Category: Arts, Culture & Entertainment

EGYPT : A world spectacle for history – Grand Egyptian Museum (GEM) inaugration November 01st, 2025

After more than 20 years in the making.

In an evening that blended history, culture and global celebration, President Abdel-Fattah Al-Sisi and First Lady Entissar Al-Sisi presided over the official inauguration of the Grand Egyptian Museum (GEM) on Saturday, marking a milestone in the modern cultural landscape of Egypt and the world. The ceremony was attended by nearly 80 high-level delegations, including kings, presidents, princes, heads of government, and representatives of regional and international organisations.

Among them was German President Frank-Walter Steinmeier, Dutch Prime Minister Dick Schoof, Spain’s King Felipe VI, Queen Rania of Jordan, Prince Albert II of Monaco, and Greek Prime Minister Kyriakos Mitsotakis. Also present were Palestinian President Mahmoud Abbas, Saudi Arabia’s Minister of Culture Badr bin Abdullah, and the crown princes of Oman and Bahrain.

Held at the GEM’s open-air court overlooking the Giza Plateau, the celebration unfolded as a multisensory homage to Egypt’s timeless civilisation. Performances combining music, light, laser projection, and drone choreography traced the evolution of Egyptian architectural genius, from the Giza Pyramids to the modern era, and highlighted the message that civilisations thrive in times of peace.

The façade of the museum became a canvas for immersive light and projection displays, with vast screens illuminating Egypt’s ancient monuments and artistic heritage. Dancers in Pharaonic-inspired costumes, adorned with gold crowns and sceptres, performed to a live international orchestra, while fireworks and synchronised drone formations traced the silhouettes of ancient deities across the night sky.

President Al-Sisi welcomed the distinguished guests and emphasised that the GEM, now the largest museum in the world dedicated to a single civilisation, stands not merely as a showcase of ancient treasures, but as a testament to the creative spirit and enduring legacy of the Egyptian people.

He also described the museum as a new chapter in Egypt’s cultural story, affirming that it stands as a testament to the creativity and legacy of the Egyptian people and as a space for dialogue, knowledge, and exchange.

The ceremony began with the performance “The World Plays One Melody”. The programme featured a laser and drone show illustrating the Orion Belt alignment and its symbolic connection between the museum and the Giza Pyramids, followed by a performance titled “A Journey of Peace in the Land of Peace”.

The sequence highlighted the evolution of Egyptian architectural ingenuity, from the Step Pyramid of Djoser to modern Egyptian design, accompanied by a Coptic hymn of Sufi spiritual singing, and a drone message reading: “Civilisations Flourish in Times of Peace.”

The evening’s performances brought together some of Egypt’s most celebrated voices. Soprano Fatma Said and tenor Ragaaeddin delivered stirring pieces composed by Hisham Nazih, whose music blends contemporary orchestration with the tonal motifs of ancient Egypt, a style previously showcased during the Golden Mummies parade.

Sisters Amira and Mariam Abu Zahra, granddaughters of renowned Egyptian actor Abdel-Rahman Abu Zahra, appeared in stylised Pharaonic attire, performing a violin duet accompanied by the Cairo Opera House Orchestra and international ensemble players under the baton of maestro Nayer Nagui.

The celebration also highlighted Egypt’s cultural diversity. Nubian singer Ahmed Ismail performed in the Nubian language, while Haneen Al-Shater sang in Arabic from a floating stage overlooking the Nile, symbolising Egypt’s enduring identity as a crossroads of civilisations.

Iconic Egyptian actress Sherihan delivered an evocative spoken tribute to ancient Egypt’s artistic legacy, set against sky projections of the Pyramids. She was followed by Sherine Ahmed, the first actress of Egyptian descent to play Eliza Doolittle on Broadway, who gave a powerful musical performance before Islamic chanter Ehab Younis offered a spiritual finale.

On giant screens above, scenes from celebrations in countries all over the world played out against the backdrop of Egypt’s ancient monuments.

Dozens of performers dressed in elaborate white costumes, as a symbol of peace, their foreheads crowned with golden wreaths and sceptres in hand, played traditional tunes as a laser show depicting the Pharaohs and fireworks lit up the night sky above the museum.

As the night drew to a close, a drone light show mapped the sky with hieroglyphs, Pharaonic figures, and the golden mask of Tutankhamun, shimmering above the Giza Plateau, an image that captured both the grandeur of the past and the cultural confidence of the present.

Among the many moments that captured global attention during the GEM’s opening ceremony was the appearance of 12-year-old Asser Ahmed Hamdi, whose poised and expressive performance resonated with viewers across Egypt and beyond. The young performer quickly became one of the most talked about faces of the event, representing a new generation engaging with the country’s cultural narrative.

Asser described his participation in the ceremony as a defining moment in his life. “I was very happy to be there, and proud that my effort represented Egypt in front of the world,” he said, explaining that his preparation for the role involved months of rehearsals and that he had been training in performance and acting for seven years. “When the opportunity came, I felt like a dream had been achieved.”

Performing before President Al-Sisi and dozens of world leaders brought initial nerves, he admitted, but the atmosphere on stage quickly shifted those feelings. “I was nervous backstage, but once I stepped onto the stage, I felt calm,” he said. After the performance, he exchanged a few words with the president, who praised his portrayal linked to the story of Tutankhamun.

Asser spoke with pride about standing before the golden mask of Tutankhamun and the monumental statue of Ramses II inside the museum. “I had seen them only in books and on TV, but standing in front of them at the GEM was something completely different,” he said. “I felt proud to be representing Egypt.”

Reflecting on the journey, he said, “All the effort in rehearsals was worth it. I’m grateful I could present something worthy of Egypt. I will always be proud that I was part of the opening of the GEM.”

Among the creative figures behind the opening night spectacle was Ahmed Essam, the artist and designer responsible for the fireworks and pyrotechnic displays that illuminated the GEM during the ceremony. Speaking about the experience, Essam described it as one of the defining moments of his career, noting that the preparations took several months of planning, rehearsal and technical coordination.

“It was an honour to be part of an event of this scale,” he said, explaining that the ceremony’s postponements provided valuable time to refine the visual narrative and ensure that the display matched the cultural weight of the occasion. Essam highlighted that working in a field he is passionate about has been central to his development. “I travel constantly to learn and experiment with new ideas. When you love what you do, you invest your whole self into it.”

Creating the fireworks show for the GEM opening, he noted, required an approach tailored to the museum’s identity as a celebration of ancient Egyptian civilisation. Colours, rhythms, and sequences were chosen to complement the architectural setting and underscore the narrative themes of heritage and renewal.

He was also quick to highlight the scale of teamwork behind the scenes. “What viewers saw was the result of a coordinated effort involving more than 150 people, from designers and technicians to support staff. Everyone worked with passion and commitment to present Egypt in the best possible light.

“The opening of the GEM is a landmark in Egypt’s cultural journey. The presence of President Abdel-Fattah Al-Sisi and world leaders underscored its importance. We are proud to have contributed to an event that showcased Egypt’s ability to inspire and captivate the world,” Essam added.

Soprano Said, who took the stage as one of the evening’s principal performers, revealed that the concert marked a deeply personal milestone for her as it was her first since becoming a mother.

“I recently gave birth to twins,” she said, “and I wasn’t sure I would be able to perform because the concert came so soon after the delivery. I was a little anxious. But my children gave me the strength and energy to take part in this extraordinary occasion.”

Her appearance added an intimate emotional layer to the celebration, reflecting both the resilience of artists and the symbolic continuity between generations that the museum itself seeks to embody.

Most of the international state leaders expressed their enthusiasm over the grand opening. In a diplomatic gesture that blended cultural appreciation with a touch of modern creativity, Danish Foreign Minister Lars Løkke Rasmussen presented Egypt’s Foreign Minister Badr Abdelatty with a LEGO replica of the Great Pyramid of Khufu, a symbolic gesture marking Denmark’s participation in the GEM’s opening and celebrating Egypt’s architectural heritage.

Zambian Minister of Tourism Rodney Sikumba noted his country’s appreciation for the commemorative gift presented to Zambia on the occasion of the GEM’s opening, a piece representing part of the GEM’s architectural model. He pointed out that the artefact will be placed on a temporary display in one of Zambia’s national museums, accompanied by an explanatory panel narrating its significance. The gesture, he said, reflects Zambia’s pride in taking part in this historic cultural moment and serves as a testament to the growing cultural ties between the two nations.

As with any major cultural event, public reaction to the GEM’s opening ceremony was not uniform. Such occasions naturally invite a spectrum of opinions, shaped by personal taste, expectations, and aesthetic preferences. While some critics viewed the event as more modest than anticipated, others praised its scale and artistic ambition, seeing in it a carefully curated blend of ancient symbolism and modern cultural expression. Supporters argue that the ceremony succeeded in presenting Egypt as both a guardian of a timeless civilisation and a dynamic cultural force in the present day — a duality at the heart of the museum’s identity.

* A version of this article appears in print in the 6 November, 2025 edition of Al-Ahram Weekly

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

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EGYPT

ARAB Fund for Arts & Culture (AFAC) Opens 12th Arab Documentary Photography Program. Last Date – December 15th, 2025

The call invites emerging photographers residing and working in the Arab region to develop documentary projects within a structured process.

Submissions are open for the 12th Cycle of the Arab Documentary Photography Program (ADPP) from the Arab Fund for Arts and Culture (AFAC), in partnership with the Prince Claus Fund and the Magnum Foundation, and with support from the Norwegian Embassy to Lebanon and Syria.

The call invites emerging photographers residing and working in the Arab region to develop documentary projects within a structured process.

Selected grantees receive three intensive workshops led by regional and international experts, tailored one-on-one mentorship sessions, and a production grant to complete their projects.

Since its inception in 2014, ADPP has supported more than 120 photographers across the Arab region, building a community of visual storytellers working on regional narratives.

Visit the AFAC website to learn more and apply.

The deadline for submission falls on December 10th, 2025 at 5:00 PM Beirut Time.

source/content: cairoscene.com (headline edited)

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ARAB / EGYPT

MOROCCO Is An Arab Country : Language, Culture, and the Living Fabric of Identity

Arab identity, in both historical and anthropological terms, has never been solely about genealogy.

Morocco is, in fact, an Arab country. While this assertion may appear self-evident, it has become a subject of debate in contemporary discourse. Some voices insist that Morocco’s identity lies exclusively in its Amazigh or North African roots, rejecting its place within the Arab cultural sphere. Yet, such claims overlook the complex processes through which cultural affiliations are formed, internalized, and lived. Moroccan Arab identity is neither imposed nor superficial; it is a deeply ingrained civilizational reality that is experienced, performed, and transmitted across generations.

Arab identity, in both historical and anthropological terms, has never been solely about genealogy. It is a cultural and civilizational framework, a shared language, religion, and set of symbolic practices, that transcends bloodlines and geography. The Arab Islamic expansion of the 7th-century introduced Arabic and Islam to what is known now as the Arab World, setting in motion a centuries long process of cultural integration. This integration was not a simple imposition, but a dynamic interaction between incoming and indigenous traditions, producing a distinctly Moroccan expression of Arabness. It is a process in which the Arab and the local coexist, interact, and mutually shape each other.

[First Illustration of surgical instruments in history] from Al-Zahrāwī, Al-Taṣrīf liman ‘aǧiza ‘an al-Ta’līf, 30th volume (Surgery). Bibliothèque Nationale du Royaume du Maroc (BNRM), as reproduced on the Islamic Studies Library Blog, McGill University

Morocco is, in fact, an Arab country. While this assertion may appear self-evident, it has become a subject of debate in contemporary discourse. Some voices insist that Morocco’s identity lies exclusively in its Amazigh or North African roots, rejecting its place within the Arab cultural sphere. Yet, such claims overlook the complex processes through which cultural affiliations are formed, internalized, and lived. Moroccan Arab identity is neither imposed nor superficial; it is a deeply ingrained civilizational reality that is experienced, performed, and transmitted across generations.

Language lies at the heart of this Arab identity. Classical Arabic became the medium of religious practice, scholarship, and literary expression, while Moroccan Darija evolved as a vernacular rooted in Arabic but enriched over centuries through interaction with Amazigh and Andalusi traditions, as well as later European influences. Computational linguistic analysis by Mrini and Bond (2018) found that approximately 42% of Moroccan Darija’s lexicon shares at least 60% similarity with Standard Arabic, while only about 3% aligns with French and 2% with Spanish. This demonstrates that, although Darija incorporates foreign and Amazigh influences, its core lexical foundation remains predominantly Arabic (Mrini & Bond, 2018, Putting Figures on Influences on Moroccan Darija from Arabic, French and Spanish Using the WordNet). This linguistic presence is more than practical; it is existential. Arabic provides the conceptual framework through which Moroccans think, communicate, and participate in a shared cultural universe. Anthropologists have long argued that language is the “house of being”, and in Morocco, Arabic offers that house, the structure within which Moroccan society organizes its collective life.

Yet Morocco’s Arab identity is not reductive. Its population is ancestrally diverse, encompassing Amazigh, Arab, sub-Saharan, Andalusi, and Mediterranean lineages. Rather than contradicting Arab identity, this diversity illustrates the inclusive, integrative nature of Arab culture, which historically has absorbed and harmonized a multitude of peoples and traditions. Being Arab in Morocco is thus defined not by ethnicity but by cultural practice, speaking Arabic, engaging with Islamic religious life, and participating in the intellectual and spiritual traditions of the Arab world. This identity is lived and internalized, a product of historical continuity and daily enactment.

Medersa Bou Inania in Fez

Moroccan Arabness is dynamic and regionally inflected, expressed through a mosaic of Arabic dialects that embody the country’s historical and cultural layering. The pre-Hilali urban dialects, such as Fassi, Meknassi, and Rbati Arabic, spoken in the historic cities of Fez, Meknès, and Rabat-Salé, preserve many features of early Andalusian and Classical Arabic, including the conservative pronunciation of qāf as /q/ and more formal morphosyntactic patterns. In contrast, the Jebli dialect of northern Morocco, prevalent in Tetouan, Chefchaouen, and the Rif region, blends Andalusian, Amazigh, and Spanish influences, producing softer phonetics and a Mediterranean lexicon. The Hilali or ‘Aroubi (Bedouin) varieties, dominant across the Atlantic plains, Chaouia, and Souss, descend from Arab tribal migrations and underpin the speech of rapidly urbanized centers such as Casablanca and Settat. Further south, the Marrakchi dialect represents a transitional form combining urban and Bedouin traits, while Judeo-Moroccan Arabic, historically spoken in Jewish communities in Fez, Essaouira, and Sefrou, incorporates elements from Hebrew and Spanish (Haketía). In the southeast, around Errachidia and the Tafilalet region, daily speech follows Hilali Bedouin patterns, but the area also preserves a rare, literary form of Filali Arabic used in Melhoun poetry and song, reflecting a deep historical connection to Classical Arabic and regional artistic expression. Further south and toward the Sahara, Hassani Arabic, a Bedouin variety influenced by Maghrebi and Saharan linguistic currents, illustrates the continued interplay of migration, trade, and cultural exchange in shaping Moroccan Arabic. Collectively, these dialects illustrate how Moroccan Arabic varies across geography and social history, forming a linguistically plural yet distinctly Arab national identity. These variations reflect the adaptability of the language and, by extension, the adaptability of Arab identity itself. Moroccan Arabness, therefore, is neither monolithic nor static; it evolves through time while maintaining continuity with a broader Arab cultural framework.

Describing Morocco as an Arab country is to acknowledge the primacy of this linguistic, religious, and cultural fabric. Arabic is not merely an official language; it is the deep structure of Moroccan society, shaping poetry, moral discourse, social interaction, and ritual life. Arab identity in Morocco is lived in the streets of Casablanca and Fez, in the rhythms of daily prayer, and in the idioms and expressions of everyday conversation. It is experienced through shared cultural symbols and practices that bind Moroccan society to the larger Arab world while remaining distinctively local.

Recognizing Morocco as an Arab country does not erase its rich cultural diversity; rather, it highlights the central role that Arab language, culture, and religion play in the nation’s historical and contemporary identity. Moroccan Arabness is a living, evolving phenomenon, formed through centuries of interaction, internalized through daily life, and transmitted through language, ritual, and social practice. It reflects a society that is at once rooted in its local context and deeply connected to the broader Arab civilization.

In conclusion, Morocco’s Arab identity is a complex, multidimensional reality, grounded in linguistic, religious, and cultural practices. It is the result of historical processes, dynamic interactions, and the continuous enactment of shared meanings. To affirm that Morocco is an Arab country is not to deny its diversity but to recognize the living fabric of its identity, a fabric woven from Arabic language, Islamic faith, and the symbolic systems.

source/content: moroccoworldnews.com (headline edited) / Hajar Lmortaji

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Hajar Lmortaji

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MOROCCO


 

SAUDI ARABIA : The King Salman Global Academy for the Arabic Language (KSGAAL) announces names of 2025 award winners for serving Arabic language

There will be a ceremony honoring the winners held under the patronage of His Highness Prince Badr bin Abdullah bin Farhan, minister of culture

The King Salman Global Academy for the Arabic Language announced the names of the winners of its awards celebrating efforts to serve the language.

Mahmoud Al-Batal won an award for his work in teaching Arabic in the US, which included carrying out in-depth research into linguistics, much of which has been published in peer-reviewed studies.

The Saudi-based Manahij International Foundation received an award recognizing its development of educational materials and curricula for early years language learning and Arabic for non-native speakers.

Manahij was also highlighted for developing training packages for teachers, and praised for its “originality, methodology and innovation” in the field, the Saudi Press Agency reported.

Algerian Ahmed Khorssi was recognized with an award for his contributions to the language by developing more than 30 computer programs including tools for correcting pronunciation.

He has published more than 15 studies in peer-reviewed journals and international conferences.

King Abdulaziz City for Science and Technology won an award for developing systems including an audio database, an automatic speech recognition system in local dialects, and other advanced tools.

Ramzi Mounir Baalbaki, from Lebanon, won an award that recognized his academic career that has spanned four decades

Baalbaki has authored 12 books and more than 80 research papers in Arabic and English in peer-reviewed scientific journals.

Saad Abdel Aziz Maslouh, from Egypt, received an award recognizing a lifetime of academic achievements including the publication of 33 books and 29 research papers.

The Arabic Education Training Center for Gulf States, in the UAE, was awarded for developing evaluation tools and other educational content.

Mazen Abdulqader Mohammed Al-Mubarak, from Syria, won an award for his extensive scholarly work including the well-known book “Towards Linguistic Awareness.”

The National Coalition for Arabic Language in Morocco also received an award for promoting linguistic awareness in Moroccan society through lectures, seminars and intellectual forums.

There will be a ceremony honoring the winners held under the patronage of His Highness Prince Badr bin Abdullah bin Farhan, minister of culture and chairman of the board of trustees of the academy, next Sunday in Riyadh.

source/content: arabnews.com (headline edited)

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The King Salman Global Academy for the Arabic Language’s headquarters in Riyadh. (OIC)

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ALGERIA / EGYPT / LEBANON/ MOROCCO / SAUDI ARABIA / SYRIA / UAE

SOMALIA : Ahmed Ismail Hussein, The “King Of Oud,” Has Died Of The Coronavirus – April 2020

“All of my friends who have met him still love him. He has made a huge impact on them just from that one day they saw him.”

Ahmed Ismail Hussein was known as the “King of Oud” because he was the master of the 11- or 13-stringed instrument.

Born in the late 1920s in Somalia, Hussein began playing the oud professionally in the ’40s after falling in love with it in his teens. He was instrumental in making qaraami — singing or speaking while playing the oud or drums — one of the most popular genres of music in Somalia.

In February this year, after a career spanning more than seven decades, Hussein retired. He was considered a founder of modern Somali music. A concert was held in his honor in London. — Hussein moved to the UK in 1974 — with artists whom he handpicked.

Despite his retirement, Hussein, who also went by the name “Hudeydi,” had no intention of slowing down entirely; he had plans to travel to Turkey and Djibouti.

But then he fell ill. Earlier this month, he was taken to Charing Cross Hospital in London. His condition deteriorated, and on April 8 he died from the coronavirus, a week before what would have been his 92nd birthday.

Nadifa Mohamed, a British author, said she spoke to Hussein a few days before his death, when he didn’t even seem to have symptoms. “I think the decline was quite quick from him developing symptoms to him being quite ill in hospital. It was quite shocking,” she told BuzzFeed News.

Despite his age, Hussein was otherwise a fit and healthy person, Mohamed said. “Everyone was like, ‘He was 92 he had a good life’ — but nothing. There was no warning,” she said. “It wasn’t as if he was sick.”

Mohamed said she had been friends with Hussein since 2012, when they met at the annual Hargeisa International Book Fair in Somaliland, a disputed territory that neighbors Somalia. More so than his musical genius, his sense of humor is what really stood out for Mohamed. “He was funny,” she said. “I think that’s the first thing I noticed.” (His nickname was Hudeydi, but he told the BBC in 2003 that he was also known as “‘the King’ because of my hot rhythms. I was always into rock ‘n’ roll and Elvis Presley”)

“Having a friend who is 50 years older than you is unusual, but I think his sense of humor was so young and easy to engage with,” Mohamed said. “And he was very warm. You could turn up to his door. You could bring whoever you wanted. He would feed you. He would make tea or coffee for you, tell you stories. He was very accepting of people, which was very unusual.”

Hussein, she said, had a charm that would make everyone love him from the moment they met him. “It’s the way that I could turn up with a friend to play an instrument or something else, and he’d give me a big hug as he opened the door and he would go to my friend — whoever it may be — and do the same.

Usually when grieving, Somalis tend to visit the home of the deceased’s next of kin for days to offer their condolences and pray. But this is currently impossible during the lockdowns in place across the world.

After Hussein’s death, tributes poured in from Somalis around the world. On the day of his burial, people held absentee funeral prayers .

In a statement, the Kayd Somali Arts and Culture organization said Hussein’s “iconic legacy lives on through his music and in the memories of all of those of us who adored him and continue to do so.”

source/content: buzzfeed.com (headline edited)

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Ahmed Ismail Hussein (left) and Nadifa Mohamed (right), a friend. / Courtesy of Nadifa Mohamed

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SOMALIA / U.K

MENA COMMUNITIES IN NY, USA : ‘Niyū Yūrk’ exhibition explores MENA influence on the Big Apple , Oct 04 to Mar 08th 2026

Inside the first show dedicated to NYC’s Public Library’s Middle Eastern collections .

Outside The New York Public Library’s Stephen A. Schwarzman Building, the unmistakable scent of a halal food cart mingles with the sounds of various Arabic dialects, while two marble lions stand guard over Fifth Avenue. Inside, entire worlds are waiting to be discovered — including the often-overlooked stories of New York’s Middle Eastern and North African communities. 

“Niyū Yūrk: Middle Eastern and North African Lives in the City,” the first exhibition dedicated to the Library’s Middle Eastern collections, opened Oct. 4. It will remain on view in the Ispahani-Bartos Gallery until March 8. 

Curated by Hiba Abid, the exhibition contains around 60 objects — photos, books, periodicals and audio — dating from the 1850s to 2024. It centers specifically on the library’s own holdings, rather than attempting to tell a comprehensive history of MENA life in New York, Abid tells Arab News. 

Drawing from over a century of rare materials the exhibition uses tangible objects to express the intangible: memory, identity and immigrant culture.  

“It’s not a love letter. It’s a realistic letter,” Abid says, adding that these communities have long navigated complex questions of belonging, language, and preservation.  

“The communities, from the very beginning, were wondering, ‘Where should our kids go to school? If they go to the public New York schools, they would probably lose their language, but we want them to still know Arabic and be aware of our traditions and values,’” she said. 

The exhibition is divided into four chronological sections, designed to help guide visitors of all ages, from young children to seasoned scholars. 

The first section, “Roads to New York,” focuses on the earliest waves of immigration. One of the first featured figures is Hatchik Oscanyan — later known as Christopher Oscanyan — an Armenian man born in what is now Türkiye. He came to New York in the mid-19th century and sought to educate Americans about the complexity of the Ottoman Empire. He wrote plays and newspaper articles, as well as “The Sultan and His People,” a book that offers insight into the region’s diverse ethnic and religious makeup.  

The second section, “A Life in the City,” explores how immigrant communities began to form and thrive in New York, including in what was once known as Little Syria on Manhattan’s Lower West Side — an area that still exists today. They were entrepreneurs who opened restaurants, shops, and began publishing Arabic newspapers.

One of the most groundbreaking was Al-Hoda, founded by Naoum Antoun Mokarzel and his brother Salloum. “In the basement of Al-Hoda Press, they adapted the linotype machine from Latin characters to Arabic characters, which is very hard (because Arabic is) a cursive language,” Abid says. “By this technological innovation, he actually allowed other presses to form and to publish newspapers, periodicals, and books,” which then circulated throughout North and Latin America — and back to the Middle East. 

In other words, New York was instrumental in literally building the Arabic press and exporting news to the Middle East.  

Abid emphasizes how vital the library’s historical collections are to telling these stories.  

“The library has been collecting these materials since the late 19th century,” she says, adding that many of them have been digitized, enabling audiences to interact with them in a new way. 

The third section, “Impressions,” flips the gaze, revealing how Middle Eastern immigrants perceived New York and the US.  

“Many immigrant groups embraced American values… but many (Arabs) actually didn’t like New York and didn’t like American values and left after a few years here or after a few months.” The exhibit highlights these ambivalences and the tensions of assimilation. 

The final section, “In Our Own Skin,” is the most contemporary and, for Abid, the most personal. It includes raw, vulnerable stories that reflect racial identity, Islamophobia, and resistance. Among the most powerful pieces is the short documentary “In My Own Skin,” directed by Jennifer Jajeh and Nikki Byrd, which features interviews with five Arab women in New York, and was filmed just one month after the events of Sept. 11, 2001.  

“The interviews are absolutely amazing. Every time I talk about it, I have goosebumps,” Abid says. “The way they talk about it — it is still very relevant today, as if nothing changed much, except that we’re probably more powerful because we are aware of this and we know how to organize and to fight back. We have the vocabulary now, and the community.” 

That spirit of organization is embodied by Malikah, a grassroots collective founded by Rana Abdelhamid in 2010 as a self-defense class for Muslim women on Steinway Street in Queens. The movement has since expanded into a larger project of empowerment, healing, and solidarity — and is featured in the exhibit’s final section. The powerful sound of the athan, or call to prayer, has been important to this cultural shift. 

While images of the Statue of Liberty — based on an Egyptian woman — didn’t make the cut, but Abid stresses its significance on each guided tour. On this occasion, though, she wanted to focus the visitors on lesser-known gems. 

Having lived in New York for the past four years as a Tunisian immigrant who spent much of her life in France, Abid says she finds New York to be more diverse than anywhere else she has ever lived.  

“I live on Atlantic Avenue in the Syrian corner. The things I witnessed here and in Middle Eastern parts of New York, like Astoria, I could never see anywhere else — even Paris,” she says. “When you go to the exhibition, you actually think, ‘Damn! We actually did a lot. And we’re here, you know—we’re here. 

“It shows how New York was central to all of these struggles and how New York — thanks to its MENA community — was actually connected and aware. It puts New York on a global map, you know? I think New York is incredible terrain for this. It’s the space for it. That’s what this show is about, ultimately.”  

source/content: arabnews.com (headline edited)

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A poster from 1920 promoting Columbia Syrian Arabic Records — Columbia was one of the major American record labels to recognize the commercial potential of ethnic music markets in the US. (Courtesy of The New York Public Library)

Curator Hiba Abid. (Supplied)

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MIDDLE EAST & NORTH AFRICA / U.S.A

SAUDI ARABIA : Heritage leaders honored as Arab Manuscript Day celebrated in Riyadh

Annual event at King Faisal Center spotlights heritage, intellectual legacy

The official celebration of the 13th Arab Manuscript Day was inaugurated on Sunday by Prince Turki Al-Faisal, chairman of the board of directors at the King Faisal Center for Research and Islamic Studies.

Held under the theme “The Arab Manuscript: Life of a Nation and Pioneer of Civilization,” the event was organized in collaboration with the Institute of Arabic Manuscripts at the center’s headquarters in Riyadh.

Prince Turki said: “This day calls upon the memory of thought and allows the soul to listen to the echoes of centuries past.”

He added that Arab Manuscript Day went beyond celebrating paper and ink and honored the consciousness and intellectual legacy that shaped Arab and Islamic civilizations. 

He recalled that the late King Faisal bin Abdulaziz received a delegation from the Institute of Arabic Manuscripts in Riyadh more than 50 years ago, near the site of the current center. 

The meeting, he said, was a moment of “intellectual enlightenment,” during which King Faisal described heritage as a vital part of identity, comparing it to “a rich fountain of culture that never stops flowing.”

Abdulrahman Al-Khunaifer, adviser at the center, said that the day symbolized the convergence of time and place, at which “Damascus, Cairo, Baghdad, and Cordoba meet Riyadh and Diriyah” to celebrate the enduring legacy of the handwritten book.

He added that the center had produced thousands of titles and research projects that had kept the Arab manuscript “alive and beating” throughout history, and that the hosting of this year’s celebration represented the culmination of those efforts.

Three awards were presented during the ceremony: Yahya Mahmoud bin Junaid, a Saudi professor, was named the Heritage Research Personality of the Year in the Arab World.

In his acceptance speech he described heritage as a living tool for understanding modern society and the evolution of intellect, calling for the creation of a comprehensive digital index of heritage books to support researchers. 

The award for Heritage Institution of the Year in the Arab World went to the National Laboratory for the Conservation and Restoration of Parchment and Manuscripts in Kairouan, Tunisia. Its director, Manal Rimah, said the recognition was a tribute to Tunisia’s cultural institutions.

The Heritage Book of the Year went to “The Collection of the Gems of Navigation in the Compendiums of the Benefits of Agriculture,” edited by Ihsan Thannoon Al-Thamiri, a professor from Iraq.

He described the work as an encyclopedic documentation of Arab agricultural knowledge, the result of a long period of dedication.

Since its founding in 1983, the center has become one of the leading global institutions in manuscript care. Its collection includes around 30,000 manuscript titles and 150,000 digitized manuscripts, reproduced in collaboration with major libraries and museums worldwide.

The center has also cleaned and restored about 330,000 books, manuscripts, and documents, reinforcing its position as a key scientific and cultural platform for future generations.

“What King Faisal began five decades ago with the Institute of Arabic Manuscripts is now being continued by his sons and grandsons with modern awareness and cultural dedication,” Prince Turki said as he reflected on the Kingdom’s vision of knowledge and culture as pillars of progress.

source/content: arabnews.com (headline edited)

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Left: Prince Turki Al-Faisal gives his opening remarks on the occasion of the 13th Arab Manuscript Day at the King Faisal Center for Research and Islamic Studies; Since its founding in 1983, the center has become one of the world’s leading references in the field of manuscript care. It holds around 30,000 manuscript titles and 150,000 digitized manuscripts. (Supplied)

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SAUDI ARABIA

PALESTINE : ‘Palestine 36’ shines light on Arab revolt against British rule

In “Palestine 36,” director Annemarie Jacir recounts a year of Arab revolt against British colonial rule that she says is crucial to understanding current events in the Middle East.

“You can’t understand where we are today without understanding 1936,” Jacir told AFP a day after the film’s world premiere at the Toronto International Film Festival.

The Palestinian filmmaker, who lives in the Israeli city of Haifa, was motivated to make the film, in part, to redress a lack of awareness about the consequences of British policies during the so-called mandate period, before Israel’s creation in 1948.

“I wanted to really point the finger at the British,” she said.

The film features a mostly Arabic-speaking cast, including Hiam Abbass from HBO’s “Succession,” and Jeremy Irons as a British high commissioner unsettled by rising violence and protests against the colonial administration.

With Jewish immigration from Europe increasing and Palestinian villagers concerned about further loss of land, Arab support for armed revolt against the British surges.

The film details the brutal crackdown launched to contain the violence.

Villagers are beaten, people are arrested en masse while soldiers torch homes after searching them for weapons.

They are tactics Jacir said Israel’s army learned from the British and have used since against Palestinians living under occupation.

But Jacir — who was born in Bethlehem in the Israeli-occupied West Bank — told AFP a key goal of the film was to shine a spotlight on the British colonial practice of divide and rule, which was used across the empire.

The narrative in “Palestine 36” builds toward the publication of the Peel Commission’s report, a British inquiry into the causes of Arab and Jewish unrest in Palestine.

The commission recommended Palestine be partitioned — with separate areas for Jews and Arabs — a finding that influenced the United Nations-backed partition plan that coincided with Israel’s creation.

“It was a British policy: first, we’ll bring (Arabs and Jews) together,” Jacir said.

Then “we separate… It was a tactic of control,” she added.

Jacir said the reception for the film at Friday’s world premiere was overwhelming.

“Yesterday was crazy,” she told AFP, an outpouring of support likely tied to widespread outrage over the conflict in Gaza.

She voiced hope that the film could foster broader awareness about the lasting impacts of the British mandate period in Palestine.

“I’m shocked how many people have told me when I tell them about the film, they were like, ‘the British were in Palestine?'”

British rule, she said, was “decisive.”

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

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Annemarie Jacir, director of “Palestine 36” at The Toronto International Film Festival (Photo: AFP)

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PALESTINE

SAUDI ARABIA : Jomana Alrashid becomes first Saudi named to Time’s annual TIME100 Next list

Alrashid’s inclusion highlights her pioneering leadership and marks a milestone moment for Saudi women on the global stage

Under her leadership, SRMG has redefined how Arab media engages with audiences, while nurturing new generations of talent

Jomana R. Alrashid, CEO of Saudi Research and Media Group and chairwoman of the Red Sea Film Foundation, has made history as the first Saudi to be recognized on Time magazine’s TIME100 Next list.

An expansion of the iconic TIME100 list of the most influential people in the world, TIME100 Next highlights 100 emerging leaders who are shaping the future of business, entertainment, sports, politics, health, science, activism and more.

Alrashid’s inclusion highlights her pioneering leadership in business and media and marks a milestone moment for Saudi women on the global stage. Alongside Alrashid, the list includes names such as White House Press Secretary Karoline Leavitt, international football phenom Lamine Yamal, Irfaan Ali, the president of Guyana, and many more influential and emerging leaders in their respective fields.

Time magazine described Alrashid as “an architect of the Middle East’s shifting media landscape.” Since her appointment in 2020 as the first female CEO of SRMG, she has spearheaded the company’s comprehensive digital-first transformation, launched innovative media verticals and forged landmark global partnerships. These efforts have been reflected in the rapid growth of SRMG’s stock, signifying extensive trust by investors in her business development and management strategies across the media entertainment and technology sectors. Under her leadership, SRMG has redefined how Arab media engages with audiences, while nurturing new generations of talent.

As chairwoman of the Red Sea Film Foundation, she has championed the growth of the film industry across the Arab world, Africa and Asia, driving initiatives to empower filmmakers and foster international collaboration. This commitment has culminated in an unprecedented achievement, with over 80 supported films premiering and garnering awards and international recognition at the world’s most prestigious festivals, including Cannes, Venice, Berlin, Toronto and Sundance.

These are filmmakers and their stories that once struggled to find a place in the international film industry, now making their mark on the global stage. Today, the Red Sea International Film Festival stands as a premier global destination for cinema, culture and creativity.

Alrashid commented on the recognition: “I am deeply honored to be included in the TIME100 Next list. This recognition reflects the collective efforts of the extraordinary teams I have the privilege to work with at SRMG and the Red Sea Film Foundation. It is also a testament to the vision and leadership that have driven the remarkable transformation taking place across Saudi Arabia and the wider region — a future built on innovation, creativity and storytelling that resonates globally.”

Alrashid’s selection underscores not only her growing global influence but also the pivotal role of Saudi Arabia’s creative and media industries in shaping conversations worldwide. As the Kingdom continues its ambitious cultural and economic transformation, her leadership represents both the spirit of progress and the power of storytelling to inspire and unite communities across the globe.

source/content: arabnews.com (headline edited)

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Jomana R. Alrashid, CEO of Saudi Research and Media Group and chairwoman of the Red Sea Film Foundation. (Supplied)

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SAUDI ARABIA

TUNIS : From Ocean to Gulf: Heritage Music of The Arab World – Music and Culture in Tunis (Dawn of 20th Century to Independence)

‘From Ocean to Gulf: Heritage Music of the Arab World’ is a series by Ahram Online, in partnership with the AMAR Foundation (Foundation for Arab Music Archiving and Research). In this article, we present the music of the city of Tunis from the dawn of the 20th century till the years of independence.

After featuring the Sultana of Tarab Music, the Prince of Arabic Violin, the Master of Buzuq, Hajja Zeinab El Mansouria, the rich music of  Happy Yemen (8th Century BC-19th Century AD), Happy Yemen in the 20th Century, and Songs of Satire; the history of Tunisian music in the 20th century emerges as a complex blend of Ottoman, African, European, and Arab Middle Eastern influences—shaping the country’s rich contemporary cultural identity in music and beyond.

Many Tunisians rightly endorse this multi-cultural identity. Its variations are reflected across Tunisia’s different regions, echoing the visionary observations of the great Arab historian Ibn Khaldoun (1332–1406), himself born in the country centuries ago.

This multilayered landscape of cultural expressions is associated with social and religious practices and at different instances combines music, dances and classical and colloquial poetry.

Furthermore, it is geographically configured by the plains, the Atlas mountains, and the Mediterranean sea, and forms a continuity beyond political borders with Libya to the southeast, Algeria to the west, and sub-Saharan Africa to the south.

‘A living mosaic’

To Tunisian singer Ghalia Ben Ali, Tunisian music is a living mosaic shaped by centuries of cultural blending and conquests, yet always anchored in the people’s voices.

“I was inspired by the Amazigh music of South Tunisia, for it’s alive. When I was young, helping my mother do house chores, we used to sing. Young girls would create new wedding songs or songs about our daily lives; there were no newspapers or films to talk about this, “she said.

Moufadhel Adhoum, a Tunisian composer and oud player, showcases the diverse music of Tunis City, as well as the North, Mid, and South of Tunisia:

Ma’luf music is of Andalusian origins. As for Mezwed music, it incorporates a bagpipe-type instrument that shares the same name as the genre, accompanied by a darbuka or similar percussion instruments. However, El Kef Governorate, in northwestern Tunisia, bordering Algeria, has its own repertoire of songs inspired by the region’s customs and traditions, as well as the slopes of the Atlas range.

In the South, El Forja music consists of songs associated with weddings and occasions, whereas Stambeli represents an African dimension of Tunisian spiritual music. As for the Sufi practices, they include El-Ziyara music, chants that accompany visits to Shrines.

However, Shaabi music is a blend of Berber (Amazigh), Arabic, and African, influenced by the region’s natural setting, the desert and camel rhythms. It expresses sentiments about love and historic events. Instrumental genres are also present in Tunisia and feature instruments such as oud, rababa, and nai.  

Crossroads
 

Tunisia has consistently been positioned at the “crossroads of the Islamic and European worlds” throughout various historical periods, as noted by historian Kenneth J. Perkins.

In the latter part of the 19th century, these dynamics paved the way for the interaction of the dominant political, economic and military forces at that time, namely Ottoman rule and European powers.

Under the leadership of the Husainid dynasty (1705-1957), Western-inspired reforms based on the Ottoman Tanzimat were introduced during the Ottoman administration. 

Additionally, cultural connections were enhanced with countries such as France, Great Britain, and Italy, alongside other Ottoman states and the Maghreb on a different level.

Colonial cultural dominance

In 1837, a military music academy was founded in Bardo, west of Tunis city, which was succeeded by a symphonic orchestra in 1872.

Communities from these nations living in Tunisia introduced their cultures.

They initiated a significant cultural shift in local music practices, shaped by these nations’ various traditions, which later gained another layer with the establishment of a French protectorate over Tunisia in 1881.

New legislation was implemented to restrict traditional musical traditions among Tunisians, favouring and prioritising the European communities in Tunisia, according to researcher Alla El Kahla. 

Francophone culture became a defining force in Tunisian society, with the capital developing into a cosmopolitan centre that saw the establishment of key institutions, including the National Archives (1874), the National Library (1885), and a network of museums across the country.

Simultaneously, traditional regional arts faced scrutiny regarding their worth, societal standing, and performance settings, as noted by the researcher Ruth Davis. Meanwhile, commercial recording began in Tunisia in 1904, coinciding with its development in Europe, where European brands dominated the market ahead of local or Arab brand names such as Baidaphon.

The foreign brands consisted of Pathé (France), Gramophone (England) through its French brand Zonophone, and Odéon’s French subsidiary (Germany). More about these record companies is available through AMAR’s podcasts and Bernard Moussali’s book, Le Congrès du Caire de 1932 (edited by J. Lambert: chap IV). Local record labels followed in 1930, such as Bembarophone.

A music school rooted in European traditions was founded in 1897, which subsequently became the Conservatoire National de Tunis after the nation gained independence in 1956. The musical life witnessed the emergence of orchestras and venues such as café halls and theatres that hosted European musicians, dancers, and actors performing mainly for foreign audiences. These performances eventually attracted Tunisian artists and audiences to music and theatre.

The Egyptian influence
 

The emergence of theatre groups from Egypt, including the Egyptian Comedy (Al-Comedia Al-Masryia), the Egyptian Troupe (Al-JawqAl-Maṣri) directed by Suleiman El-Qardahi, and Ibrahim Higazi’s troupe (1908 and 1909), came a few years later. Additionally, the Salama Higazi troupe introduced musical theatre to the Tunisian theatre scene in 1913.

These initial encounters sparked the foundational growth of Tunisian theatre. They brought the Arabic language and themes drawn from Arab history and heritage to established spaces that European traditions of music, opera, and theatre had previously dominated. Cultural exchanges from Egypt to Tunisia included screenings of early Egyptian cinema and visits by rising stars such as the Naguib Rihani Troupe (1933), followed two years later by a solo tour from his collaborator Badia Masabni with leading vocalist Nadra.

Other prominent figures, including George Abiad, Zaki Talimat, and Youssef Wehbe, also performed in Tunisia, as documented by Dr. Sayyid Ali Ismael in his study of Tunisian-Egyptian theatrical ties (1889–1962).

The author of the study traces these encounters back to the 1889 Paris Expo, when troupes from Egypt, Tunisia, Algeria, and Morocco shared the stage within the curated “Cairo Street” venue and presented their folk arts. The credit goes to these international expos for the oldest recordings of Tunisian music, notably the 1900 Paris Expo.

It was not long before a Tunisian-Egyptian troupe (Sodq Al-Ekhaa) was created in 1909, subsequently substituted by two Tunisian troupes, Literary Pride (Al-Shahama Al-Adabiyya) and Literary Arts (Al-Adāb), respectively in 1910 and 1911.

Other troupes followed their track across the country. While Al-Adāb expressed opposition to France, Al-Shahama Al-Adabiyya put forth no political agenda. One of the pioneering female names in theatre and music was Habiba Msika (1903-1930), who rapidly rose to stardom in theatres and café halls. Musicians integrated Western and Egyptian elements and practices, with the socio-cultural and political centrality of Egypt at that time.

Egyptian reference points sustained until different perceptions of authenticity grew in succeeding decades, as indicated by the researcher Salvatore Morra, who worked closely on the concepts of authenticity and modernisation in Tunisia.

Revival initiatives looked critically at possible local and regional relevant contexts of Tunisian heritage and identity beyond Egyptian aesthetic idioms and Western influences. Furthermore, the scholar Anas Ghrab points out three mechanisms that significantly transformed the musical aesthetics of traditional Tunisian art music. These include a rise in the number of musicians, the implementation of notation, and the incorporation of new instruments.

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

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TUNIS