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H.H. Dr. Sheikh Sultan bin Muhammad Al Qasimi, Supreme Council Member and Ruler of Sharjah, launched on Tuesday, 19 new volumes of the Historical Dictionary of the Arabic Language at the headquarters of the Arabic Language Academy in Sharjah.
The 19 new volumes of the Historical Dictionary of the Arabic Language cover four letters, bringing the total number of letters edited so far to 9, thus increasing the number of completed volumes of the project to 36.
The volumes of the Historical Dictionary of the Arabic Language were issued, directed and printed in Al Qasimi Publications in Sharjah.
Sharjah Ruler welcomed the attendance of members of the Academy from different countries, praising their great efforts in working on the historical dictionary, which is one of the valuable achievements that must be worked and built in order to spread, learn and teach the Arabic language.
His Highness announced an endowment to support these Academies in fulfilling their mission to the fullest, pointing to the importance of establishing private centres owned by the Academy.
Sheikh Sultan addressed the great efforts in supporting the learning of the Arabic language in Sharjah, pointing out to the vision and idea of establishing Al Qasimia University, which came as a culmination of His Highness’ efforts to support the Arabic language and Islam. “Here in Sharjah, we established Al Qasimia University, and this university is mine, and it graduates many students from Japan to the Americas,” he said.
The Ruler of Sharjah stressed the importance of preserving Arab traditions in any place and time of all members of society, because this is a part that integrates with speaking the Arabic language and shows belonging.
His Highness said, “We have worked to establish special institutions for the Arabic language, and we have established them with decrees and laws in order to preserve them, so as not to make them blown by the wind, and make the lovers of this language responsible for them.”
The Ruler of Sharjah concluded his speech by talking about the ancient history of Sharjah, as it was mentioned in the report of the leader sent by Alexander the Great when he came to Persia in the year 331 BC. M, pointing out that Sharjah and its people preserve the language, literature and poetry, highlighting their roles in supporting and spreading science and knowledge.
For their part, a number of attendees from the Academy expressed their appreciation to His Highness the Ruler of Sharjah for providing great support for the Arabic language.
The Sharjah Ruler launched the first 17 parts of the “Historical Dictionary of the Arabic Language” at the opening of the 40th edition of the Sharjah International Book Fair 2021. With the official launch of the dictionary’s website, people can search and read all the completed volumes.
Saudi Arabian Airlines has agreed to buy 100 innovative electric vertical take-off and landing planes as it seeks to connect Jeddah with the Kingdom’s leading tourist destinations, according to one of the firm’s leading officers.
Speaking to Arab News on the sidelines of the Future Investment Initiative in Riyadh, Group Chief Marketing Officer Khaled Tash said Saudia — the airline operated by his firm — will be the first in the region to make use of the technology.
The deal has been struck with German company Lilium, which is in the final testing phase for the aircraft, with operations expected to start in two years.
Tash said Saudia will be using the aircraft to improve access to destinations alongside the Red Sea and Makkah.
“That will actually be our first priority in the next few years to connect to the airport with Makkah whereby some of our premium passengers can land in Jeddah airport, take one of these small planes and go to Makkah and back in a few minutes. That will be a breakthrough,” he said.
The executive insisted the announcement shows air mobility in Saudi Arabia is set to move into a different era.
“When we think about what’s happening in the country, Vision 2030 is about a lot of transformation that is happening in the Kingdom and maybe today’s announcement, that we made with Lilium, is probably a testimony to how Saudi national champions like Saudi airlines are walking the talk,” Tash said.
“We want to be at the forefront of innovation, EVTOLs — or electric, vertical, takeoff and landing aircrafts — are the future of air mobility, I think in especially short distances. For us to be the first Middle Eastern and North African within that region, the first airline to make this step towards EVTOLs, I think that means a lot for us,” he added.
Tash used the example of seaplanes connecting the islands of the Maldives as delivering economic benefits to tourism — something he hopes will be replicated in Saudi Arabia.
The commitment to 100 vehicles will also offer value for money for his firm, he added, saying: “By moving by big players like Saudia moving into early adoption of such a technology or such an innovation, that will have, hopefully a very good impact on the cost.”
“So if we start with Jeddah to Makkah and then with with Jeddah to the Red Sea or Jeddah to AlUla URL, or Jeddah to King Abdullah Economic City, the more use cases we can find for this, the more commercial opportunities we will have and the less cost it will be,” he said.
“So if I have an aircraft that goes 20 times between Jeddah and Makkah each day, it will definitely be cheaper than going six times a day,” he added.
As well as the economic case for buying the aircraft, there is also a clear environmental benefit.
Tash was clear that while sustainability is a very important topic under the Vision 2030 umbrella, it is also for Saudia.
“We think that electric, in terms of these kinds of EVTOLs, is the future for aviation, and we believe that our sustainability initiatives will be further strengthened,” he said.
“It’s not the only sustainability initiative that we’re doing. We’re working on so many different fronts. We have one of the youngest fleets in general in our entire fleet that also has less emissions. We are committed to work on sustainability, more and more,” Tash added.
source/content: arabnews.com (headline edited)
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Saudi Arabian Airlines Group Chief Marketing Officer Khaled Tash speaking to Arab News on the sidelines of the Future Investment Initiative in Riyadh
Read on for a list of regional female filmmakers who have been taking the industry by storm.
Farida Khelfa
Farida Khelfa is an Algerian-French documentary filmmaker. She is currently set to release a new film titled “From The Other Side of the Veil” that aims to dismantle misconceptions and stereotypes that often surround Arab women.
Kaouther Ben Hania
The Tunisian filmmaker made headlines in the film industry after her critically acclaimed movie “The Man Who Sold His Skin” was shortlisted for the Oscar’s Best International Feature Film award this year.
Ayten Amin
The Egyptian director has long chronicled the lives of women in modern Egypt. Her feature film “Souad” was selected for the cancelled 2020 Cannes Film Festival.
Danielle Arbid
Danielle Arbid is a Lebanese filmmaker. Her work has screened at numerous film festivals in France and the rest of the world, including New York, San Francisco, Tokyo and more.
Annemarie Jacir
The Palestinian filmmaker has written, produced and directed award-winning films such as “A Post Oslo History.” Her movie “Wajib” (2017) won her 18 international awards.
Nujoom Al-Ghanem
The Emirati filmmaker, writer and poet had to overcome societal stigma and family disapproval to make it. She defied the odds and produced films such as “Amal” (2011) and “Sounds of the Sea” (2015).
In a career spanning decades, Iraqi-born Sadiq has shown her creations worldwide and dressed the stars, but she remains rooted in the traditions of her homeland.
With verses from love poems and flowing calligraphy, Jordan-based fashion designer Hana Sadiq stitches a testament to the beauty of Arab women.
The artistic handwriting of Arabic script dominates her embroidered modern designs, with poetry or letters scattered in bright colours.
She uses various calligraphic styles, from the elaborate Diwani to the curving Thuluth and features on some of her outfits the lines of renowned Arab poets including Mahmoud Darwish and Nizar Qabbani.
“Arabic calligraphy is the most beautiful,” says Sadiq, 72, showing off her love of jewellery with strings of beads around her neck, dangling earrings, and unusual stone rings.
At her home workshop in downtown Amman, Sadiq notes that the earliest writing was born several millennia before Christ in what is now Iraq, arguing that it was a place “without which all the other civilisations would not have existed”.
Sadiq has split her time between Amman and Paris since 1982, having both French and Jordanian nationality as well as Iraqi citizenship.
‘How beautiful she is’
She has exhibited from Europe to the United States as well as the Middle East, returning home with an extensive collection of antique silver ornaments, along with thousands of pieces of Arab textiles and costumes.
Her kaftans, traditional robes, feature bright and stunning colours. They reflect the influence of her grandmother who wore a traditional Iraqi “Hashemite dress” and walked “elegantly like a peacock”.
The folk outfit is made of very thin fabric with wide sleeves and transparent sides, decorated with beautiful floral ornaments, golden or silver, on a black base. It was the favourite of Iraqi women in the 1950s and 60s.
Sadiq traces her interest in fashion to her childhood, when she would visit her grandfather’s textile shop in Baghdad.
She went on to design for celebrities and royals, including Jordan’s Queen Rania and Queen Noor. But whoever the client, her work has been guided by pride in the Arab woman’s femininity.
Unlike more revealing Western fashion, her designs envelope the woman’s body, “but it shows high femininity,” says Sadiq, who is also the author of a book, “Arab Costumes and Jewelry, a Legacy without Borders”.
She argues that Western clothes are not the best fit for the bodies of Arab women but have spread to the region anyway. “Unfortunately this is the result of globalisation,” she says.
“What matters to me, in all my work, is that the woman remains female and that a man is attracted to her as a female,” she adds. “Which means when a woman passes in front of him, he must notice and see how beautiful she is.”
Her kaftans, traditional robes, feature bright and stunning colours, reflecting the influence of her grandmother who wore a traditional Iraqi Hashemite dress and walked “elegantly like a peacock”.
A fragment of the legendary star map by ancient Greek astronomer Hipparchus has been uncovered in St. Catherine’s Monastery.
Within the library of St. Catherine’s Monastery in South Sinai – the oldest continuously-running Christian monastery in the world – researchers have uncovered a fragment of history’s oldest complete star map, penned by ancient Greek astronomer and mathematician Hipparchus.
Hipparchus is considered to be the greatest astronomer in ancient Greece, and so researchers had been searching for his catalogue of stars for centuries. The manuscript in St. Catherine’s Monastery appeared to be something completely different; the pages contained a collection of 10th or 11th century Syriac text called the Codex Climaci Rescriptus. But as it turned out, it wasn’t just that – the pages were a palimpsest, or a parchment in which previous text was wiped clean so that it can be reused.
But much like scribbling your pencil over recently erased writing, it was possible to discover what was erased from a palimpsest. Researchers from the University of Cambridge, the University of Rochester in New York, the Early Manuscripts Electronic Library in Rolling Hills Estates, California and the French national scientific research centre CNRS in Paris worked together to find layers of writing that had been wiped away. Amongst them were the coordinates for the constellation Corona Borealis, and by comparing these precise coordinates with how the night sky would have been arranged in antiquity, the researchers found that the coordinates would have been made in 129 BC – right when Hipparchus was making his revolutionary cosmic calculations.
An excerpt of the discovered document was recently published in the Journal for the History of Astronomy, and is available online.
Interior design has a much deeper meaning for Nawaf Al-Nassar than for many others out there. For the Saudi designer, looking to the outdoors is what allows him to create the indoors.
Growing up in Jeddah, Al-Nassar travelled to London for his studies, where he was mentored by design icons including Zaha Hadid, Philippe Starck and Gianfranco Ferré. “It was amazing,” he tells Arab News.
After graduating in 1990, Al-Nassar returned to his hometown to work as an interior designer, starting his studio, 3N Jeddah (the three Ns being his name, his father’s name — Nahar — and their family name). It quickly gained popularity, acquiring residential and commercial projects in Jeddah, Riyadh, Cairo, Beirut, London, Paris and the south of France.
In 2017, Al-Nassar established Tasmeem Fair — a Saudi-based art platform for young designers to showcase their creativity. The fair became an instant hit, attracting 9,000 guests in its first week alone. He describes it as “my favorite — and the best — project of my life so far.”
His family’s origins — from a small village north of Riyadh in the center of the Kingdom — played a major role in Al-Nassar’s inspiration. He remembers his grandfather taking him out into the deserted Saudi countryside as a child.
“These were our family gatherings,” he says. “When I used to look at old houses in the beautiful desert, it attracted and relaxed me. When I’d go inside old palaces or any interior space, I always felt more relaxed.
“Since I was young, I’ve always felt more like I’m talking to myself when I’m inside an interior,” he continues. “Then, when I went to high school, I always felt comfortable sitting inside a space that was complete. All of us live in an interior space, but sometimes when we look around, we don’t feel comfortable. When I’d feel that in my youth, I’d find out it was because it was not made by a designer, but by a person who has expertise with walls and ceilings. not with proportion.”
Soon after, he attended a couple of summer schools in the United Kingdom to dive deeper into the world of interior design. And his calling towards the industry only grew. “When I sit with people, I love to know their interior, the outside doesn’t mean anything to me,” he explains. “The interior is the core to know the person more. So I started wanting to know more about the interior of things, which helped me a lot with product design. I really do believe that if the interior of where a person works or lives is not reflecting their character, they can never be themselves.”
For Al-Nassar, an artist should reflect his surroundings and his feelings towards them. As such, he began infusing local Saudi motifs into his designs to pass on to generations to come. “I love the space of my studio,” he says. “It really talks to me. As an interior designer, I use soft materials for the interior, such as fabric furniture, and I deal a lot with European companies.”
Although he owns many fabrics with European motifs, he had been longing to find a Saudi designer with his own design on a fabric. He collaborated with manufacturers to print the first Saudi design on a French fabric company’s products.
“It’s very important when you go inside a space and you see details around you that reflect the surrounding of the city where you are,” Al-Nassar says. “Paris, Cairo and others have that, but in Saudi Arabia, I didn’t see any Saudi motifs, so I started to create this line of fabric design and we started manufacturing pieces.” In May, he designed some furniture for the Kingdom’s Misk Institute. His brief was to use inspiration from a historical building in the country, so he turned to the historic Salwa Palace — the original home of the Al-Saud royal family, located northwest of Riyadh.
“I started to enjoy its smooth elements and I looked at it as an architectural designer,” he says. “It’s as if I was in an orchestra, it was like silent music and it was so beautiful to see.”
From that visit, he created “Takkei” (meaning ‘Let’s sit’), inspired by the stones that form the base of the palace. He used new material to achieve a more industrial look that he believed would be more attractive to younger generations. “It’s about speaking their language,” he explains.
Al-Nassar’s creative process happens in the outdoors. Whenever he is struggling for inspiration, he jumps in his car and drives to the mountains, two-and-a-half hours away from Jeddah. He is revitalized by the surrounding landscape and old houses, some of which date back 200 years.
“I can almost read the culture and the type of life they used to live there,” he says. “I’m definitely inspired by Saudi Arabia — but also by everywhere. You have to go to the location and smell old places to be inspired.”
He mentions the picturesque village of Qaryat Al-Dehin, which is made up of 49 houses built from white mountain marble and quartz. After much research, he visited with a friend who came from Qaryat Al-Dehin. Four hours of driving later, he was immersed in its beauty. He compares it to a moment when he was 16 and he and his father watched the great opera singer Luciano Pavarotti sing in Milan. “Honestly, the same feeling came to me when I looked at these 49 beautiful houses on top of this beautiful mountain,” Al-Nassar says. “It was the same energy — the same music; it was amazing.”
His passion for the outdoors has also extended to his teaching as a guest lecturer in universities. He will often take the students on field trips — something he deems vital for today’s youth. “They have to go there themselves and see the reality on the ground,” he explains. “I have done field trips everywhere in Saudi Arabia for students, and lately it has become for others as well.”
Al-Nassar sees great potential and talent in young Saudi architects and interior designers. He admires their creativity, but suggest they need the right curator.
Ultimately, he hopes such people can build a bridge between the Kingdom and the rest of the world. “Design and art are a message of peace,” he concludes. “I’m already building that bridge, and hopefully it will be finished soon.”
source/content: arabnews.com (headline edited)
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Growing up in Jeddah, Al-Nassar travelled to London for his studies, where he was mentored by design icons including Zaha Hadid, Philippe Stark and Gianfranco Ferré. (Supplied)
The Abu Dhabi Arabic Language Centre (ALC) launched a series of music books at Frankfurt Book Fair 2022.
Consisting of a number of publications, the series is a notable addition to the ALC’s roster of publications and focusses on Emirati and Arab singing and music.
It includes biographies of artists Eid Al-Faraj and Ibrahim Jumaa written by author Ibrahim Al-Hashemi, a book on Umm Kulthum’s reasons for selecting the poems she sang, alongside a variety of other titles, including educational books.
The launch ceremony was attended by Dr. Ali bin Tamim, Chairman of the ALC, and Saeed Hamdan Al Tunaiji, Acting Executive Director of the ALC and Director of the Abu Dhabi International Book Fair (ADIBF), along with media representatives and book enthusiasts.
“The Abu Dhabi Arabic Language Centre continues to drive the advancement of the Arabic language and enrich the Arabic library with original titles in an effort to encourage creativity and support authors,” said Al Tunaiji. “The series of music books we have launched is a means to shed renewed light on music and singing in the region. For the first time, the series presents biographies of musical pioneers in the UAE, in addition to documenting traditional performing arts and exploring new perspectives on Arabic singing by experts.”
The series includes two books from the ‘Pioneers Among Us’ initiative, where poet and writer Ibrahim Al-Hashemi documents the life of Eid Al-Faraj, a singer, composer, and poet. The first biography of its kind for this artist, it chronicles Al-Faraj’s journey from birth through childhood, education, and various stages of his career until the present time, illustrated by a collection of photographs.
In the second book, Ibrahim Jumaa: The Etheric Melody of the Sea, Al-Hashemi presents the life and achievements of a pioneer of music and composition in the UAE, and documents the songs and poems he wrote, composed, and presented at festivals and special occasions. The publication features photographs from Jumaa’s life, showcasing the awards and honours he received during his career.
“This music book collection completes the book series we previously launched at the Abu Dhabi Arabic Language Centre,” added Al Tunaiji. “These works, wherein Emirati authors document the lives and professional careers of UAE musical pioneers, will greatly enrich the regional cultural scene and promote more in-depth research into the UAE’s musical heritage. The series offers a new perspective on Arab musical heritage, which is sure to spark new dialogue around it.”
The collection includes Dr. Hamad bin Sarai’s book Wahhabi Art: Kinetic and Verbal Performance from Emirati Folklore, which consists of field research documenting a form of folk performance art closely related to the agricultural environment, through interviews with people who practice the art form.
Meanwhile, the Encyclopaedia of Sung Poems, compiled by researcher Dr. Hammad Al Khatri, includes poems sung in the UAE, which are usually closer to popular taste and extend deep into the history of the community. The poems address phenomena and symbols from the surrounding environment and embody authentic Emirati vocabulary that expresses the culture of the people.
In the book Folk Songs for Children and Women in the United Arab Emirates, Dr. Fatima Al Mazrouei tries to remedy the lack of documentation of traditional folk songs, especially in the emirate of Abu Dhabi, where she collected many songs for her book which were never previously featured in published songbooks. The author also sought to collect children’s songs – often referred to as ‘Al-Ragousat’ in Abu Dhabi – in addition to songs about names, especially girls’ names.
Writing about the connection between Umm Kulthum and Arabic poetry, Dr. Ahmed Youssef Ali’s book Umm Kulthum: Poetry and Singing chronicles the legendary singer’s efforts to elevate Arabic song by performing the works of some of the greatest poets of her time and before. Umm Kulthum had a modest upbringing, only receiving religious education and being taught traditional culture, but her exceptional taste allowed her to select the poetic texts that would best serve her songs, sometimes rearranging the verses for the greatest effect.
Egyptian composer and researcher Hassan Zaki Shehata sheds light on four composers whose works have achieved tremendous success and fame in his book Rhythms of Light: A Musical Biography of Four of the Geniuses of Oriental Melody, where he analyses the works of Ahmed Sedqi, Abdel Azim Abdel Haq, Mahmoud Al Sharif, and Ali Ismail.
The collection also presents two books by composer and music researcher Muhammad Saeed Hegab. ‘The Flute: A Morsel of Cane with a Scent of Legends traces the history of the flute in an attempt to separate reality from the myths that were associated with the instrument in ancient times. The author lists the various forms of the flute and the phonetic differences between them, highlights the importance of the flute in different cultures, and explains how the instrument is manufactured and played. Meanwhile, Hegab’s The World of Bowed Instruments traces the history of string-based, bow-using instruments back to their beginnings and explores the evolution of the various families of bowed instruments. The book focusses on the instruments’ use in the musical traditions of the Arab region and similar traditions in neighbouring cultures, offering an overview of how they are made and played.
In Iraqi Musical Heritage and Civilisational Communication, Dr. Muhammad Hussein Kamer, a professor of sciences and musical theory and an expert in the al-gouza and Iraqi maqam instruments, explores the subjects of cultural communication, the connection between modern and traditional music, music education, and music learning in schools. The author discusses traditional Iraqi music, focussing on the al-gouza instrument, and offers detailed studies on the Iraqi maqam, its history, types, and characteristics.
Music researcher Bassam Abdel-Sattar’s educational book The Qanun Instrument includes an introduction to the oriental instrument and its components, highlights its role in the traditional school of music, details its musical range. The publication includes lessons and technical exercises for playing the instrument, as well as a practical guide directed at musicians who play the qanun or are looking to learn it.
The collection also features The Medium in the Rules and Theories of Arabic Music, a theoretical and applied study of the rules and theories of Arabic music, written by Egyptian author Ahmed Youssef Al-Taweel, Professor and Vice Dean of the Higher Institute of Arabic Music at the Academy of Arts.
The History of Music in Arabia and Andalusia, written by Julian Ribera and translated by Hussein Hassan, is being reprinted. The book highlights the role of the Muslims of Andalusia in preserving music and passing it down to later generations, where its legacy inspired numerous European musicians.
The next edition of Top Model of Universe will be held in Marrakech.
Morocco’s young model Ilias Senhaji has won the title of “Top Model of the Universe 2022’’ in a competition held in Istanbul to select the future faces of the fashion world.
A statement by the organizers added that the 17-year-old Russian-Moroccan model is the face of the Moroccan fashion house Calamain and was first discovered at the Morocco Fashion Week in Marrakech in June 2022.
The next edition of “Top Model of Universe’’ will be held in Marrakech, says the statement.
Also present at the event was the popular Moroccan designerWafaa Idrissi.
The iconic Moroccan caftan designer debuted a new collection during the event consisting of “beautiful white caftans with gold embroidery thread, accented with pearls and Swarovski crystals, handmade by Moroccan artisans.”
Idrissi recently showcased a set of inspiring caftan designs at The Oriental Fashion Show. Most of her designs were laced with golden and vibrant motifs, with one of her pieces also featuring a veil.
Moroccan women have also excelled in several international beauty pageants.
Morocco’s Marwa Lahlou was crowned Miss Arab USA in August. Lahlou graduated with a honors degree from the University of New Haven with an MBA in International Business Management and Marketing. Additionally, the model speaks Arabic, English, French, and Spanish.
On October 16, Moroccan-Spanish model Sarah Loinaz was crowned Miss Universe Spain 2021 at the Los Olivos Beach Resort in Costa Adeje, Tenerife, Canary Islands.
The 23- year-old model also competed at the Miss Universe 2021 pageant held in Israel.
The projects include restorations of the site of the Battle of the (Trench), Al-Faqir well, and Al-Qiblatayn Mosque
More than 100 sites in Madinah with connections to the life of the Prophet Muhammad and other important events in Islamic history will be restored and developed as part of a three-year package of projects that was announced by Saudi authorities on Wednesday and will run until 2025.
Unveiled during a ceremony inaugurated by Governor of Madinah Prince Faisal bin Salman, the projects include restorations of the site of the Battle of the (Trench), Al-Faqir well, and Al-Qiblatayn Mosque.
An agreement has also been signed for renovations at Uthman bin Affan well and Sayed Al-Shuhada Square, and work is underway on studies for restoration work at more than 100 other historical Islamic sites in Madinah.
During the ceremony, which was organized by Al-Madinah Region Development Authority, the Saudi Heritage Authority, and the Pilgrims Experience Program, heritage chiefs also announced that eight Islamic historical sites in Madinah have already been restored to their former glory: Al-Ghamama Mosque, Abu Bakr Al-Siddiq Mosque, Umar ibn Al-Khattab Mosque, Al-Saqiya Mosque, Banu Anif Mosque, Al-Rayah Mosque, Ghars Well, and the fort at Arwa bin Al-Zubair Castle.
Tawfiq Al-Rabiah, the minister of Hajj and Umrah and chairman of the Islamic Historical Sites Committee, thanked the governor of Madinah and said the committee is working to turn the desire of the Saudi leadership to preserve Islamic heritage into a reality that can be enjoyed by pilgrims and other visitors.
He added that the “Kingdom seeks, through projects, to rehabilitate and activate historical sites, to open its doors to pilgrims and visitors from all over the world, enabling them to enjoy a rich cultural experience” through which they can explore Islamic historical treasures and learn about authentic Saudi culture.
Find out more about the eight sites that have been renovated:
Al-Ghamama Mosque:
Located near the Prophet’s Mosque, it was built by Umar bin Abdul Aziz at a place where the Prophet Muhammad worshipped during Eid and prayed for rain. The site was also used by Uthman bin Affan for the same purpose.
Abu Bakr Al-Siddiq Mosque:
Built using a wonderful architectural style, this is the second of two sites where the Prophet Muhammad performed Eid prayers during his lifetime. First caliph of the Rashidun Caliphate Abu Bakr Al-Siddiq also prayed here during Eid, hence its name. It was built by Umar bin Abdul Aziz.
Umar ibn Al-Khattab Mosque:
Located in Al-Musallah, this mosque was named after Umar ibn Al-Khattab, the second caliph of the Rashidun Caliphate.
Al-Saqiya Mosque:
The name of this mosque came from its proximity to the Saqia well.
Banu Anif Mosque:
Originally built from basalt and located southwest of Quba Mosque, only about two meters of its walls remained before it was renovated.
Ghars Well:
A well from which the Prophet Muhammad drew water. He asked that when he died, his body be washed in water from the well before burial.
Al-Rayah Mosque:
Built by Caliph Umar bin Abdul Aziz on the site where the Prophet Muhammad prayed while supervising the digging of the trench ahead of the Battle of the (Trench).
The fort at Arwa bin Al-Zubair castle:
A defensive fortress built of volcanic rock, used for military protection.
-With more than 900 renowned local and global brands taking part at the 50th (golden jubilee) edition of the Watch and Jewellery Middle East Show (WJMES), which continues until October 9 at Expo Centre Sharjah, 20 Emirati female designers managed to attract the visitors’ attention to the Emirati Jewellers platform, launched by Sharjah Chamber of Commerce and Industry, with the aim to support young Emirati talents in jewellery designing and spotlight their artistic works at the important event.
Abdallah Sultan Al Owais, Chairman of Sharjah Chamber of Commerce and Industry, said that supporting Emirati entrepreneurs and talents is one of the main objectives that Sharjah Chamber is working to achieve, and the Watch and Jewellery Middle East Show has always been supporting Emirati designers through such initiatives as the Emirati Jewellers platform.
He added that over more than eight editions, the platform has been able to provide an exemplary opportunity for the Emirati designers who wish to enter the world of gold-smithing and jewellery whether in Sharjah or the entire UAE, and it succeeded in attracting talents to the jewellery design and trade sector to develop their crafting and marketing skills.
He pointed out that the platform attracted more than 46 Emirati female designers and sponsored the Qelada project, launched by the Ministry of Community Development, to support female designers of determination.
Al-Owais underlined the participation of the youngest Emirati female jeweller along with many other female designers who presented impressive gold and jewellery designs.
Saif Mohamed Al-Midfa, CEO of Expo Centre Sharjah, underscored the importance of the Emirati Jewellers platform being an annual stimulus that attracts more and more Emirati creators to the world of jewellery design and benefits from the event’s large global participation, which contributes to providing these talents with more experiences to develop their businesses. One of those talents who caught the attention of visitors was Dr. Abeer Awad.
She said, “My passion for beauty and drawing has driven me to discover this talent, and so have the many talent-fostering government initiatives, the most important of which is the Emirati Jewellers platform, which has been the strongest motivator for me to enhance my talent and start my own project”.
Designer Zahira Ahmed Al Marar pointed out that her participation is the second in this event, and she expressed her pride in taking part in this platform together with a group of Emirati talents who work as one team to brightly represent the UAE in such a global event, stressing that Sharjah Chamber is her first and biggest supporter to be a key participant at the event and show her designs to the whole world.
She expressed her gratitude to the Chamber for the great support and diligent follow-up to ensure the continuity and success of the projects.
Sheikha Al Serkal, in turn, underlined her keenness to participate in the Watch and Jewellery Middle East Show being a key platform to showcase her talent, which is admired by the visitors every year.
Azza Al Jarwan, on the other hand, praised Sharjah Chamber’s fostering of young Emirati jewellery talents and bringing to the fore their artistic works in the most outstanding event of jewellery exhibitions.
