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The new Atlas Lion played in Morocco’s first friendly game against Angola and is expected to be present in the second friendly against Mauritania on March 26.
Moroccan international footballer Ilias Akhomach is one of the top 3 most successful Arab dribblers in Europe’s top 5 leagues this season, according to the sports statistics website Sofascore.
The Villarreal CF’s right-winger has no fewer than 39 successful dribbles and comes after Algeria’s Rayan Ait-Nouri with 45 successful dribbles and Jordan’s Mousa Al-Taamari with 40 dribbles.
For the young Moroccan, who is participating in his debut season with the Spanish club, this is a huge honor. His coach Marcelino Garcia Toral has confidence in him because of his rapid rise to the starting lineup.
The 19-year-old player was recently called up by Walid Regragui, the Moroccan national football team’s coach, to take part in the Atlas Lions’ training camp.
On his official Instagram account, Akhomach expressed his joy over his selection to defend the Moroccan colors, saying: “Thanks God the dream has come true. I am proud of wearing the national jersey.”
Speaking to the media, the Moroccan player stated: “I always give my all when I play football … Since I was a child, I have always dreamt of being here and the opportunity has come now.”
Akhomach made his debut in the friendly match against Angola, replacing Eliesse Ben Seghir in the 88th minute.
The game ended with a 1-0 victory in favor of Morocco with Angola’s defender David Carmo scoring an own-goal in the 72nd minute.
Akhomach is also expected to be back in the second friendly game against Mauritania on March 26, which will take place at the Adrar stadium in Agadir at 10 p.m.
FM Bourita stressed the need to confront attempts to distort human rights issues in favor of unrelated agendas, while launching initiatives to strengthen the Council’s effectiveness.
Morocco’s Minister of Foreign Affairs, Nasser Bourita, affirmed in Geneva that the Kingdom’s tenure leading the Human Rights Council will prioritize “credibility and dynamism,” aiming to foster constructive consensus towards the council’s objectives.
Addressing the high-level segment of the 55th session of the Human Rights Council, chaired by Morocco, Bourita emphasized the adherence to principles synonymous with Moroccan diplomacy.
He highlighted Morocco’s dedication to credibility in action, dynamism in performance, innovation in methods, and the pursuit of constructive consensus.
The election of Morocco to preside over this crucial United Nations body, with 30 out of 47 votes, serves as international validation of the nation’s unwavering dedication to human rights under the leadership of King Mohammed VI.
Surpassing South Africa in the vote, Morocco’s victory signals recognition of its far-sighted vision and commitment to the rule of law and fundamental rights.
Following his election, Morocco’s permanent representative to the UN in Geneva, Omar Zniber, reiterated the kingdom’s pledge to promote, respect, and guarantee universally recognized human rights.
Zniber highlighted Morocco’s role as a unifying leader on key issues such as interreligious dialogue, tolerance, environmental sustainability, migrants’ rights, and the impact of new technologies.
According to Minister Bourita, the Moroccan presidency builds on significant progress in establishing a comprehensive human rights framework.
He noted that despite the challenges posed by a complex international landscape marked by polarization and human rights violations, the country remains committed to advancing the Council’s agenda.
Bourita stressed the need to confront attempts to distort human rights issues in favor of unrelated agendas, while launching initiatives to strengthen the Council’s effectiveness.
In parallel with these efforts, Bourita took part in bilateral discussions with his counterparts from Bahrain, Kazakhstan and the Netherlands, as well as meetings with the UN High Commissioner for Refugees and the UN High Commissioner for Human Rights.
This January, Sara Chraibi, founder of Maison Sara Chraibi presented for the first time at Paris Haute Couture Week. The Moroccan designer greatly impressed critics with her collection which combines traditional Moroccan craftsmanship with modern elements and materials for a unique style that celebrates her heritage but also appeals to the contemporary woman.
After living in Paris and working as an architect for several years, Chraibi returned to her home country to establish her fashion brand. It was a major shift in cultures but she wanted to be in her homeland in order to find ways to embrace the traditional craftsmanship techniques and find new ways to express this as a form of contemporary luxury. Her designs are deeply rooted in traditions but also appeal to the wider world. This season Chraibi presented her Spring/Summer 2023 collection at Paris Fashion Week after being invited by the Fédération de la Haute Couture et de la Mode to showcase her designs to the world. Here we find out more about the experience and what we can expect to see from her brand moving forward.
Tell us a little about how your brand came to life.
I grew up in an environment of art and culture. As a child, I was introduced to sewing and embroidery by my mother. After my architectural studies in Rabat, I moved to Paris where I wrote a diploma (DEA) in “Philosophy and Theory of Architecture”. In Paris, my passion for fashion and couture is nourished by the vitality and creativity of the city. Alongside my job as an architect, I then began to draw, sew and embroider a multitude of couture pieces.
In 2012, I presented my first collection “Anatomic Architecture” during the final of a Competition organized by “Ateliers de Paris”. In the same year, I participated in Festimode Casablanca Fashion Week where the models paraded in front of the Casablanca cathedral. Greeted unanimously by the public and the press, these first appearances were the beginning of my professional retraining.
Congratulations on the Spring/Summer 2023 collection – tell us about this collection and how it came to life.
When I started working on this collection, I wanted to share several elements of my personal story, my influences and my sensitivity to the world. I had this idea of weaving a collection where each thread would represent part of the story: beginning with the architecture, the relationship to the structure of the garment, then there is the know-how, coming from a Moroccan textile tradition and the memory of the elegance of Moroccan women, there is this double culture that makes the originality of my point of view on fashion. I wanted to weave all this together and make it into a framework to tell a new reality.
This was your first time showing at such a level tell us about your experience being a guest member of the FMHC.
For me, Haute couture is a dream, a celebration of uniqueness and being part of it as a guest member is a milestone for my brand.
Can you tell us about some of the traditional techniques that you used in your designs and how you have evolved the techniques and craftsmanship to give them a modern twist?
With my work, I take patterns, shapes and ancient techniques from Morocco but I add a certain twist or reinvent them in a new way. For example, I used the “sfifa” weaving technique to create a fabric rather than using it as an ornament, as is done traditionally. I mixed raw materials from Morocco, and I used golden thread and silk fringe to build garments as a link between two cultures and realities. I see traditional craftsmanship both as an inspiration and a call to innovation.
How do your heritage and upbringing influence your work today?
My brand is built around the Moroccan art of living, my architectural background and my interest in couture know-how inspire it. My brand aesthetic evolves around the idea of subdued femininity. With a timeless approach to eveningwear, I merge the East and West through one-of-a-kind couture garments.
Tell us about your first memory of fashion.
I remember times before my mother had an important party, we would stroll from stall to stall in the markets in search of fabric and she would make dresses from scratch. I would sit next to her and watch her assemble the pieces of fabric one by one and sculpt the garment. At that time I started to collect fabric scraps to in turn sew something for my barbie doll. There was something magical about those moments. As I grew up, I remember my impatience to get dressed for these events; to put on a beautiful dress, to finally be part of the adult world, with all those sophisticated ladies, perfumed, richly adorned in silk and lace, with an appearance that made everyone’s heads turn. The women of Morocco are beautiful and sensual and wearing a caftan is an ancestral tradition, a ritual that is passed down from mother to daughter.
How do you think your background in architecture has influenced your designs and the way you put looks together?
I quickly realised that fashion and architecture could share the same vision. As an architect, I liked the modern period. In my clothing designs, I am influenced by modern architecture. All my attention goes to the purity of the lines, to the elegance and the lightness of the structure, it is a sort of quest for the essential.
What is the vision for your brand moving forward?
For me, succeeding in the world of fashion comprises several essential elements: commercial success, of course, but also and above all, success together as a team to share values and wealth, to ensure that each person in the company grows through their work. There is also a cultural success, where in addition to offering products, a brand manages to permanently establish its universe in the collective imagination. That’s all I want to achieve for my brand.
Who are some of the designers or brands that you admire?
Madeleine Vionnet, Jeanne Lanvin, and Elsa Schiaparelli, all made contemporary fashion history with a feminine point of view. I also admired Lee McQueen’s vision and Azzedine Alaia’s sharpness.
There are few brands from the Arab region that have managed to reach success on a global level – what is your opinion on this and what advice would you give to aspiring designers in the Middle East?
I wish that there are more and more brands with an Arab or oriental DNA on the international scene. Fashion is a great tool of soft power. Each new designer who launches in the region is responsible for spreading our culture to the rest of the world.
In this issue we are celebrating the month of Ramadan, what does this time mean to you and how will you be spending it this year?
Ramadan is one of my favourite times of the year. It’s time to reconnect with our faith. I like to spend it with my family and friends, to celebrate with pride and joy and I also like to share iftar with my non-Muslim friends.
What is next for you this year and for the rest of the year?
I’m working on the Maison Sara Chraibi Fall/Winter 2023 couture collection. I will also launch an e-commerce site later in the year.
What can you tell us about your brand in the Middle East and can we expect to see you here soon?
I plan to do some trunk shows in the Middle East over the coming months. The Middle East is an important market for my brand and It’s very important to establish long-term commercial partnerships there.
Zineb, a remarkable 34-year-old Moroccan woman with a passion for football and an extraordinary career journey, has made history as the first Arab woman in the UAE to obtain a FIFA Football Agent licence. This achievement marks the pinnacle of a multifaceted career that spans two decades of professional football, executive leadership roles in global corporations.
Born with a profound love for the beautiful game, Zineb embarked on her professional football journey at the tender age of 14. For an impressive 20 years, she showcased her exceptional skills on the pitch, earning acclaim and respect both locally and internationally. Her unwavering dedication and talent opened doors that would eventually lead her to a groundbreaking role as a FIFA agent.
Parallel to her football career, Zineb pursued her academic dreams, earning a Trilingual Finance Degree from HEC Montreal and further honing her skills at ICADE Business School. Armed with a strong educational foundation, she ventured into the corporate world, joining prestigious global corporations such as GE. Zineb seamlessly balanced her roles on and off the football field, demonstrating exceptional leadership and managerial prowess.
One of Zineb’s most impressive accomplishments is her cultural and linguistic versatility. Having lived in 13 countries, she possesses a deep understanding of international cultures, fostering an open-mindedness and adaptability that have been instrumental in her career success. Fluent in four languages – Arabic, English, French & Spanish – she transcends cultural and geographical boundaries with ease. Her ability to connect with individuals from diverse backgrounds has played a pivotal role in her professional success and global experiences. Her journey through these diverse landscapes has imbued her with a unique perspective that she now brings to her role as a FIFA agent.
In a life defined by extraordinary achievements, Zineb’s latest feat as the first Arab female FIFA agent in the UAE is nothing short of groundbreaking. She successfully passed the rigorous FIFA Football Agent exam, solidifying her position as a trailblazer in the world of sports and representation. Her new role will enable her to empower athletes, foster talent, and advocate for gender equality in the world of football.
Zineb serves as an inspiration to aspiring athletes, young professionals, and women worldwide, proving that determination, passion, and a commitment to excellence can break down barriers and open doors to limitless possibilities.
With this historic achievement, Zineb continues to write her own remarkable story, leaving an indelible mark on the world of sports, corporate leadership, and international relations. Her journey stands as a testament to the power of ambition and the potential of the human spirit.
Morocco’s King Mohammed VI presides at the Royal Palace in Rabat the presentation ceremony of the model of the first Moroccan car manufacturer “Neo Motors” and the prototype of a hydrogen vehicle “NamX” developed by a Moroccan.
Morocco’s King Mohammed VI presided, on Monday at the Royal Palace in Rabat the presentation ceremony of the model of the first Moroccan car manufacturer and the prototype of a hydrogen vehicle developed by a Moroccan, two innovative projects that will strengthen the promotion of the “Made In Morocco” label and consolidate the Kingdom’s position as a competitive automotive production platform.
The presentation to the King of the car of “Neo Motors”, a company owned by Moroccan capital, and of the prototype of a hydrogen vehicle of the company NamX, named HUV (Hydrogen Utility Vehicle), underlines the Sovereign’s willingness to encourage and promote the pioneering national entrepreneurial initiatives and the creative capacities, particularly of the Moroccan youth, that these projects embody.
These two industrial initiatives are in line with the High Royal Directions aiming at directing the private sector towards productive investment, in particular in the advanced and future sectors and at stimulating the emergence of a new generation of companies in the Kingdom.
They also confirm the King’s far-sighted vision in terms of sustainable development and the promotion of renewable energies, particularly the emerging field of green hydrogen.
Neo Motors company has set up an industrial unit in Ain Aouda (Rabat-Salé-Kenitra Region), to manufacture motor vehicles for the local market and for export, with a projected annual capacity of 27,000 units and a local integration rate of 65%.
The total projected investment for this project amounts to 156 million dirhams ($15.6 million) and will eventually create 580 jobs.
The final approval of the first vehicle was issued by the National Agency for Road Safety in February 2023. The company has launched the pre-production and plans to inaugurate the industrial unit during the month of June 2023 and to launch the marketing.
This project, which gives birth to the first Moroccan consumer car brand, is carried by national skills. It relies mainly on the ecosystem of local automotive suppliers developed by the Kingdom.
As for the prototype of the hydrogen vehicle of NamX, it was designed in collaboration with the Italian design office and coachbuilder of reference Pininfarina. The interior design of the vehicle has been realized by Moroccan talents.
Indeed, the HUV model will be supplied with hydrogen by a central tank that will be completed by six removable capsules, guaranteeing a significant autonomy and facilitating the hydrogen recharge in a few minutes.
This pilot project places Morocco firmly in the ongoing worldwide momentum to develop new forms of transport that combine efficiency and respect for the environment.
The monarch awarded the Wissam Al Kafaa Al Fikria to Nassim Belkhayat, founder and CEO of Neo Motors company, and Faouzi Annajah, President and founder of NamX company.
The Banker highlighted Jouahri’s strategies to safeguard Morocco’s economic stability in 2023, as well as his dedication to social causes.
International financial affairs magazine The Banker has named the Governor of Morocco’s Bank Al-Maghrib (BAM) Abdellatif Jouahri Africa’s Central Bank of the Year 2024.
Earning the top spot for Africa in the Financial Times-owned outlet’s ranking highlightedJouahri’s leadership in the African banking sector, as well as his contributions during a period of remarkable growth and resilience.
Jouahri’s tenure spans two decades, marked by his adept steering of Morocco’s banking sector and the broader economy.
The Banker acknowledged Jouahri’s role in the relief efforts following the devastating Al Haouz earthquake that hit central Morocco in September of 2023.
The magazine noted that Bank Al-Maghrib, Morocco’s central bank, donated MAD 1 billion to the country’s relief fund for the earthquake, and “was quick to offer support for sectors of the economy most impacted by the tragedy.”
In addition, the Banker lauded Jouahri’s decisions, including BAM’s “relative success” in tackling inflation. The Moroccan central bank was one of the first African central banks to hold interest rates in 2023, after lifting them to 3% in March, allowing the economy to absorb the impact of rate rises.
“After a slight uptick in August, the bank continued to hold its nerve, a move that was vindicated by inflation falling back down to 4.3% in October from a high of 10.1% in February,” the magazine explained.
The Banker also highlighted the launch of Morocco’s instant payment system (IPS) in June, which aimed to advance the country’s financial infrastructure.
Commenting on the recognition, Jouahri expressed “considerable satisfaction” for receiving the top spot in the ranking, emphasizing the key role of central banks in overcoming global challenges.
“I am convinced of central banks’ pivotal role in overcoming the major challenges that beset the world. Foremost among these is climate change: the consequences of which are steadily worsening,” he said.
In light of escalating political tensions and the prolonged inflationary trends, Jouahri underlined the heightened challenges that central banks face.
He called on these financial institutions to “optimise their monetary policy decisions to safeguard the purchasing power of citizens, especially the most underprivileged among them, and improve investor confidence in the future of their companies.”
The London-born aspiring actress has a deep appreciation for her Moroccan heritage – which may explain why migration is an issue so close to her heart.
Nora Attal has the index finger of one manicured hand extended across the bridge of her nose, and the straightest face she can muster in the circumstances.
It started as an attempt to brush aside the fuss made about her eyebrows, which are, according to various beholders, glorious, serious, stunning, bold, thick, enviable and — somewhat at odds — natural and well groomed.
But now the British-Moroccan fashion model is mulling over a new signature look. “Oh, no! They’re just hair on my face,” Attal tells The National, embarrassed and amused by the attention. “I get them from my Dad — he has very bushy eyebrows.
“If I didn’t groom them, they would be a monobrow. Actually, I saw the film Frida yesterday. It was incredible. I think,” she pauses to regard the mocked-up effect in the zoom camera, “I might just do that … grow a monobrow.”
Perhaps such thinking is to be expected after a 48-hour infusion of cultural rebellion. The day before watching the biopic on the hirsute and indomitable Mexican artist Frida Kahlo, Attal was celebrating turning 23 at her first ever music festival near her home in Spain.
There, she was among the crowd asked by flamboyant American rapper and actress Megan Thee Stallion to make a particular gesture of protest to the US Supreme Court for overturning Roe v. Wade.
“Megan Thee Stallion’s my new icon,” Attal, an enthusiastic gesticulator in daily life, says, “but who I look up to evolves all the time.”
She favours strong, not-so-silent types. Michelle Obama, the former first lady of the US, was top for a while for always telling it as it is — “I still respect her a lot” — along with actor, musician and serial disrupter Riz Ahmed and the Arab writer and women’s rights champion Leila Slimani.
“People like this, I love. I really try to take in their energy,” she says.
It’s a fighting spirit that Attal herself embodied recently when Maria Grazia Chiuri, the creative director of the French fashion house Dior, reportedly said that “models don’t represent women … the model is only a girl who passes in front of you”.
Having walked the runway for Dior 20 times since Chiuri took over, an indignant Attal vented on her Instagram stories, posting: ‘And to hear that I’m not a woman … she is very vocal about her feminism narrative, yet so archaic in thinking that models should only be hangers”.
“Coming into adulthood has been quite nice,” she tells The National. “I understand myself more and, because of modelling, I’ve travelled such a long time alone, experienced a lot, and I’ve maybe grown up quicker.
“I’m definitely more confident, like the way I speak to adults in the industry.”
She recalls being a shy, studious little girl, born in London to two Moroccan parents, Charhabil (Charlie) and Bouchra, and growing up on a council estate in Battersea until the family moved to Surrey.
Sport was an outlet, sometimes whether she liked it or not because of her talent for everything from gymnastics, basketball and tennis to golf and representing her county in long-jump.
Saturday mornings in the house were full of music, regularly featuring Michael Jackson, Prince, Stevie Wonder, and Diana Ross, to whose live performance Attal would dance the night away at a star-studded after party in Marrakech a decade later.
The walls of her childhood bedroom were plastered with magazine covers and fashion campaigns, America’s Next Top Model was the programme of choice, and she would doodle clothes on mannequins in English class instead of writing, say, the set essay on Thomas Hardy.
Yet the industry wasn’t one that young Nora easily identified with or conceived of entering, not least because “there weren’t many people who looked like me”.
“I don’t think she would have ever imagined anything like this,” Attal says, her hands making an all-compassing vertical circle in the air. “Ever, ever, ever.”
It wasn’t long, though, before the striking 12-year-old in blue Converse trainers and a hoodie was first spotted while out in a shopping mall.
“My Dad said ‘yeah, no’ when I went to see the agency,” she remembers with a smile, “and I really appreciate that now …
“It’s tough. I don’t think that young girls should be working in such an adult industry, which doesn’t have a union or HR department that you can go to.”
Modelling, it seems, wasn’t going to take no for an answer. Two years later, the British fashion and documentary photographer Jamie Hawkesworth turned up at her high school, casting for a JW Anderson campaign.
Attal subsequently debuted as Anderson’s muse, dubbed “the mystery girl”, and spent the next few years fitting fashion shows and shoots around education, poring over textbooks while waiting at castings or back stage after hair and make-up.
A fortnight before receiving her A-Level results in History, Psychology and Art at Ewell Castle School, the September issue of British Vogue landed in newsagents with Attal on the cover beside Kate Moss, Edie Campbell, Stella Tennant and Jean Campbell.
The avid true-crime fan was offered a place at Greenwich to study criminology but “took a gap year, deferred it and then dropped it”.
“Working in this industry, I can see that almost anything is possible if you put your mind to it,” she says. “I think everyone should know that.
“My family, being Moroccan, would have loved it if I became a doctor or a lawyer or a pharmacist, and had a normal life but you should do what makes you happy — and you will be successful.”
Represented by Viva Model Management, her own success can be measured by the fact that it would be faster to name the exclusive brands, designers, magazines and celebrity photographers that she hasn’t collaborated with than those she has.
Her brown doe-like eyes, long dark hair and slender 5ft 10in figure quickly became a mainstay on the global circuit in an ascent likened to that of Gigi Hadid.
As with Hadid, she has come to treasure her Mena heritage, and an appreciation has deepened over the years for the hardships that her parents overcame as immigrants “for me to get where I am”.
“It is really important for me to remind myself of that,” she says.
It makes her all the more sensitive to the migration issues prevalent in the UK, particularly the controversial policy of deporting asylum seekers to Rwanda. She has just sent an email opposing the plan to her local MP in England, and urged her 71,000 Instagram followers to do the same.
“I think it’s terrible, I really do. My mum has friends from Syria and Iraq. It could be anyone. Even if you don’t have Syrian friends or Iraqi friends, it’s just a basic human right.”
She talks about what it has meant to have been able to incorporate her North African roots into modelling work many times during a vibrant career.
The editor of Vogue Arabia, Manuel Arnaut, described her as “cool, contemporary and a great ambassador of the Arab world” when she graced the December 2017 cover in a Berber ceremonial headpiece.
Among several shoots with the noted American photographer Steven Meisel was one set against the dunes of the Sahara, and she has traversed a catwalk at El Badi Palace in Marrakech.
But perhaps her favourite fashion “story” ever was for a Vogue Italia issue devoted to DNA. The editorial team descended on Attal’s ancestral home in Larache, near Tangier, where she has spent two months every year since she was a toddler.
Her abiding memories of those visits are the aromas of tagine and couscous emanating from the kitchen of her grandmother, Fatna, and forays to the picturesque old town of Chefchaouen in the surrounding hills or along the coastline in search of quiet bays.
This time, though, Fatna lined up in the family living room next to Attal, her brother, Adam, sister, Yesmin, and parents, all dressed top to toe in Chanel for a black and white photo shoot.
“My grandma had never seen anything like it in her life,” she says, fondly. “She thought it was quite strange but was excited. She really loved it.”
More recently, her extended family fronted Ralph Lauren’s holiday campaign for Eid in a video clip that also included Attal’s then fiance, Victor Bastidas, a director and cinematographer 10 years her senior.
The couple met on location at the 16th-century Samode Palace nestled in the ancient Aravalli hills outside Jaipur, but it is all a bit of a blur to Attal now.
What stands out most is being photographed aged 17 by Mario Testino alongside an elephant painted with orange and pink food dye, and embellished in heavy jewellery.
“Arrrgh!,” she says, reliving the excitement and leaning back to show the proximity with her hands. “I shot with an elephant in real life that had to be just here.”
Happily, Bastidas and Attal bonded years later in London over their mutual love for the music written and performed by Thom Yorke for Luca Guadagnino’s supernatural horror film Suspiria, and began dating just before the coronavirus tightened its grip on the world.
Their fairy-tale wedding was held a few months ago at Cortijo San Francisco, a 1,900-square-metre “farmhouse” in Estepona, near Marbella, built as a refuge by the Hollywood actor Stewart Granger who starred in King Solomon’s Mines with Deborah Kerr.
There is a picture from the day of an ornate Mexican fireplace that would have dominated the room until Attal, in strappy skyscraper heels and a breathtaking Lanvin gown, stepped down a narrow passageway into the scene.
The pandemic has marked many other new beginnings for Attal. She did a Run for Heroes in support of the NHS, painted and made lino prints, learnt to cook (pizza, ramen noodles from scratch, a mean carrot cake), and moved to Barcelona for the fresh air and to be closer to nature.
At such a time, it is unsurprising that someone whose favourite poem is William Blake’s Auguries of Innocence — “To see a World in a Grain of Sand. And Heaven in a Wild Flower …” — began to consider the wider picture.
“It was a very big reset. It made me sit down and think about what I wanted to do with my life,” Attal says.
The answer was to act, and she has just graduated from the prestigious Baron Brown Studio in California after two years of studying the Meisner technique over the internet.
Asked if she’s thought much about who she would like to work with, Attal whips out her phone. “Yes, I have lists for everything. A list of directors, of actors, films that I like, references of things.”
For the record, Guadagnino is director number one, leading, in no particular order, Todd Phillips, Pedro Almodovar, Tim Burton, Wes Anderson and the Iranian Asghar Farhadi, “though I don’t speak Farsi, but…,” she says, trailing off hopefully.
Whether theatre or independent film, Attal doesn’t mind. Just having undertaken the training is, she believes, her biggest triumph, which is saying something.
“I’m actually very proud of myself for going back to school, even though it’s on Zoom or it’s not necessarily as heavy as being a doctor.
“I’m doing things that maybe I wouldn’t have done before. I’ve taken the step to tell agents and brands that ‘No, I can’t do that job because I’m studying acting’, and I’m putting my foot down. I think, before, I doubted my abilities, and now I’m like: ‘Yeah, just do it, why not?’”
It is hard not to wonder where Attal’s forthright tendency, fervour and self-determination, so unusual in a young woman in her early 20s, come from.
A clue may lie in a single line buried among the Moroccan press coverage that describes her paternal great-grandfather as a revolutionary, poet and director. The snippet is, it has to be said, uncorroborated, but sounds just about right.
The news follows a memorandum of understanding signed in July 2022 between the Ministry of Health and Social Protection and the IAEA.
Morocco and the International Atomic Energy Agency (IAEA) have signed an agreement for the Rabat-based Sidi Mohammed Ben Abdellah National Oncology Institute, which is affiliated with the Ibn Sina University Hospital, to become a collaborating center for the IAEA.
IAEA made the announcement was made on Friday. The Moroccan institution was elected as an IAEA collaborating center during the 67th regular session of the IAEA General Conference held in Vienna from September 25 to 29.
The news constitutes a recognition of Morocco’s commitment to advancing nuclear sciences in Africa, improving access to cancer treatments, and combating animal-transmitted diseases across the continent.
Khalid Ait Taleb, the Minister of Health and Social Protection, presided over the official announcement ceremony, emphasizing that the IAEA’s accreditation is an acknowledgment of the institute’s prolonged dedication to battling cancer.
He praised the institute’s exceptional staff and expertise having elevated its standards to a commendable level of quality.
Maintaining the prestigious accreditation in the upcoming years is now a primary challenge, Minister Ait Taleb stressed. He underscored the institute’s pivotal role in combating cancer and nurturing medical expertise in the field, both nationally and continentally.
For his part, Director-General Raouf Mohsine of the Ibn Sina University Hospital in Rabat emphasized the profound significance of this election within Morocco and across the continent.
This recognition is a source of immense pride for Morocco amid ongoing reforms in the national healthcare system, he said. The milestone follows a memorandum of understanding signed in July 2022 between the Ministry of Health and Social Protection and the IAEA, through which the two institutions committed to reinforcing collaboration in the fight against cancer and zoonotic diseases.
source/content: moroccoworldnews.com (edited)
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Morocco and the International Atomic Energy Agency (IAEA)
We explore the Moroccan community in Belgium, their origins and contributions to various industries as well as politics, arts, food and literature.
Bachir M’rabet was a newborn when his father, a weaver from Tangier, received an offer to work in the textile sector in Belgium.
Despite his wife’s reservations, M’rabet’s father left Morocco in 1966 with the goal of earning as much as possible and returning to his home country after a few years. However, things did not go as planned.
A year later, an infant M’rabet and his mother and siblings joined the family patriarch in the Belgian capital Brussels.
His parents were part of a generation of Moroccan workers recruited by Belgium in the 1960s to make up for labour shortages in industries such as mining, steel, manufacturing and construction.
“I don’t believe any Moroccan migrated to Belgium with the notion that it would be a permanent move,” the younger M’rabet tells Middle East Eye.
Today, there are around 600,000 people with Moroccan heritage in Belgium, with the community accounting for almost one in every five people in Brussels alone, according to figures from the Migration Museum.
Initially, the community was made up of male workers, but in time, like the M’rabet family’s example, women and children joined them, leading to the growth of the Moroccan community which is today the largest minority in the country.
Despite the dramatic change in environment, initially at least, they were “warmly welcomed” by the local Belgian population, M’rabet says.
“It was cold and the winters were harsh. We left behind the Mediterranean blue sky and arrived in the darkness.
“We were kind of an attraction, an exotic sight in the neighbourhood. Locals used to invite my father for coffee, they would touch his hair,” M’rabet recalls.
Overcoming challenges
Many other Moroccans arrived in the 60s and despite the friendliness of some locals, it was not always smooth sailing.
The 1980s witnessed a rise in unemployment and increased anti-foreign sentiment.
“In those years, there was a noticeable presence of racism,” M’rabet recalls. “An extreme right discourse that we had forgotten since WWII resurged.”
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‘While being Belgian, I don’t forget my Moroccan roots. I won’t forget that my parents gave up everything to give us a chance for a better life’
– Bachir M’rabet, Moroccan living in Belgium
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Discrimination became more prevalent, with landlords refusing to rent to non-Belgians and establishments denying entry to foreigners, particularly Arabs and Blacks. “The most common reproach was that foreigners came to steal our jobs and our women,” M’rabet continues.
The situation worsened following 9/11 and the 2016 Brussels attacks in the metro and the airport that killed 32 people.
In the early days of their move to Belgium, the M’rabet family lived in financially austere conditions.
“There was no bath or shower. We did the laundry by hand or washed in public baths,” M’rabet recalls.
In school, his limited French language skills also made things difficult, but he was determined to help others.
Eventually, he started working for Foyer, an organisation created in 1969 to offer activities for the children of migrant workers.
According to M’rabet, the Belgian population does not consider people of Maghrebi origin as Belgians, nor are they fully accepted as such. “It is something that can be felt in the way they look at us, in daily life.”
Today, M’rabet is a coordinator at the community centre in Molenbeek, one of the poorest Belgian municipalites.
In his role, he encourages youngsters with foreign roots to embrace their Belgian identity, as Belgium is their country.
“While being Belgian, I don’t forget my Moroccan roots. I won’t forget that my parents gave up everything to give us a chance for a better life.”
Moroccan coal miners in Belgium
Following World War II, Belgium faced the need for reconstruction but suffered from a shortage of workers.
The government resorted to recruiting workers from abroad for the job as coal mining was the primary source of energy, and required strenuous labour.
The Men for Coal agreement signed in 1946 with Italy attracted men to work in the mines, but miners faced harsh conditions and discrimination leading to a halt in emigration ten years later after the death of 136 Italians in Marcinelle, Belgiums’s worst-ever mining disaster.
To fill the labour shortage, Belgium signed agreements with Spain and Greece in 1957 and with Morocco and Turkey seven years later.
Poverty and unemployment in Morocco drove people, particularly those from rural backgrounds, to leave, and in 1964, hundreds of Moroccan men between the ages of 20 and 35 arrived in Belgium.
Due to Moroccans’ “fairly good” understanding of French, they were seen positively by employers, who also regarded them as neutral, religious and submissive.
When their families joined them, it anchored them in Belgium further, eventually helping rejuvenate the country through economic expansion.
Building up Belgium
The 1960s witnessed growth in Belgian cities with new roads, tunnels, tram tracks, offices, and bridges being built.
“My father helped build many of the emblematic buildings in Brussels,” Zakia Khattabi, Belgium’s minister for climate and environment, tells MEE.
“Brussels was built with the help of the labour force of this first generation of Moroccans. The value of Moroccan immigration lies in my father’s hands,” she adds.
In the 1970s, Moroccans constituted a significant portion of the city’s public transportation system employees, with the percentage rising to 80 percent in certain depots.
The Migration Museum collected testimonies from workers, including Mohammed, who stated that “Belgians were reluctant to work for the trams due to the challenging schedules”.
When economic growth came to a halt in the late 1960s, unemployment began to rise.
Immigrants chose to stay in Belgium, having already settled their families and established a life there.
Official immigration agreements ended in 1974, but migration from Morocco continues to this day, with people seeking economic opportunities that their compatriots had benefitted from, as well as for family reunification.
Nowadays negative incidents involving individuals of Moroccan heritage often receive disproportionate attention, overshadowing their achievements.
“A falling tree makes more noise than a growing forest. We never talk about the many successful careers of Moroccan immigrants, whether in key positions of responsibility or in positions at any other level,” Khattabi continues.
“Although I’m very attached to my Moroccan ancestry, I consider myself part of the Belgian community as I was born here,” she adds.
Moroccan achievements
Today, the Moroccan community in Belgium has excelled in numerous fields, from politics to arts, academia, medicine, business and sports.
During the 2019 elections, six nationals of Moroccan origin were elected to the Chamber of Representatives, while 21 Belgian-Moroccan deputies secured seats in regional parliaments.
Adil El Arbi and Bilall Fallah are internationally recognised film directors, celebrated for movies such as Black and Bad Boys for Life and the series Ms Marvel, while Lubna Azabal has performed in critically acclaimed films like Paradise Now and Incendies.
Moroccan food has also had a strong impact on Belgian cuisine.
It is common to find dishes like tagine and especially couscous on the menus of some restaurants and in households across the country.
“People have embraced couscous as an ingredient, incorporating it into innovative and contemporary culinary creations,” chef Faty Khalis tells Middle East Eye.
Based in the Flemish city of Hasselt, Khalis adds that couscous has become a versatile base for various dishes, from salads to stews.
According to Khattabi, the young descendants of the Moroccan diaspora are asserting their right to belong to the community in Belgium today.
“In the past, the parents used to apologise for being there, while today’s youth confidently assume that they are home and claim their rights. They are also aware of their obligations and acknowledge them.”
Feeling at home in Belgium
Writer Taha Adnan left Marrakesh in 1996 to study at a university in Brussels.
In his work Reflections on Writing and Exile, he explains that he is “neither an exile nor an immigrant but rather someone who had to find a new way of life after facing two years of unemployment” in Morocco.
Today, Adnan advocates for Belgian literature in Arabic, during a time when many authors of Arab origin in Belgium choose to write in Dutch or French.
For him, Arabic contributes to a diverse Belgian identity.
He has published poetry, plays and has amplified the voices of Arab writers residing in Belgium through literary festivals and collective books.
Adnan curated two anthologies: Brussels, the Moroccan, which gathers works by Moroccan writers portraying the capital of Europe, and This is not a Suitcase featuring texts by Arab authors sharing their experiences in the northern European country.
Strolling along the canal in Molenbeek, Adnan tells MEE that he “feels at home in Belgium”.
Many people with Moroccan roots feel the same way and have taken their place in all spheres of life.
As Khattabi says: “Perhaps we need to make their presence more visible. It’s the pathways to success that need to be standardised.”
Minister Zakia Khattabi is photographed in Brussels and says that her father was part of the generation of Moroccans that helped build Belgium (MEE/Hatim Kaghati)
Regragui received the award in recognition of the Moroccan national team’s historic achievements under his leadership.
Morocco’s Head Coach Walid Regragui was named the “Best Arab and International Manager” during an award ceremony organized by Sky News Arabia on Sunday.
Regragui received the trophy at the “Legends Night 2023,” the Ramadan evening during which the Abu Dhabi-based news channel hosts and honors renowned sports legends.
Speaking at the ceremony, Wydad AC’s former coach Regragui extended his thanks to Muslims, Arab, and African people for their unconditional and consistent support for Morocco throughout the 2022 Qatar World Cup.
He stressed that his mission was to prove to the world that an African or Middle Eastern team can win the World Cup. “With your trust and support, we will achieve this,” he stressed.
“Next time inshallah we do it,” Regragui said, reiterating that the Atlas Lions are capable of becoming the first African and Arab team to win the global tournament.
In addition, he extended his thanks to King Mohammed VI for supporting the national team throughout their journey in Qatar.
Under the leadership of Regragui, the Moroccan squad managed to defy all odds and achieve the unexpected, becoming the first Arab and African team to reach the World Cup’s semi-finals in 2022.
After not having qualified for the round of 16 since 1986, Morocco not only broke the 36-year-long curse, but also managed to beat and send home some of the world’s top football giants, including Belgium, Spain, and Portugal.
Morocco eventually finished fourth after losing to Croatia in the third place play-off. However, the Moroccan national team’s heroics were widely celebrated among football fans from across the world, with many attributing their success to Regragui’s great leadership and tactics.
The widely-celebrated coach has become a national icon and the pride of millions of Moroccans across the world, having led the team to unprecedented success after only a few months in the position.
Besides Regragui, the award ceremony also honored the Moroccan Royal Football Federation (FRMF), naming it the Best Arab Federation in recognition of its achievements at both team and club levels.
