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A young Libyan scientist has secured a bronze medal at the International Festival of Science and Technology (I-FEST) 2025 in Tunisia after developing a patented natural antibiotic.
Halima Al-Khazali, 18, from Bayda, claimed third place among 800 international competitors for her invention of an antibiotic derived from wormwood and other herbs. Her achievement adds to Libya’s growing reputation in scientific innovation.
The breakthrough came after five months of rigorous research into a traditional Libyan remedy for dental infections, culminating in Al-Khazali obtaining a patent for her discovery.
This latest success follows her previous gold medal at the Bosnia and Herzegovina Science Olympiad (BOSEPO) 2025, where she finished first among 300 participants.
Al-Khazali’s accomplishments highlight both her exceptional scientific talent and Libya’s potential contributions to global scientific research, making her an inspirational figure for young people across Libya and the broader Arab world.
While the world is hailing New York mayor-elect Zohran Mamdani for his win, his artist wife, Rama Duwaji is now also in the spotlight.
With Zohran Mamdani making history on 4 November after being elected New York’s first Indian-American and Muslim mayor, attention has turned to his wife, First Lady Rama Duwaji.
Duwaji was born in Houston, Texas, in the US but her parents are originally from Damascus, Syria, and she spent most of her childhood in Dubai after relocating there. She returned to the US in 2016.
Dubbed a “modern-day Princess Diana”, the 28-year-old works as an illustrator and animator in Brooklyn, New York, graduating from Virginia Commonwealth University in 2019 with a Bachelor of Arts in Communications, then moving to New York City in 2021 to pursue a career in art.
Her work has been featured by Spotify, The New Yorker, The Washington Post, the BBC, Apple, and the Tate Modern in London.
After meeting on dating app Hinge in 2021, while the now-mayor was a member of the state assembly, Duwaji and Mamdani tied the knot in a private Muslim religious ceremony in 2024, followed by a civil ceremony in New York City Hall the following year.
While the illustrator has kept a low profile, reportedly turning down interviews and mostly sharing her work across social media, she paid tribute to Mamdani on Instagram after winning the primary in July.
Mamdani has previously praised his wife as “an incredible artist who deserves to be known on her own terms”.
Pro-Palestine art
Along with Arabic culture and feminist themes, Duwaji frequently uses her art to speak out about current events and politics, including Israel’s war on Gaza and immigration issues, such as the heavy-handed activities of ICE, which has been conducting mass deportation raids in the US since Trump’s appointment.
In May, Duwaji created an animation of a young Palestinian girl holding a large empty pot with the words “not a hunger crisis”, followed by a transition into drawings of several people also holding empty vessels with texts reading “it is deliberate starvation”.
“As I was making this, Israel has been bombing Gaza nonstop with consecutive airstrikes. Keep your eyes on Gaza and support”, the artist said in the caption.
Duwaji had also created an illustration in support of pro-Palestinian activist Mahmoud Khalil, who was detained by ICE over his activism. She called it “an attack on freedom of speech, and sets a scary f**king precedent for anyone who speaks up for what’s right”.
Following her husband’s win, the artist wore a black top made by Palestinian-Jordanian designer Zeid Hijazi on stage as he delivered his winning speech. Hijazi’s designs fuse ancient folklore with Arab futurism.
MAGA supporters were also quick to target Duwaji after she publicly mourned the death of Palestinian influencer Saleh al-Jafarawi, who was accused of “celebrating” the 7 October attacks.
Mandani has been quick to defend his wife against “right-wing trolls”, who are “trying to make this race – which should be about [the people] – about her”.
Attacks by right-wingers
Like her partner, Duwaji has also been subjected to attacks from American right-wing personalities and the media, particularly the New York Post, which described the illustrator as “aloof”, claiming she “quietly steered” her husband’s campaign from behind the scenes.
MAGA supporters were also quick to target the artist after publicly mourning the death of Palestinian influencer Saleh al-Jafarawi, who was accused of “celebrating” the 7 October attacks.
Mandani has been quick to defend his wife against “right-wing trolls”, who are “trying to make this race – which should be about [the people] – about her”.
In an evening that blended history, culture and global celebration, President Abdel-Fattah Al-Sisi and First Lady Entissar Al-Sisi presided over the official inauguration of the Grand Egyptian Museum (GEM) on Saturday, marking a milestone in the modern cultural landscape of Egypt and the world. The ceremony was attended by nearly 80 high-level delegations, including kings, presidents, princes, heads of government, and representatives of regional and international organisations.
Among them was German President Frank-Walter Steinmeier, Dutch Prime Minister Dick Schoof, Spain’s King Felipe VI, Queen Rania of Jordan, Prince Albert II of Monaco, and Greek Prime Minister Kyriakos Mitsotakis. Also present were Palestinian President Mahmoud Abbas, Saudi Arabia’s Minister of Culture Badr bin Abdullah, and the crown princes of Oman and Bahrain.
Held at the GEM’s open-air court overlooking the Giza Plateau, the celebration unfolded as a multisensory homage to Egypt’s timeless civilisation. Performances combining music, light, laser projection, and drone choreography traced the evolution of Egyptian architectural genius, from the Giza Pyramids to the modern era, and highlighted the message that civilisations thrive in times of peace.
The façade of the museum became a canvas for immersive light and projection displays, with vast screens illuminating Egypt’s ancient monuments and artistic heritage. Dancers in Pharaonic-inspired costumes, adorned with gold crowns and sceptres, performed to a live international orchestra, while fireworks and synchronised drone formations traced the silhouettes of ancient deities across the night sky.
President Al-Sisi welcomed the distinguished guests and emphasised that the GEM, now the largest museum in the world dedicated to a single civilisation, stands not merely as a showcase of ancient treasures, but as a testament to the creative spirit and enduring legacy of the Egyptian people.
He also described the museum as a new chapter in Egypt’s cultural story, affirming that it stands as a testament to the creativity and legacy of the Egyptian people and as a space for dialogue, knowledge, and exchange.
The ceremony began with the performance “The World Plays One Melody”. The programme featured a laser and drone show illustrating the Orion Belt alignment and its symbolic connection between the museum and the Giza Pyramids, followed by a performance titled “A Journey of Peace in the Land of Peace”.
The sequence highlighted the evolution of Egyptian architectural ingenuity, from the Step Pyramid of Djoser to modern Egyptian design, accompanied by a Coptic hymn of Sufi spiritual singing, and a drone message reading: “Civilisations Flourish in Times of Peace.”
The evening’s performances brought together some of Egypt’s most celebrated voices. Soprano Fatma Said and tenor Ragaaeddin delivered stirring pieces composed by Hisham Nazih, whose music blends contemporary orchestration with the tonal motifs of ancient Egypt, a style previously showcased during the Golden Mummies parade.
Sisters Amira and Mariam Abu Zahra, granddaughters of renowned Egyptian actor Abdel-Rahman Abu Zahra, appeared in stylised Pharaonic attire, performing a violin duet accompanied by the Cairo Opera House Orchestra and international ensemble players under the baton of maestro Nayer Nagui.
The celebration also highlighted Egypt’s cultural diversity. Nubian singer Ahmed Ismail performed in the Nubian language, while Haneen Al-Shater sang in Arabic from a floating stage overlooking the Nile, symbolising Egypt’s enduring identity as a crossroads of civilisations.
Iconic Egyptian actress Sherihan delivered an evocative spoken tribute to ancient Egypt’s artistic legacy, set against sky projections of the Pyramids. She was followed by Sherine Ahmed, the first actress of Egyptian descent to play Eliza Doolittle on Broadway, who gave a powerful musical performance before Islamic chanter Ehab Younis offered a spiritual finale.
On giant screens above, scenes from celebrations in countries all over the world played out against the backdrop of Egypt’s ancient monuments.
Dozens of performers dressed in elaborate white costumes, as a symbol of peace, their foreheads crowned with golden wreaths and sceptres in hand, played traditional tunes as a laser show depicting the Pharaohs and fireworks lit up the night sky above the museum.
As the night drew to a close, a drone light show mapped the sky with hieroglyphs, Pharaonic figures, and the golden mask of Tutankhamun, shimmering above the Giza Plateau, an image that captured both the grandeur of the past and the cultural confidence of the present.
Among the many moments that captured global attention during the GEM’s opening ceremony was the appearance of 12-year-old Asser Ahmed Hamdi, whose poised and expressive performance resonated with viewers across Egypt and beyond. The young performer quickly became one of the most talked about faces of the event, representing a new generation engaging with the country’s cultural narrative.
Asser described his participation in the ceremony as a defining moment in his life. “I was very happy to be there, and proud that my effort represented Egypt in front of the world,” he said, explaining that his preparation for the role involved months of rehearsals and that he had been training in performance and acting for seven years. “When the opportunity came, I felt like a dream had been achieved.”
Performing before President Al-Sisi and dozens of world leaders brought initial nerves, he admitted, but the atmosphere on stage quickly shifted those feelings. “I was nervous backstage, but once I stepped onto the stage, I felt calm,” he said. After the performance, he exchanged a few words with the president, who praised his portrayal linked to the story of Tutankhamun.
Asser spoke with pride about standing before the golden mask of Tutankhamun and the monumental statue of Ramses II inside the museum. “I had seen them only in books and on TV, but standing in front of them at the GEM was something completely different,” he said. “I felt proud to be representing Egypt.”
Reflecting on the journey, he said, “All the effort in rehearsals was worth it. I’m grateful I could present something worthy of Egypt. I will always be proud that I was part of the opening of the GEM.”
Among the creative figures behind the opening night spectacle was Ahmed Essam, the artist and designer responsible for the fireworks and pyrotechnic displays that illuminated the GEM during the ceremony. Speaking about the experience, Essam described it as one of the defining moments of his career, noting that the preparations took several months of planning, rehearsal and technical coordination.
“It was an honour to be part of an event of this scale,” he said, explaining that the ceremony’s postponements provided valuable time to refine the visual narrative and ensure that the display matched the cultural weight of the occasion. Essam highlighted that working in a field he is passionate about has been central to his development. “I travel constantly to learn and experiment with new ideas. When you love what you do, you invest your whole self into it.”
Creating the fireworks show for the GEM opening, he noted, required an approach tailored to the museum’s identity as a celebration of ancient Egyptian civilisation. Colours, rhythms, and sequences were chosen to complement the architectural setting and underscore the narrative themes of heritage and renewal.
He was also quick to highlight the scale of teamwork behind the scenes. “What viewers saw was the result of a coordinated effort involving more than 150 people, from designers and technicians to support staff. Everyone worked with passion and commitment to present Egypt in the best possible light.
“The opening of the GEM is a landmark in Egypt’s cultural journey. The presence of President Abdel-Fattah Al-Sisi and world leaders underscored its importance. We are proud to have contributed to an event that showcased Egypt’s ability to inspire and captivate the world,” Essam added.
Soprano Said, who took the stage as one of the evening’s principal performers, revealed that the concert marked a deeply personal milestone for her as it was her first since becoming a mother.
“I recently gave birth to twins,” she said, “and I wasn’t sure I would be able to perform because the concert came so soon after the delivery. I was a little anxious. But my children gave me the strength and energy to take part in this extraordinary occasion.”
Her appearance added an intimate emotional layer to the celebration, reflecting both the resilience of artists and the symbolic continuity between generations that the museum itself seeks to embody.
Most of the international state leaders expressed their enthusiasm over the grand opening. In a diplomatic gesture that blended cultural appreciation with a touch of modern creativity, Danish Foreign Minister Lars Løkke Rasmussen presented Egypt’s Foreign Minister Badr Abdelatty with a LEGO replica of the Great Pyramid of Khufu, a symbolic gesture marking Denmark’s participation in the GEM’s opening and celebrating Egypt’s architectural heritage.
Zambian Minister of Tourism Rodney Sikumba noted his country’s appreciation for the commemorative gift presented to Zambia on the occasion of the GEM’s opening, a piece representing part of the GEM’s architectural model. He pointed out that the artefact will be placed on a temporary display in one of Zambia’s national museums, accompanied by an explanatory panel narrating its significance. The gesture, he said, reflects Zambia’s pride in taking part in this historic cultural moment and serves as a testament to the growing cultural ties between the two nations.
As with any major cultural event, public reaction to the GEM’s opening ceremony was not uniform. Such occasions naturally invite a spectrum of opinions, shaped by personal taste, expectations, and aesthetic preferences. While some critics viewed the event as more modest than anticipated, others praised its scale and artistic ambition, seeing in it a carefully curated blend of ancient symbolism and modern cultural expression. Supporters argue that the ceremony succeeded in presenting Egypt as both a guardian of a timeless civilisation and a dynamic cultural force in the present day — a duality at the heart of the museum’s identity.
* A version of this article appears in print in the 6 November, 2025 edition of Al-Ahram Weekly
The power plant is a major step in the country’s ambitions to achieve the Net Zero 2060 target.
Bahrain-based industrial giant Foulath Holding has partnered with Yellow Door Energy, a leading sustainable energy developer in the Middle East and Africa, to launch a record-breaking 123 megawatt-peak (MWp) solar project.
The project marks the construction of the world’s largest single-site rooftop solar power plant, signaling a crucial step in Bahrain’s pursuit to achieve its Net Zero 2060 target.
Developed under a Power Purchase Agreement (PPA), 77,000 solar panels will be installed across a newly built 262,000-square-meter stockyard shed, capable of generating a total rooftop capacity of 50 MWp.
The announcement was made at the Four Seasons Hotel in Bahrain Bay on November 2, during the third edition of the premium investment forum Gateway Gulf.
It was hosted by the Bahrain Economic Development Board, with global investors, business leaders, policymakers, and government officials from multiple regions in attendance.
A transformative step towards clean energy vision
As a small island nation, Bahrain faces unique constraints in developing large-scale solar farms on the ground. Rooftop installations provide a space-efficient and scalable solution to harness clean energy without compromising valuable land resources.
In total, the site will consist of ten rooftop and four on-ground photovoltaic systems, producing an estimated 200 million kilowatt-hours (kWh) of clean electricity in its first year.
The overall initiative of the project is to reduce carbon emissions by 90,000 metric tons annually.
“Today, the island nation of Bahrain stands at the forefront of sustainable global innovation. We are incredibly proud of this transformative project – marking the largest rooftop solar plant in the world,” said Noor bint Ali Alkhulaif, Minister of Sustainable Development.
“This milestone not only strengthens our position as a regional leader in clean energy, but embodies our dedication to build a resilience, sustainable future in line with our national vision of elevating Bahrain’s international competitiveness,” she continued.
A $250M commitment to sustainability
For Foulath Holding, the project represents the continuation of a long-term environmental strategy.
Meshary Al-Judaimi, Chairman of Foulath Holding, revealed that the company has already invested approximately $250 million in sustainability projects over recent years.
“Over the past several years, Foulath has invested approximately $250 million in various sustainability projects,” he said.
“These investments are a testament to our commitment to responsible operations, environmental stewardship, and protecting the health and well-being of our community, thereby ensuring industrial development goes hand-in-hand with environmental care. The solar project serves as a continuation of that commitment,” Al-Judaimi added further.
Powering a sustainable industrial future
The solar plant project will be developed in partnership with Yellow Door Energy, known for its large-scale renewable infrastructure in the region.
“I think this project proves how cost-competitive, clean energy can drive forward industry and set a new global benchmark for decarbonizing steel production,” said Sherif ElKholy , Managing Director at Actis and Chairman of Yellow Door Energy.
“As a leading investor in sustainable infrastructure and majority shareholder of Yellow Door Energy, we are proud to witness this signing and look forward to seeing this transformative project come to life,” he continued, emphasizing the significance of the partnership.
With over 189,900 high-efficiency solar panels spanning 707,000 square meters, this initiative will power a new chapter in Bahrain’s energy transition.
The call invites emerging photographers residing and working in the Arab region to develop documentary projects within a structured process.
Submissions are open for the 12th Cycle of the Arab Documentary Photography Program (ADPP) from the Arab Fund for Arts and Culture (AFAC), in partnership with the Prince Claus Fund and the Magnum Foundation, and with support from the Norwegian Embassy to Lebanon and Syria.
The call invites emerging photographers residing and working in the Arab region to develop documentary projects within a structured process.
Selected grantees receive three intensive workshops led by regional and international experts, tailored one-on-one mentorship sessions, and a production grant to complete their projects.
Since its inception in 2014, ADPP has supported more than 120 photographers across the Arab region, building a community of visual storytellers working on regional narratives.
Visit the AFAC website to learn more and apply.
The deadline for submission falls on December 10th, 2025 at 5:00 PM Beirut Time.
Mascot pays tribute to legendary coach Velibor “Bora” Milutinović for his role in advancing football in Qatar and beyond
Doha, Qatar: The Local Organising Committee (LOC) for the FIFA U-17 World Cup Qatar 2025 and FIFA today unveiled BOMA – the Desert Owl as the official tournament mascot – a character inspired by the legendary Serbian coach Velibor “Bora” Milutinović, the only manager in football history to lead five different national teams in five consecutive FIFA World Cup™ tournaments.
The name “Boma,” is derived from the Arabic word for owl – regarded as a symbol of wisdom, vision, and mentorship, and is a playful nod to Bora, whose career as both coach and talent scout has profoundly influenced football development in Qatar and across the world.
For a tournament that celebrates the emergence of new talent, BOMA embodies the pivotal role of a football scout – one who sees potential where others may not and helps young players spread their wings on the global stage.
Known affectionately as Coach Bora, Milutinović guided Mexico, Costa Rica, the United States, Nigeria, and China at five successive World Cups between 1986 and 2002 – a unique achievement unmatched in football history. He went on to coach Al Sadd SC of the Qatar Stars League in 2004,leading them to win the Amir Cup in the same year, and contributed to the country’s football development programmes, making him a fitting inspiration for this tournament’smascot.
Speaking to the LOC, Bora highlights the passion he holds for nurturing future footballers and the importance of the upcoming FIFA U-17 World Cup Qatar 2025 in celebrating tomorrow’s stars.
“When it comes to discovering young talent, my greatest satisfaction as a coach has always been to promote emerging players – to show them that they must have the right attitude, believe in their dreams, and aim for the national team,” said Coach Bora. “I really like the idea behind the mascot and want to thank everyone who came up with it.” he added.
The FIFA U-17 World Cup Qatar 2025 marks a historic milestone as the first edition to feature 48 national teams, underscoring the tournament’s growing global reach.
“The World Cup is something truly special. When you’re young, you dream of playing at the highest level – and the U-17 team is the first step on that journey. It’s very important for young players to face the best in the world and see where they stand,” said Coach Bora.
“The team that scores more goals will win – it is as simple as that. But with young players, the outcome of matches often depends on inspiration, talent, and spirit. Most importantly, I hope everyone enjoys this World Cup. Enjoying the game is what truly matters, especially at the U-17 level, because that experience helps you grow both as a person and as an athlete,” he added.
The FIFA U-17 World Cup Qatar 2025, taking place at the state-of-the-art Competition Complex at Aspire Zone, will see as many as eight matches a day, for a total of 104 matches. The final will take place on November 27, 7pm local time, at Khalifa International Stadium.
“Aspire Zone is incredible – it has some of the best facilities in the world. The U-17 World Cup will be played on perfect pitches, in perfect conditions. Qatar has a distinguished track record in hosting major events, and I’m sure we’ll see high-quality football once again. I still remember the 2022 World Cup in Qatar – it was unforgettable,” said Coach Bora.
Fans can purchase tickets at: www.roadtoqatar.qa. Tickets are available as a Day Pass, which will enable fans to attend multiple matches a day as well as cultural and entertainment activities taking place around matches, in what will be an electrifying football festival-like atmosphere.
Fans can also purchase a Prime Pass, which will enable them to reserve seats for high demand matches. Supporters of the Qatar national team can avail the Follow My Team ticket, which will enable them to attend all matches of the Qatari U-17 team during the group stage.
All tickets will be digital and will include wheelchair accessible seating options for disabled fans.
The FIFA U-17 World Cup Qatar 2025 is the first of five consecutive editions that Qatar will be hosting. As the first FIFA World Cup to feature 48 teams, this will be the biggest-ever edition of the youth tournament that saw the likes of Gianluigi Buffon, Luis Figo, Xavi Hernandez, Eden Hazard, Andres Iniesta, Neymar, Ronaldinho, Son Heung-min and Francesco Totti appear on the world stage for the first time.
Qatar’s spectacular line-up of mega-sporting events will kick off with the FIFA U-17 World Cup Qatar 2025 from November 3-27, followed by the FIFA Arab Cup Qatar 2025 from December 1-18. In addition, the country is also set to host the second edition of the FIFA Intercontinental Cup 2025, which will take place on December 10, 13 and 17.
Saudi Arabia is making advances in its BESS projects as it launches one of Middle East’s largest BESS deployments, a 4GWh BESS project. The nation’s battery storage drive comes as HiTHIUM is commissioned with a 4 GWh BESS project in a joint venture between the Saudi Electricity Company and Alfanar.
The systems, to be installed in Tabuk and Hail, will deploy HiTHIUM’s 1175 Ah long-duration technology in climate-resilient containerized units, being commissioned in 2026. This follows on the back of the earlier commissioning of the 500 MW / 2 GWh Bisha BESS, the globe’s largest single-phase grid-tied project, and a record 12.5 GWh transaction with BYD, which puts Saudi Arabia at the center of the world’s biggest in-development grid-scale storage pipeline.
By the year’s end, the Kingdom should surpass 11 GWh of operational storage and place itself among the top five utility-scale BESS leaders as it targets Vision 2030 renewable ambitions. The impact and influence of BESS projects around the world cannot be overstated, with Saudi Arabia taking the lead. Other countries such as Finland are determined to catch up as they launched the world’s largest sand battery , a monumental achievement.
The Middle East is making effort in various energy projects other than the world’s largest BESS project in Saudi Arabia. The UAE has broken ground on the world’s largest solar and BESS project, first of its kind. Moreover, it will be capable of delivering round-the-clock baseload renewable energy. Masdar in collaboration with EWEC (Emirates Water and Electricity Company) is developing the $6 billion project. Moreover, it will deliver up to 1 gigawatt (GW) of baseload power 24 hours a day, seven days a week. The ceremony was witnessed by Sheikh Theyab bin Mohamed bin Zayed Al Nahyan, Deputy Chairman of the Presidential Court for Development and Fallen Heroes’ Affairs.
August 11, 2024: The implementation of the world’s largest battery energy system (BESS) project progresses as Saudi Arabia begins qualification tenders. A Saudi Arabian entity that has been tasked with procuring electricity generation projects has commenced the process. Saudi Power Procurement Company (SPPC) is licensed as the sole buyer of electrical energy. The government is soliciting bids to develop four battery energy storage system (BESS) projects. Furthermore, it is expected that each will have a 500MW output and 2,000MWh in storage capacity. The contract, which entails 15-year terms, will be awarded on a build-own-operate (BOO) model. It also entails the aspect of bidders holding 100% equity in special purpose vehicle (SPV) companies set up for the development and operation of projects. The SPPC, administered by the Saudi Ministry of Energy, aligns with the National Renewable Energy Program (NREP). Once completed, the BESS project is expected to be the world’s largest.
Project Factsheet
Location: Saudi Arabia
Capacity: 8GWh of storage capacity
Significance: World’s largest BESS Project
Main Company Involved: Saudi Power Procurement Company
Project duration: 15 years
Prequalified Bidders
The Saudi Power Procurement Company (SPPC) has released a list of 33 prequalified bidders for its 8GWh BESS project. The tender, structured as a build-own-operate model, attracted significant energy companies, both local and international. These include Masdar, ACWA Power, EDF, TotalEnergies, and Jinko Power, among others. The list also included prominent companies from nations such as South Korea, Japan, and China. Leading the pack were Samsung, the China Energy Overseas Investment Company, China Power Engineering, and China Southern Power Grid International. Of the 33 prequalified bidders, 21 applied, aiming to provide management and technological services. The remaining 12 applied solely for asset management roles for the BESS project.
The projects mark the first phase of Saudi Arabia’s ambitious battery storage program. It is designed to support its 50% renewable energy goal by 2030. Each 500 MW facility will operate for four hours, providing 2,000 MWh of total power capacity, said the SPPC. In early November, the state-owned limited liability company called for qualification for battery storage procurement. The company has so far contracted several gigawatts of solar PV and wind in competitive solicitation over the past years. Other technologies, such as Combined Cycle Gas Turbine (CCGT) and Water Infrastructure, have also had deals inked. Successful candidates will be granted 15-year Storage Service contracts with SPPC for respective projects they develop, featuring an output and storage capacity of 500 MW/2,000 MWh at various locations in the country. In addition, the bidders will have 100% equity in projects developed by SPV companies.
The State of Affairs Regarding the World’s Largest BESS Project in Saudi Arabia
The world’s largest BESS project in Saudi Arabia is one that has received accolades from the state government. Under Saudi Arabia’s Vision 2030 policy roadmap, the country aims to have a 50% share of renewable energy in its grid. According to energy minister, Prince Abulaziz bin Abdullah Al Saud, the government is prepared to incur the needed costs. Speaking in 2021, the Saudi government expects to spend $293 billion on power and energy projects by then. The biggest share of this revenue is expected to be spent on transmission upgrades and renewable energy.
Furthermore, investment is expected to be placed in the distribution network. SPPC noted earlier this week that the newly launched BESS procurement project will help the nation reach its 50% goal. The company also noted that the current tenders represent the first batches of solicitations. The locations of the four BESS facilities have already been decided. Two will be in Makkah province, one in Qassim province, and the other in Hail province. They have also been termed as independent storage projects (ISPs) by SPPC. Qualified bidders have been issued until midday, 25 November 2024, to submit their proposals for the BESS project.
The third edition of the Asian Arabic Debating Championship began on Tuesday at Arab Open University in Seeb.
The opening ceremony was held under the patronage of H E Mohammed bin Saeed al Balushi, Undersecretary in the Ministry of Information, in the presence of H E Basil bin Ahmed al Rawas, Undersecretary for Sports and Youth in the Ministry of Culture, Sports and Youth (MCSY).
The event has been organised by MCSY, Oman Debate Center and Qatar Debate Center. The championship aims to promote dialogue among young people and enhance the presence of the Arabic language in international platforms.
A total of 145 students from 40 educational institutions from 18 Asian countries are taking part. Organisers said the competition encourages logical reasoning, respect for differing views and persuasion skills within a multicultural environment. The championship will run till November 1.
Hilal bin Saif al Siyabi, Director General of the Youth Affairs at MCSY, said Oman takes pride in hosting the tournament, which reflects the country’s growing role in intellectual and cultural activities.
He said this edition includes competitive debate rounds, workshops, cultural site visits in Muscat, and an Omani cultural evening to provide a complete cultural and social experience for participants.
Reem al Musallam, Director of QatarDebate Center, said debates demonstrate that the strength of words lies in logic and that dialogue builds understanding.
Oman is hosting the event for the second consecutive year, following the success of the 2024 edition.
Organisers stated that the championship reinforces the country’s commitment to supporting educational and cultural initiatives that develop youth skills and encourage informed discussion on current issues.
Arab identity, in both historical and anthropological terms, has never been solely about genealogy.
Morocco is, in fact, an Arab country. While this assertion may appear self-evident, it has become a subject of debate in contemporary discourse. Some voices insist that Morocco’s identity lies exclusively in its Amazigh or North African roots, rejecting its place within the Arab cultural sphere. Yet, such claims overlook the complex processes through which cultural affiliations are formed, internalized, and lived. Moroccan Arab identity is neither imposed nor superficial; it is a deeply ingrained civilizational reality that is experienced, performed, and transmitted across generations.
Arab identity, in both historical and anthropological terms, has never been solely about genealogy. It is a cultural and civilizational framework, a shared language, religion, and set of symbolic practices, that transcends bloodlines and geography. The Arab Islamic expansion of the 7th-century introduced Arabic and Islam to what is known now as the Arab World, setting in motion a centuries long process of cultural integration. This integration was not a simple imposition, but a dynamic interaction between incoming and indigenous traditions, producing a distinctly Moroccan expression of Arabness. It is a process in which the Arab and the local coexist, interact, and mutually shape each other.
[First Illustration of surgical instruments in history] from Al-Zahrāwī, Al-Taṣrīf liman ‘aǧiza ‘an al-Ta’līf, 30th volume (Surgery). Bibliothèque Nationale du Royaume du Maroc (BNRM), as reproduced on the Islamic Studies Library Blog, McGill University
Morocco is, in fact, an Arab country. While this assertion may appear self-evident, it has become a subject of debate in contemporary discourse. Some voices insist that Morocco’s identity lies exclusively in its Amazigh or North African roots, rejecting its place within the Arab cultural sphere. Yet, such claims overlook the complex processes through which cultural affiliations are formed, internalized, and lived. Moroccan Arab identity is neither imposed nor superficial; it is a deeply ingrained civilizational reality that is experienced, performed, and transmitted across generations.
Language lies at the heart of this Arab identity. Classical Arabic became the medium of religious practice, scholarship, and literary expression, while Moroccan Darija evolved as a vernacular rooted in Arabic but enriched over centuries through interaction with Amazigh and Andalusi traditions, as well as later European influences. Computational linguistic analysis by Mrini and Bond (2018) found that approximately 42% of Moroccan Darija’s lexicon shares at least 60% similarity with Standard Arabic, while only about 3% aligns with French and 2% with Spanish. This demonstrates that, although Darija incorporates foreign and Amazigh influences, its core lexical foundation remains predominantly Arabic (Mrini & Bond, 2018, Putting Figures on Influences on Moroccan Darija from Arabic, French and Spanish Using the WordNet). This linguistic presence is more than practical; it is existential. Arabic provides the conceptual framework through which Moroccans think, communicate, and participate in a shared cultural universe. Anthropologists have long argued that language is the “house of being”, and in Morocco, Arabic offers that house, the structure within which Moroccan society organizes its collective life.
Yet Morocco’s Arab identity is not reductive. Its population is ancestrally diverse, encompassing Amazigh, Arab, sub-Saharan, Andalusi, and Mediterranean lineages. Rather than contradicting Arab identity, this diversity illustrates the inclusive, integrative nature of Arab culture, which historically has absorbed and harmonized a multitude of peoples and traditions. Being Arab in Morocco is thus defined not by ethnicity but by cultural practice, speaking Arabic, engaging with Islamic religious life, and participating in the intellectual and spiritual traditions of the Arab world. This identity is lived and internalized, a product of historical continuity and daily enactment.
Medersa Bou Inania in Fez
Moroccan Arabness is dynamic and regionally inflected, expressed through a mosaic of Arabic dialects that embody the country’s historical and cultural layering. The pre-Hilali urban dialects, such as Fassi, Meknassi, and Rbati Arabic, spoken in the historic cities of Fez, Meknès, and Rabat-Salé, preserve many features of early Andalusian and Classical Arabic, including the conservative pronunciation of qāf as /q/ and more formal morphosyntactic patterns. In contrast, the Jebli dialect of northern Morocco, prevalent in Tetouan, Chefchaouen, and the Rif region, blends Andalusian, Amazigh, and Spanish influences, producing softer phonetics and a Mediterranean lexicon. The Hilali or ‘Aroubi (Bedouin) varieties, dominant across the Atlantic plains, Chaouia, and Souss, descend from Arab tribal migrations and underpin the speech of rapidly urbanized centers such as Casablanca and Settat. Further south, the Marrakchi dialect represents a transitional form combining urban and Bedouin traits, while Judeo-Moroccan Arabic, historically spoken in Jewish communities in Fez, Essaouira, and Sefrou, incorporates elements from Hebrew and Spanish (Haketía). In the southeast, around Errachidia and the Tafilalet region, daily speech follows Hilali Bedouin patterns, but the area also preserves a rare, literary form of Filali Arabic used in Melhoun poetry and song, reflecting a deep historical connection to Classical Arabic and regional artistic expression. Further south and toward the Sahara, Hassani Arabic, a Bedouin variety influenced by Maghrebi and Saharan linguistic currents, illustrates the continued interplay of migration, trade, and cultural exchange in shaping Moroccan Arabic. Collectively, these dialects illustrate how Moroccan Arabic varies across geography and social history, forming a linguistically plural yet distinctly Arab national identity. These variations reflect the adaptability of the language and, by extension, the adaptability of Arab identity itself. Moroccan Arabness, therefore, is neither monolithic nor static; it evolves through time while maintaining continuity with a broader Arab cultural framework.
Describing Morocco as an Arab country is to acknowledge the primacy of this linguistic, religious, and cultural fabric. Arabic is not merely an official language; it is the deep structure of Moroccan society, shaping poetry, moral discourse, social interaction, and ritual life. Arab identity in Morocco is lived in the streets of Casablanca and Fez, in the rhythms of daily prayer, and in the idioms and expressions of everyday conversation. It is experienced through shared cultural symbols and practices that bind Moroccan society to the larger Arab world while remaining distinctively local.
Recognizing Morocco as an Arab country does not erase its rich cultural diversity; rather, it highlights the central role that Arab language, culture, and religion play in the nation’s historical and contemporary identity. Moroccan Arabness is a living, evolving phenomenon, formed through centuries of interaction, internalized through daily life, and transmitted through language, ritual, and social practice. It reflects a society that is at once rooted in its local context and deeply connected to the broader Arab civilization.
In conclusion, Morocco’s Arab identity is a complex, multidimensional reality, grounded in linguistic, religious, and cultural practices. It is the result of historical processes, dynamic interactions, and the continuous enactment of shared meanings. To affirm that Morocco is an Arab country is not to deny its diversity but to recognize the living fabric of its identity, a fabric woven from Arabic language, Islamic faith, and the symbolic systems.
There will be a ceremony honoring the winners held under the patronage of His Highness Prince Badr bin Abdullah bin Farhan, minister of culture
The King Salman Global Academy for the Arabic Language announced the names of the winners of its awards celebrating efforts to serve the language.
Mahmoud Al-Batal won an award for his work in teaching Arabic in the US, which included carrying out in-depth research into linguistics, much of which has been published in peer-reviewed studies.
The Saudi-based Manahij International Foundation received an award recognizing its development of educational materials and curricula for early years language learning and Arabic for non-native speakers.
Manahij was also highlighted for developing training packages for teachers, and praised for its “originality, methodology and innovation” in the field, the Saudi Press Agency reported.
Algerian Ahmed Khorssi was recognized with an award for his contributions to the language by developing more than 30 computer programs including tools for correcting pronunciation.
He has published more than 15 studies in peer-reviewed journals and international conferences.
King Abdulaziz City for Science and Technology won an award for developing systems including an audio database, an automatic speech recognition system in local dialects, and other advanced tools.
Ramzi Mounir Baalbaki, from Lebanon, won an award that recognized his academic career that has spanned four decades
Baalbaki has authored 12 books and more than 80 research papers in Arabic and English in peer-reviewed scientific journals.
Saad Abdel Aziz Maslouh, from Egypt, received an award recognizing a lifetime of academic achievements including the publication of 33 books and 29 research papers.
The Arabic Education Training Center for Gulf States, in the UAE, was awarded for developing evaluation tools and other educational content.
Mazen Abdulqader Mohammed Al-Mubarak, from Syria, won an award for his extensive scholarly work including the well-known book “Towards Linguistic Awareness.”
The National Coalition for Arabic Language in Morocco also received an award for promoting linguistic awareness in Moroccan society through lectures, seminars and intellectual forums.
There will be a ceremony honoring the winners held under the patronage of His Highness Prince Badr bin Abdullah bin Farhan, minister of culture and chairman of the board of trustees of the academy, next Sunday in Riyadh.
source/content: arabnews.com (headline edited)
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The King Salman Global Academy for the Arabic Language’s headquarters in Riyadh. (OIC)
