Category: Uncategorized

Since 1924, UChicago’s Epigraphic Survey has recorded history carved into walls of Luxor’s tombs and temples.

Each October, an expedition from the University of Chicago’s Institute for the Study of Ancient Cultures (ISAC) returns to Chicago House, their headquarters in Luxor, Egypt. Known as the Epigraphic Survey, the team spends six months a year painstakingly recording the ancient hieroglyphs and reliefs inscribed on the walls of Egypt’s monuments—a project that has operated continuously for 100 years.

In 1924, the Epigraphic Survey was founded by James Henry Breasted, a famed Egyptologist and founder of ISAC (then the Oriental Institute). Breasted pioneered a technique, now known as the Chicago House Method, to record the historic texts carved into temples and tombs without damaging them. Refined over a century, the process blends photography, illustration and careful eyes to create a facsimile—an exact copy.

“​​The walls of those monuments are covered with incredibly important economic, religious and historical documents. These are real records of what was going on in Egypt 3,000 years ago,” said Egyptologist Emily Teeter, co-curator of ISAC’s current special exhibition “Chicago on the Nile: 100 years of the Epigraphic Survey in Egypt.” “But the problem is that these records are rapidly perishing through 3,000-years-plus of erosion, groundwater, vandalism and the pressures of tourism.”

Increasingly, the Epigraphic Survey’s mission has expanded to include not just documentation, but also conservation, training and site management to preserve Egypt’s ancient history before it disappears forever.

The Chicago House Method

The modern city of Luxor, known in the ancient world as Thebes, has one of the largest concentrations of ancient monuments in Egypt. This includes the site of Medinet Habu, a massive walled temple complex mainly built by pharaoh Ramesses III over 3,000 years ago.

When Breasted first visited Egypt in the early 20th century, he saw the potential of a new, developing technology to record the vast number of hieroglyphs and decorative reliefs: photography. However, Breasted quickly realized the camera’s limitations.

“When you take a photograph of the wall surface, it sees everything,” said J. Brett McClain, field director of the Epigraphic Survey, who first joined the Survey as a graduate student in 1998. “It sees the details that you want to see, but it also sees a lot of information that you may not want to see.”

Photos show damage, discoloration, and encrustation, making images harder for scholars to interpret. In response, Breasted came up with a new technique—one that combines photography with illustration.

This technique, known as the Chicago House Method, begins with an enlarged photo of a wall section. An artist, trained in scientific illustration, then traces the photographic print with pencil while looking at the original wall. Back in the studio, the lines are redrawn with ink. Then the photograph is bleached away to leave behind a perfect illustrated replica. To maintain the highest level of accuracy, two Egyptologists independently review the drawing in a process known as collation.

“By combining the three skill sets of a variety of different people throughout the process, we create a record of the wall that is more accurate than any one person or any one technique by itself could create,” McClain said.

Today, digital tools augment Breasted’s large-format camera and the artist’s ink pen, but the underlying approach has remained virtually the same for a century. New technologies have also made it easier to make the Survey’s work accessible to all.

“Everything that we publish is simultaneously published in hardcopy, but also available as a free PDF. And this is really our way of making sure that our very important work is disseminated throughout the world,” Teeter said.

Preserving for the future

For the past several decades, environmental change has accelerated the threats to the ancient monuments at Luxor. As agricultural areas have expanded, salt from the rising groundwater level has eaten away at the stones.

“The soft stone that enabled them to carve these spectacular reliefs and monuments also is what makes them vulnerable to erosion and destruction over time,” said ISAC’s director, Prof. Timothy P. Harrison. “So, an increasingly active part of the Epigraphic Survey’s mission has been not just documentation, but also the actual conservation and preservation of these monuments.”

Since the 1990s, with the help of grant funding and in partnership with the Egyptian government, the Survey has cleaned, conserved and even rebuilt monuments.

For example, the team completely dismantled and rebuilt three ceremonial gates at Medinet Habu that were on the verge of collapse. Each large stone block was carefully removed by stoneworkers so it could receive conservation treatment. A new foundation was poured, and the stones were carefully put back in place.

Salt and erosion also continue to eat away at the inscriptions on these monuments—records of the past that will eventually be illegible. The mission of the Survey is to create documentation so precise that it can stand in place of the original texts.

“We may not be able to—this is sad to say—save the actual monument,” Teeter said. “But at least we’ll be able to know what the Egyptians were telling us.”

For the past century, the Epigraphic Survey has documented thousands of inscriptions, but the work is far from complete; at least half of all known ancient Egyptian texts remain insufficiently documented and published. With the assistance of new technology like powerful databases and analytic tools, the survey’s vast data can be compiled together in new ways Harrison calls “a game changer.”

“We know that our records are going to preserve this information for the future,” McClain said. “And that is something incredibly motivating to be a part of.”

source/content: news.uchicago.edu /UChicago News (headline edited)

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Chicago House in Luxor, Egypt ca. 1932, shortly after its construction on the east bank of the Nile River. The facility still serves as the headquarters of the Epigraphic Survey.Photo courtesy of the Institute for the Study of Ancient Cultures

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U.S.A / EGYPT

The Cultural Village Foundation (Katara) announced the top three winners of the 4th Katara Prize for Arabic Poetry – Mothers of the Believers (may Allah be pleased with them), focused on Umm Salama Hind bint Abi Umayya Al Makhzumiyya (may Allah be pleased with her).

Ibrahim Mohammed Abdullah Al Sayyid from Egypt won first place, Radwan Sultan Hamoud Ali from Yemen claimed second place, and Bakr Mousa Haroun Othman from Nigeria took third place.

The fourth edition received approximately 304 entries from 20 Arab and international countries.

The Katara Prize for Arabic Poetry aims to honor the legacy of the house of the Prophet, especially the Mothers of the Believers (may Allah be pleased with them), and instill it in the memory of current and future generations.

It also helps create a contemporary poetic anthology highlighting their virtues and historical contributions, as well as their impact on the course of Islamic dawah and on shaping the role of women in society.

The total prize value of the Katara Prize for Arabic Poetry – Mothers of the Believers is QR120,000. First place receives QR60,000, second place receives QR40,00, and third place receives QR20,000.

Katara Publishing House has begun releasing critical studies of the winning poems from each edition of the Prize.

The previous editions focused on Khadija bint Khuwaylid, Aisha bint Abi Bakr Al Siddiq, and Hafsa bint Umar (may Allah be pleased with them). 

source/content: thepeninsulaqatar.com (headline edited)

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QATAR

Several UAE government ministers affirmed that the election of Emirati woman, Her Excellency Sheikha Nasser Al Nowais, as Secretary-General of the United Nations World Tourism Organization (UNWTO) is a historic achievement for the UAE, both regionally and globally. This achievement reflects the country’s pioneering position and the success of its strategic vision to support international efforts to develop a sustainable and responsible tourism sector that contributes to advancing the economic and social development of the world’s peoples.

 “Thanks to the directives of our wise leadership, the UAE is witnessing a new historic achievement for the UAE’s tourism sector, with the victory of the UAE’s candidate, Her Excellency Sheikha Al Nowais, for the position of Secretary-General of the United Nations Tourism Organization for the period from 2026 to 2029. This is a translation of the pioneering and influential role played by the UAE in leading global efforts to achieve sustainable tourism development, in cooperation with decision-makers and international organizations at the global tourism sector level. It also confirms the success of the country’s vision to enhance openness to the world and build pioneering international relations that serve its vision as a leading tourist destination regionally and globally.

 Sheikha Al Nowais as the first young Emirati and Arab woman to hold the position of Secretary-General of the United Nations World Tourism Organization. This step reflects the competence of our young national cadres and their ability to gain international confidence to lead high-level positions in specialized sectors such as tourism. It also confirms the advanced status that Arab women have attained on the regional and global stage.

His Excellency praised Her Excellency’s expertise and capabilities in representing the country at the highest international levels, presenting a comprehensive and integrated vision for enhancing joint action to achieve sustainable and responsible growth in global tourism, advancing it to more advanced and prosperous levels, and contributing effectively to the implementation of the projects and initiatives of the United Nations Tourism Organization.

His Excellency considered that the UAE tourism sector succeeded in achieving exceptional growth indicators during the year 2024, and witnessed the launch of several national initiatives aimed at encouraging tourism in the country and attracting international tourists. These include the launch of the fifth season of the “World’s Coolest Winter” campaign, the inauguration of the National Tourism Charter, and the adoption of the International Code for the Protection of Tourists as a guide in cooperation with the United Nations Tourism Organization. This supports the achievement of the objectives of the “National Tourism Strategy 2031,” which aims to raise the country’s position as the best tourism identity in the world by the next decade

For her part, Her Excellency Reem bint Ibrahim Al Hashimy, Minister of State for International Cooperation, affirmed that the election of Sheikha Nasser Al Nowais as Secretary-General of the United Nations Tourism Organization represents a remarkable achievement for the UAE and Emirati women. Her appointment as the first woman to hold this position embodies the international community’s confidence in her competence and reflects the UAE’s pioneering position in supporting sustainable development worldwide.

Her Excellency noted that Al Nowais’s extensive professional record in the private sector will contribute to presenting a new vision focused on achieving tangible results and enhancing the effectiveness of the organization’s work mechanism to serve the global tourism sector.

For his part, His Excellency Sheikh Shakhbout bin Nahyan Al Nahyan, Minister of State, said: “The emphasis on empowering and supporting Emirati women is a key focus of the vision of our wise leadership to build a more prosperous and advanced future. The UAE is keen to enhance their participation and contribution to the development  process at various levels, and to support their influential presence in regional and international forums. In this context, the selection of the young Emirati woman, Sheikha Al Nowais, as Secretary-General of the United Nations Tourism Organization confirms this forward-looking vision and represents an important step towards consolidating the UAE’s pioneering role in developing a safe and sustainable environment for the global tourism sector, which will contribute to driving the growth of this vital sector.

His Excellency added: “The election of Her Excellency Sheikha Al Nowais to this high-profile international position not only reflects her competence and professional excellence, but also reflects the international community’s confidence in the UAE and its credibility as an effective partner in supporting sustainable development around the world. It also underscores the prestigious status the country has attained regionally and internationally.

For his part, His Excellency Omar Obaid Al Hossan Al Shamsi, Undersecretary of the Ministry of Foreign Affairs, expressed the importance of this historic achievement by the UAE in the tourism sector, pointing out that the election of the first Emirati woman by the United Nations Tourism Organization confirms the continuous support and patronage that Emirati women receive from the wise leadership. It also confirms that the UAE’s ongoing efforts with the organization and its member states have borne fruit. His Excellency expressed his confidence that Emirati woman Sheikha Al Nowais, with her strong and distinguished experience in the tourism and hospitality sectors, will contribute to achieving a qualitative shift in tourism work regionally and globally.

source/content: wam.ae (headline edited)

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UNITED ARAB EMIRATES (U.A.E)

Elected chairman of the Executive Board was Australia

The board’s new officials will hold office until mid-2028

 Saudi Arabia was elected Friday as vice chair of the World Health Organization’s (WHO) Executive Board for the 2025–2028 term.

The election was held during the board’s first meeting of its 57th session in Geneva following the conclusion of the 78th session of the World Health Assembly.

Saudi Arabia’s delegation to the session was led by Rakan Khalid Bin Dohaish, Ministry of Health undersecretary for international cooperation, reporesenting Health Minister Fahad Al-Jalajel, SPA reported.

Composed of 34 members from various member states, the WHO Executive Board is responsible for implementing the resolutions and recommendations of the World Health Assembly — the supreme decision-making body of the WHO. The Executive Board oversees priority health programs and policies at both regional and international levels.

Elected chairman of the Executive Board was Australia, represented by Blair Comley, secretary of the Department of Health, Disability and Ageing. 

Also elected to the Board’s three other vice chair positions were Norway, Togo and Thailand.

A statement by the Saudi delegation, quoted by SPA, said the Kingdom’s election to the WHO Executive Board underscores “the growing international confidence in the Kingdom’s leadership and its significant role in advancing global public health.”

According to the WHO, Saudi Arabia has since 2018 consistently supported the organization, contributing over $385 million to global health initiatives and emergency-related operations in various countries including the occupied Palestinian territories, Ukraine, Bangladesh, Iraq, Somalia, Syria and Yemen.

source/content: arabnews.com (headline edited)

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Rakan Khalid Bin Dohaish, Saudi health undersecretary for international cooperation, attending the WHO Executive Board meeting in Geneva on Friday. (SPA)

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SAUDI ARABIA

The sacred site has been documented meticulously by historians and travelers

With an elevation of 1,084 meters, the mountain commands sweeping views across the surrounding plains

Rising from the landscape north of Madinah, Mount Al-Fahlatain has served as a geographical beacon and spiritual waypoint for more than a thousand years.

The landmark, on the historic route to AlUla, bears witness to one of Islam’s most significant military expeditions — the Prophet Muhammad’s journey to Tabuk in 9 A.H.

The mountain’s name tells its own story. Two colossal rocks crown its summit, their silhouette resembling the horns of a bull — “fahl” in Arabic, giving rise to “Al-Fahlatain,” or “the two bulls.”

The sacred site has been documented meticulously by historians and travelers.

Ali Al-Samhudi’s work, “Wafa Al-Wafa Bi Akhbar Dar Al-Mustafa,” places the location precisely one day’s march from Madinah, describing twin peaks sheltering underlying rock formations. Firuzabadi reinforced its historical significance in “Al-Maghanim Al-Mutaba fi Ma’alim Taba,” cataloging it among the landmarks witnessed by the Prophet’s army on their way to Tabuk.

Mohammed Ibn Abdullah Al-Mawlawi provided additional detail in “Rihlat Al-Shita Wa Al-Sayf,” positioning the twin peaks on the mountain’s western flank alongside the main thoroughfare. Al-Suwaidi offered an alternative etymology in “Al-Nafha Al-Miskiyya Fi Al-Rihla Al-Makkiyya,” suggesting the name reflects the mountain’s solitary stance in the landscape, isolated like a bull among grazing camels.

Historian and Islamic history researcher Fouad Al-Maghamsi identifies Mount Al-Fahlatain — sometimes called Faifa Al-Fahlatain — as strategically positioned near Shajwa village, northwest of Madinah.

With an elevation of 1,084 meters, the mountain commands sweeping views across the surrounding plains, bordered by complementary ridges and highlands.

Al-Maghamsi said the site functioned as a vital rest station along the Syrian Hajj route, known as Darb Al-Hajj Al-Shami, earning local appellations including “Antar’s Fortress” and “Antar’s Stable.”

Archaeological evidence such as building foundations and service facilities suggests a sophisticated infrastructure designed to support the thousands of pilgrims and merchants who annually traversed these routes.

The Syrian Hajj route encompasses diverse terrain rich with sites linked to prophetic biography and pilgrimage heritage.

source/content: arabnews.com (headline edited)

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With an elevation of 1,084 meters, the mountain commands sweeping views across the surrounding plains. (SPA)

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SAUDI ARABIA

Putting the region on the map

The Middle Eastern and North African music scene has a long history of artists blending traditional sounds with contemporary influences to create a truly unique sound.

Today, a new generation of artists are emerging from across the region, pushing boundaries and challenging norms with their bold sounds, unapologetic voices, and groundbreaking talent.

These women are leading the charge for the next generation, redefining what it means to be a female artist in the Arab world and opening new doors for Middle Eastern music on the global stage.

Nemahsis 

Photo: Instagram @nemahsis

Nemah Hasan, aka Nemahsis, has captivated audiences around the world with her bold sound and fearless approach to the music industry. The 29-year-old Palestinian-Canadian artist first rose to fame with “what if i took it off for you?” in 2021, sparking conversation in the Muslim community about the hijab. The following year, she took off after releasing her debut EP eleven achers, exploring themes of immigration, mental health, and depression. However, Nemahsis was then dropped by her then label in October 2023. The artist stated: “My label just dropped me, a Palestinian artist, for being pro-Palestine”. After being dropped by her label, she turned to TikTok, Twitter, and Spotify to build an audience, making a comeback through self-advocacy and transparency through sharing her experience and music. She recently released her debut album Vertabhim, creating a sound that is raw, personal, and powerful, all while challenging the conventions of both music and identity. Through her resilience and authenticity, she’s paving the way for a new generation of Middle Eastern female artists, making her voice one to watch.

Zeyne

Photo: Instagram @zeyne

Palestinian-Jordanian singer Zeyne blends Arabic heritage with Western influences. Born to Palestinian parents, she grew up in a home where music was always present, learning piano and performing in a dabke (traditional Palestinian dance) group. During the pandemic, Zeyne began sharing covers on Instagram, gaining global recognition with her performance on the show Colors. Her debut single “Minni Ana” mixes Arabic R&B with modern sounds, while her latest track, “Balak” (featuring Saint Levant), explores love and longing. Zeyne’s music reflects her personal experiences and the challenges of being a young Arab woman in the industry, tackling topics not often discussed in her culture, such as mental health, anxiety and more, giving a voice to those who feel silenced by society. Her ability to blend genres and tell deeply personal stories that resonate with listeners, have made her a rising star, gaining attraction and fans worldwide.

Almas

Photo: Instagram @almasofficial_

Almas, an Emirati singer from Khor Fakkan, began her career at just 15. Inspired by the natural beauty of her hometown, Almas initially focused on Khaleeji pop and Iraqi songs. But as she grew, she started experimenting with rap, producing her own beats, and collaborating with young music producers. Almas continues to inspire with her bold and unique sound, transforming Khaleeji pop by mixing traditional sounds with fresh, new genres. Her major breakthrough came when she performed at the Expo 2020 opening alongside big names like Hussein Al-Jassmi, where she sang the official theme song “This Is Our Time”, celebrating the UAE’s culture, the future, and bringing together nations from around the world. Recently, she became the ambassador for Spotify’s Equal Arabia program, further establishing her as a trailblazer for women in the Arab music scene.

Laura Mekhail

Photo: Instagram @lauramekhail_sop

In early 2024, Egyptian soprano Laura Mekhail made her mark on the classical music scene, performing with Andrea Bocelli in AlUla, performing at the Dubai Opera and becoming the first Arab woman to receive the prestigious Bocelli-Jameel scholarship. Raised in Minya, Egypt, Laura initially faced concern about pursuing classical singing, but she stayed determined to follow her passion. Now, Laura is changing perceptions of classical music and making her mark globally, inspiring future generations with her story of perseverance and dedication to her passion. Her success story is now an inspirational one, setting new standards for young Arab women.

Cosmiccat

Photo: Instagram @cosmicatx

Saudi Arabia’s first female DJ, Nouf Sufyani, aka Cosmiccat, has taken the electronic music world by storm, paving the way for women in electronic music. Born and raised in Jeddah, her love for music began at an early age, though she initially pursued dentistry before following her passion for music production. Since 2016, she has performed at some of the world’s most renowned festivals, including Ultra Miami  and Exit Festival. Cosmiccat’s journey is one of determination and ambition, challenging societal expectations and navigating a traditionally male-dominated industry. Through her deep passion for music, unique sound and unapologetic persona, she’s become a trailblazer for women in the Arab electronic music scene, breaking barriers and inspiring a new generation of Arab women in music.

Nour

Photo: Instagram @r4wlight

Egyptian singer Nour is making a name for herself in the global music scene with her mix of soul, R&B, jazz, and UK garage. She developed an interest in music at a young age, often performing in school talent shows. Despite facing challenges as a woman in a male-dominated industry, Nour’s music resonates with fans around the world. Her debut single “Purple Heart” and recent track “Wana” blend Arabic and English lyrics to address themes like grief and self-reflection and has since taken the music scene by storm with her unique sound and  identity helping her rise to fame. Nour’s rise has been nothing short of impressive, pushing boundaries and setting new standards for what it means to be an Arab woman artist in today’s music world.

Yara Mustafa

Photo: Instagram @yaraalmustafa

Saudi-born, raised in Kuwait and Jordan, and now based in the US, Yara Mustafa is a trained soprano singer and actress known for her powerful voice. At just 17, she was cast in Netflix’s AlRawabi School for Girls, where she also recorded a theme song for the series. Though she faced societal pressure, Yara rose above it and kept pushing the boundaries of what it means to be an Arab woman in the entertainment industry. Recently, she has became the face of Erborian and is also sponsored by Samsung, while continuing to inspire through her bold and captivating performances.

Tamtam

photo Instagram grazia_me and tamtamsound

Previous GRAZIA cover star, Riyadh born singer Tamtam is reshaping the music scene. Born in Riyadh and now based between Los Angeles and Saudi Arabia, Tamtam blends alternative pop, R&B, and Arabic influences, breaking cultural boundaries. Her debut album “Ma3assalama Side A” merges old-school Arabic cinema vibes with modern pop beats and her bold sound and empowering lyrics have earned her a loyal fanbase worldwide. Each track highlights how Tamtam’s music transcends both borders and generations through her sound. Despite early struggles, including her family’s concerns, Tamtam has made a name for herself globally. She is now on a mission to take Arabic music to the world and bridge the cultural divide between East and West while championing issues of identity, gender equality, freedom, and empowerment. 

Nadine El Roub

Photo: Instagram @nadineelroubi

Sudanese-Egyptian artist Nadine El Roubi blends Afro-Arab influences with modern sounds. Raised across multiple countries, Nadine’s music is inspired from her diverse upbringing. Her debut EP Triplicit in 2022 explored themes of self-discovery and empowerment. Known for her freestyles on social media, Nadine uses her platform to speak out on issues like gender, culture, and the ongoing conflicts in Sudan and Palestine. Her recent single New Era is an anthem of confidence, showcasing her blend of trap and Arabic influences and her unapologetic lyrics and unique sound have made her a standout artist in the global music scene. While her songs feature a range of sounds, the underlying themes remain consistent: self-love, self-discovery, and human connection, all through the lens of a third-culture Afro-Arab woman. Nadine is redefining what it means to embrace one’s heritage while pushing the boundaries of music. Her unapologetic, genre-blending style is challenging stereotypes and giving a voice to a new generation of Arab women.

source/content: graziamagazine.com (headline edited)

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Photo: Instagram @zeyne

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MIDDLE EAST

Art has long served as a powerful connector across geographies and ideologies, while its role in bridging cultural divides in these times is vital. The Arab Media Summit featured a session on art and culture, underlining the growing recognition of creative expression as a central pillar in shaping public discourse.

The session, titled “Dialogue on Art and Culture”, was held on the second day of the Arab Media Summit at the Dubai World Trade Centre. It was moderated by Antonia Carver, CEO of the Art Jameel Centre, and featured Saeb Eigner who is an international author and scholar.

Eigner presented his new book, “Artists of the Middle East: 1900 to Now”, a comprehensive 400-page volume chronicling the work of 259 artists from across the region.

Both Carver and Eigner expressed their enthusiasm at the inclusion of an art session within a major media summit, calling it a much needed and timely initiative.

Eigner, known equally for his leadership in financial regulation and his deep involvement in art and culture, shared insights on balancing his dual careers. “Art holds a firm third place in my life, after work and family,” he said.

While his previous book, “Art of the Middle East” – an international success that is now in its fourth edition – offered an introduction to regional art, the new volume dives deeper into the artistic evolution of the Middle East, featuring both early modernists and contemporary voices.

Among the iconic works discussed were Dia al-Azzawi’s “Angry Man”, Mahmoud Saïd’s “Peasant Girl”, and Kamala Ibrahim Ishaq’s evocative pieces. The book also highlights artists such as Inji Efflatoun and Abdulhalim Radwi, offering myriad stories, regional styles, mediums, and influences. The book cover features AI-influenced work by Palestinian artist Samia Halaby.

Eigner reflected on the depth of history behind each selected artist, some deceased, others actively shaping the contemporary art scene. He noted the inclusion of Arabic calligraphy from pre-Islamic times, highlighting the linguistic and visual legacy carried through the arts.

Importantly, the book also shines a light on female artists. “Selecting just 259 artists was no easy task,” Eigner said, “but the intent was to present a wide-ranging, authentic narrative of Middle Eastern creativity.”

The session closed on a poignant note, emphasising that art is not merely an expression, but a necessity in times of division. By celebrating cultural heritage and individual narratives, it fosters empathy and shared understanding across borders.

source/content: wam.ae (headline edited)

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UNITED ARAB EMIRATES (U.A.E) /

From Habiba Msika to Saïda Sassi, The New Arab celebrates the influential women who risked everything for Tunisia’s independence, yet remain largely forgotten.

March 20 of this year marks the 69th anniversary of Tunisia’s independence from French colonialism, which lasted from 1881 until 1956.

This 75-year settlement, referred to as a ‘protectorate’ by French politicians of the time instead of an actual colony, was marked by numerous injustices and crimes against the local population.

Fighting for independence required both physical and mental stamina, along with a willingness to make sacrifices, in order to achieve a delicate and glorious goal that embodied the shared dream of the nation.

Although many people participated in and contributed to this struggle, history has only remembered a small minority of them.

Moreover, the collective memory of this history appears selective, favouring male activists, with Tunisia’s independence remaining, in the collective psyche, linked to figures such as Habib Bourguiba, the country’s first post-independence president, along with others like Tahar Sfar, Farhat Hached, and Chedly Khaznadar.

One way this selective memory was reinforced was through the mainstream educational system, where the version of events favored by those in power was taught to future generations.

Unfortunately, this narrative excluded many activists, including women, and minimised their roles in this significant historical event.

Game-changers in Tunisian history

That said, although women were marginalised, they were not entirely excluded.

Male politicians often used the names and histories of female activists to enhance their own image, both in Tunisia and abroad, in an effort to project an image of progressivism.

This was not difficult to achieve, as the advocacy of Tunisian female activists had always been closely tied to the defence of women’s rights.

For example, Bchira Ben Mrad, aside from her active participation in demonstrations against French colonialism, her financial and moral support to the families of activists imprisoned by the colonial authorities, and her close collaboration with nationalist leaders such as Habib Bourguiba, founded the Muslim Union of Tunisian Women (UMFT) in 1936.

The UMFT, the first Tunisian women’s organisation, aimed to mobilise Tunisian women in the fight for independence and promote their education and emancipation.

Although the UMFT no longer exists, it played a historic role during the struggle for Tunisian independence and in the first decades of the 20th century.

Bchira Ben Mrad, pictured second from the left [X @Arcdelahistori]

Through her work, Bchira established literacy and education programmes for women and organised courses to raise awareness of their rights and roles in society.

Her advocacy for women’s rights, especially their right to education, work, and political participation, played a key role in preparing Tunisian women to take active roles in society after independence.

Similarly, Radhia Haddad, an active member of the UMFT, was the first female representative in post-independence Tunisia.

She contributed to organising literacy classes and lectures to educate women and encourage them to join the struggle for independence.

Additionally, she worked to improve the living conditions of rural women and informed them about the national movement of resistance against the French.

Radhia Haddad, pictured second from the left [X @DiwanTunissi]

Another emblematic figure was Saïda Sassi, who also played a significant role in both the Tunisian nationalist and feminist movements.

During this time, she took part in demonstrations and protests, and was arrested, imprisoned, and tortured by the French colonial authorities.

Saïda also encouraged women to become involved in the nationalist movement and claim their place in Tunisian society. She also worked to improve the living conditions of women from disadvantaged backgrounds.

Fight for independence and women’s rights already intertwined 

Ultimately, these women were pioneers who paved the way for Tunisian women’s involvement in various fields and their active participation in society.

Their contributions were so impactful that, for Tunisian women, playing an active role in society and being emancipated became ingrained in their culture and an unquestionable standard of life.

This argument is supported by Tunisian director Salma Baccar, who, in her 1994 film La Danse du feu (The Dance of Fire), depicted Tunisian singer Habiba Msika as an emancipated woman for her time in the 1920s.

In one symbolic scene, Habiba is seen on stage in a male-dominated café, preparing for her performance.

Habiba Msika was a Tunisian singer, dancer and actress [X @afikra]

Instead of her usual seductive attire, she wraps the Tunisian flag around her body and sings a poem calling for Tunisia’s independence to the male crowd, who cheer for her. The performance is quickly interrupted by the French police, who arrest Habiba.

This moment is highly symbolic, as it reflects the parallel struggles for independence and women’s rights, both of which were aimed at resisting the oppression of a higher authority.

In fact, Tunisia’s history demonstrates that the fight for independence from French colonialism and the advocacy for women’s rights were intertwined from the very beginning.

When both causes were championed together, efforts were strengthened, and positive results were achieved, as both movements aimed to challenge injustice.

[Cover photo: Habiba Msika (X @historicwomens)]

Tharwa Boulifi is a Tunisian freelancer who writes about feminism, human rights, and social justice. Her work has appeared in Teen Vogue, Newsweek, the New African, and African Arguments

Follow her on X: @TharwaBoulifi

source/content: newarab.com (headline edited)

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TUNISIA