Arabs & Arabian Records Aggregator. Chronicler. Milestones of the 25 Countries of the Arabic Speaking World (official / co-official). AGCC. MENA. Global. Ist's to Top 10's. Records. Read & Enjoy./ www.arabianrecords.org
He played the Devil, challenged shame, and made Arab cinema speak. On his birthday, we revisit Youssef Wahbi – the man who dared to redefine the rules of the screen and stage.
Youssef Wahbi broke every mould – actor, director, and pioneer of Arabic cinema. On his birthday, we honour a legend who shaped generations of stage and screen.
Wahbi’s love for acting started when he first watched the Lebanese artist Salim Al-Qardahi’s troupe in Sohag. Since then, he started delivering monologues and performing theatrical acts at Al Ahly Club and at school. But at the time, acting was seen as shameful, and his father disapproved. Refusing to bend, Wahby fled to Italy and studied acting under the Italian actor Cantoni. He didn’t come back until after his father’s death in 1921 and used all his inheritance to establish a theatrical troupe named Ramses, which was also the name given to him during his stay in Europe.
In 1923, the troupe premiered with a successful play called ‘Al Magnoun’. But Wahby wasn’t done breaking ground. Later, in 1930, he established his film production company, Ramses Film, which produced the very first speaking film in the history of Arabic cinema, ‘Awlad El Zawat’. The movie was adapted from one of his successful plays, as he wrote the script and starred in the film.
Throughout his prolific career, Youssef Wahbi wrote, directed, or starred in over 300 theatrical plays and contributed to more than 60 films. Among this vast body of work, a few standout titles have become milestones in the history of Arabic drama and cinema…
Awlad El Zawat (1932)
‘Awlad El Zawat’ tells the story of Hamdi, who marries a French woman only to discover she’s cheating on him. In a powerful scene, he confronts her with the line: “You woman of all men… you garbage of history.” In a rare interview, Youssef Wahbi revealed that he insisted on making ‘Awlad El Zawat’ as the first Arabic-speaking film to defend the image of the East, after Western narratives described the region as barbaric and trivial, particularly during the trial of a woman who had murdered an Egyptian young man.
Safir Gohannam (1945)
‘Safir Gohannam’ follows Abd Elkhallak, a humble professor worn down by life’s hardships and became a bitter and resentful man. His shaky faith opens the door for the Devil (played by Youssef Wahbi) to lead him astray, tempting him with a false paradise to ruin his life, destroy his children, and tear his family apart. The film marks the first-ever portrayal of the Devil in Egyptian cinema.
Bayoumi Effendi (1949)
‘Bayoumi Effendi’ is considered one of Wahbi’s most powerful socially driven films, tackling the issue of children born out of wedlock. The film calls for compassion toward these individuals, emphasising that they should not be treated as criminals for a sin they did not commit.
Hayah Aw Mout (1954)
‘Hayah Aw Mout’ – one of the most famous films in Egyptian cinema – follows the story of a man who suffers a heart attack and sends his daughter to fetch his medicine, only for the pharmacist to realise he accidentally gave her poison. As the police, led by Wahbi’s character, race to save him, a dramatic city-wide radio broadcast becomes his only hope. This is the film that gave us the famous line: “لا تشرب الدواء الذي أرسلت بنتك لشرائه…الدواء فيه سم قاتل.” (“Do not drink the medicine your daughter was sent to fetch; the medicine contains deadly poison.”)
Esha’et Hob (1960)
‘Esha’et Hob’ is one of the most memorable comedy films in Egyptian cinema. Starring Omar El Sherif, Soad Hossny and Youssef Wahbi, it follows the story of Hussein, a shy young man in love with his cousin Samia, who prefers her charming cousin Lucy ‘Ibn Tante Fakeeha’. To help him win her heart, Hussein’s uncle Abdel Qader comes up with a clever plan: spread a rumour about a love story between Hussein and the famous actress Hind Rostom.
The trailblazing artist, son of legendary Fairuz and composer Assi Rahbani, was also a playwright, pianist and political provocateur.
Lebanese musician and composer Ziad Rahbani, son of the iconic singer Fairuz and a pioneer of fusion jazz, has died at the age of 69 of a heart attack.
“On Saturday at 9:00am, the heart of the great artist and creator Ziad Rahbani stopped beating,” said a statement from the hospital where he was being treated in the capital, Beirut, on Saturday.
Rahbani influenced generations of Lebanese people with his songs and especially his plays, whose lines are known by heart by both young and old.
He was the son of Fairuz, the last living legend of Arabic song – and one of the most famous Arab women worldwide – and composer Assi Rahbani, who, along with his brother Mansour, modernised Arabic song by blending classical Western, Russian, and Latin American pieces with Middle Eastern rhythms.
“I admire the music of composers like Charlie Parker, Stan Getz and Dizzy Gillespie,” Rahbani once said. “But my music is not Western, it’s Lebanese, with a different way of expression.”
Fairouz also became an icon for young people when Rahbani composed songs for her influenced by jazz rhythms – he called it “oriental jazz”.
Lebanon’s leaders paid a heartfelt tribute to the Lebanese composer, who was also a playwright, pianist and political provocateur.
President Joseph Aoun called Rahbani “a living conscience, a voice that rebelled against injustice, and a sincere mirror of the oppressed and marginalised”.
“Lebanon has lost an exceptional and creative artist, a free voice that remained faithful to the values of justice and dignity” and who said “what many did not dare to say”, said Prime Minister Nawaf Salam.
Rahbani’s works reflected the hybrid heritage of Lebanon, which, until the civil war erupted in 1975, was a cultural melting pot. It also reflected the ensuing sectarian strife, which involved bloody street battles between rival militias and three years of violent Israeli occupation after the 1982 invasion.
While Fairuz transcended the powerful sectarian divides in the country, her son chose to be resolutely left-wing and secular, denouncing Lebanon’s longstanding divisions. His breakout play, Nazl el-Sourour (Happiness Hotel), premiered in 1974 when he was only 17, portrayed a society disfigured by class inequality and repression.
The play follows a group of workers who take over a restaurant to demand their rights, only to be dismissed by the political elite.
In another play, Bennesbeh Labokra Chou? (What About Tomorrow?), he plays a jaded bar pianist in post-civil war Beirut. The work features some of Rahbani’s most poignant music and biting commentary, including the famous line, “They say tomorrow will be better, but what about today?”
Rahbani was also a composer of staggering range. He infused traditional Arabic melodies with jazz, funk and classical influences, creating a hybrid sound that became instantly recognisable. His live performances were legendary, when he often played piano in smoky clubs in Hamra, one of Beirut’s major commercial districts.
In recent years, Rahbani appeared less in the public eye, but younger generations rediscovered his plays online and sampled his music in protest movements. He continued to compose and write, speaking often of his frustration with Lebanon’s political stagnation and decaying public life.
“I feel like everything is over, I feel like Lebanon has become empty,” wrote Lebanese actress Carmen Lebbos, his former partner, on X.
Rahbani is survived by his mother, now 90, his sister Reema and brother Hali.
Source: News Agencies
source/content: aljazeera.com (headline edited)
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Ziad Rahbani gestures while wearing a scarf of the left-wing Popular Front for the Liberation of Palestine group, during a concert in Sidon, southern Lebanon, October 9, 2014 [File: Ali Hashisho/Reuters]
Until last year, 17-year-old Victoria Miller admits she would have had to search online to learn where Algeria is , let alone describe the exploits of one of its most famous heroes.
Pictorial Press / ALAMY / Abd el-Kader’s name lives on in Elkader, Iowa, pop. 1,300, the only US town named after an Arab.
.“I was really taken by Amir Abd el-Kader’s character and how he handled the multiple challenges he faced, including when some of his own people didn’t believe in him,” says Miller, who lives in the northeastern Iowa town of Decorah. On September 19 she was recognized as one of seven winning essayists in the 2016 Abdelkader Global Leadership Prize.
After reading diplomat John W. Kiser’s biography, Commander of the Faithful: The Life and Times of Emir Abd el-Kader (Monkfish, 2008), for a class in human geography at Decorah High School, Miller now says she regards him as an international role model. Her new understandings, she adds, help her feel more comfortable talking to Muslims.
“Abd el-Kader’s legacy deserves to be remembered along with Nelson Mandela, Gandhi and Dr. Martin Luther King Jr.’s,” Miller enthuses, “because they were all pursuing the same dream: to reach peace.”
ABDELKADER EDUCATION PROJECT / Abdelkader Education Project co-founder and executive director Kathy Garms opened the group’s seventh annual forum on September 19 in Cedar Rapids. Students competed for scholar-ships in the Abdelkader Global Leadership Prize, and educators explored the legacy of Algerian freedom fighter and peacemaker Amir (Prince) Abd el-Kader.
Indeed, the Algerian prince (amir or emir in Arabic) united tribes in North Africa and fought for independence; later, during the 1860 Mount Lebanon civil war, he helped save thousands of Maronite Christians from massacre—an act for which President Abraham Lincoln lauded him. When the amir passed away in 1883, The New York Times eulogized him as “one of the few great men of the century. The nobility of his character won him the admiration of the world.”
Even decades earlier, in 1846, so widely admired was he that Iowa farmers named their new town after him, and today Elkader, Iowa, is the only us town named for an Arab. Since 2008 it has been reviving his legacy, thanks largely to the eight-year-old nonprofit Abdelkader Education Project (aep).
Kathy Garms, executive director and cofounder with Kiser of the Elkader-based aep, furthers Miller’s sentiment, explaining that the story of the amir “inspires civility, tolerance and understanding” and offers “models of ethical leadership, moral courage and humanitarian conduct.” The aep, Garms continues, works to “shape the minds, hearts, values of the next generation.” And this is where aep’s Abdelkader Global Leadership Prize essay competition comes in.
John W. Kiser, author of Commander of the Faithful: The Life and Times of Emir Abd el-Kader, and forum participant said the students stereotypes have been challenged.
Its award ceremony was held this year about 130 kilometers south of Elkader in Cedar Rapids, where it was nearly cancelled due to rising floodwaters on the Cedar River. But the student writers and their families braved the threats of high water to meet Kiser as well as teachers and leaders of civil-society groups from around the country.
Kiser says he is pleased with the results so far.
“The students’ stereotypes about Muslims and Arabs have been challenged, and their minds opened to the diversity of the Muslim world,” he observes. As a role model, he says, Abd el-Kader “is a unifier … [whose] probing intellect, ethical courage, compassion, depth of knowledge … impress all who learn about him.”
And his advice to the winners was simple: “Treat others as they would want to be treated … and resist stereotyping.”
Garms affirms the broadening of students’ horizons. “We started this with an essay contest for students, but we’d like to expand our programs and create additional tools to reach a wider audience of police, military and businesses to promote better intercultural understanding,” she says.
After the awards program, the winners and family members toured the Cedar Rapids Islamic Center and visited one of the city’s historic sites: the oldest standing mosque in the United States, built in 1934.
“Abd El-Kader’s legacy deserves to be remembered along with Nelson Mandela, Gandhi and Dr. Martin Luther King Jr’s because they were all pursuing the same dream : To Reach Peace
‘ – Victoria Miller, Iowa High School Division Winner’
Elkader Mayor Josh Pope hopes the aep inspires young people “to carry on the values of the amir.” In addition to hosting the aep, Elkader is a sister city to Mascara, in northwestern Algeria, where Abd el-Kader was born in 1808. Today Mascara’s population of 150,000 dwarfs Elkader’s 1,300 residents. “Abd el-Kader serves as a great example about how people of different cultures can live together in peace and understanding,” he says
In early September Pope traveled at the invitation of the Algerian government to speak at its own Emir Abd el-Kader Award ceremony, which recognized organizations in the Mediterranean region for work in economic cooperation and interfaith relations.
The interfaith aspect of Abd el-Kader’s life impresses Miller deeply.
“I’m a Christian, and I’ve had my own difficulties—though certainly on a different level—but I know it’s important to stay positive and hopeful,” she says.
Now, she wants to add study of comparative religions and “the psychology of how we learn and react to stereotypes” to her aspirations for a career in medicine.
“Victoria grew a lot in the process of reading about el-Kader and writing her essay,” says Miller’s mother, Yvette Powers, noting diplomatically that her daughter was not always supported by some members of her extended family.
“I believe people need to accept all races and creeds,” she declares. “I hope she was able to open some eyes.”
Brian Miller, Victoria’s father, says he and his daughter talked about the life of Abd el-Kader when she was writing her essay.
“It opened up quite a discussion,” he says. “I believe there are good Muslims and bad Muslims, just like all people.”
Forum attendees received a tour of the “Mother Mosque of America,” built in 1934 in Cedar Rapids, Iowa, by immigrants from what is now Syria and Lebanon. Although not the first mosque built in the US, it is the oldest standing mosque; its proximity to Elkader, 130 kilometers away, is coincidental.
Abd el-Kader, he says, “was a good guy,” adding that he hadn’t ever really thought much before about why the town was called “Elkader.”
National high school division winner Daud Shad lives far from Iowa, more than 1,600 kilometers east, in New Jersey. He says his elder brother encouraged him to read Kiser’s biography and enter the contest.
“I’d never heard of el-Kader, ‘the George Washington of Algeria,’” says the 17-year-old, whose parents were born in Pakistan. “There need to be more leaders on all sides like el-Kader because he embodied the best of religion and humanity.”
Samantha Wiedner, 18, grew up in Elkader, and she won the high school competition for her town.
“I knew Elkader was named after the emir, and I knew where Algeria was, but that was about it,” says Wiedner, now a freshman studying Russian and international relations at the University of Iowa.
University of Iowa freshman and winner in the contest’s Elkader High School Division, Samantha Wiedner, right, talks with Jefferson High School tenth grader Lena Osman outside of the Islamic Center of Cedar Rapids. “Being intolerant to other cultures and religions isn’t going to get us anywhere,” Wiedner says. “Despite all our differences, we should be able to co-exist.”
She says she learned that “being intolerant to other cultures and religions isn’t going to get us anywhere. Despite all our differences, we should be able to coexist.”
Noureen Choudhary, 20 and a student at Villanova University, learned about the essay contest from her mother, who was born in Algeria.
“I first heard the name Abd el-Kader in a song popularized by Algerian musicians Khaled, Faudel and Rachid Taha,” says Choudhary, who was born and raised in Philadelphia. Though she was only four, she says the memorable tune and appealing lyrics made her wonder who it was about.
“My mother told me he was an Algerian hero,” she continues. “I now realize he is a figure widely heralded as an ideal Muslim, humanitarian, warrior, leader and source of Algerian national pride of the 19th century.”
Choudhary initially thought Abd el-Kader was “too obscure for Westerners to know about.” She was stunned to learn that a small town in Iowa was named for him, and that there is a group devoted to the study and promotion of his life and work.
“Not many people achieve great things like he did,” she says. “He practiced his faith in an exemplary manner.”
source/content: aramcoworld.com (headline edited) / Brian E. Clark
The African literary world is celebrating as Sudanese author Leila Aboulela receives the 2025 PEN Pinter Prize. The announcement was made at English PEN’s summer party, where actors Khalid Abdalla and Amira Ghazalla brought Aboulela’s words to life with powerful readings from her work.
Aboulela will officially receive the award on October 10 at the British Library in London. At this ceremony, she will also reveal her choice for the PEN Pinter Writer of Courage award, an honor reserved for an author “active in defence of freedom of expression, often at great risk to their own safety and liberty.”
In a moving statement, Aboulela reflected on the significance of this recognition:
“This comes as a complete and utter surprise. Thank you English PEN and the judges for considering my work worthy of this award. I am honoured to win a prize established in memory of Harold Pinter, a great writer who continues to inspire so much loyalty and consistent high regard. For someone like me, a Muslim Sudanese immigrant who writes from a religious perspective probing the limits of secular tolerance, this recognition feels truly significant. It brings expansion and depth to the meaning of freedom of expression and whose stories get heard.”
This year’s judges include Ruth Borthwick (British arts administrator and literature executive), Mona Arshi FRSL (award-winning British poet and novelist), and Nadifa Mohamed FRSL (Somali-British novelist). Mohamed praised Aboulela’s work for its “commitment” to the “lives and decisions of Muslim women,” how she centers both their “struggles and pleasures with dignity.” She also noted the timeliness of such a work: “In a world seemingly on fire, and with immense suffering unmarked and little mourned in Sudan, Gaza, and beyond, her writing is a balm, a shelter, and an inspiration.”
Aboulela is a prominent voice in the global literary space for her celebration and examination of the lives of Muslim women. Her writing has been translated into 15 languages. She has published 11 books, with River Spirit, Lyrics Alley, and Translator gaining high critical acclaim. She is also know for being the inaugural winner of the Caine Prize for African Writing when it was launched in 2000, an award that would go on to define 21st century African fiction.
The PEN Pinter Prize, established in 2009, honors writers of outstanding literary merit who, in the spirit of Harold Pinter, cast an “unflinching, unswerving gaze upon the world” and display a “fierce intellectual determination to define the real truth of our lives and our societies.” Their work draws public attention to literature that engages with contemporary realities and injustices. Past African recipients include Chimamanda Ngozi Adichie (2018) and Tsitsi Dangaremgba (2021).
Congrats to Aboulela! This is a well-deserved win. Her work truly challenges the boundaries of whose stories are heard and brings a whole new meaning to the idea of freedom of expression in a way that makes sense for our time.
Ministry of Culture, Sports and Youth (MCSY) is intensifying efforts to document and publish the country’s oral history as part of a strategy to preserve intangible cultural heritage and reinforce national identity. The initiative aligns with Oman Vision 2040 and aims to promote Omani culture in global forums.
Fahd bin Mahmoud al Rahbi, Head of Oral History Department at the ministry’s Literary Forum, said the initiative reflects Oman’s commitment to protect its oral traditions and cultural expressions. These include stories, biographies, folk tales, customs, performing arts, traditional crafts and the knowledge systems associated with these.
“Oral history forms an integral part of Oman’s intangible cultural heritage. It is a crucial source of historical knowledge, especially in areas not captured by written records,” Rahbi said. “Our aim is to preserve this history through research, documentation and publication, as well as through public engagement and international cooperation.”
According to Rahbi, Oman’s geographical location has historically made it a crossroads of civilisations. This has contributed to the country’s rich and diverse cultural heritage. Several elements of Oman’s intangible heritage are already inscribed with Unesco, highlighting the global relevance of these preservation efforts.
Since 2006, MCSY has undertaken multiple field projects to record oral history across the governorates and wilayats. Local researchers have worked with elders, artisans and tradition bearers to document narratives, customs and knowledge passed down through generations.
The ministry has published several books as part of this initiative. Notable among these is Omani Traditional Musical Instruments, which documents the styles of Omani music, and Omani Traditional Musical Arts, a comprehensive reference on music and performance arts. Together, these publications offer a detailed record of Omani musical traditions.
Newer works include The Diving Craft in the Popular Traditions of the Batinah Coastal Community by Saeed Abdullah Mubarak al Farsi, which explores the oral traditions associated with coastal livelihoods, and The Craft of Tabsil in South Batinah by Wadha bint Mohammed al Shukaili, which chronicles the history and cultural significance of the palm-based food preservation craft.
MCSY has also supported research on frankincense traditions, culminating in the publication Frankincense and Cultural History, a collaborative project involving multiple Omani scholars.
Another recent work, Radio in the Interior of Oman, by Rana bint Nasser al Abri, explores the development of radio broadcasting in Dakhliyah from the 1940s to the 1980s, viewed through oral narratives. The Bahla Wall: The Wristband of Civilisation by Saeed bin Abdullah al Shaqsi examines the architectural and historical relevance of one of Oman’s iconic defensive structures.
“Preserving our oral history is not just about protecting the past,” Rahbi said. “It is about shaping national identity, supporting cultural diplomacy and preparing for a future that values heritage.”
The Liverpool Arab Arts Festival, or LAAF, the UK’s longest-running annual celebration of Arab arts and culture, returns this month with a theme that feels both timely and timeless: “Nostalgia.”
Now two decades in, the festival has grown from grassroots beginnings into an internationally recognized celebration.
Running through to July 20, this year’s program explores how memory, heritage and longing shape artistic expression across the Arab world and its diasporas.
The dynamic, bilingual line-up spans film, music, literature, performance, food and family activities — all underscored by deeper reflections on identity, loss and cultural continuity.
Arab News spoke with Taher Qassim, originally from Yemen, who founded LAAF in 1998 as a community-led effort to foster cultural pride and preserve Arab identity in Liverpool.
“The theme of ‘nostalgia’ is a reflection of both how far we’ve come and where we began,” Qassim said. “Twenty-three years ago, we set out on a path that was uncertain but filled with excitement and purpose. We knew we wanted to create something that represented the Yemeni and Arab presence in Liverpool, but we didn’t yet know how to express it.”
What began as a handful of cultural activations has since evolved into a platform for Arab artists. “From those humble beginnings … the festival began to blossom,” he said. “Today, we proudly offer a platform to artists from across the Arab world, Europe, the US, and beyond — something we could only have dreamed of.”
Two events stand out for him: ‘Arabs Are Not Funny’ and ‘The Book of Sanaa.’ The former, he says, “directly challenges the long-held stereotype that Arabs lack a sense of humor. It’s refreshing, bold and liberating — exactly what the festival stands for.”
The latter brings together literature, poetry, food, and a model of Yemen’s historic capital.
“The richness of this event would’ve felt like a fantasy to us two decades ago. Now, it’s a reality — something we’ve made possible through years of dedication and community.”
Qassim, who was awarded an MBE (Member of the Order of the British Empire) in 2008 for services to community cohesion, handed over the festival’s leadership to his daughter, Afrah, who now steers LAAF with the same vision and care.
Today, LAAF is no longer seen solely as a festival for the Arab community. “That perception has shifted dramatically,” Qassim said. “People from all backgrounds and ages attend and engage. The festival has become a space for dialogue, curiosity and connection.” As he put it, “Conversations happen naturally — before, during and after events.”
One event he hopes visitors will not miss is the now-iconic “Family Day” at the Palm House in Sefton Park. “It’s become the signature event of the Liverpool Arab Arts Festival — our legacy day,” he said. “Families travel from across the UK, Europe, and even further afield to be part of it. The atmosphere is joyful, welcoming, and truly inclusive … a vibrant, heartwarming celebration of Arab culture at its best.”
Some events require tickets, but “Family Day” — an afternoon of music, crafts, performances and community — is the grand finale and free to all.
Student Aisha Nizar Nazim won the title of champion of the ninth edition of the Arab Reading Challenge in Iraq, after qualifiers in which 1,339,270 students from 38,100 schools participated, under the supervision of 16,310 supervisors, who contributed to the success of the ninth edition of the largest reading event of its kind in the Arabic language in the world, organized by the Mohammed bin Rashid Al Maktoum Global Initiatives Foundation since its launch in 2015.
Student Aisha Nizar Nazim, a seventh-grade student at Zaha Hadid School for Excellence in Nineveh, was announced as the winner during the closing ceremony of the ninth edition of the Arab Reading Challenge, which was held in the Iraqi capital, Baghdad, in the presence of His Excellency Dr. Ibrahim Namis Al-Jabouri, Minister of Education; Dr. Adnan Al-Sarraj, Advisor to the Prime Minister for Education Affairs; Mohammed Dayea Al-Azzawi, Undersecretary of the Ministry of Education for Administrative Affairs and Chairman of the Higher Committee; and Mr. Mohammed Saleh Al-Taniji, Acting Charge d’Affaires.
At the UAE Embassy in Baghdad, Dr. Fawzan Al Khalidi, Director of Programs and Initiatives at the Mohammed bin Rashid Al Maktoum Global Initiatives Foundation, participated, along with a number of officials and educators in charge of the Arab Reading Challenge initiative, and a large crowd of parents of the participating students.
The closing ceremony also witnessed the announcement of Maria Hassan Ajeel, a fifth-grade student at Al Fara’a Girls School in the Salah al-Din district, as the winner of first place in the People of Determination category, out of 450 students who participated in the qualifiers
The list of the top ten finalists from which the judging committees selected student Aisha Nizar Nazim as the champion of the ninth Arab Reading Challenge at the level of the Republic of Iraq, included: Muntadhar Ahmed Mardan from the fifth grade at Al-Insaf School in the Karbala region, Akram Khalil Abdullah from the tenth grade at Al-Dhakirin Intermediate School (Kirkuk), Fatima Muhammad Abdul-Amir from the eleventh grade at Shams Al-Hurriyah Preparatory School (Najaf), Yusr Hamza Farhan from the eleventh grade at Al-Nabaa Al-Azim Secondary School (Qadisiyah), Rawan Muntadhar Mansour from the tenth grade at Haifa Intermediate School for Girls (Babylon), Hadi Hassan Hadi from the eleventh grade at Al-Nahrawan School for Boys (Rusafa 3), Aya Ziad Subhi from the eleventh grade at Al-Rafidain School (Kirkuk), Hussein Ali Ahmed from the tenth grade at Al-Dhakirin School (Kirkuk), and Haider Ali Abdul-Aziz from the seventh grade at Al-Muhwebin School (Najaf).
The ninth edition of the Arab Reading Challenge initiative achieved a record participation of 32 million and 231 thousand students from 50 countries representing 132,112 schools, under the supervision of 161,004 supervisors. His Excellency Professor Ibrahim Namis Al-Jabouri, Minister of Education of the Republic of Iraq, praised the vital role played by the Mohammed bin Rashid Al Maktoum Global Initiatives Foundation in empowering new Arab generations to acquire the knowledge, sciences, and skills necessary to build the future. He pointed to the successive successes achieved by the Arab Reading Challenge initiative in this context, and its tangible impact in spreading the culture of reading and developing the potential of Arab students.
He said: “We are proud of this new participation in the Arab Reading Challenge initiative. 133,920 students, through their interaction with this knowledge competition and their outstanding performance, have proven the development of the educational and cultural landscape in Iraq and the effectiveness of the plans put in place by the Ministry of Education to advance students’ levels and enhance the status of the Arabic language, in line with our rich cultural heritage and the creativity of the people of Iraq in various fields, thus strengthening our confidence in a brighter tomorrow for our country and the Arab nation.
Dr. Ibrahim Al-Jubouri extended his congratulations to student Aisha Nizar Nazim, all the winners, participating students and their families, as well as to the schools and educational staff across Iraq. He extended his thanks to the Mohammed bin Rashid Al Maktoum Global Initiatives Foundation and everyone who contributed to the success of the ninth round’s qualifiers.
Dr. Fawzan Al Khalidi affirmed that the Arab Reading Challenge initiative continues to fulfill its mission of spreading the culture of knowledge, providing the means for rising Arab generations to enhance their capabilities, hone their talents, and strengthen their connection to the Arabic language, thus providing them with the visions and tools necessary to revive Arab civilization and contribute effectively to the development of Arab societies.
The Director of Programs and Initiatives at the Mohammed bin Rashid Al Maktoum Global Initiatives Foundation praised the wide Iraqi participation in the qualifying rounds of the ninth edition of the Arab Reading Challenge, saying: “We greatly appreciate the participation of more than 1.3 million students in the ninth edition, which reflects the great efforts made by the Ministry of Education in the sisterly Republic of Iraq, and those concerned with cultural affairs and Iraqi society to motivate students to read. These efforts represented a significant contribution to the achievement of the ninth edition, in which more than 32.2 million students from 50 countries around the world participated.”
On behalf of the Mohammed bin Rashid Al Maktoum Global Initiatives Foundation and the Arab Reading Challenge, Dr. Fawzan Al Khalidi congratulated the ninth edition’s champions in Iraq and all the participants. He also thanked the Iraqi Ministry of Education and everyone who helped the students advance to the ninth edition’s qualifying rounds.
The Arab Reading Challenge, launched in the 2015-2016 academic year under the directives of His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice President and Prime Minister of the UAE and Ruler of Dubai, aims to foster a comprehensive reading and knowledge movement, instill a culture of reading in Arabic as a language capable of keeping pace with all forms of literature, science, and knowledge, and encourage young generations to use Arabic in their daily interactions. It also aims to develop mechanisms for understanding and self-expression in fluent Arabic, and foster creative thinking skills.
The challenge seeks to enhance the importance of cognitive reading in building self-learning skills and fostering a value system for young people by exposing them to the values, customs, and beliefs of other cultures. This instills the principles of tolerance, coexistence, and acceptance of others, and encourages dialogue and cultural and human openness.
US Qatari artist and writer Sophia Al-Maria has been announced as the recipient of the 2025 Frieze Artist Award, one of the art world’s most highly anticipated annual commissions.
The award is part of Frieze London, a leading international art fair that will return to Regent’s Park from Oct. 15-19, bringing together more than 280 galleries from 45 countries.
Presented in partnership with Forma, the award supports early- to mid-career artists in debuting new works. This year, Al-Maria will perform “Wall Based Work (a Trompe LOL),” a live stand-up comedy show held daily inside the fair tent.
The work marks Al-Maria’s first attempt at stand-up, in which she will blend sharp humor with her long-standing interest in mythology, empire and pop culture.
“In partnership with Forma, we are proud to continue supporting artist-centered programming,” said Eva Langret, director of Frieze EMEA. “Al-Maria’s debut stand-up promises a collective experience exploring vulnerability, creativity, shared anxieties and LOLs.”
Meanwhile, Chris Rawcliffe, artistic director at Forma, said: “By wielding humor as a tool for survival, Al-Maria not only provokes reflection but actively reshapes the cultural conversation … Al-Maria is more than an artist and critic, she is a catalyst for change, and an indispensable voice in both the art world and the wider social landscape.”
Al-Maria’s proposal was selected by a jury of leading industry professionals, including curator and museum consultant Lydia Yee and the artistic director of exhibitions at Ikon Gallery, Melanie Pocock, artistic director of exhibitions at Ikon Gallery, as well as Langret and Rawcliffe.
Based in London, Al-Maria works across drawing, collage, sculpture, film and writing. Her practice is unified by a focus on storytelling and mythmaking, often reimagining histories and envisioning speculative futures. Her work has been shown at major institutions and biennales, including the Gwangju Biennale, the New Museum and Whitney Museum in New York, the Venice Biennale, and Tate Britain.
Unveiled during a ceremony in Damascus on Thursday
New emblem reimagines iconic Syrian golden eagle with symbolic elements representing country’s history, geography and post-conflict aspirations
The Syrian Arab Republic has launched a new national visual identity featuring a redesigned golden eagle emblem, in what officials described as a break from the legacy of authoritarianism and a step toward a state defined by service, unity and popular legitimacy.
Unveiled during a ceremony in Damascus on Thursday, the new emblem reimagines the iconic Syrian golden eagle with symbolic elements representing the country’s history, geography and post-conflict aspirations, the Syrian Arab News Agency reported.
The redesign forms the centerpiece of a wider national branding effort aimed at redefining Syria’s image at home and abroad.
The eagle has long held significance in Syrian history, appearing in early Islamic military symbolism, notably in the 7th-century Battle of Thaniyat Al-Uqab, and later as part of the 1945 emblem of Syria.
The new design retains this historic continuity but shifts its meaning, and the combative shield clutched by previous iterations of the eagle has been removed.
Instead, the emblem now features the eagle topped by three stars representing the people symbolically placed above the state.
The redesigned wings are outstretched, balanced rather than aggressive, with seven feathers each to represent Syria’s 14 governorates.
The tail carries five feathers symbolizing the country’s major geographical regions: north, south, east, west, and central Syria — a nod to national unity and inclusivity, SANA reported.
Officials described the design as a “visual political covenant,” aimed at linking the unity of land with the unity of national decision-making.
“The people, whose ambitions embrace the stars of the sky, are now guarded by a state that protects and enables them,” said a statement accompanying the launch. “In return, their survival and participation ensure the renaissance of the state.”
The emblem is designed to signal historical continuity with the original post-independence design of 1945, while also representing the vision of a modern Syrian state born from the will of its people, SANA said.
Officials said the elevation of the stars above the eagle was intended to reflect the empowerment and liberation of the people, and the transition from a combative state to a more civic-minded one.
The symbolism also reinforces Syria’s territorial integrity, with all regions and governorates represented equally. The design, they said, reflects a new national pact, one that defines the relationship between the state and its citizens based on mutual responsibility and shared aspirations.
The new emblem is also intended as a symbolic end to Syria’s past as a security-driven state, replacing a legacy of repression with one of reconstruction and citizen empowerment.
President Ahmad Al-Sharaa, who has positioned his administration as one of reform and renewal, described the change as emblematic of “a government emanating from the people and serving them.”
The visual identity was developed entirely by Syrian artists and designers, including visual artist Khaled Al-Asali, in a deliberate effort to ground the new identity in local heritage and creativity.
Officials said that the process was intended not only as a rebranding exercise but as a reflection of Syria’s cultural and civilizational legacy — and its future potential.
Foreign Minister Asaad Al-Shaibani, speaking at the event, framed the launch as part of a broader transformation in Syrian governance and diplomacy.
“In every encounter, we carried a new face of Syria,” he said. “Our efforts brought Syria back to the international stage — not as a delayed hope, but as a present reality.”
He said the country was now rejecting the “deteriorated reality” inherited from decades of authoritarian rule, and described the new emblem as a symbol of Syria’s emergence as a state that “guards” and empowers its people, rather than controlling them.
Al-Shaibani concluded his remarks by calling the moment “a cultural death” for the former regime’s narrative.
“What we need today is a national spirit that reclaims the scattered pieces of our Syrian identity, that is the starting point for building the future.”
source/content: arabnews.com (headline edited)
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The Syrian Arab Republic has launched a new national visual identity featuring a redesigned golden eagle emblem, in what officials described as a break from the legacy of authoritarianism and a step toward a state defined by service, unity and popular legitimacy. (SANA)
For over two decades, Gabriel Sayegh has worked to keep Arab culture alive in spaces throughout the city of São Paulo.
Born in the southern region of São Paulo city, Gabriel Sayegh, 65, is proud of his Arab heritage. The ancient culture, which comes from both sides of his family and has been part of his life since the beginning, became an essential part of his routine in 1999.
“Since I was a child, I used to go to Esporte Clube Sírio and take part in its cultural activities, and when I was 39, I was invited to become the club’s cultural director. I didn’t think twice and accepted the offer,” says Sayegh.
“It’s very important to keep Arab culture alive because we’re our ancestors. We come from a place that has its own culture, language, and cuisine, and many people don’t know about it. That’s why it’s so important to preserve our culture and make sure others learn about our origins.”
Because of his professional choices, Sayegh would never have been close to Arab culture, but his desire to keep the tradition alive spoke louder. “I always liked math, so I graduated in civil engineering and worked in the field for many years. But I always had the desire to promote the culture of my parents and grandparents, which is why I still work as the cultural director of the club today,” says the engineer.
With a full schedule all month long, the club offers different types of free classes, including Arabic language, belly dancing, and music classes that use traditional Syrian instruments. And at least once a month, there is a lecture given by an important spokesperson from the community.
“We’ve already had writers, politicians, businesspeople, and even the president of the Institute for Arab Culture (ICArabe) here. We also organize sessions to screen Arab films,” says the cultural director of Esporte Clube Sírio.
Despite the effort, the Syrian descendant says he finds it difficult to spread Arab culture among the younger generations. “Culture is no longer as much a part of the younger generations as it was during my youth. Today, there are many things that distract them.”
In addition to working at Esporte Clube Sírio, Gabriel is also involved in two other organizations: the State Parliamentary Council of Communities of Foreign Roots and Cultures (CONSCRE) of the Legislative Assembly of the State of São Paulo (Alesp) and ICArabe.
At CONSCRE, he arrived in 2019, served as president for two terms, and is currently vice president. The São Paulo native has been part of ICArabe since its inception in the early 2000s. He has held several positions within the institute, including vice president, and currently works as financial director.
“In all these places, my work is done voluntarily to help my community. At Alesp, where the space was created to bring together Arab descendants living in São Paulo, we have political ties and try in some way to highlight the culture of my country. At the Institute, the effort is greater. We hold cultural events at different times of the year. The next one will be the Arab film festival to take place in August.”
Very proud of his journey as a promoter of Arab culture, Sayegh is happy to be able to share the richness of his ancestors’ country. “For many years, Arab culture was neglected and ignored by the West, so people still don’t know much about it.”
Culture from the beginning
His mother, Ivete Abdelmalack Sayegh, came to Brazil at the age of 18 with her parents and siblings. His father, Jorge Gabriel Sayegh, is the son of Syrians and lived in São Paulo, where he met Ivete. The family grew when Gabriel’s sister was born and was completed years later when he and his twin brother arrived.
“My parents spoke Arabic when they wanted to say something so we wouldn’t understand, since my maternal grandmother only spoke Arabic. She never really learned to speak Portuguese. Because of that, I ended up speaking Arabic to talk with her,” Sayegh recalls.
Besides the language, Arab food has been and still is part of Sayegh’s and his children’s lives. “I have a daughter from my first marriage and twin sons from my second marriage who love my mother’s cooking; the tradition of Arab food is part of their daily routine. But the culture is more difficult,” Sayegh explains.
“My first wife, who is my cousin, still passed on our heritage to my daughter—however, these younger generations are drifting away from their origins. That’s why I keep stressing how important it is to know your roots. It’s only this way that you can better understand yourself as a human being and learn to respect others.”
