Category: Uncategorized

King Abdulaziz Public Library (KAPL) has revealed that it acquired 400 rare copies of the Holy Qur’an from various Islamic eras, especially manuscripts from the 10th to 13th centuries AH.

The collection is a treasure trove embracing the radiance of Arab and Islamic art in calligraphy, engravings, designing, illumination, and creativity.

Notable among these rare copies of the Qur’an is a roll with the Ayatul Qursi (The Throne Verse) and other decorations engraved along its length. It was colored and gilded with plant decorations at the beginning and end. The text was written within two gilded frames. It was copied by Fakhr al-Din al-Suhrawardi in 1284 AH.

Another of the rare Qur’an copies consists of 30 sheets, with two facing pages forming a complete part of the Holy Book. The first page was decorated with wonderful plant motifs in which bright colors and gold water were used. The rest of the pages were arranged and were completely gilded. The side frames contain colored and gilded plant motifs. This was copied in the Naskh script in 1240 AH/1824 AD.

There is also a copy of the whole Qur’an, from Surat Al-Fatiha to Surat An-Nas, written in black ink with diacritical marks inside red and blue tables. It was completed in Makkah in the month of Ramadan 1025 AH (1616 AD) by venerable scholar Mulla Ali Al-Qari.

There is another copy that contains the complete Qur’an, written in black ink with precise diacritics within golden panels. At the beginning of some suras, there are floral and geometric designs decorated with gold leaf and a number of color combinations. It was written in 920 AH, (1514 AD), and is bound in leather.

Among the notable possessions is also a complete copy of the Qur’an, written in black ink with precise diacritics within tables colored in gold, green, red, and blue. It was decorated with plant motifs dyed with gold water. This is considered one of the royal manuscripts, written with great care over a long period of time. It is also bound in waxed leather decorated with gold-colored motifs and flowers with the beauty of Islamic art.

The library owns a distinctive Holy Qur’an written in the 13th century AH. The decorative colors are blue, red, white, and gold, in the form of roses, small circles, and flowers. The Qur’an was written in the Naskh script, known for its extended and clear letters. It was written in black, with punctuation marks also in black.

A Holy Qur’an written in the 13th century AH contains floral and geometric decorations with coloring and gilding and golden clouds between the lines. It was written in a creative style called “mirror”, where a letter or word in the first line corresponds to the last line, and so each line corresponds to a line according to the type of correspondence.

The collection of Qur’ans in the King Abdulaziz Public Library is distinguished by several types that can be viewed in different ways — the type of script, the region in which it was written, the date of its copying, or its decoration.

All the Qur’ans in the library have decorative intros and conclusions. In addition, there are early Andalusian and Moroccan Qur’ans written on square parchment, as well as Indian Qur’ans with various plant decorations. There are also examples of beautiful Chinese and Kashmiri Qur’ans, as well as some Mamluk examples.

As for the scripts, they range from the Kufic to the Naskh, Thuluth, Timbuktu, and the late Sudanese, in addition to the scripts of the Levant, Iraq, Egypt, and Yemen, as well as many Najdi and Hijazi Qur’ans, indicating the richness of Islamic arts. Each Islamic nation added its own artistic visions and color combinations, decorations, and culture in transcribing the Holy Book.

source/content: saudigazette.com.sa (headline edited)

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SAUDI ARABIA

The fourth Hollywood Arab Film Festival (HAFF), celebrating Arab Heritage Month from 9 to 13 April at Hollywood Universal Studio Cinema in California, will feature multiple Egyptian films, including Seeking Haven for Mr. Rambo and The Tale of Daye’s Family.

Actor Ahmed Helmy will receive the Life Achievement Award, and actress Elham Shaheen will head the jury panel.

Directed by Egyptian filmmaker Karim El-Shenawy, The Tale of Daye’s Family (Daye: Seret Ahl El Daye) will open HAFF.
 

The Tale of Daye’s Family: Opening film
 

The Egyptian-Saudi co-production Daye, written by Haitham Dabbour, follows the story of an 11-year-old albino Nubian boy who dreams of going on a magical journey from south to north Egypt to pursue his dream of becoming a singer.  

Daye, the first Egyptian film to feature an albino actor as the protagonist, had its world premiere as the opening film of the fourth edition of the Red Sea International Film Festival and competed at the Berlin International Film Festival.

The film stars Saudi actress Aseel Omran, Sudanese actress Islam Mubarak, and Egyptian actors Haneen Said and Badr Mohamed.

El-Shennawy directed the highly successful TV series Lam Shamseya (2025), screened during Ramadan. The series shed light on the unique topics of child sexual abuse and family disintegration. 

He also directed the film Gunshot (2018), which starred Ahmad El-Fishawi, Mohamed Mamdouh, and Rubi. Before that, El-Shenawy was an assistant director (AD) in several noteworthy productions, including Mohamed Diab’s Clash (2016), which garnered over a dozen awards, including four wins at the Carthage Film Festival (2016) and countless nominations, including at the Un Certain Regard section of the Cannes Film Festival.

Clash was Egypt’s nomination to the Academy Awards but was not shortlisted.
 

Seeking Haven For Mr. Rambo: Screened in the Narrative Feature section
 

Six films will compete in the upcoming edition of HAFF, including Seeking Haven For Mr. Rambo by Khaled Mansour.

The film had its world premiere in the Orizzonti Extra section at the 81st Venice International Film Festival (28 August—7 September 2024). It was then screened in numerous festivals and released commercially in Arab countries.

The drama film tells the story of Hassan (Essam Omar), a young man in his thirties who is forced to confront his past fears. He embarks on a journey of self-discovery, which includes a quest to save his dog and best friend, Rambo, from an unknown fate.

HAFF will also screen Mira Shaib’s Arze (Lebanon), Oday Rasheed’s If You See Something (Iraq), Hala Matar’s Electra (Bahrain), and Sina Mohammed’s Transient Happiness (Kurdistan).

Additionally, 16 short films will compete in the short film section, including the Egyptian film Wishes For My Heart (Sherine Diab), Jordanian films The Chant (May Ghouti) and Shadows (Rand Beiruty), Syrian film Weaning (Houssam Hamo), and Algerian film NYA (Imene Ayadi).

 

Ahmed Helmy: Life Achievement Award

 

During the festival’s activities, actor Ahmed Helmy will receive the Life Achievement Award, and his film Sorry for the Disturbance (2008) by Khaled Marei will be screened, followed by a discussion.

Helmy, a High Institute for Theatre graduate, is one of the region’s most popular artists.

He launched his career on television with the programme Laab Eyal (Kids’ Games). He rose to stardom in 1999 for his role in Sherif Arafa’s comedy Aboud Ala El-Hedoud (Aboud on the Borders), which starred Karim Abdel Aziz.

He has starred in over 25 successful feature films, including Sahar El-Layaly (2003), Saye Bahr (2004), Zaky Chan (2005), Alf Mabrouk (2009), Bolbol Hairan (2009), Horoob Etirari: Forced Escape (2017), and Scarecrow (2019), among many others. He also voices a storyteller in Amr Salama’s 2014 film La Moakhza (Excuse my French).

Helmy is a prominent promoter of children’s rights and often raises awareness on early childhood development issues in the region.

Elham Shaheen – Head of Jury 

 

Egyptian actress Elham Shahine has been appointed the head of the jury for the narrative feature films programme. 

Shaheen launched her career with director Kamal Yassin, who gave her a role in his play made for television, Hooreya Men Al Marikh (Mermaid from Mars).

She then went on to star in numerous TV series, including Akhu El Banat (Brother of the Sisters), A’al El-Bahr (The Ocean Said), Hatta la Yakhtaniq Al-Hob (So Love Doesn’t Suffocate), Nisf Rabia Al-Akhar (The Second Half of Spring), Layaly El-Helmeya (Nights of Helmeya), and Samhoony, Makansh Asdy (I’m Sorry, I Didn’t Mean To).

She also won many awards for her roles in The Gentle and Ya Dunia Ya Gharamy (Oh World, Oh my Love).

HAFF

 

The 4th edition introduces the new programme, Voices from Los Angeles, which includes screening six films by young filmmakers from American universities. 

The festival launched the first edition of HAFF industry days, where five projects in development are competing: Egyptian film The Land Beyond by Nadine Salib, Iraqi film Madness and Honey Days by Ahmed Yassin, Sudanese film Blue Card by Mohamed El-Omda, Lebanese film Plus One by Zayn Alexander, and Palestinian film The Hearse to the Final House of Happiness by Wisam Al-Jafari.

Organized in the heart of Hollywood by the Hollywood Arab Film Festival Foundation, HAFF showcases Arab narrative, documentary, and short films.

Dozens of renowned filmmakers are expected to attend.

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

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ARAB / EGYPT

For generations, rural households in Tunisia have burned olive waste for cooking and heating, or used it as animal feed

The International Olive Council estimated Tunisia will be the world’s third-largest olive oil producer in 2024-2025, with an expected yield of 340,000 tons

In a northern Tunisian olive grove, Yassine Khelifi’s small workshop hums as a large machine turns olive waste into a valuable energy source in a country heavily reliant on imported fuel.

Holding a handful of compacted olive residue — a thick paste left over from oil extraction — Khelifi said: “This is what we need today. How can we turn something worthless into wealth?“

For generations, rural households in Tunisia have burned olive waste for cooking and heating, or used it as animal feed.

The International Olive Council estimated Tunisia will be the world’s third-largest olive oil producer in 2024-2025, with an expected yield of 340,000 tons.
The waste generated by the oil extraction is staggering.

Khelifi, an engineer who grew up in a family of farmers, founded Bioheat in 2022 to tackle the issue. He recalled watching workers in olive mills use the olive residue as fuel.

“I always wondered how this material could burn for so long without going out,” he said. “That’s when I asked myself: ‘Why not turn it into energy?’“
Beyond profit, Khelifi hopes his startup helps “reducing the use of firewood as the country faces deforestation and climate change.”
At his workshop, employees transport truckloads of olive waste, stacking it high before feeding it into the processing machines.

The material is then compacted into cylindrical briquettes and left to dry for a month under the sun and in greenhouses before its packaging and sale.

Khelifi began developing his idea in 2018 after he traveled across Europe searching for a machine to turn the olive paste into long-burning fuel.

Unable to find the right technology, he returned to Tunisia and spent four years experimenting with various motors and mechanical parts.

By 2021, he had developed a machine that produced briquettes with just eight-percent moisture.
He said this amount sign

ificantly reduces carbon emissions compared to firewood, which requires months of drying and often retains more than double the amount of moisture.

Bioheat found a market among Tunisian restaurants, guesthouses, and schools in underdeveloped regions, where winter temperatures at times drop below freezing.
But the majority of its production — about 60 percent — is set for exports to France and Canada, Khelifi said.

The company now employs 10 people and is targeting production of 600 tons of briquettes in 2025, he added.

Selim Sahli, 40, who runs a guesthouse, said he replaced traditional firewood with Khelifi’s briquettes for heating and cooking. “It’s an eco-friendly and cost-effective alternative,” he said. “It’s clean, easy to use, and has reduced my heating costs by a third.”

Mohamed Harrar, the owner of a pizza shop on the outskirts of Tunis, praised the briquettes for reducing smoke emissions, which he said previously irritated his neighbors. “Besides, this waste carries the soul of Tunisian olives and gives the pizza a special flavour,” he added.

Given Tunisia’s significant olive oil production, waste byproducts pose both a challenge and an opportunity.

Noureddine Nasr, an agricultural and rural development expert, said around 600,000 tons of olive waste is produced annually. “Harnessing this waste can protect the environment, create jobs, and generate wealth,” he said. Nasr believes repurposing olive waste could also help alleviate Tunisia’s heavy dependence on imported fuel.

The country imports more than 60 percent of its energy needs, a reliance that widens its trade deficit and strains government subsidies, according to a 2023 World Bank report.

Fuel and gas shortages are common during winter, particularly in Tunisia’s northwestern provinces, where households struggle to keep warm.
Redirecting agricultural waste into alternative energy sources could ease this burden.

Yet for entrepreneurs like Khelifi, launching a startup in Tunisia is fraught with challenges.

“The biggest hurdle was funding,” he said, lamenting high-interest bank loans. “It felt like walking on a road full of potholes.” But now his goal is “to leave my mark as a key player in Tunisia’s transition to clean energy,” he added. “And hopefully, the world’s, too.”

source/content: arabnews.com (headline edited)

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A man arranges rolls of olive pomace at the grounds of start-up Bioheat, on Mar. 3, 2025 in the town of SanHajja near Tunis. (AFP)

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TUNISIA

Consumers buy in large quantities, as chocolates are a key part of Eid celebrations

Prices vary based on the type, origin, packaging and serving plates

 The sweets and chocolate market is growing, driven by rising consumer demand for diverse options, high chocolate demand and special Eid Al-Fitr promotions that boost sales.

According to the Zakat, Tax and Customs Authority, the Kingdom’s chocolate imports exceeded 123 million kg in 2024, reflecting increased demand, the Saudi Press Agency reported on Saturday.

The UAE, the UK, Jordan, Egypt and Turkiye are among the main countries from which the Kingdom imports chocolate, offering a variety of products to meet consumer expectations.

Shops are eager to offer a wide range of locally manufactured and imported sweets and chocolates. Consumers buy in large quantities, as chocolates are a key part of Eid celebrations.
Prices vary base

d on the type, origin, packaging and serving plates. Local sweets range from SR30 ($8) to SR150 per kg, including candies, toffee, biscuits and chocolates.

The authority attributed price stability to abundant production and low manufacturing costs, though imported sweets, especially from Europe and the East, are pricier. Pure or dark chocolate with special fillings can cost up to SR300 per kg.

source/content: arabnews.com (headline edited)

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SAUDI ARABIA

Saudi Arabia’s Ministry of Culture has announced the Kingdom’s inaugural participation at the 24th International Exhibition at the Triennale Milano design museum in Italy later this year, with a pavilion dedicated to the agricultural oasis of Al-Ahsa.

Curated by Lulu Almana and Sara Al-Omran, with Alejandro Stein as creative director, the exhibition is hosted by the Architecture and Design Commission and will be titled “Maghras: A Farm for Experimentation.” It will run from May 13 – Nov. 9.

It will explore the intersection of farming traditions, ecological shifts and cultural memory within a rapidly transforming landscape. The exhibition draws from research, artistic interventions and community-driven programs cultivated at Maghras, a farm and interdisciplinary space in Al-Ahsa.

Al-Ahsa, located in the Eastern Province, has been historically defined by its abundant water sources. It has undergone significant environmental and social transformations, mirroring broader changes in agrarian communities worldwide. The area has been farmed since the third millennium BCE. 

The pavilion takes the form of a transplanted maghras — a traditional unit of land defined by four palm trees. Through videos, sound installations and participatory programs, the exhibition invites audiences to engage with Al-Ahsa’s evolving agricultural ecosystems.

In the lead-up to the exhibition, artists, architects, and researchers collaborated with Al-Ahsa’s farming communities, gathering firsthand insights into the region’s shifting landscape. This knowledge exchange was further explored through performances, film screenings and local workshops examining the deep connections between culture and agriculture.

source/content: arabnews.com (headline edited)

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Sara Al-Omran and Lulu Almana. (Supplied)

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SAUDI ARABIA

In collaboration with Google Cloud, Media City Qatar’s initiative, ‘Qatar ArtBeat,’ united the nation’s voices to create a groundbreaking AI-generated artwork.

Qatar National Day marks the unification of the nation in 1878—a defining moment in its history. Celebrated annually on December 18, it is a day to honour Qatar’s rich heritage and look ahead to its boundless aspirations for the future.

At Media City Qatar, we asked ourselves: How can we celebrate this cherished tradition while embracing the innovations that shape tomorrow? How can we bridge the past and the future, merging tradition with technology, to unite our people in a shared celebration?

The answer was ‘Qatar ArtBeat’.

A groundbreaking activation in partnership with Google Cloud, this initiative brought together the collective voices of the nation to generate an AI artwork co-created by the nation. This innovative project marked a historic milestone, merging culture and technology in an unprecedented way.

‘Qatar ArtBeat’ not only captured the collective spirit of Qatar but also set a Guinness World Records™ for the “Most People Contributing to an AI-Generated Image,” with over 15,000 contributions, more than 5.4 million people reached, and in excess of 68,000 engagements from across the country. This milestone showcases the potential of technology to unify communities and amplify their voices on a scale never seen before.

Celebrating innovation and tradition

‘Qatar ArtBeat’ invited citizens and residents to share their reflections on what Qatar means to them between December 9 and December 17 through Media City Qatar’s social media channels.

Additionally, public conversations on various platforms were analysed, with responses processed by Google Cloud’s advanced AI technology—such as Vertex AI platform, Gemini models, and BigQuery data platforms. This cutting-edge process transformed sentiments found in social media comments and posts into a cohesive and breathtaking artwork co-created by the nation, for the nation. 

The final masterpiece, unveiled on December 18, became a visual narrative of Qatar’s collective aspirations and creativity. The initiative perfectly symbolised the harmony between the nation’s traditions and modern innovation, showcasing how technology can preserve and celebrate cultural identity in meaningful ways.

By engaging communities across Qatar, the activation demonstrated how digital platforms can foster inclusivity, accessibility, and collaboration. This activation ensured that every voice contributed to the nation’s story, transforming individual reflections into a collective celebration of shared values and unity.

Pioneering the future of digital media

As a catalyst for next-generation media and technology, Media City Qatar connects media companies, entrepreneurs, innovators, and creative talents to shape the future of the industry.

Our focus spans gaming, news, digital and social media, media technologies, content localization, animation, broadcasters, production and post-production, and publishing. We take particular pride in fostering initiatives that celebrate Arabic-language content, uniting tradition with modern innovation.

By encouraging enterprises that specialise in the Arabic language or seek to expand into Qatar and the Middle East, Media City Qatar continues to champion the region’s voice on a global stage.

‘Qatar ArtBeat’ exemplified this mission, setting a new benchmark as the first-of-its-kind initiative in Qatar—and possibly worldwide—that achieved a new world record.

The project also highlighted the transformative potential of generative AI in storytelling and community engagement. By leveraging Google Cloud’s advanced technology, reflections were seamlessly transformed into art, reinforcing the significance of human input in creating impactful digital experiences.

A legacy for Qatar and beyond

As we look to the future, we imagine the children of today—tomorrow’s dreamers and innovators—continuing to celebrate the heritage of this great nation.

‘Qatar ArtBeat’ is a promise that Qatar’s story will be told in new and imaginative ways for generations to come. At Media City Qatar, where next is made, we are proud to help shape that future, blending tradition and technology to inspire the Qatar of tomorrow.

source/content: dohanews.co (headline edited)

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QATAR

This new discovery could rewrite history.

A discovery in Morocco has unveiled the oldest Cerapodan dinosaur fossils on the planet – dating back 174 million years. 

The fossils, dug up in the rocky lands of El Mers III, near Boulemane, could change everything we know about these humongous plant-munching creatures. Before this, the only known fossil from this period was a lonely thigh bone found in the United Kingdom.  

Experts from Sidi Mohammed Ben Abdellah University in Fez and the UK’s Natural History Museum made the find and published their report on March 12.  

Though the fossil isn’t complete, researchers say it proves Morocco was home to some of the earliest herbivore dinosaurs ever recorded. Even more exciting is that the same site also contains some of the world’s oldest ankylosaurus and stegosaurus.  

During their early days, Cerapodans walked on two legs and used their front limbs to grab food. But over time, some bulked up, dropped to all fours, and developed powerful chewing skills, making them the top plant-eaters of their era.  

Scientists say these creatures split into two groups – Ornithopods (which include duck-billed dinosaurs) and Marginocephalians (which had fancy headgear). The Moroccan fossils belong to the Ornithopods. 

This discovery is a game-changer in dinosaur history, suggesting the Middle Jurassic was a key moment for these giants to take over the prehistoric world. 

source/content: moroccoworldnews.com (headline edited)

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A discovery in Morocco has unveiled the oldest Cerapodan dinosaur fossils on the lanet – dating back 174 million years. 
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MOROCCO