PALESTINE : Award-winning Palestinian author Basem Khandakji on Israeli prison, exile and homeland

Basim Khandakji describes conditions in Israeli prisons and his journey to writing despite the challenges.

The night Basim Khandakji’s novel won the 2024 “Arabic Booker Prize”, Israeli prison guards stormed his cell, assaulted him, bound his hands and feet, and threatened him.

The 42-year-old was then placed in Ofer Prison’s solitary confinement for 12 days.

It was retaliation, he believes, for embarrassing the Israeli prison system, managing to publish a book under the noses of guards, drawing attention to himself and the conditions he faced.

Now he is out of Israeli prison after serving 21 years of three life sentences.

“I still feel like I’m dreaming, and I’m terrified I might wake up and find myself back in a cell,” Khandakji said.

After his release, he remains unable to return home to his family in Nablus. Exiled from his homeland by Israel, he now waits in Egypt as his family fights to reach him.

‘We saw new horrors’

As happy as he is about escaping “the cemetery of the living” in Israeli prisons, Khandakji is still trying to process the horrors that he saw there and his sadness at leaving other prisoners behind.

He was convicted in 2004 of being part of a “military cell” and being involved in a suicide bombing in Tel Aviv, a crime he says he was forced to confess to.

“The lawyer told me I had to sign a confession … so that three young men could be spared life sentences. There was a kind of quid pro quo: You admit to a particular charge in exchange for getting some younger men out of life sentences, and that is what happened.”

The United Nations estimates that at least 75 Palestinians have died in Israeli prisons since October 2023, and organisations like B’Tselem and the Palestinian Centre for Human Rights have revealed systematic abuse.

Khandakji spent months at a time in solitary confinement and was often moved between prisons, spending time in most of Israel’s 19 facilities that hold Palestinians – each as “hellish” as the last, he tells Al Jazeera.

“There are deliberate policies of starvation, abuse, psychological and physical torture, constant humiliation, and intentional medical neglect.”

Images of released Palestinian detainees have prompted outrage around the world. Appearing fit and healthy in photos of them before incarceration, on release, many had been reduced to emaciated, cadaverous shadows of their former selves.

Things changed, Khandakji says, after October 7, 2023 – the date of a Hamas-led attack during which 1,139 people died in Israel and some 250 were taken captive, in response to which Israel launched a two-year genocidal war on Gaza.

Khandakji says prisoners began to die with shocking regularity, with guards using “new horrific methods” – particularly on detainees rounded up by the hundreds from Gaza.

“Inmates saw guards hanging up the bodies of dead prisoners in cells and leaving them there, decaying,” he said.

“Another told me he saw more than 12 dead bodies packed into cells at al-Jalama detention centre.”

Khandakji says the harrowing memories of dead Palestinians and the brutal torture he witnessed and experienced will haunt him for his entire life.

“The main strategy authorities used to break prisoners was starvation,” he said. “There was also ‘cooling’, meaning denial of clothing, blankets, or any heating during the bitter winter.

“There was also constant beatings,” he added. “They use horrifying, savage methods – targeting the head, neck, and spine.”

Al Jazeera reached out to Israeli prison authorities for comment on Khandakji’s accusations, but received no reply.

Communication with friends and family was banned, he added, and he was prevented from accessing news from the outside world – although he did receive word of his father’s death.

“I was deprived of my father while he was alive, and after his death I was denied the chance to bury him,” he said.

Nearly 9,000 Palestinians remain in Israeli jails, many taken in mass roundups, and more than 3,500 are held under “administrative detention”, which Israel created to justify imprisoning people indefinitely without charge or trial.

Smuggling out an award-winning novel

In prison, Khandakji says: “Writing gave me … a refuge, a hiding place through which I could escape the brutality of the jail and reclaim my freedom, even if only in my imagination.”

He had to go on hunger strike repeatedly to get notebooks and pens.

He wrote as much as he could, keeping his manuscripts hidden from the guards and staying out of their way until he could smuggle his writing out via his lawyer or any other visitor.

In 2023, his award-winning novel, A Mask, The Colour of the Sky, was published in Lebanon in Arabic and was shortlisted for the International Prize for Arabic Fiction, known as the Arabic Booker.

The book tells the story of Nur, a Palestinian archaeologist who finds an Israeli ID and takes on the identity of “Ur”, eventually joining an archaeological dig on an illegal Israeli settlement.

In it, Khandakji reflects on the uncovering of Palestine’s antiquity and the difference between the constrained life of Nur with his Palestinian ID and Ur, whose sky-blue ID allowed him to go anywhere.

Hearing of the shortlisting, an enraged ultranationalist Israeli national security minister, Itamar Ben-Gvir, demanded harsher conditions for Khandakji, while others on the Israeli extreme right called for his murder.

His award triumph included a $50,000 prize and funding for an English translation, paving the way for a global readership.

When Israel launched its war on Gaza, conditions became worse in the prison, and guards confiscated Khandakji’s writing material and smashed his reading glasses.

He felt “completely powerless”, he says. “Being deprived of my pens and notebooks felt like being deprived of air.”

Now free, he aims to publish another novel, which he wrote in his head in his final year of captivity. It is based on one of his closest friends, writer Walid Daqqa, who died of cancer after allegedly deliberate medical neglect by prison authorities.

Aside from writing, Khandakji’s only solace in jail was the friendships he made “that even death cannot erase”.

“I live with sorrow and pain because I left behind so many friends in prison, still suffering,” he adds.

One of these friends, with whom he shared a cell, was Fatah politician Marwan Barghouthi, sentenced to five life sentences plus 40 years in 2004.

Barghouthi is often compared to South African anti-apartheid leader Nelson Mandela, due to his decades behind bars as a political prisoner and the unifying popularity he has among Palestinians.

“Marwan Barghouthi is a great man,” he said. “If he were released, he could become a unifying national figure.”

The 66-year-old was beaten unconscious last month by Israeli jail authorities, and his son, Arab, told international media his father fears for his life as Israel continues to ignore international calls for his release.

His homeland lives within him

Khandakji was arrested in 2004, at the age of 21, while in his final year of a journalism and political science degree at An-Najah National University in his hometown of Nablus.

Raised in a family of socialists, Khandakji became active in the Palestinian People’s Party as a teenager. He is now an elected member of the party’s political bureau.

But during the second Intifada in the early 2000s, he decided to join the armed resistance in the Popular Front for the Liberation of Palestine (PFLP).

Looking back, he says: “In the end, violence in all its forms is inhuman.

“As human beings, we should first try to solve our issues through peaceful and civilised means,” Khandakji said. “But when someone tries to erase you – to annihilate you – your struggle becomes one of existence.

“But if time could go back… I might look for other ways,” he adds, of seeking a different path, one that didn’t deprive him of his family for 21 years.

He was one of 250 high-profile detainees freed by Israel on October 13 as part of the United States-brokered Gaza ceasefire deal between Hamas and Israel.

Israeli captives held by Hamas were released in exchange for nearly 2,000 Palestinian detainees, most of whom were “disappeared” by Israel from Gaza, according to the UN.

Khandakji described the night of his release as “terrifying”, adding that his body was shaking as he “knew the moment of freedom had finally come”.

When he passed the prison gates and his bus went south instead of towards Nablus, he knew his full freedom would be denied a little longer.

“Being exiled from your homeland is a burning, painful feeling,” he said. “My first joy, first sorrow, and first dreams were all in my city, Nablus.

“Palestinians, unlike others, do not live in their homeland – their homeland lives within them,” he said.

For now, Khandakji will continue writing and plans to pursue a PhD after achieving a master’s degree in Israeli studies while imprisoned.

His family is fighting desperately to reunite with him in Egypt, only to be repeatedly thwarted by Israel.

“I still hope that in the coming period, there will be some human justice that allows me to embrace my mother,” he says.

“Not as a freed prisoner – but simply as a child searching for the scent of his childhood in his mother’s arms.”

source/content: aljazeera.com (headline edited)

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Freed prisoner and novelist Basim Khandakji was deported to Egypt after being released from Israeli prisons under a prisoner exchange agreement [Al Jazeera]

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PALESTINIAN

OMAN : Your Guide to Oman’s Stunning UNESCO World Heritage Sites

Thanks for highlighting Oman’s cultural wonders, UNESCO. Here’s everything you need to know about them.

As the oldest Arab state with over 100,000 years of human history, the Sultanate of Oman is home to a wealth of cultural and natural treasures that have captured the imagination of poets and travellers for centuries.

From the rugged peaks of the Hajar Mountains to the pristine shores of the Arabian Sea, this mesmerising country possesses a diverse collection of sites that have been recognized by UNESCO for their cultural, historical, or natural significance – all things we look for when we’re choosing our next global destination.

To be considered for inscription on the prestigious World Heritage List, sites must meet at least one of ten criteria, which include representing a masterpiece of human creative genius, exhibiting an important interchange of human values, bearing a unique or exceptional testimony to a cultural tradition, or containing outstanding examples of geological formations and/or habitats of significant biodiversity.

So, we figure if it’s good enough for UNESCO, it’s good enough for us. That’s why we’ve put together a list of the five Omani cultural sites that have been given UNESCO’s special designation, providing you with the information you need to dive into the rich history of this breathtaking Middle Eastern country.

Aflaj Irrigation Systems of Oman

Ad Dakhiliyah, Ash Sharqiyah South and Al Batinah South / 500 AD

Oman’s Aflaj Irrigation Systems are a feat of ancient engineering. These networks, which collect and transport water across the country using gravity, date back to 500 AD.

This revolutionary technology shaped the development of agriculture, particularly date palm cultivation, in arid Oman. There are more than 3,000 still-functioning aflaj water distribution systems in Oman, and UNESCO has highlighted five locations for their historical significance: Falaj Al Jeela, Falaj Muyasser, Falaj Daris, Falaj Malki, and Falaj Khatmein. Four of these sites are found in the Al Jabal Al Akhdar mountain range, and the fifth is located in the Sharqi mountains.

Ancient City of Qalhat

pix credit: whc-unesco.org/en


The remnants of this once-thriving port city are tucked into Oman’s rugged eastern coast, right by the Indian Ocean.

A bustling city centre of trade and commerce between the 11th and 16th centuries, Oman’s first capital – of which there is not much left – contains the remnants of necropolises, residences, workshops, and the tomb of an Omani queen, Bibi Maryam. Believed to have been commissioned in the 13th century by a local ruler in honour of his beloved wife, this mausoleum is the best-preserved monument in the historic city.

Those hoping to visit this site should be aware that, due to conservation efforts, it might not be open to the public.

Bat, Al-Khutm and Al-Ayn Archaeological Sites

Al Dhahira / 3rd Millennium BC

Dating back to the 3rd millennium B.C., the Archaeological Sites of Bat, Al-Khutm, and Al-Ayn provide a glimpse into the prehistoric settlements and burial grounds of Oman. These three sites cover 14 square kilometres and are situated within the rocky landscapes of the Al-Dhahirah Governorate.

A trip to these ancient sites gives travellers the opportunity to examine and explore the enigmatic ‘beehive tombs’ dotting the surrounding hills.

Older than the Pyramids of Giza, these tombs are free for anyone to visit.

Bahla Fort

Ad Dakhiliyah / 12th–15th century


The immense Bahla Fort can be found in a palm-filled oasis in the Omani desert.

The fort and settlement was the capital of the Banu Nebhan tribe, who dominated what is now central Oman from the 12th to the 15th century. An intricate irrigation system of wells and tunnels brings water from distant springs to this ancient settlement – a testament to the skills of mediaeval engineers in this region. Visitors to this heritage site can see the ornate Friday Mosque, the remains of a semi-covered market, and the towers and parapets of the fort’s walls.

This site is open to visitors, and is widely considered to be one of Oman’s top attractions.

Land of Frankincense

Oman’s Dhofar Governorate is one of the few places where frankincense trees still thrive. These plants carry important historical and economic significance in the region, as frankincense was one of the most luxurious trade items in ancient times.

There are four sites included in this UNESCO heritage listing that preserve the remains of the caravan trade of this precious commodity. One of these is the Frankincense Park of Wadi Dawkah, which allows visitors to learn about how incense is sourced. Another, Shishr, is an agricultural oasis that – in the past – allowed caravans transporting this precious resource to refuel on their trade routes. Sumhuram in the Khor Rori Nature Reserve is another component of this UNESCO World Heritage Site, and was once the heart of the world’s frankincense trade. A trip to this city offers views of structures from the 3rd Century BC to the 5th century AD, including storerooms and city fortifications. The final component of this heritage site is the Al Baleed archeological park. Although this site is open to the public, it is also still being explored, with new discoveries being made. This park includes a Frankincense museum, citadel, and more.

The best time to visit this area is in April, when the fragrant frankincense trees are in bloom.

source/content: cairoscene.com (headline edited)

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OMAN





SOMALI-AMERICAN : Ifrah F. Ahmed’s Debut Cookbook Is an Ode to Somalia’s Culinary Past, Present, and Future

Growing up, Ifrah F. Ahmed never planned on becoming a chef.

Born in Mogadishu, Somalia, Ahmed came to the US as a child after the start of the Somali Civil War. In 1996, her family was resettled in Tukwila, Washington, as part of an early wave of Somali refugees who went on to form a community there. In their new home, Ahmed’s mother made it her mission—even as she worked multiple jobs and took care of her children—to ensure Ahmed and her siblings stayed connected to their Somali identity. Food played a vital role in that mission, and planted the seed that, years later, led to Ahmed becoming a chef and writer—and eventually authoring her debut cookbook, Soomaliya: Food, Memory, and Migration, which is out now.

First, she had to learn the oral traditions of Somali cuisine. When Ahmed was in elementary school, her mother began teaching her how to cook classic Somali dishes. At times, Ahmed had mixed feelings about these lessons, feeling that they were part of a set of gendered expectations. But she came to appreciate the fact that through her mother’s cooking lessons, she was learning much more than the ingredients and techniques needed to make the perfect canjeero (sour fermented pancake) or sambuus (dumplings).

“It’s helpful to know the recipes,” Ahmed tells Vogue. “But it’s almost like her teaching me not just what we eat but how we eat was really teaching me about who we were.”

Ahmed soon discovered her passion and curiosity for food, which her mother nurtured. “I became an avid Food Network stan from a very young age,” she says. She would develop “hyper-fixations” on “classic American foods” like pancakes and chicken burgers, and enjoyed figuring out how to make them. She loved Anthony Bourdain, who merged her interests in food and geopolitics. She prized academic excellence (her work paid off; she was valedictorian), and originally pursued a career in law.

After college, Ahmed worked with Somali refugee students at Seattle public schools. She got married and started law school, but found that she was always taking her law work home with her. Cooking continued to be her passion, but she didn’t think of it as her life’s work. It was hard to shake the expectations inherent in being the eldest daughter in an immigrant family.

“I never thought of food as a serious career because usually, when you are coming from those backgrounds, you feel like you have to have a career that translates to something in terms of maybe redeeming some of your parents’ sacrifices,” Ahmed says. “I think a lot of immigrant and refugee kids can probably relate, and it’s not always easy to transition to a food career. I also had never really seen anyone that looked like me that had the kind of career that I was fantasizing about.”

Then, in 2018, she went on a homecoming trip to Somalia with her mother. “I had an urge to kiss the ground when I got off the plane. It was the first time that I was fully immersed in my own community in that way,” Ahmed says. “When I was there, it was really simple moments where I was like, okay, I really want to turn to food: the first meal that I had in our house in Mogadishu after meeting all of my family, and just really small moments like that.”

It was a constellation of moments that convinced her to reorient her life towards Somali culinary and cultural work. “Everything was incredible. It was that with the combination of being in your homeland, with seeing the beauty and the movement and the energy, and also tasting the freshness of the food, the ingredients, and the slowness and the intentionality around not just eating, but how you eat and who you eat with,” Ahmed says.

That experience eventually led to her launching Milk & Myrrh, her Somali culinary pop-up, which has routinely sold out since its launch in 2019. Around that time, she also had the idea for a cookbook focused on Somali cultural and culinary preservation. She set out to build the writing, cooking, and recipe development skills that she needed for the book, contributing to The New York Times’s cooking section, and writing for publications including VogueEaterThe Los Angeles Times, and more. Now, nearly a decade later, all her work has come to fruition.

The book explores the cultural, political, and geographic forces that have shaped Somali cuisine. Ahmed translates an oral cooking tradition into writing, building a vital new addition to the archive of Somali culinary history.

Researching, writing, and developing the recipes in the book wasn’t an easy feat. “If you’re coming from an oral cooking culture, you’re never just a recipe developer, you’re never just a chef, you’re never just a writer,” Ahmed says. “For a lot of this, I felt like a detective, a historian.”

In addition to recipes, Soomaaliya features profiles of people throughout the Somali food world, including chefs, business people, restaurateurs, herders, and agricultural workers.

“I think for me, it’s really important that my pioneers get celebrated because I think not only was there that lack of knowledge of Somali culinary traditions, but I just feel like they did such important work that really does not get the recognition that it deserves. Because what they did is they really worked on the preservation of our cuisine and really moving that through the digital age, especially to serve a growing diaspora,” she says.

For Ahmed, Soomaaliya has always been more than a cookbook. It is a work of cultural preservation, an invitation, and a way of addressing the disruption of the oral tradition of Somali culture caused by decades of forced migration due to the war.

It’s also, crucially, a way of taking long-held tenets of Somali cooking and culture, and putting them into writing. “The historical section is the past; the recipes are kind of like the present; and to me, the interviews are sort of like the future,” Ahmed says.

Below, Ahmed shares a favorite recipe from the book.

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Mallaay Qumbe (Coconut Fish Curry)

Serves 4

Despite Somalia’s long coastline, seafood has not traditionally been a big part of the Somali diet outside of coastal towns. In most of the country, red meat has been king, and both seafood and poultry have been seen as lower-class food, or not “real” food, in comparison to red meat. In the 1970s and 1980s, in a time of severe famine, the government tried to combat the negative view of seafood and boost the fishing sector. They relocated nomads to fishing cooperatives and even made certain days of the week officially “meatfree” days, dedicated to seafood consumption. Despite these efforts, the industry did not take off. A decade later, the Somali Civil War saw the full collapse of this sector. More recently, interest in seafood consumption is growing.

Mallaay qumbe can be found up and down the East African coast, including in the coastal towns of southern Somalia. This version is distinctly Somali, due to the addition of xawaash and creamy coconut milk. Serve mallaay qumbe with rice or soor.

Ingredients

  • 1¼ teaspoons fine sea salt
  • 1 pound (450 g) barramundi or other firm white fish, cut into serving-size pieces
  • 2 tablespoons olive oil
  • 1 medium red onion, diced
  • 2 large Roma tomatoes, finely diced
  • 8 garlic cloves, minced
  • 1 (13½-ounce / 400 ml) can unsweetened coconut milk
  • 1 cup (16 g) cilantro leaves, finely chopped, plus more to serve
  • 4 teaspoons Xawaash
  • Steamed white rice, for serving

Method

  1. Sprinkle ¼ teaspoon of the salt over the fish; put it aside.
  2. In a pot just large enough to accommodate the fish in one layer, heat the oil over medium-high heat. Once the oil is hot but not smoking, add the onion and cook, stirring, for 8 to 10 minutes, until almost translucent. Add the tomatoes, cover, and cook for 7 minutes, occasionally stirring and smashing the tomatoes down as they cook.
  3. Add the garlic and cook for a minute or two, then add the coconut milk, cilantro, xawaash, and the remaining 1 teaspoon salt; stir and cover. Cook for 4 minutes to allow the flavors to come together, then add the fish, making sure the coconut milk covers the fish (if necessary, add a splash of water to cover). Cover and cook for 8 to 10 minutes, until the fish can be easily flaked with a fork. Serve the curry with rice, topped with additional chopped cilantro.

Xawaash (Somali Spice Mix)

Makes about 2 ½ cups (260 g)

It’s no exaggeration to say that xawaash is at the heart of Somali cuisine. It is Somali history on a plate—a culinary reminder of Somalia’s centuries of global trade, particularly along the Indian Ocean. Xawaash is what makes many Somali dishes taste distinctly Somali. While every household’s xawaash recipe is its own, typically seven core spices—cumin, coriander, black pepper, cinnamon, cardamom, cloves, and turmeric—are toasted until their fragrance blooms, then blended into an earthy golden-brown powder. Xawaash stores very well and for a long time in an airtight container, though it’s at its peak shortly after it’s made. If you use it often (and many recipes in this book call for it), you can double or triple the recipe for a big batch.

Ingredients

  • 1 cup (100 g) whole cumin seeds
  • 1 cup (70 g) whole coriander seeds
  • ¼ cup (35 g) black peppercorns
  • 1 small-to-medium piece of cinnamon bark
  • 2 tablespoons green cardamom pods
  • 1½ teaspoons whole cloves
  • ¼ cup (30 g) ground turmeric

Method

  1. Toast the cumin, coriander, peppercorns, cinnamon bark, cardamom pods, and cloves in a medium skillet over medium heat, stirring constantly so the spices don’t burn. The spices are toasted when they have a slightly darker color and become fragrant, 1 to 2 minutes.
  2. Transfer the toasted spices to a blender or spice grinder and blend until they become a fine powder. Transfer to a bowl and mix in the ground turmeric until it’s fully incorporated and the spice mix is golden brown. Allow to cool completely, then store in an airtight container.

Excerpted with permission from Soomaaliya by Ifrah F. Ahmed, published by ‎Hardie Grant North America, March 2026, RRP $40.00. Hardcover.

source/content: vogue.com / Anna Grace Lee

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The cover of Soomaaliya.

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AMERICAN / SOMALIAN

ALGERIA : Meet the Algerian Filmmakers Creating New Images of the Country

A new generation of talent is turning its lens towards intimate storytelling, with Africa’s largest nation as its backdrop.

“Algeria is a visually unspoilt country,” says Mounia Meddour. Meddour is one of the nation’s most prominent contemporary filmmakers. Her debut film, Papicha (2019), set during the 1990s Algerian Black Decade with Algiers as its backdrop, was screened at the Cannes Film Festival’s Un Certain Regard, bringing her international recognition. Yet, she is right: very few images of Algeria exist within the cinematic landscape.

There are many reasons for this. The industry has long been at a standstill; visas are difficult to obtain and cultural policy remains lukewarm. Algerian landscapes and intimate stories struggle to travel beyond the country’s borders. For several years now, however, a new generation of filmmakers, cameras in hand, has been working to capture and create a contemporary visual archive of a nation longing for representation.

Algeria nonetheless has a rich cinematic history. In 1975, thirteen years after gaining independence from France, the young state won the Palme d’Or at the Cannes Film Festival for the historical fresco Chronicles of the Years of Fire, directed by Mohamed Lakhdar-Hamina — making Algeria the first, and still the only, African and Arab country to achieve this distinction. It is this legacy that leads the film critic Samir Ardjoum to speak of a paradox in Algerian cinema. 

“This symbolic prestige has not translated into industrial continuity,” he says. “Algerian cinema suffers from a lack of stable international distribution. Films circulate widely at festivals, but rarely in commercial circuits.”

Ardjoum explains that Algerian cinema originated as a cinema of nation-building. After 1962, the country invested heavily in films recounting the War of Independence and enshrining a heroic national memory, creating a shared narrative and collective imagery. Many films about the thawra (the Revolution, or Algerian War) were commissioned, with Mohamed Lakhdar-Hamina among the most prominent figures of this movement.

A more mainstream cinema emerged in the 1970s, but was largely forgotten due to poor archiving. The Black Decade of the 1990s brought the industry to a near halt, as it did many others. Since then, Algerian cinema has remained in a state of lethargy. As the filmmaker Malek Bensmaïl puts it: “It is both fragile and very lively. Yet there is a deep desire to create our own stories and not let others tell them for us.”

The act of image-making inevitably raises questions of funding and audience. “All too often, we oscillate between a foreign gaze that restricts us and a nostalgic form of self-aestheticisation akin to self-Orientalism,” argues Amira Louadah, director of The Ark.

For too long, Algeria has been shaped by Western-manufactured representations, beginning with France. “Between 1830 and 1962, during French colonisation, most images of the country — whether in painting, photography or film — were created from a Western perspective,” Louadah notes. In a colonial context, such representations served to criminalise, demean and demonise “Muslim Algerians”, the term used by the colonial administration for indigenous people. Even today, Ardjoum adds, “Algeria is often depicted through the lens of crisis, politics or its colonial past.”

With limited state funding, filmmakers increasingly turn to European backers who, Louadah says, can at times “dictate the stories they want to see from our region”. The result is a striking absence of visual documentation of everyday life. “How did families live? How were social relationships organised? How did people communicate? What did daily routines, household objects or lighting look like? How did people travel, in both rural and urban areas?” she asks.

This new generation hopes to fill that void. “It’s exhilarating to have this rare access to locations and footage,” says Yacine Medkour, co-founder of the Algiers-based production company 2Horloges. “At the same time, it’s a huge responsibility.”

“Our country lacks images produced from its own perspective,” Bensmaïl emphasises. By reclaiming their narratives, this new wave of filmmakers is creating “archives for the future, preserving fragments of memory to pass on to future generations”. Yet this comes with what Louadah calls “a cultural responsibility”. “We need to support a plurality of perspectives rather than a single, black-and-white approach. We should represent all viewpoints and social classes—not just central Algiers. The more diverse, the better. We must break free from monopolies over narrative and representation.” Ardjoum agrees: “It’s not about polishing the country’s image; it’s about expanding the range of representations.”

As part of this shift, many filmmakers are moving away from stories centred solely on the Algerian Revolution. “People are growing tired of heroic narratives,” Ardjoum observes. Bensmaïl, whose forthcoming film The Arab reimagines the unnamed protagonist of Albert Camus’s The Stranger through the testimony of his ageing brother, suggests that “his generation needed to ask questions”. “We are not abandoning the Revolution,” he says. “We are simply no longer treating it as a static icon.” Ardjoum describes this as a shift in political focus — from the grand historical narrative to the personal sphere. “By constantly glorifying the past, it becomes difficult to describe the present.”

Meddour’s Papicha follows Nedjma, a fashion student determined to stage a show during the Black Decade — a period the director herself experienced. Sofia Djama’s The Blessed (Les Bienheureux) centres on a couple, Amal and Samir, celebrating their twentieth wedding anniversary as they reflect on their shared past. Louadah’s documentary La Grosse Moula ou Li Michan explores Algeria’s linguistic history from a personal perspective. “There was a need to ground Algeria in the present, to tell stories that allow us to come to terms with our reality,” Meddour says. As Ardjoum notes, “Contemporary Algerian cinema is no longer solely a cinema of national narrative; it has become a cinema of the personal, of trauma, of urban life and of social tensions.”

To portray Algeria fully, however, filmmakers must look beyond the capital. “Our generation has tended to film what we know — often Algiers, which is inherently cinematic in its vitality,” says Djama, who is currently working on her next film, Jeudi moins quart. “But it would be a shame to limit ourselves. We need to look further afield.”

Progress remains constrained by financial and institutional challenges. “Over the past fifteen years, there has been real progress — more young filmmakers, more women, more films in festivals,” Bensmaïl notes. “But it is not yet enough.” Sustained national funding will be essential if this movement is to endure — allowing it to evolve from a fragile ecosystem of resourceful auteurs into a stable creative industry.

“If the films exist, we also need venues in which to show them,” Bensmaïl adds. Filmmakers are calling for a wider network of cinemas, alongside what Ardjoum describes as “an ambitious policy on archiving and international distribution”, supported by legal protections for creative freedom. “We have a wealth of talented individuals eager to write, produce and direct across genres,” Meddour says.

Medkour remains optimistic: “Algeria is the future of image-making.”

source/content: arabianbusiness.com (headline edited)

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ALGERIA

SYRIA : In Syria, Mural Sets New World Record

In Damascus, a mural made of recycled materials has just set a new world record. Syrian artist Moaffak Makhoul and a team of six compatriots began the project in October 2013 in an attempt to revive hope in their war torn home country. The mural spans 720 square meters (7,749.98 square feet) and set the Guinness record for the largest mural of recycled materials upon its completion in January, Art Daily reports.

The mural is located in Al Mazzeh, an upscale neighborhood in Damascus. It is composed of manufactured waste: colorful scraps from cars, bicycles, cooking utensils, pipes, soft drink cans, mirrors, and ceramics. Housewives also lent a hand, bringing personal objects or pieces of domestic waste from war zones.

Syria’s ongoing civil war has killed around 146,000 people, has forced millions to flee, and forced most of those who have stayed indoors. But the mural is bringing people back out onto the street, according to the report. Makhoul told the AFP he felt the need “to give something to [his] country, to make the Syrian people be known for their love of beauty, life and nature.”

source/content: news.artnet.com/ Artnet.com (headline edited0

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Syrian artist Moaffak Makhoul and his team pose in Damascus with Guinness World Records award for the largest recycled material mural, March 31, 2014. The mural, seen behind them, measures 7,750 feet. Photo: Louai Beshara, courtesy Agence France-Presse.

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SYRIA

EGYPT : Al-Ahram Weekly’s editor-in-chief Ezzat Ibrahim wins Mustafa and Ali Amin’s Best Columnist Award

Prominent Egyptian journalist Ezzat Ibrahim, editor-in-chief of Al-Ahram Weekly and Ahram Online, has won the Best Columnist Award for 2025 at the Mustafa and Ali Amin Journalism Awards, the awards’ board of trustees announced on Monday.

Renowned journalist Mohamed Salmawy was named Journalist of the Year, while Mohamed El-Shamaa of Al-Akhbar newspaper received the Commitment Award, according to a statement from the awards foundation.

In the investigative journalism category, Amany Awad of Al-Mal newspaper won for her report titled “The Dark Side of the Smart Companion.”

Samar Ibrahim of Al-Shorouk newspaper received the Humanitarian Journalism Award for “Testimonies of Sexual Humiliation Victims by Rapid Support in Sudan.”

The Youth Award went to Ahmed Al-Ameer of Al-Watan newspaper for his piece “The Killer Light: The Journey of White Phosphorus from the Gap to the Bodies of Gaza Strip Residents.”

In visual journalism categories, Khaled Kamel of the Youm7 website won the Photojournalism Award for “A Mother’s Sacrifice for Her Children in the Rain,” while Maroula Magdy of the Al Arabiya Egypt website received the Video Journalism Award for “Mawlawiya Dance for Love and Peace.”

The awards also recognized student journalists. Jana Mohamed Hanfi won first place in the journalism department at Akhbar El-Youm Academy, while Mai Ahmed El-Sayed took first place in the journalism department at Cairo University’s Faculty of Mass Communication.

The winners were selected after impartial judging committees reviewed entries published during 2025, the foundation said.

Safia Mustafa Amin, chair of the awards’ board of trustees, said a ceremony will be held to honour the legacy of journalists Mustafa Amin and Ali Amin, during which the prizes will be presented to the winners.

source/content: english.ahram.org.eg (headline edited)

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Al-Ahram Weekly Editor-in-chief Ezzat Ibrahim

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EGYPT

ALGERIAN-FRENCH : French-Algerian newcomer Nadia Melliti wins best actress award in Cannes

Melliti, 23, plays a 17-year-old in a coming-of-age tale centred on a teenage Muslim girl in Paris who faces a struggle with her identity and religion.

French artist of Maghrebi descent Nadia Melliti won the best actress award at the Cannes film festival for her first-ever performance in a film, “The Little Sister” by Hafsia Herzi.

Melliti, 23, plays a 17-year-old in a coming-of-age tale centred on a teenage Muslim girl in Paris who faces a struggle with her identity and religion.

She beat Hollywood star Jennifer Lawrence in “Die My Love” by Lynne Ramsay, Japanese child revelation Yui Suzuki in “Renoir” by Chie Hayakawa and Elle Fanning in “Sentimental Value” by Joachim Trier.

“It’s a huge honour to be here tonight and to have been able to take part in this very beautiful project,” she said clutching her award on stage.

“I have such a feeling gushing through me right now. I can’t describe it but it’s really incredible,” she said as the director sobbed in the audience.

“Thank you Mum. I know you’re watching and I hope you are very proud and happy,” she said.

Melliti is a French student and amateur football player who was spotted in the street.

Before walking the red carpet for the premiere of Hafsia Herzi’s “The Little Sister”, she was preparing for exams.

In the coming-of-age tale, she plays 17-year-old Fatima, a Muslim girl in Paris struggling with her identity and religion as she explores her sexuality.

“I’ve never done any theatre or cinema,” she said.

But she said she immediately empathised with the character when she read the script, based on a partly autobiographical novel of the same name by French writer Fatima Daas.

“I identified hugely with Fatima, her surroundings and origins. My mother hails from an immigrant background,” she said.

“My roots are Algerian. I also have sisters.”

Melliti said she specifically related to the film’s theme of “emancipation” in the film.

“When I was younger I wanted to play football. I still do today,” said the actor. “I wanted to take up the sport, one people say is masculine and in which men are over-represented.

“And when I took that home, there was this emancipation, even if for Fatima it was different, more linked to her intellect and sexuality,” she added.

Melliti said she could not believe her luck when she was spotted by a casting agent in the street near a large shopping mall in central Paris.

“I was walking in the street and (she) called out to me,” she said.

At first “I thought she was a tourist and I wondered if my English would be up to scratch.”

source/content: thearabweekly.com (headline edited)

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Nadia Melliti, winner of the Best Actress award for her role in the film La petite dernière (The Little Sister), poses during a photocall after the closing ceremony of the 78th Cannes Film Festival in Cannes, France, May 24, 2025. REUTERS

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FRENCH / ALGERIAN

SAUDI ARABIA : Makkah museum displays world’s largest Qur’an

The Holy Qur’an Museum at the Hira Cultural District in Makkah is showcasing a monumental handwritten copy of the Holy Qur’an, recognized as the largest Qur’an of its kind in the world.

The manuscript measures 312 cm by 220 cm and comprises 700 pages, earning the museum recognition from Guinness World Records for displaying the world’s largest Qur’an, the Saudi Press Agency reported.

The manuscript is a magnified reproduction of a historic Qur’an dating back to the 16th century, the SPA stated.

The original copy measures 45 cm by 30 cm, with the chapters written primarily in Thuluth script, while Surah Al-Fatiha was penned in Naskh, reflecting the refined artistic choices and calligraphic diversity of the era.

The Qur’an is a unique example of Arabic calligraphy, gilding and bookbinding, showcasing Islamic art through intricate decorations, sun-shaped motifs on the opening folio, and elaborately designed frontispiece and title pages that reflect a high level of artistic mastery.

The manuscript was endowed as a waqf in 1883. Its original version is currently preserved at the King Abdulaziz Complex for Endowment Libraries, serving as a lasting testament to Muslims’ enduring reverence for the Qur’an and the richness of Islamic arts across the centuries.

source/content: arabnews.com (headline edited)

BAHRAIN : Foreign Minister: Guinness World Records achievement reflects Bahrain’s model of coexistence

Dr. Abdullatif bin Rashid Al Zayani, Minister of Foreign Affairs and Chairman of the National Human Rights Committee, said that the Kingdom of Bahrain’s official inclusion in the Guinness World Records as the country with the highest density of places of worship for different religions represents international recognition of Bahrain’s established approach to religious tolerance, peaceful coexistence, and respect for human rights and religious, cultural, and civil freedoms.

The minister said that the achievement reflects the vision of His Majesty King Hamad bin Isa Al Khalifa and Bahrain’s national approach to coexistence, which is grounded in the rule of law, justice, and constitutional institutions, and supported by consistent government policies that have made tolerance and coexistence an integral part of national practice.

Dr. Al Zayani extended congratulations to His Majesty the King and to His Royal Highness Prince Salman bin Hamad Al Khalifa, the Crown Prince and Prime Minister, on the achievement, noting that it reflects Bahrain’s longstanding commitment to religious and cultural diversity.

The minister noted that the global achievement coincides with the international observance of the International Day of Peaceful Coexistence, adopted by the United Nations General Assembly following a Bahraini initiative, as well as with the national observance of the Year of Isa Al Kabeer. He said this alignment highlights Bahrain’s historical standing as a society rooted in religious and cultural coexistence, and its role in promoting dialogue and peace, drawing on a legacy shaped by the leadership of His Highness Isa Al Kabeer, founder of the modern Bahraini state, and carried forward under the current national approach led by His Majesty the King.

Dr. Al Zayani explained that Bahrain’s ranking in the Guinness World Records, with an average of 2.577 places of worship per square kilometre, reflects the Kingdom’s long-established practice of accommodating places of worship for different religions and denominations. These include mosques and “grand mosques” (congregational mosques), alongside churches, a Jewish synagogue, one of the oldest churches in the region, and a Hindu temple established in Manama more than two centuries ago.

He said that this diversity reflects social cohesion, equal citizenship, and respect for freedom of religion and belief, and represents a practical expression of Bahrain’s values of coexistence and peace.

The minister highlighted Bahrain’s efforts to share its experience in religious coexistence and dialogue at regional and international forums through initiatives launched under the leadership of His Majesty the King. These include the declaration on freedom of religion and belief, international conferences on intercultural dialogue, the King Hamad Award for Coexistence and Tolerance, and other initiatives aimed at serving humanity, empowering women and youth, and promoting a culture of peace. 

Dr. Al Zayani reiterated that the Kingdom of Bahrain, under the leadership of His Majesty the King and the directives of His Royal Highness the Crown Prince and Prime Minister, continues its human rights and development efforts, as well as its diplomatic and humanitarian role through its non-permanent membership of the United Nations Security Council, in support of regional and international peace, dialogue among religions and cultures, the National Human Rights Plan, and the Sustainable Development Goals.

source/content: bna.bh (headline edited)

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BAHRAIN

ARAB World Institute Marks Youssef Chahine Centenary in Paris

A four-day programme in Paris revisits Youssef Chahine’s films and legacy through screenings and panel discussions.

The Arab World Institute (IMA) in Paris is marking the centenary of Youssef Chahine with a four-day programme running from January 22nd to 25th, bringing together film screenings and critical discussions dedicated to his legacy.

Across 38 feature films produced between 1950 and 2007, Chahine moved fluidly between comedy and melodrama, historical epics and political allegories, musicals and autobiographical narratives – often blending multiple forms within a single work. Emerging during the golden age of Egyptian cinema in the 1950s, he remains one of the most influential figures in the country’s film history, shaping both its artistic language and its engagement with politics, identity, and society.

On Thursday, January 22nd, the programme opens at 7:00 PM with a panel, ‘Youssef Chahine: Portrait and Legacies’, featuring Yousry Nasrallah, Marianne Khoury, and Rashid Masharawi, moderated by Jean-Michel Frodon. The evening continues at 8:30 PM with a screening of ‘Life After Siham’ by Namir Abdel Messeeh.

Then, on Friday, January 23rd, the conversation shifts to ‘Youssef Chahine and the Power of Women’, with Sharon Hakim, Hind Meddeb, and Viviane Candas, moderated by Jean-Michel Frodon at 7:00 PM. At 8:00 PM, the night moves into screenings with Chahine’s ‘The Sixth Day’.

A double screening day begins with ‘Destiny’ at 4:30 PM, followed by ‘The Emigrant’ at 7:30 PM on Saturday, January 24th.

Sunday, January 25th will see the final day start at 3:00 PM with ‘Youssef Chahine and Me: Unpublished Testimonies & Encounters’, featuring Jack Lang, Abdallah Taïa, Houda Ibrahim, and Dominique Bax, moderated by Thierry Jousse. Screenings follow with ‘The Land’ at 4:00 PM, then ‘The Sparrow’ at 6:00 PM to close out the programme.

You can book all screenings and panels on the Arab World Institute website.

source/content: scenenow.com (headline edited)

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EGYPT