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Trump described crown prince as “very great man like no other” and “greatest representative of his people”
Prince Mohammed said Kingdom looking at $600bn of investment opportunities, hoped this would raise to $1tn
Saudi Arabia has signed deals with the US worth more than $300 billion, Crown Prince Mohammed bin Salman said at the Saudi-US Investment Forum in Riyadh on Tuesday.
During an address at the event, Prince Mohammed said the Kingdom was looking at $600 billion of investment opportunities, adding that he hoped this would raise to $1 trillion.
He noted that the US was among the largest partners of the Saudi Vision 2030 reform agenda, adding that joint investments were one of the most important pillars of the economic relationship between the two countries.
“The US is a major destination for the Public Investment Fund, accounting for approximately 40 percent of the fund’s global investments,” he said.
He also said that cooperation with Washington was not limited to economic cooperation, but also extended to “establishing peace in the region and the world.”
Also speaking at the event, US President Donald Trump praised the transformation underway in Saudi Arabia, as he attributed it to the leadership of King Salman and the crown prince.
Trump described the crown prince as a “very great man like no other” and “the greatest representative of his people,” and highlighted the role of Saudis in driving development in their own country and the region as a whole.
Trump pointed to Riyadh’s rise as a global business hub and noted that the Kingdom’s non-oil sector revenues had now surpassed those of the oil sector.
He said Saudi Arabia deserved praise for preserving its culture and tradition while also embracing its forward-looking, modern Vision 2030 reform agenda.
During his speech, Trump criticized the Biden administration for removing the Houthis from the US terrorist list, calling it a serious mistake.
He contrasted regional developments, stating: “Some (in the Gulf) have turned deserts into farms, while Iran has turned its farms into deserts,” and warned that if Iran rejected Washington’s outreach, the US would be forced to impose maximum pressure.
Condemning Hezbollah for destabilizing the region and looting Lebanon, Trump said: “The biggest and most destructive of these forces is the regime in Iran, which has caused unthinkable suffering in Syria, Lebanon, Gaza, Iraq, Yemen and beyond.”
He described Lebanon as a victim of Hezbollah and Iran and expressed a desire to help the country.
Trump also praised Saudi Arabia’s role in Russia-Ukraine peace talks and affirmed US support for the Kingdom, saying it has “a great future.”
Earlier on Tuesday, the two leaders signed a strategic economic partnership agreement in Riyadh, the first leg of Trump’s regional visit.
The partnership included the signing of Memorandums of Understanding in the energy, mining, and defense sectors.
Defense cooperation between the two countries centered on the modernization of the capabilities of the Saudi armed forces, along with an agreement between the Saudi Space Agency and NASA.
Other agreements included an MoU on mineral resources; an agreement with the Department of Justice; and cooperation on infectious diseases.
Trump arrived in Saudi Arabia Tuesday on what he called a “historic” tour of the Middle East that will mix urgent diplomacy on Gaza with huge business deals.
Saudi Crown Prince Mohammed bin Salman warmly greeted Trump as he stepped off Air Force One at King Khalid International Airport in the Saudi capital and kicked off his Middle East tour.
The two leaders then retreated to a grand hall at the Riyadh airport, where Trump and his aides were served traditional Arabic coffee by waiting attendants wearing ceremonial gun-belts.
Royal Saudi Air Force F-15s provided an honorary escort for Air Force One as it approached the kingdom’s capital. Trump and Prince Mohammed took part in a lunch at the Royal Court, gathering with guests and aides.
* With AFP and AP
source/content: arabnews.com (headline edited)
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Saudi Arabia has signed deals with the US worth more than $300 billion, Crown Prince Mohammed bin Salman said at the Saudi-US Investment Forum in Riyadh on Tuesday. (SPA)
The award is in recognition of the professor’s efforts in scientific research, teaching, and online learning.
Moroccan scholar and researcher Younes Nafid received this week the Excellence Award in Online Learning from Naif Arab University for Security Sciences in Saudi Arabia.
He received the award on Thursday, recognizing his academic excellence and efforts in scientific research, teaching, and learning.
Nafid is a professor in the Department of Criminal Law at the College of Criminal Justice and Forensic Sciences in Riyadh. He also serves as an advisor for scientific research and innovation at the same university.
The Moroccan scholar authored various books and studies, and also supervised research projects and doctoral theses.
A PhD in Criminal Law and Forensic Sciences from Mohammed First University in Oujda, Nafid previously worked in Moroccan universities as a professor, including Cadi Ayyad University and Chouaib Doukkali University.
At the award ceremony, the Saudi university celebrated the Moroccan professor and his fellows, honoring the “outstanding efforts in the fields of scientific research, teaching, and online learning, in line with the university’s strategic vision to enhance the academic environment and support the Arab security system.”
In addition to Nafid, several Moroccan professors and teachers were honored on an international scale for their efforts, contributing to enhancing research, teaching, and learning.
In January, Messaoud Ariba, a Moroccan teacher, received an award at the Global Teacher Awards in New Delhi.
Ariba was the sole representative of both North Africa and the Arab world at large, earning recognition from thousands of applicants during the ceremony.
“For me, this is not just about personal achievement but about honoring the incredible work of all those shaping education in the country,” Ariba said.
In February, Moroccan professor Anasse Bari received the Dr. Martin Luther King Jr.Faculty Award for 2025 at New York University. The award recognizes leadership work and commitment to justice and fairness.
In a statement to Morocco World News, Bari said he dedicates the award to his fellow Moroccans.
“Every day in my classroom, I encourage my students to use the skills they have learned at New York University to serve the world,” Bari said, noting that his students are finding “new ways” to use AI and data science to improve the world.
The Kingdom of Bahrain’s Heatwave exhibition , curated by architect Andrea Faraguna has been announced as the winner of the Golden Lion for the Best National Participation at the 2025 Venice Architecture Biennale.
The winner has been selected by an international jury comprising of Swiss curator, critic, and art historian Hans Ulrich Obrist as jury chair, South African architect, lecturer, and curator Mpho Matsipa, and Italian curator Paola Antonelli .
The awards ceremony is broadcast live from the headquarters of the Biennale at Ca’Giustinian. The pavilion stands out for addressing the pressing issue of extreme heat through a site-specific installation that showcases passive cooling strategies rooted in Bahrain’s climatic realities and cultural context.
The design of the pavilion explores passive cooling using geothermal wells and solar chimneys connected via a thermo-hygrometric axis, which links underground conditions to outdoor air. In exhibition settings where excavation isn’t possible, mechanical ventilation mimics this system. The modular structure features a floor and cantilevered ceiling supported by a central column, adaptable for various urban environments. The project highlights low-impact, climate-responsive design for outdoor workspaces in hot climates, emphasizing environmental responsibility, social fairness, and innovative architectural solutions.
The Golden Lion for Lifetime Achievement and the Special Golden Lion for Lifetime Achievement in Memoriam have been previously announced to be awarded to American philosopher Donna Haraway and the late Italian architect and designer Italo Rota (1953–2024), respectively. Donna Haraway is participating via remote connection to highlight the wider implications of this edition’s biennale. “Intelligence is a word that bubbles with meaning of the power of discerning,” she declares. The Golden Lion in Memoriam is awarded in absentia to Italo Rota.
Two special mentions have been awarded to participants in the international exhibition. The first one goes to Alternative Urbanism: The Central Organized Markets of Lagos by Tosin Oshinowo, Oshinowo Studio. “This award is for the Global South,” Oshinowo declares in her acceptance speech. The second special mention for a project of a participant goes to Elephant Chapel by Boonserm Premthada.
For the national pavilions, a special mention is awarded to Opera Aperta, the Holy See’s Pavilion by Paul Tighe of the Department of Education and Culture of the Holy See. The project is a “construction site, an ongoing process, which everyone is invited to collaborate.” The pavilion is curated by Marina Otero Verzier, curator and researcher, and Giovanna Zabotti, artistic director of Fondaco Italia and former curator of the Venice Pavilion, in collaboration with the design studios Tatiana Bilbao Estudio of Mexico City and MAIO Architects of Barcelona.
The other special mention goes to the Pavilion of Great Britain: GBR: Geology of Britannic Repair, commissioned by Sevra Davis of the British Council and curated by Owen Hopkins, Kathryn Yusoff, Kabage Karanja, Stella Mutegi. The selected team of expositors comprises experts from the UK and Kenya, including Nairobi–based Cave _bureau, aiming to open up difficult conversations about interconnected relationships between the two countries, decolonization, and the embedded relationships to the ground.
Golden Lion for Best Participant in the exhibition Intelligens. Natural. Artificial. Collective
Golden Lion for Best Participant in the exhibition Intelligens. Natural. Artificial. Collective is awarded to Canal Café by Diller Scofidio + Renfro, Natural Systems Utilities, SODAI, Aaron Betsky, Davide Oldani. The installation is set up to use natural filtration systems to purify water from the city’s canals and make it info coffee that visitors of the Arsenale can enjoy.
My dearest friend Fatima Hassouna has been martyred.
Writing this feels unreal – as if I am waiting for her familiar voice to echo in my ear.
We had a playful way of saying “hello” to each other. And Fatima had the most magical of laughs.
She could disarm you instantly.
But the silence remains and the void caused by her absence is too vast to comprehend.
Fatima was a photographer and a filmmaker. More importantly – for me – she was an extremely warm human being.
She was strong and – in a good way – stubborn.
I knew Fatima from childhood. But life – as it often does – had pulled us apart for many years.
It wasn’t until Israel launched its genocidal war against Gaza that we became close again. This happened unexpectedly during a film project.
Fatima was behind the camera, and I was there with a pen in order to write articles.
Our reunion – despite the chaotic circumstances – rekindled something profound. Our shared grief and resilience made our friendship deeper.
Fatima was deeply committed to her craft. She never simply documented a moment. She became part of it.
She had a rare ability to earn trust quickly.
The subjects of her photography were not just faces or stories. They were people she befriended.
Fatima’s camera wasn’t a barrier. It was a bridge.
She always said that she wanted not just to carry a message but to show kindness to the people she filmed or photographed.
At Fatima’s core was a sense of purpose. She came from a place of love.
We lived just a street apart in Gaza City all our lives.
After the genocide began, we would walk everywhere together. There were no taxis around and prices were rising ever higher.
Each morning, Fatima would call.
“Wait for me,” she would say. “Let’s walk together.”
And so we did.
Those walks were more than just a means of getting from A to B. They were our little escapes.
We shared everything: sorrows, secrets, silly thoughts.
I never had to pretend to be anything I wasn’t when I was with Fatima.
There were no walls between us. Just warmth and honesty.
Tender rebellion
When Fatima got engaged recently, her happiness was contagious. Despite the hunger, and the overwhelming darkness that Israel’s genocidal war had brought, she lit up like a child planning a birthday party.
We would go to the market almost daily, hunting for clothes that she could wear as she went out with her fiancé.
I remember how excited she was, how we laughed even as we carried heavy bags for long distances.
Her joy in those days amounted to a tender rebellion, a statement that love and life still mattered in the face of devastation.
We developed a ritual with our friends.
Every week, we would gather in one of our homes. We cooked whatever food we had, brewed bitter tea – we had no sugar – and sang.
We sang until the pain dulled and the laughter returned.
Those nights were our anesthesia. They allowed us to breathe in suffocating times.
Fatima was always our anchor.
She told stories, and her laughter filled the room. We could see sorrow in her eyes, but it was mixed with hope.
An unbreakable hope.
Fatima had an enchanting voice when she sang. Like something from heaven.
When the sound of Israel’s drones became too much for me to bear, I would listen to a recording of Fatima singing. Her voice brought me peace.
It served as a reminder that something pure still existed in this world.
Friendships formed – or in this case, revived – during genocide are unlike any other. They are shaped by shared experiences of hunger, sleepless nights and the constant nearness of death.
When Fatima was killed, it was like a limb had been severed from my body. I felt incomplete.
I still do.
Every night, I continue to wait for her call. I wait for the way she would tell me – without preamble – how she was feeling that day.
She would always wish to God that she would never be deprived of me.
But now I am deprived of Fatima. And it hurts more than words can express.
Fatima and I worked as a team. During the genocide, we would go down to al-Yarmouk – the football stadium that has became a huge shelter for displaced people – she with her camera, I with my notebook.
We inspired each other.
Fatima told me that she loved how I put people’s experiences into words.
“I love your ideas,” she said. “They make me want to shoot better.”
I wish that she was still around to tell her how much I loved her eye for a good photograph or image.
How she saw not just the suffering in a person but the soul behind it.
How she brought dignity to every frame.
Last winter, we were working in al-Yarmouk stadium, where the conditions were especially dire. Seeing the suffering around her, Fatima said that we must help.
I asked her to speak with the director of the film project she was working on about distributing blankets. She did and soon we were part of a mission to not only document hardship but to relieve it.
That day, we weren’t just storytellers. We were part of the story.
And Fatima was glowing. She had done something she had always dreamed of: She had made a difference.
Fatima was only 25.
Just 25.
Yet her heart carried the weight of centuries, and her spirit was brighter than a thousand suns. She was childlike and wise, gentle and fierce, brave and vulnerable.
She was exceptional. I carry her memory with me every moment.
I see her in the morning light, in the silence of a street where we once walked, in the stories we still need to tell.
Losing her is unbearable. But remembering her – keeping her voice, her laughter, her vision alive – is my way of holding on.
She was my sister, my confidante, my light.
May the world never forget the name Fatima Hassouna.
May the stories she told outlive the genocide that took her.
And may we all learn from her to live with courage, to work with purpose, and to love – always – with everything we have.
Asmaa Abdu is an academic writer and a project coordinator at the UCAS Technology Incubator in Gaza.
AD Ports Group, and the General Authority for Suez Canal Economic Zone (SCZONE), the integrated investment destination for linking industry and global trade, today signed a 50-year renewable usufruct agreement, to develop and operate a 20 km2 industrial and logistics park near the Egyptian coastal city of Port Said on the Mediterranean Sea.
The East Port Said Industrial Zone provides an opportunity to turn a unique location on the Mediterranean Sea into a key hub for international trade and investments serving the East-West trade routes, right at the entrance of the Suez Canal.
The agreement to develop KEZAD East Port Said Industrial and Logistics Zone was signed in Cairo, and witnessed by Egyptian Prime Minister, Dr. Mostafa Madbouly, in the presence of Dr Sultan Al Jaber, Minister of Industry and Advanced Technology, Mohamed Hassan Alsuwaidi, UAE Minister of Investment, Lieutenant General Engineer Kamel Al Wazir, Deputy Prime Minister for Industrial Affairs Egyptian Minister of Industry and Transport, Mariam Al Kaabi, Ambassador of the UAE to Egypt, Captain Mohamed Juma Al Shamisi, Managing Director and Group CEO of AD Ports Group and Mr. Waleid Gamal El-Dien, Chairman of SCZONE.
The agreement was signed by Ahmed Al Mutawa, Regional CEO of AD Ports Group, and Admiral Mohamed Ahmed Mahmoud, Vice Chairman of SCZONE for the Northern area.
AD Ports Group will develop, construct, finance, operate, and manage the industrial and logistics zone in phases, with a focus on phase 1 to start with, an area covering a total of 2.8 km2. An estimated total investment of $120 million will be allocated to market and technical studies as well as to phase 1 development over the next three years. Construction on the initial 2.8 km2 Phase 1 is expected to start by the end of this year.
The development of Phase 1 will be anchored by key potential clients and partners, including one of the region’s foremost construction and development groups, Hassan Allam Holding.
Captain Mohamed Juma Al Shamisi, Managing Director and Group CEO, AD Ports Group, said: “KEZAD East Port Said is a milestone that highlights the strong economic relations between the UAE and Egypt. In line with the vision of our wise leadership, this strategic cooperation is another sign of our Group’s growing focus on Egypt, where we continue to enhance and develop our integrated trade, transport, and industrial ecosystem, offering clients unparalleled end-to-end solutions and services. This infrastructure investment will provide a long-term source of economic growth for Egypt, while enhancing the Suez Canal role in promoting and supporting the East-West trade corridor.”
Waleid Gamal El Dien, Chairman of the Suez Canal Economic Zone, said: “The launch of this project in the East Port Said Industrial Zone represents an important strategic step that reaffirms the depth of the strong fraternal relations and the growing strategic partnership between the Arab Republic of Egypt and the United Arab Emirates, as well as the prominent position held by SCZONE as a pivotal global trade hub for industrial and logistics activities. This project enhances SCZONE’s ongoing efforts to support global supply chains by providing a competitive and integrated investment environment, underpinned by advanced infrastructure, and a unique geographic location, connecting three continents via one of the world’s most vital maritime routes.”
Gamal El Dien added: “Over the past few years, the SCZONE has become a cornerstone for the investment expansion plans of many leading regional and international companies, thanks to its integrated model of combining industrial zones and affiliated seaports. Among these is the KEZAD East Port Said Industrial and Logistics Zone, which seamlessly connects with East Port Said Port, a key strategic location on the Mediterranean Sea. The port features deep berths for large vessels, efficient operations, and excellent connectivity to advanced road and transportation networks. The expertise of a global organisation such as AD Ports Group will help SCZONE achieve its goals.”
Ahmed Al Mutawa, Regional CEO of AD Ports Group, said: “KEZAD East Port Said is being built to attract investments, promote industrial and logistics growth, create jobs, increase exports, develop skills, and facilitate technological transfer. It will complement AD Ports Group’s growing business ecosystem in Egypt, and capitalise the natural assets of the Suez Canal area for Egypt, while supporting the country’s manufacturing sector, and increasing the ease of doing business in Egypt as a preferred gateway to global markets.”
Admiral Mohamed Ahmed Mahmoud, Vice Chairman of SCZONE for the Northern area, said: “We are working on developing an integrated model that combines industry, maritime transport, and logistics services within a flexible and investment-friendly regulatory environment. East Port Said Industrial Zone stands at the heart of this model due to its strategic location at the northern entrance of the Suez Canal and its direct connection to the modern East Port Said Port, a key hub in global trade, consistently ranked among the top international ports thanks to its operational readiness and advanced capabilities. Furthermore, the integration with West Port Said Port enhances its readiness to offer comprehensive and attractive logistical solutions for investors. Therefore, this project represents a qualitative leap in the development of the northern part of SCZONE, not only in terms of the scale of anticipated investments but also in the advanced industrial and logistical activities to be implemented.”
In addition, AD Ports Group and Hassan Allam Holding, which is one of the Group’s development partners in Egypt, signed a memorandum of understanding (MoU) to develop and invest in the industrial zone and explore other projects.
AD Ports Group in December 2024 appointed Hassan Allam Construction, the construction arm of Hassan Allam Holding and one of the premier engineering and construction companies in the region, to build AD Ports Group’s new multipurpose cargo terminal in Safaga, on Egypt’s Red Sea coast.
The Group in 2023 obtained a concession from Egypt’s Red Sea Ports Authority (RSPA) to build and operate the USD 200 million Safaga multipurpose terminal project, which will be the first internationally operated multipurpose cargo terminal in Upper Egypt.
Since 2022, AD Ports Group has invested significantly in Egypt, acquiring Transmar, a regional shipping company, TCI, a port operator and stevedoring company, and in 2024, Safina B.V., a provider of maritime agency and cargo services. AD Ports Group has also secured long-term concessions to develop and operate three cruise terminals at the Red Sea ports of Safaga, Hurghada, and Sharm El Sheikh. In addition, AD Ports Group has initialled agreements for the right to develop and operate a cruise terminal and a Ro-Ro terminal in Ain Sokhna.
The East Port Said project aligns with long-standing ties between the UAE and Egypt, and the objectives of leadership in both countries to support the commercial and industrial sectors and attract high-quality investments. This project also supports the global trend of establishing regional manufacturing centres, thus shortening and sustaining global supply chains, and enhancing connectivity with major global markets.
AD Ports Group is an integrated trade, transport, logistics, and economic zones group with a presence in more than 50 countries. Based in Abu Dhabi, the Group has a maritime fleet of 247 vessels, 34 terminals, in addition to an economic and industrial land bank of over 550 km2, the largest integrated trade, logistics, and industrial business grouping of its kind in the Middle East. Furthermore, SCZONE offers unique investment potential, making it one of the most prominent destinations on the global investment map. It is supported by a strategic geographical location, advanced infrastructure, and modern ports connected to fully integrated industrial zones. These include four industrial zones, East Port Said Industrial Zone, East Ismailia Industrial Zone, Qantara West Industrial Zone, and Sokhna Industrial Zone, which are seamlessly integrated with six seaports: East Port Said, West Port Said, Al-Arish, Sokhna, Adabiya, and Al-Tor, covering a total area of 455 square kilometers. Over the past 33 months, SCZONE has successfully attracted 274 investment projects from around the world, either through direct agreements with it or via industrial developers, with a total investment value of $8.3 billion. These projects span a wide range of sectors, reflecting strong global investor confidence in SCZONE’s viability as a strategic platform for industry, exports, and logistics services.
As part of the state visit of His Majesty Sultan Haitham bin Tarik to the Kingdom of the Netherlands, the Sultanate of Oman signed a historic Joint Development Agreement (JDA) to establish the world’s first commercial-scale liquid hydrogen corridor linking Oman to the Netherlands and Germany. The agreement marks a critical point in the global energy transition journey and brings Oman one step closer to becoming the leading hub for green hydrogen production and export.
The corridor will enable the export of RFNBO-compliant liquid hydrogen from Oman’s Port of Duqm to the Port of Amsterdam and key logistics hubs in Germany, including the Port of Duisburg, and onward to other European countries.
At the heart of this corridor is the world’s largest hydrogen liquefaction, storage, and export terminal to be established in the Port of Duqm. Hydrom, as the orchestrator of Oman’s green hydrogen sector, will ensure upstream production is aligned with national plans and that the project integrates seamlessly into Oman’s broader hydrogen infrastructure and policy framework. OQ, Oman’s energy transition enabler, leading the liquefaction infrastructure, will develop the hydrogen plant along with related storage and export facilities, contributing directly to the corridor’s supply capabilities and Oman’s national hydrogen targets. The centralised facility will draw from Duqm’s growing renewable hydrogen developments, leveraging the port’s strategic location as a global maritime hub and Special Economic Zone.
The centralised liquefaction plant will be supported by revolutionary maritime transportation vessels developed by ECOLOG to ship liquid hydrogen with zero boil-off, ensuring greater efficiency and reduced losses. On the European side, the corridor will be anchored by re-gasification import terminals in the Port of Amsterdam from which the hydrogen will distributed to industrial offtakers in the Netherlands and Germany via gas pipeline networks, rail connections, and barge distribution through the Dutch canal network.
“Today’s landmark signing demonstrates how Oman is turning its hydrogen ambitions into concrete projects aligned with global demand and national priorities,” said H.E. Eng. Salim bin Nasser Al Aufi, Minister of Energy and Minerals and Chairman of Hydrom. “While this corridor will enable the large-scale export of Omani hydrogen to Europe, its true value lies in how it supports our broader vision of an integrated sector that advances our national objectives. From industrial diversification and infrastructure development to job creation and capacity building, we are committed to building a future-ready sector that will position Oman at the center of green hydrogen global supply chain and deliver tangible economic value for the country.”
The New Arab sat down with Yemeni documentary photographer and storyteller Thana Faroq to discuss intentional photography, craft, and nurturing intimate narratives of displacement and resilience.
Thana Faroq is a Yemeni photographer and educator based in the Netherlands. Her photography projects, which have been supported by the Arab Documentary Fund and the Magnum Foundation among others, blend text, physicality, emotional density, and visual storytelling, to explore immigrant lives and the complexities of belonging and trauma.
The New Arab interviewed Thana Faroq on the occasion of her new book, How Shall We Greet the Sun, which follows a group of displaced young women including Faroq herself, as they negotiate their multilayered presence in the Netherlands.
“My work is mainly driven by current events and broader themes, such as intergenerational trauma and memory resilience in relation to migration and refugees”
The New Arab: You’ve completed several series and projects, including your new photo book, How Shall We Greet The Sun. How do your various projects communicate with one another?
Thana Faroq: At the core of all my work, including How Shall We Greet The Sun, lies an exploration of women’s resilience, adaptability, and the quest for belonging. These themes are the threads weaving my projects together, creating a continuous dialogue.
A consistent focus in my projects has been on the aftermath of pivotal events, particularly in migration. I’m drawn to understanding and portraying the lingering effects, the changes, and the adaptations that individuals and communities undergo in their post-disaster homes.
My projects often converse with each other, providing different facets of a broader narrative about migration, displacement, and the aftermath of these transformative events.
It is essential to explore these events not only in terms of their immediate impact but also in the ripples they create over time. How does our survival, resilience, loss, and search for identity and belonging look like? While my earlier works might have explored the immediacy of events, more recent ones, like How Shall We Greet The Sun, dive deeper into the lasting, often nuanced, emotions and memories that remain.
Do you feel that your work has evolved in terms of craft, technique, and vision? I saw that you have incorporated more poetry and written text recently.
Certainly. I spent my formative years in Yemen and from the age of seventeen, my educational journey took me across the globe, in Canada, the US, and the UK, which significantly broadened my perspectives.
It’s also crucial to acknowledge the life-altering events I’ve encountered: the war in Yemen, the subsequent move from my homeland, and the pursuit of asylum in the Netherlands. These profound experiences have shaped my life and continue to influence my understanding of the world.
This, in turn, has expanded my artistic vision. I’ve become more intentional about the themes I choose to explore and the stories I wish to tell.
Over the years, I’ve continually sought to refine my craft, exploring new techniques, tools, and mediums, especially sound and moving images. I love writing and it has become part of my creative journey and output.
I can’t label my written explorations as ‘poetry’ in the traditional sense, but I do have a deep affinity for playing with words, treating them as visual elements in their own right. I don’t view them merely as ‘texts’ but as visual companions to my images.
When paired with my visuals, these words offer an additional narrative layer, adding complexity and depth to the story I’m telling.
How do you approach storytelling in your work? Stories have a beginning, a middle, and an end, but using real-life subjects means that this linear, theoretical approach might prove restrictive.
I agree with you and I don’t personally stick to the classical structure of storytelling. All my stories are rooted in real-life experiences which means I will have to challenge this conventional approach of storytelling.
I ask myself very often: does a linear progression truly capture the essence of this experience, or is a non-linear narrative more authentic? And so my starting point might differ, I might start in the middle of a story with an emotional state that sets the tone for the narrative. My approach focuses on deep research and understanding. I immerse myself in the subject matter.
This helps me understand the nuances, the emotions, and the various perspectives that exist. Though all my projects exist in a final outlet (for example, a book) the creative process is never linear. I have a lot of responsibility to stay true to the essence of my subject’s experiences and sometimes this means breaking away from traditional structures or inventing new ones.
Also, storytelling isn’t just about the narrative; it extends beyond the mere sequence of events or plot points that make up a story. It’s about conveying experiences, emotions, and messages. For me, it’s about the use of texts, imagery, and symbolism to evoke feelings and provoke thought.
Though photography is my main medium, I include sensory elements, such as sounds and texts which can elevate the story and make it more immersive, especially in installation settings. This multilayer experience is powerful. I’m deeply intentional in my approach.
Before capturing or selecting an image, I reflect on its purpose: ‘What story am I conveying? How does this differentiate from the masses? What emotions or messages am I trying to evoke? This reflection ensures that my work carries depth and isn’t merely a fleeting visual in an endless scroll.
Are you looking for that person’s specific story in your photos or rather how they symbolise something bigger, larger than their own selves?
My work is mainly driven by current events and broader themes, such as intergenerationl trauma and memory resilience in relation to migration and refugees.
Every individual is a microcosm of the larger society they inhabit, and their stories, while personal, often resonate with universal themes. I work to make my images evoke shared experiences or emotions for a wider audience and, to a certain extent, the individual here becomes a symbol of something larger while ensuring that the individual’s story doesn’t get lost in symbolism.
Narratives that illustrate their character, resilience, culture, family ties, and personal history can help dismantle stereotypes and build a deeper understanding. This also means providing contextual cues within the composition. I write a lot during the process and these texts allow the viewers to draw connections between the personal and the universal.
“Photography, as I see it, is a shared endeavour from the research phase to execution. I prefer to refer to those I photograph as ‘collaborators’ involved every step of the way, valuing their insights and feedback. This often paves the way for deeper intimacy”
How do you nurture trust and intimacy with your subjects? Is there a story you chose not to tell?
My personal background plays a crucial role. As a woman refugee myself who has experienced the impacts of war and trauma first-hand, I share a common ground.
When I interact with my subjects, I approach them not just as a photographer, but as someone who has walked a mile in similar shoes. I don’t shy away from sharing my personal journey when appropriate, as I find that this openness can lead to mutual trust and safety.
Photography, as I see it, is a shared endeavour from the research phase to execution. I prefer to refer to those I photograph as ‘collaborators’ involved every step of the way, valuing their insights and feedback.
This often paves the way for deeper intimacy. Open communication and transparency are also pivotal. I make it a priority to be clear about how the photographs will be utilised, whether as an exhibition, a book, or any other medium, which helps bolster trust and comfort.
I approach each shoot with sensitivity, recognising and respecting the emotions and vulnerabilities of my collaborators. This journey of empathy, trust, and intimacy is complex and requires time, honesty, and sincerity.
There have been instances where I’ve chosen not to share certain stories out of respect for the privacy of those photographed.
For instance, in my recent book How Shall We Greet the Sun, there are many emotional transitions that migrant women undergo as they settle in a new place. Discussing these transitions isn’t always easy. I only choose to reveal such narratives when my collaborators are ready and confident to share them with the world.
For the young generation of aspiring artists in Yemen and elsewhere, could you share what helped launch your career and any advice you may have for others who can’t rely on institutional support and backing?
In my journey as an artist and photographer, I’ve come to understand a few key truths that I believe have been instrumental in shaping my career, especially in places like Yemen where institutional support might be sparse.
While talent is a gift, discipline and hard work are choices. Talent might get you started, but discipline will carry you through. It’s crucial to stay true to your artistic vision.
Instead of creating what you think others might want to see, focus on what you passionately believe needs to exist in the world. Also, the art world and photography, like any other field, constantly evolve.
Stay open-minded and eager to learn from others, peers, mentors, friends, and family… every interaction can offer a fresh perspective that can enrich your work.
Farah Abdessamad is a New York City-based essayist/critic, from France and Tunisia / Follow her on Twitter:@farashstlouis
Director of the Adult Stem Cell Transplantation and Cellular Therapy Program at the King Faisal Specialist Hospital & Research Centre (KFSHRC) Dr. Mahmoud Aljurf, M.D., MACP, has been awarded the Steven E. Weinberger Award for Physician Executives/Leaders by the American College of Physicians (ACP), the largest medical specialty organization in the US.
According to a recent KFSHRC press release, Dr. Aljurf is the first recipient from outside the United States, underscoring his global impact on hematopoietic stem cell transplantation and oncology. He was honored at the ACP Convocation Ceremony held at the Ernest N. Morial Convention Center in New Orleans, Louisiana, during ACP’s Internal Medicine Meeting 2025.
At KFSHRC, Dr. Aljurf has played a key role in developing one of the world’s largest and most recognized hematopoietic stem cell transplantation programs, significantly improving treatment options for patients with hematologic malignancies. His leadership has helped expand access to novel transplant therapies and elevate global standards in hematology and oncology.
In addition to his clinical contributions, Dr. Aljurf is widely recognized for his research and editorial leadership. He served as the editor-in-chief of the Annals of Saudi Medicine.
He was the founding editor-in-chief of the Elsevier Journal of Hematology/Oncology and Stem Cell Therapy.
Currently, He serves as an editorial board member of several high-impact field-related scientific journals, including his role on the international advisory board of The Lancet Hematology. He has published nearly 500 scientific contributions in high-impact journals. He has also served as the editor of five books, primarily focused on building units and programs for cancer care and hematopoietic stem cell transplantation.
His contribution to bone marrow, hematopoietic stem cell transplantation, and cellular therapy was recognized by his election as the Worldwide Network for Blood and Marrow Transplantation (WBMT) president in 2023. He is the founding member and scientific director of the Eastern Mediterranean Blood and Marrow Transplantation (EMBMT) Group, affiliated with the World Health Organization’s Eastern Mediterranean Regional Office (WHO/EMRO).
The release also highlighted that Dr. Aljurf was the recipient of several international awards, including the Florence A. Carter Leukemia Research Award of the American Medical Association (AMA) Education and Research Foundation, the Center for International Blood and Marrow Transplant Research (CIBMTR) Annual Distinguished Service Award, the King Hussein Cancer Foundation Lifetime Achievement Award, and the Lifetime Achievement Award from the Research Development and Innovation Authority (RDIA).
The award-winning image captures nine-year-old Mahmoud Ajjour, who lost both arms in an Israeli attack on Gaza, and is now learning to adapt to life in Qatar.
A photograph of nine-year-old Mahmoud Ajjour, a Palestinian child injured in an Israeli airstrike on Gaza City in March 2024, has been named World Press Photo of the Year by the World Press Photo Foundation. The image, taken by Palestinian photojournalist Samar Abu Elouf for The New York Times, offers a harrowing glimpse into the long-term impact of genocide on Palestinian children.
The photograph shows Mahmoud in a clinical setting in Doha, Qatar, where he was evacuated for medical care after losing one arm and suffering severe injuries to the other during an Israeli airstrike. The explosion struck after Mahmoud reportedly turned back to urge others to flee. Since undergoing treatment, he has begun to learn how to use his feet for basic tasks such as writing, playing games on his phone, and opening doors. He still requires support for daily activities such as eating and dressing. His aspiration, the photo caption notes, is simple: to receive prosthetic arms and live as any other child would.
The World Press Photo jury praised the image for its emotional weight and clarity, describing it as “a portrait that speaks to the long-term cost of war, the silences that perpetuate violence, and the role of journalism in exposing these realities.” The jury highlighted how the photo doesn’t flinch from documenting the physical toll of conflict while also humanising the statistics that often dominate war reporting.
The broader context of the photograph adds to its urgency. According to the United Nations Relief and Works Agency (UNRWA), by the end of 2024, Gaza had more child amputees per capita than any other place in the world. The World Health Organization (WHO) reported that by March 2025, over 7,000 injured Palestinians had been evacuated from Gaza for medical treatment, while more than 11,000 critically wounded individuals remained in the Strip, awaiting transfer. Qatar, which has developed its healthcare system in recent years, played a central role in facilitating these evacuations, alongside Egypt, Jordan, and Turkey.
The winning photo forms part of the annual World Press Photo Contest, which celebrates outstanding photojournalism and documentary photography from around the globe. Two other Arab photojournalists were recognised during the World Press Photo Contest: Palestinian photojournalist Ali Jadallah was recognized for his stark documentation of the aftermath of Israel’s invasion of Gaza, while Sudanese photographer, Mosab Abushama offers a jarring juxtaposition of violence and celebration with his photo of a groom at his wedding with a rifle in the background.
Honoring the Rich Heritage, Celebrating the Next Generation
This event is a tribute to our culture, featuring music, dance, comedy, and inspiration, uniting us in pride and resilience”
— Warren David, President, Arab AmericaWASHINGTON, DC, UNITED STATES, March 12, 2025 /EINPresswire.com/ —
On Wednesday, April 9th, the Arab America Foundation will present its ninth annual National Arab American Heritage Month Commemoration at Amazon HQ Theater, “Honoring the past, inspiring the future.”
Each year, we honor the invaluable contributions of Arab Americans and commemorate National Arab American Heritage Month with community leaders, cultural performances, and authentic Arab cuisine.
This year, we honor the legendary Umm Kalthoum, marking 50 years since her passing in 1975. Known as the Nightingale of the Arab World, her iconic voice inspires generations.
Performers include: –Mohanad Elsheiky, a Libyan stand-up comedian based in Queens who is a digital producer on the TBS late-night comedy series Full Frontal with Samantha Bee, has appeared on Conan and Late Night with Stephen Colbert.
-Marwa Morgan, Arab American and Egyptian classic vocalist, will perform a special tribute to the legendary nightingale of the Arab World, Umm Kulthum with the New York Umm Kulthum Ensemble.
–Anas “Andy” Shallal, Iraqi-American artist, activist, philanthropist, entrepreneur, founder and CEO of Busboys and Poets.
–Shirin Rajaee, Emmy-nominated news anchor and MC of the event.
–DJ Basbousa, a DC-based Arab DJ pop culture designer.
–Faris El-Layl Folkloric Dance Troupe will perform traditional Arab dances.
“During this year’s National Arab American Heritage Month, we honor our rich heritage while celebrating the next generation. This event is a tribute to our culture, featuring music, dance, comedy, and inspiration, uniting us in pride and resilience,” said Warren David, president of Arab America.
About National Arab American Heritage Month 2025 Arab America and the Arab America Foundation launched the National Arab American Heritage Month initiative in 2017, but only a handful of states recognized it. Each year, our grass-roots network of over 250 Arab American volunteers in 26 states gathers hundreds of proclamations from their states, counties, municipalities, and local school districts.
If you want to help us mobilize the community for NAAHM, request proclamations, or plan events, please contact Dr. Amal David or call 877-272-2944.
Proclamations Arab America Foundation state teams are acquiring proclamations from governors, state legislators, mayors, and county executives nationwide. New proclamations for 2025 will be announced in the coming months.
Sponsorship of National Arab American Heritage Month 2025 (including Diversity Training Workshops) The Arab America Foundation welcomes corporate participation as a sponsor to celebrate Arab American heritage and enhance the understanding of Arab identity and culture in America through the National Arab American Heritage Month initiative. Sponsorships include the Arab America Foundation’s diversity training workshop designed to help corporations educate their workforce about the Arab American community. Through this workshop, participants can gain insights into the community’s history, immigration, culture, traditions, and other significant issues.
Or call the Arab America Foundation at 877-272-2944 or email info@arabamerica.com
Educator’s Curriculum Kit Arab America Foundation offers The Educator’s Curriculum Kit, which highlights the history of Arab migration to America, geographic understanding of the Arab world, Arab American diversity in faith and language, interesting customs and traditions, issues affecting our community, and our many achievements in business, politics, education, and more. The Kit is available for school educators. For more information, please get in touch with Dr. Amal David.
Resources Arab America Foundation is committed to gathering and promoting the community’s events and stories through https://www.arabamerica.com/resources/ and social media platforms during April. Every week, Arab America will feature cultural events throughout the US on our events page and share compelling success stories of Arab Americans on our blog page. Additionally, Arab America has compiled a resource guide listing resources and content regarding the Arab and Arab American identity and culture.
About the Arab America Foundation The Arab America Foundation (www.arabamericafoundation.org) is a non-profit educational and cultural organization that promotes the Arab heritage in the U.S., educates Americans about the Arab heritage and identity, and connects and empowers Arab Americans
