel and Short stories, older generation, went to novelist Shady Louis for his novel Tarikh Mogaz lel Khalifa wa Sharq Al Qahera (A Brief History of Al Khalifa District and East Cairo). The novelist, however, announced later last night that although grateful for winning such an award, he will give it back.
The second prize for Novel and Short stories, older generation, went to writer Ahmed Abdel-Latif for his short stories The Kingdom of Mark Zuckerberg and his Fictional Birds.
The first Arab exhibition for productive families, Bayt Al-Arab (House of the Arabs) opened in Cairo in the presence of Ahmed Aboul Gheit, the Arab League secretary-general, and several Egyptian and Arab officials, including a high-ranking Saudi delegation.
The products at the exhibition reflect the identity of the 12 participating Arab countries.
It offers an important opportunity to learn about the richness of the cultures of these countries in craftwork and handicrafts in order to protect these industries from extinction.
The number of participants featuring at the exhibition is about 150, of which 70 are Egyptian and 80 from other Arab countries.
The exhibition, which continues until Jan. 11, opens areas for the exchange of expertise between craftsmen, producers and exhibitors.
Saeed Al-Zahrani, head of the Saudi delegation, shared with the audience at the opening ceremony a number of success stories, and said the participation of the Social Development Bank aimed at supporting and empowering micro-enterprises for family businesses, which are considered a fundamental pillar of the Kingdom’s Vision 2030.
At the Saudi pavilion, visitors were drawn to the heritage products of various regions of the Kingdom, such as Al-Sadu weaving, Al-Qat Al-Asiri, and the manufacture of Al-Masleh, in addition to the products of many Saudi family businesses displayed within the Tagseed (incarnation) initiative, which is marketed for home projects in all international and local exhibitions.
Nevin Al-Kilani, Egypt’s culture minister, said that the participation of dozens of families from Egypt and the Arab world was “the best evidence of Egypt’s keenness to support heritage both locally and regionally.”
Raef Al-Khouli, an official involved in the organization of the exhibition, told Arab News: “The Arab House exhibition in the Dome Palace is a wonderful opportunity to visit because there are many handicrafts from all Arab countries, which are sold at very reasonable prices, because all who are present are the owners of the profession or craft, and are not merchants.”
At the entrance, Al-Khouli said, visitors can register their names and phone numbers, and will receive entry for free, taking a dedicated bus to the exhibition venue.
Al-Khouli added: “At the Saudi pavilion there is a wonderful medal that the visitors can buy. It is a commemorative medal for the door of the Kaaba and the door of the Prophet’s Mosque.
“On the sidelines, there is a large theater and artistic performances are held in it throughout the day,” Al-Khouli said, adding that visiting families could bring children as well, because there is a play area and many drawing and coloring activities.
source/content: arabnews.com (headline edited)
___________
The first Arab exhibition for productive families, which continues in Egyptian capital Cairo until Jan. 11, opens areas for the exchange of expertise between craftsmen, producers and exhibitors. (Supplied)
In our continuing series on inspiring life stories across continents, we learn what made her leave a career in medical science for a ‘cuisine lab called the kitchen’.
When Lamees Ibrahim left Baghdad in the 1970s, certain parts of the city, not least the riverside strip of fish restaurants along Abu Nawas, became a fixed ideal in her memory.
After an interval of three decades, a return to the flat bank of the Tigris in 2004 was an unexpected low point in a thoroughly disturbing homecoming.
The street once the “pomegranate of Baghdad” was no longer filled with diners being entertained by poets and musicians, engulfed in the aroma of arguably Iraq’s national dish, masgouf.
Instead, Dr Ibrahim stood shaken as she took in a rubble-strewn wasteland populated by a handful of struggling fish sellers.
Yet one sense was still powerfully triggered by the fresh carp grilling over the charred wood.
“It was not in very good shape,” she tells The National. “There were only bits of its old self left, but the smell was still amazing. There are certain scents that you smell and you think, ‘Wow, this is Baghdad.’ It is very, very specific. If you enjoy samak masgouf once, you will never forget it.”
Dr Ibrahim had made a long, hazardous journey from her home in London, where she moved decades earlier: marrying, earning a PhD in Pathology, raising four children.
Her husband was with her as she set out from Jordan in a car just after Fajr prayers that day, to “feel” her land, see her extended family, and show her eldest child, Maysa, her ancestral roots.
But the Baghdad conjured up by the smell of the barbecued fish was gone; the deserted, bombed-out streets were not at all familiar to her. They did, however, bring back one particularly strong recollection from childhood.
Sometimes in the summer months, the young Lamees would gather with her three siblings around their father to be regaled by stories about Iraq.
“I remember one day when he said: ‘Look, we built this country, the Iraqis, and we have to keep doing that. If every one of us contributed their own brick then the wall would go up and up, and we should keep on building.’ I never forgot that,” Dr Ibrahim said, “and I felt that we had to add our little brick to the wall. We had to make Iraq keep going.”
She returned to London on a mission to help rebuild Iraq in some way for the younger generations that would never have a chance to experience what it had been in the golden years.
The need to describe the country’s rich history and accomplishments was urgent, but whatever she put down on paper seemed inextricably tied to cooking. So it was that she came to realise it would be through food that she could preserve connections to things past.
“I wanted to write something, I needed to write, I had to write,” she says. “So I started. Eventually, it became a cookbook with a bit of history and anecdotes about culture, about civilisation.
“My background has nothing to do with cooking. It’s not cuisines of any kind, but I have a passion for Iraq. It’s my motherland, my country.”
When the 21-year-old Lamees had come to London in the early 1970s, it was to pursue a postgraduate medical degree at King’s College and then head back to her beloved Baghdad. Soon after arriving, she married and her life, she says, became busy but limited as she immersed herself in studying and research projects.
“You go to college, you study, you attend lectures, you come home, you open the books, read, read, read, have some dinner, and go back to college,” she says.
“I didn’t know that I was homesick until one day during Ramadan I saw an elderly woman going into King’s College Hospital with her black abaya and veil. I said to her ‘marhaba hajji’ and she was shocked. She hugged me, and I went home, crying all the way.
“I cried because I had a goal. I wanted to get a degree, and the sooner I got it, the sooner I could go back home. Unfortunately, that didn’t happen.”
She was haunted by her homeland, by such memories as the heady perfume of jasmine and the days in her youth when the children would pick the flowers and turn them into long necklaces.
But the months turned into years, and years into decades. At first, returning to Baghdad was difficult as the academic successes mounted and her family grew. It became impossible when Saddam Hussein came to power, with Dr Ibrahim fearing that she would be detained were she to attempt a visit, and never see her three daughters and son again.
Her father died and then, on news of the death of her mother, Dr Ibrahim made the fateful trip when she found a country that was “not what I was expecting, of course. It was demolished, devastated.”
The resulting homage, The Iraqi Cookbook, was published in 2009, a labour of love with the name of each dish painstakingly recorded in Arabic. Samak masgouf, of course, features, and Dr Ibrahim advises in the foreword that all visitors to Iraq should try it in one of the cafes and restaurants on the bank of the Tigris.
“I came back to London with one idea in mind, which is something that as a girl I grew up to learn,” she says. “I must do something for my country. I need to tell my children what my country is like, our history, our culture, our ability to do what we did in the old days.”
She is speaking by Zoom from her home in Richmond-Upon-Thames, her voice at times faltering and cracking with emotion as she talks about dedicating herself to bringing Iraq to the diaspora.
“Iraq to me is very important, very important,” Dr Ibrahim says. “It is in my blood. It’s in my genes. It’s my history.”
The book sold out in the UK and the US, and was reprinted by popular demand. Bit by bit, the time-consuming process of writing and re-writing, working with publishers and photographers, the press interviews had taken Dr Ibrahim away from her career in pathology.
“And I never went back,” she says. “I’m still very interested. I read a lot about Covid. I follow the research, but I’m not going back to that lab. I have a cuisine lab called the kitchen.”
With the emergence of the pandemic, Dr Ibrahim revisited experiments that she had begun as a teenager when she would try to make her mother’s recipes without meat. Sometimes it was successful, she acknowledges, sometimes not.
As a child, though, she had never been as fond of lamb as her siblings were. The family cat adored her, loitering under the table at lunchtimes for the morsels of the daily stew that Lamees would sneak down to her.
During lockdown, her own children became “guinea pigs” for her avant-garde creations as Dr Ibrahim collected together an array of vegan offerings that would appeal to a young audience interested in preserving the planet.
“Dishes don’t need to have meat to have the taste and flavour, for it to smell like an Iraqi dish,” she says. “Iraqi cooking can be vegan, as well as meat and fish-centric.
“If you can preserve the taste of the flavour of the dish, go for it. Many Iraqi dishes are, in fact, vegan but we ate them before ever knowing the word ‘vegan’.”
When one of Dr Ibrahim’s friends called to see how she was faring with the tight coronavirus restrictions in the capital, she told him she had been busily cooking all the recipes to be photographed for The Iraqi Vegan Cookbook. Curious, he wanted to know whether she was including any kubba, knowing that Dr Ibrahim had devoted an entire chapter to its many meaty variants in her first book.
On learning that the new book would contain Kubbet Jeriesh, Kubbet Halab and another recipe that Dr Ibrahim made from lentils, he answered: “Only three?”
His grandmother, he said, had never enjoyed meat in her kubba so the family reinvented the dish to suit her preferences, stuffing the shells with pine nuts, onion, spices and parsley.
“If all these years ago we had vegan Iraqis, we have plenty today,” Dr Ibrahim says, smiling.
The Iraqi Vegan Cookbook had been due out on December 31, but the release has been delayed not least because of the queues of hauliers that built up in Calais and Dover as a result of Brexit and the French shutdown of the border when the new strain of the coronavirus emerged in the UK.
Rescheduled for release at the end of January, Dr Ibrahim hopes that sharing more of the oldest cuisine in the world will counter some of the negative perceptions that persist about Iraq today.
“Iraq is positive,” she says. “Iraq is full of history, full of culture. This is the cradle of civilisation. I don’t like to talk about what’s going on now. I would like to talk about the positivity of all of our achievements.
“I feel nowadays, if I add that little brick, then I have added something which I would be proud of as an Iraqi living in the West. Living in Iraq, we can build from within. We are living in the West – all my children are also living in the West, but we add our bricks from our side, from outside the country.”
Dr Ibrahim is modest about her contribution to the wall that her father told her about all those years ago, hesitating to use the word achievement. If her writing can be described as such, she says, she wants to make clear that it was never about her. It was always for Iraq.
Dr Lamees Ibrahim has dedicated herself to bringing the country of her birth to the diaspora: ‘Iraq is very important to me. It is in my blood. It is in my genes. It is my history,’ she says. Courtesy of The Mosaic RoomsThe homage to Dr Ibrahim’s homeland, ‘The Iraqi Cookbook’, was published in 2009, a labour of love with the name of each dish painstakingly recorded in Arabic. Courtesy Lamees Ibrahim
Mawadah Muhtasib, an emerging Saudi artist who reversed the typeface of the Arabic language, is well on her way to becoming a prominent name in the global art scene.
From learning her mother’s technique of writing backward at age 13 to exhibiting in London and New York City, Muhtasib has generated international intrigue in the art of Arabic by creating the first reversed Arabic calligraphy, or calligraffiti, typeface.
Her messages are not only meant to be read, but are also designed to be deciphered. Engaging her audience with the challenge of decoding letters is a large part of experiencing the artwork itself.
“It’s about expanding your human capabilities into creating the impossible. And this is exactly what I have been trying to do,” she told Arab News in an exclusive interview.
FASTFACT
The Arabic language is one of the richest art forms, the artist says, but in modernity, it is difficult to appreciate the depths of something that has become so ordinary.
Born out of a quest to layer the heritage of Arabic letters with innovative graffiti art methods, her work dares to be the first of its kind, granting her Dubai’s Art Bus competition award and a chance to show her work at exclusive showcases.
As graffiti art surged in popularity in 2013, Muhtasib experimented with mural painting alongside a novel group, hoping to develop a boundaryless form of art.
With a vision to modernize the traditional, she created a decorative typeface that mixed Arabic and Latin, written from left to right.
It’s about expanding your human capabilities into creating the impossible.
Mawadah Muhtasib
Muhtasib said: “We are so used to Arabic calligraphy when it comes to Thuluth calligraphy, Al-Kufi, Al-Naskh, and so on, and we just read that way and pass it on.
“When I’m doing my Arabic calligraphy, people sit and stare at my work for hours trying to figure out what these letters are, and the moment they realize it’s Arabic, they start to analyze and see all these letters in a different form that we as Arabic speakers are not used to.”
The Arabic language is one of the richest art forms, the artist says, but in modernity, it is difficult to appreciate the depths of something that has become so ordinary.
The goal is not only to get the viewer to read but to actively reflect on the beauty and form of each stroke and letter within the alphabet.
Muhtasib now passes on her craft through community workshops exclusively for women, most recently at Saudi’s largest light-based festival, Noor Riyadh.
“In my workshops, I do not teach people to write in reverse … I’m basically giving you the key of how to use the tools of starting to practice in the form of Latin calligraphy,” she said.
As soon as students understand the anatomy of the font family, Muhtasib introduces slanted brushes, layering techniques and stroke pressure. From the first session, students are sent home with a new creative form of expression. “The soul of a person is laid out on a page,” she said.
Writing in reverse is not new; the artist’s mother passed down the habit after having to write backward to maintain privacy at work. Alongside that, she passed down her passion for creative innovation.
While most calligraphers in the Kingdom were mimicking Western methods, Muhtasib, at 16 years old, was inspired and encouraged by Tunisian artist eL Seed and Saudi Moroccan artist Shaker Kashgari.
“I took that trick that my mom taught me years ago on how to write and then I changed it into a decorative typeface,” she said.
The concept was designed to preserve the rich heritage of the Arabic language. For foreigners, it offers a chance to engage in the language and learn its history.
“This is Arabic calligraphy in reverse that I took, improved, adjusted and made into a different form. But viewers will also wonder how it actually looked like (originally) and this will make a lot of people go in-depth and learn more about Arabic calligraphy,” Muhtasib said.
The philosophy behind the Typeform has gained interest from international luxury brands such as Louis Vuitton, Carolina Herrera, Montblanc, Sephora and more, resulting in several collaborations.
Muhtasib urges creators to push the boundaries of art and culture.
With calligraphy, “your sky’s the limit,” she said.
source/content: arabnews.com (headline edited)
____________
Mawadah Muhtasib now passes on her craft through community workshops exclusively for women. (Supplied)
The Sheikh Zayed Festival witnessed an intense public turnout that exceeded the barrier of one million visitors, followers and viewers of the festival, who gathered in the Al Wathba area, coming from inside and outside the country, to celebrate the welcome of the New Year 2023.
The various events attracted visitors, especially the huge fireworks and drone shows, where 4 records were broken in the Guinness Book of Records.
The festival squares were crowded with crowds, and the Al Wathba area was filled with followers and viewers of the drone shows and fireworks, which lasted for about 60 minutes for the first time, for the Guinness Book of Records to record this great achievement.
Amid feelings of happiness and joy, the largest fireworks display and the largest drone show lit up the sky of Al Wathba. The largest fireworks display, which lasted for more than 40 continuous minutes and broke three records in the Guinness Book of Records in terms of quantity, time and shape, won the admiration of visitors. In addition to the largest display of “Drones”, using more than 3,000 drones, a message was drawn in the sky of Al Wathba, welcoming the New Year at the end of its interesting show.
Al-Waleed Othman, an arbitrator of the Guinness Book of Records, confirmed that the Sheikh Zayed Festival was able to break 4 records at the same time, 3 of which are related to fireworks and a new record related to “Drones”, explaining that the most number of helicopter fireworks thrown in 30 seconds or more was recorded. The number of fireworks launched in 30 seconds (wheels), the most repeated fireworks in 30 seconds, in addition to the largest formation of a quick response code by drones.
Othman said: We are pleased to be present at the Sheikh Zayed Festival in the New Year’s celebrations, and we extend our congratulations to the organizers of the festival, who used to break records annually in order to please the audience.
The festival’s audience was keen to document the wonderful moments of the various shows on their mobile phones and share them on social media. The impressive performances were also broadcasted on the festival’s social media.
The Emirates Fountain and laser performances won the admiration of the festival-goers, young and old, with their dazzling musical and laser shows.
The Pavilions of World Civilizations also allocated a lot of international artistic and folklore shows, turning the festival into a global artistic carnival in celebration of New Year’s Eve, whether by holding concerts on the stages of the Pavilions of Civilizations or by participating in the march of world civilizations that roamed all parts of the festival, presenting popular performances in traditional clothes of countries. participation.
Visitors to the Sheikh Zayed Festival expressed their happiness with the international and diverse folklore and artistic events and performances, including the activities of the Heritage Village, the city of recreational games, the children’s city, the arts area, go-karting competitions, Crazy Cars, the Garden of Lights and Flowers, in addition to the Selfie Street area, the Museum of Sweets and many others.