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Iraq has taken a significant step towards preserving its cinematic heritage with the launch of the Cinémathèque Iraq project, a national initiative aimed at digitizing, restoring, and protecting Iraqi film archives. The project was officially announced during an event at the French Institute in Baghdad, attended by Iraqi filmmakers, artists, and cultural figures.
Under the supervision of the Iraqi Visual Memory Committee in the Prime Minister’s Office, the project is being developed in collaboration with the French Embassy in Iraq, with the goal of reviving Iraq’s film industry and ensuring that its rich cinematic history is accessible to future generations.
A mission to restore and preserve Iraqi cinema
Project director Warith Kweish emphasized the initiative’s importance, stating:
“Cinémathèque Iraq aims to restore and preserve more than 100 Iraqi films by training local experts in film archiving and preservation. The project also includes building specialized infrastructure in Iraq for film storage and restoration, ensuring that our visual history is safeguarded using advanced digitization techniques.”
Kweish highlighted that the project’s long-term vision is to make Iraq’s cinematic heritage available to a global audience, showcasing the country’s rich film history on both Arab and international platforms.
Classic Iraqi films undergo restoration
As part of the first phase of the project, two of Iraq’s most iconic films have been selected for restoration and digitization:
“Saeed Afandi” (1957) – One of the most influential films in Iraqi cinema, has arrived in Paris for restoration using modern digital techniques. The film is expected to be screened at the Cannes Film Festival, marking the first time an Iraqi film is featured at the prestigious event.
“Aliya and Issam” – A classic romantic drama is currently undergoing restoration to prepare it for cinematic screenings in Iraq and abroad.
French Ambassador Patrick Durel, who attended the launch, expressed his enthusiasm for the project, stating:
“We are proud to collaborate with Iraq on this cultural initiative. This project is a crucial step toward preserving Iraq’s cinematic legacy and sharing its stories with the world.”
Building a strong foundation for Iraq’s film industry
Beyond archiving and restoration, Cinémathèque Iraq is envisioned as a comprehensive initiative to develop the country’s film industry. Filmmaker Jamal Amin, who has been involved in the project, explained:
“This initiative aims to establish a strong cinematic foundation in Iraq by supporting filmmakers and enhancing industry infrastructure. Our goal is to create a sustainable film ecosystem that includes training, production, and international collaboration.”
The project seeks to attract local and international investment in Iraqi cinema, providing grants for film projects and facilitating the growth of Iraq’s independent film industry.
Future expansion and international cooperation
Filmmaker Falah al-Azzawi highlighted the project’s potential for international partnerships, stating that Cinémathèque Iraq will expand its reach by:
Collaborating with global film institutions to gain expertise in film preservation.
Encouraging private-sector participation to support Iraq’s film industry.
Establishing cultural exchange programs with international filmmakers.
According to Prime Ministerial Advisor Hassan al-Sudani, the government plans to expand the initiative beyond cinema, with upcoming projects focused on restoring Iraq’s television and radio archives.
The launch event was also attended by prominent cultural figures, including the head of the Iraqi Artists’ Syndicate, Jabbar Joudi, and the director of the Department of Cinema and Theater. They praised the project as a landmark effort to protect Iraq’s artistic and cinematic history.
A new era for Iraqi cinema
With the Cinémathèque Iraq initiative, Iraq is positioning itself as a key player in regional cinema, working towards preserving its cinematic past while building a future for Iraqi filmmakers. As the country embraces digital restoration and industry development, it is opening doors for global recognition and participation in international film festivals.
Through this initiative, Iraq is not only reclaiming its cinematic heritage but also laying the groundwork for a thriving film industry that can compete on the global stage.
As part of the state visit of His Majesty Sultan Haitham bin Tarik to the Kingdom of the Netherlands, the Sultanate of Oman signed a historic Joint Development Agreement (JDA) to establish the world’s first commercial-scale liquid hydrogen corridor linking Oman to the Netherlands and Germany. The agreement marks a critical point in the global energy transition journey and brings Oman one step closer to becoming the leading hub for green hydrogen production and export.
The corridor will enable the export of RFNBO-compliant liquid hydrogen from Oman’s Port of Duqm to the Port of Amsterdam and key logistics hubs in Germany, including the Port of Duisburg, and onward to other European countries.
At the heart of this corridor is the world’s largest hydrogen liquefaction, storage, and export terminal to be established in the Port of Duqm. Hydrom, as the orchestrator of Oman’s green hydrogen sector, will ensure upstream production is aligned with national plans and that the project integrates seamlessly into Oman’s broader hydrogen infrastructure and policy framework. OQ, Oman’s energy transition enabler, leading the liquefaction infrastructure, will develop the hydrogen plant along with related storage and export facilities, contributing directly to the corridor’s supply capabilities and Oman’s national hydrogen targets. The centralised facility will draw from Duqm’s growing renewable hydrogen developments, leveraging the port’s strategic location as a global maritime hub and Special Economic Zone.
The centralised liquefaction plant will be supported by revolutionary maritime transportation vessels developed by ECOLOG to ship liquid hydrogen with zero boil-off, ensuring greater efficiency and reduced losses. On the European side, the corridor will be anchored by re-gasification import terminals in the Port of Amsterdam from which the hydrogen will distributed to industrial offtakers in the Netherlands and Germany via gas pipeline networks, rail connections, and barge distribution through the Dutch canal network.
“Today’s landmark signing demonstrates how Oman is turning its hydrogen ambitions into concrete projects aligned with global demand and national priorities,” said H.E. Eng. Salim bin Nasser Al Aufi, Minister of Energy and Minerals and Chairman of Hydrom. “While this corridor will enable the large-scale export of Omani hydrogen to Europe, its true value lies in how it supports our broader vision of an integrated sector that advances our national objectives. From industrial diversification and infrastructure development to job creation and capacity building, we are committed to building a future-ready sector that will position Oman at the center of green hydrogen global supply chain and deliver tangible economic value for the country.”
The New Arab sat down with Yemeni documentary photographer and storyteller Thana Faroq to discuss intentional photography, craft, and nurturing intimate narratives of displacement and resilience.
Thana Faroq is a Yemeni photographer and educator based in the Netherlands. Her photography projects, which have been supported by the Arab Documentary Fund and the Magnum Foundation among others, blend text, physicality, emotional density, and visual storytelling, to explore immigrant lives and the complexities of belonging and trauma.
The New Arab interviewed Thana Faroq on the occasion of her new book, How Shall We Greet the Sun, which follows a group of displaced young women including Faroq herself, as they negotiate their multilayered presence in the Netherlands.
“My work is mainly driven by current events and broader themes, such as intergenerational trauma and memory resilience in relation to migration and refugees”
The New Arab: You’ve completed several series and projects, including your new photo book, How Shall We Greet The Sun. How do your various projects communicate with one another?
Thana Faroq: At the core of all my work, including How Shall We Greet The Sun, lies an exploration of women’s resilience, adaptability, and the quest for belonging. These themes are the threads weaving my projects together, creating a continuous dialogue.
A consistent focus in my projects has been on the aftermath of pivotal events, particularly in migration. I’m drawn to understanding and portraying the lingering effects, the changes, and the adaptations that individuals and communities undergo in their post-disaster homes.
My projects often converse with each other, providing different facets of a broader narrative about migration, displacement, and the aftermath of these transformative events.
It is essential to explore these events not only in terms of their immediate impact but also in the ripples they create over time. How does our survival, resilience, loss, and search for identity and belonging look like? While my earlier works might have explored the immediacy of events, more recent ones, like How Shall We Greet The Sun, dive deeper into the lasting, often nuanced, emotions and memories that remain.
Do you feel that your work has evolved in terms of craft, technique, and vision? I saw that you have incorporated more poetry and written text recently.
Certainly. I spent my formative years in Yemen and from the age of seventeen, my educational journey took me across the globe, in Canada, the US, and the UK, which significantly broadened my perspectives.
It’s also crucial to acknowledge the life-altering events I’ve encountered: the war in Yemen, the subsequent move from my homeland, and the pursuit of asylum in the Netherlands. These profound experiences have shaped my life and continue to influence my understanding of the world.
This, in turn, has expanded my artistic vision. I’ve become more intentional about the themes I choose to explore and the stories I wish to tell.
Over the years, I’ve continually sought to refine my craft, exploring new techniques, tools, and mediums, especially sound and moving images. I love writing and it has become part of my creative journey and output.
I can’t label my written explorations as ‘poetry’ in the traditional sense, but I do have a deep affinity for playing with words, treating them as visual elements in their own right. I don’t view them merely as ‘texts’ but as visual companions to my images.
When paired with my visuals, these words offer an additional narrative layer, adding complexity and depth to the story I’m telling.
How do you approach storytelling in your work? Stories have a beginning, a middle, and an end, but using real-life subjects means that this linear, theoretical approach might prove restrictive.
I agree with you and I don’t personally stick to the classical structure of storytelling. All my stories are rooted in real-life experiences which means I will have to challenge this conventional approach of storytelling.
I ask myself very often: does a linear progression truly capture the essence of this experience, or is a non-linear narrative more authentic? And so my starting point might differ, I might start in the middle of a story with an emotional state that sets the tone for the narrative. My approach focuses on deep research and understanding. I immerse myself in the subject matter.
This helps me understand the nuances, the emotions, and the various perspectives that exist. Though all my projects exist in a final outlet (for example, a book) the creative process is never linear. I have a lot of responsibility to stay true to the essence of my subject’s experiences and sometimes this means breaking away from traditional structures or inventing new ones.
Also, storytelling isn’t just about the narrative; it extends beyond the mere sequence of events or plot points that make up a story. It’s about conveying experiences, emotions, and messages. For me, it’s about the use of texts, imagery, and symbolism to evoke feelings and provoke thought.
Though photography is my main medium, I include sensory elements, such as sounds and texts which can elevate the story and make it more immersive, especially in installation settings. This multilayer experience is powerful. I’m deeply intentional in my approach.
Before capturing or selecting an image, I reflect on its purpose: ‘What story am I conveying? How does this differentiate from the masses? What emotions or messages am I trying to evoke? This reflection ensures that my work carries depth and isn’t merely a fleeting visual in an endless scroll.
Are you looking for that person’s specific story in your photos or rather how they symbolise something bigger, larger than their own selves?
My work is mainly driven by current events and broader themes, such as intergenerationl trauma and memory resilience in relation to migration and refugees.
Every individual is a microcosm of the larger society they inhabit, and their stories, while personal, often resonate with universal themes. I work to make my images evoke shared experiences or emotions for a wider audience and, to a certain extent, the individual here becomes a symbol of something larger while ensuring that the individual’s story doesn’t get lost in symbolism.
Narratives that illustrate their character, resilience, culture, family ties, and personal history can help dismantle stereotypes and build a deeper understanding. This also means providing contextual cues within the composition. I write a lot during the process and these texts allow the viewers to draw connections between the personal and the universal.
“Photography, as I see it, is a shared endeavour from the research phase to execution. I prefer to refer to those I photograph as ‘collaborators’ involved every step of the way, valuing their insights and feedback. This often paves the way for deeper intimacy”
How do you nurture trust and intimacy with your subjects? Is there a story you chose not to tell?
My personal background plays a crucial role. As a woman refugee myself who has experienced the impacts of war and trauma first-hand, I share a common ground.
When I interact with my subjects, I approach them not just as a photographer, but as someone who has walked a mile in similar shoes. I don’t shy away from sharing my personal journey when appropriate, as I find that this openness can lead to mutual trust and safety.
Photography, as I see it, is a shared endeavour from the research phase to execution. I prefer to refer to those I photograph as ‘collaborators’ involved every step of the way, valuing their insights and feedback.
This often paves the way for deeper intimacy. Open communication and transparency are also pivotal. I make it a priority to be clear about how the photographs will be utilised, whether as an exhibition, a book, or any other medium, which helps bolster trust and comfort.
I approach each shoot with sensitivity, recognising and respecting the emotions and vulnerabilities of my collaborators. This journey of empathy, trust, and intimacy is complex and requires time, honesty, and sincerity.
There have been instances where I’ve chosen not to share certain stories out of respect for the privacy of those photographed.
For instance, in my recent book How Shall We Greet the Sun, there are many emotional transitions that migrant women undergo as they settle in a new place. Discussing these transitions isn’t always easy. I only choose to reveal such narratives when my collaborators are ready and confident to share them with the world.
For the young generation of aspiring artists in Yemen and elsewhere, could you share what helped launch your career and any advice you may have for others who can’t rely on institutional support and backing?
In my journey as an artist and photographer, I’ve come to understand a few key truths that I believe have been instrumental in shaping my career, especially in places like Yemen where institutional support might be sparse.
While talent is a gift, discipline and hard work are choices. Talent might get you started, but discipline will carry you through. It’s crucial to stay true to your artistic vision.
Instead of creating what you think others might want to see, focus on what you passionately believe needs to exist in the world. Also, the art world and photography, like any other field, constantly evolve.
Stay open-minded and eager to learn from others, peers, mentors, friends, and family… every interaction can offer a fresh perspective that can enrich your work.
Farah Abdessamad is a New York City-based essayist/critic, from France and Tunisia / Follow her on Twitter:@farashstlouis
Director of the Adult Stem Cell Transplantation and Cellular Therapy Program at the King Faisal Specialist Hospital & Research Centre (KFSHRC) Dr. Mahmoud Aljurf, M.D., MACP, has been awarded the Steven E. Weinberger Award for Physician Executives/Leaders by the American College of Physicians (ACP), the largest medical specialty organization in the US.
According to a recent KFSHRC press release, Dr. Aljurf is the first recipient from outside the United States, underscoring his global impact on hematopoietic stem cell transplantation and oncology. He was honored at the ACP Convocation Ceremony held at the Ernest N. Morial Convention Center in New Orleans, Louisiana, during ACP’s Internal Medicine Meeting 2025.
At KFSHRC, Dr. Aljurf has played a key role in developing one of the world’s largest and most recognized hematopoietic stem cell transplantation programs, significantly improving treatment options for patients with hematologic malignancies. His leadership has helped expand access to novel transplant therapies and elevate global standards in hematology and oncology.
In addition to his clinical contributions, Dr. Aljurf is widely recognized for his research and editorial leadership. He served as the editor-in-chief of the Annals of Saudi Medicine.
He was the founding editor-in-chief of the Elsevier Journal of Hematology/Oncology and Stem Cell Therapy.
Currently, He serves as an editorial board member of several high-impact field-related scientific journals, including his role on the international advisory board of The Lancet Hematology. He has published nearly 500 scientific contributions in high-impact journals. He has also served as the editor of five books, primarily focused on building units and programs for cancer care and hematopoietic stem cell transplantation.
His contribution to bone marrow, hematopoietic stem cell transplantation, and cellular therapy was recognized by his election as the Worldwide Network for Blood and Marrow Transplantation (WBMT) president in 2023. He is the founding member and scientific director of the Eastern Mediterranean Blood and Marrow Transplantation (EMBMT) Group, affiliated with the World Health Organization’s Eastern Mediterranean Regional Office (WHO/EMRO).
The release also highlighted that Dr. Aljurf was the recipient of several international awards, including the Florence A. Carter Leukemia Research Award of the American Medical Association (AMA) Education and Research Foundation, the Center for International Blood and Marrow Transplant Research (CIBMTR) Annual Distinguished Service Award, the King Hussein Cancer Foundation Lifetime Achievement Award, and the Lifetime Achievement Award from the Research Development and Innovation Authority (RDIA).
The award-winning image captures nine-year-old Mahmoud Ajjour, who lost both arms in an Israeli attack on Gaza, and is now learning to adapt to life in Qatar.
A photograph of nine-year-old Mahmoud Ajjour, a Palestinian child injured in an Israeli airstrike on Gaza City in March 2024, has been named World Press Photo of the Year by the World Press Photo Foundation. The image, taken by Palestinian photojournalist Samar Abu Elouf for The New York Times, offers a harrowing glimpse into the long-term impact of genocide on Palestinian children.
The photograph shows Mahmoud in a clinical setting in Doha, Qatar, where he was evacuated for medical care after losing one arm and suffering severe injuries to the other during an Israeli airstrike. The explosion struck after Mahmoud reportedly turned back to urge others to flee. Since undergoing treatment, he has begun to learn how to use his feet for basic tasks such as writing, playing games on his phone, and opening doors. He still requires support for daily activities such as eating and dressing. His aspiration, the photo caption notes, is simple: to receive prosthetic arms and live as any other child would.
The World Press Photo jury praised the image for its emotional weight and clarity, describing it as “a portrait that speaks to the long-term cost of war, the silences that perpetuate violence, and the role of journalism in exposing these realities.” The jury highlighted how the photo doesn’t flinch from documenting the physical toll of conflict while also humanising the statistics that often dominate war reporting.
The broader context of the photograph adds to its urgency. According to the United Nations Relief and Works Agency (UNRWA), by the end of 2024, Gaza had more child amputees per capita than any other place in the world. The World Health Organization (WHO) reported that by March 2025, over 7,000 injured Palestinians had been evacuated from Gaza for medical treatment, while more than 11,000 critically wounded individuals remained in the Strip, awaiting transfer. Qatar, which has developed its healthcare system in recent years, played a central role in facilitating these evacuations, alongside Egypt, Jordan, and Turkey.
The winning photo forms part of the annual World Press Photo Contest, which celebrates outstanding photojournalism and documentary photography from around the globe. Two other Arab photojournalists were recognised during the World Press Photo Contest: Palestinian photojournalist Ali Jadallah was recognized for his stark documentation of the aftermath of Israel’s invasion of Gaza, while Sudanese photographer, Mosab Abushama offers a jarring juxtaposition of violence and celebration with his photo of a groom at his wedding with a rifle in the background.
The celebrated vocalist started her singing career in the 1970s, contributing to Morocco’s musical heritage.
Renowned Moroccan singer Naima Samih died early Saturday morning at the age of 71 following a prolonged period of illness.
The deceased left behind a significant legacy in Moroccan musical culture.
Born in Casablanca in 1954, Samih earned a prestigious position and popularity in Morocco and the Arab world because of her sweet voice and delicate sensibility.
While Moroccans mourn the death of the iconic singer, fellow Moroccan artists have paid tribute to the musical icon.
Latifa Raafat wrote on her Facebook, “We share in mourning the departure of the lady of Moroccan music, the dear one who will never be forgotten, Lalla Naima Samih.
The celebrated vocalist started her singing career in the 1970s, contributing to the musical heritage of the country.
Samih’s true breakthrough came through talent discovery programs broadcast on Moroccan radio and television. Her first appearance was on “Lucky Thursday” (Khamis Al-Hazz), followed by her participation in the competition program “Talents” (Mawahib).
The artist’s journey to becoming a musical icon wasn’t without obstacles. Her father was initially reluctant to allow her to enter the world of singing, as was common for most fathers during that era.
He only consented after the intervention of influential media figures. But he insisted that his daughter should only perform modern songs and be selective in choosing quality poets and composers.
The young artist quickly rose to prominence in Morocco’s music scene, establishing herself as a leading figure alongside Abdelhadi Belkhayat and Abdelouahab Doukkali.
Through her musical and poetic choices, Samih developed a unique identity that resonated with modern song audiences in Morocco.
She collaborated with composers known for their dedication to incorporating traditional Moroccan rhythms into modern templates (including Abdelkader Rachdi, Abdelkader Wahbi, and Ahmed Alaoui), as well as with prominent zajal poets who adapted local dialects to achieve sophisticated expressiveness (such as Ahmed Tayeb Alj and Ali Haddani).
Among the late artist’s most important musical works were the songs “Jari Ya Jari” (My Neighbor, Oh My Neighbor), “Yak A Jarhi” (Oh My Wound), and “Amri Lillah” (My Life is for God).
These beloved classics helped establish her as a pillar of Moroccan musical heritage and left a stamp in the souls of her era’s Moroccans.
In the early 1970s, Samih married Moroccan cycling champion Mustafa Belkayed. The couple had one son named Shams.
Egyptian actor Youssef Omar will join the cast of the British-Chinese production Shashou, set in Hong Kong.
Youssef Omar is a rising Egyptian actor known for his versatile roles in film and TV series, including, most recently in Ramadan, TV series A Woman’s Youth (Shabab Emraa, 2025), where he co-starred opposite Ghada Abdel Razek.
He gained widespread recognition with his breakthrough in the 2018 drama Rahim (dir. Mohamed Salama) and has since starred in popular series like Sittat Bayt Al-Maadi (Women’s Maadi House, 2021), where he played Timo El-Badry (Timo), acting alongside Mira El-Helbawi, Tara Emad, and Enjy Kiwan.
Both series were directed by Mohamed Salama, with the latter catapulting Omar to fame.
Youssef has also successfully transitioned to the silver screen in high-grossing movies such as Awlad Hareem Kareem (2023) and El-Hareefa (2024), starring Nour Ehab, Khaled El-Zahaby, and Bayoumi Fouad.
In 2024, Omar starred in Meen Yasadaq (Who Would Believe?), a film directed by Zena Ashraf Abdel Baky. The film was screened during the 45th Cairo International Film Festival, further solidifying Omar’s status as an up-and-coming talent to watch out for.
Produced and directed by UK producer, screenwriter, and filmmaker Bizhan Tong, Shashou offers Omar his first international role.
Alaa Karkouti and Maher Diab, co-founders of MAD Solutions, which distributes the film in the MENA region, described the film as a thriller that is “an Arab spin on the packaging strategy that Hollywood has long deployed.”
Shashou is set in the shady world of ex-special forces, where outcasts Kelly Frost, Rachel Chan, and Inferno unite to stop a billionaire’s plot to destabilize Hong Kong.
Festival president Hussein Fahmy announced the appointment during the Berlin International Film Festival.
The Cairo International Film Festival has named Mohamed Tarek as its new artistic director, following his tenure as deputy artistic director. Festival president Hussein Fahmy announced the appointment during the Berlin International Film Festival.
Since its inception in 1976, the Cairo International Film Festival has been a cornerstone of the region’s cinematic landscape, held annually at the Cairo Opera House.
Tarek’s career spans film programming, festival consultancy, and jury roles at major international festivals. A graduate of the Locarno Industry Academy in Beirut and the Durban Talents programme, he has worked with CIFF, Dublin International Film Festival, El Gouna Film Festival, and Manassat Film Festival. His expertise also extends to projects with El Nahda Association, MedFest Egypt, and the Goethe Institute Cairo.
If you were going to have a creature named after you then a scorpion may not be your first choice, but Ahmed Ibrahim Awale believes the Pandinurus awalei will serve as an inspiration to budding Somali scientists.
The 66-year-old scientist from Somaliland has been honoured by the three researchers who discovered the new scorpion species in the region in recognition of his decades of work in conservation and environmental protection.
“Most of the species identified in Somalia and Somaliland are named after a place, a characteristic that a plant or animal may have or somebody from Europe or America,” he told the BBC in his lively voice on the line from his office in Hargeisa.
“But for many young people here, it will encourage them to know that this species is named after Awale – after all Awale is a Somali.” His pride in having this honour clearly shines through.
‘Large but not that lethal’
Since the 19th Century, researchers, mostly from Europe, have been exploring the rich ecology of the Somali region, but Mr Awale wants to add to the growing number of Somalis taking up zoology and botany.
The 15cm large-clawed scorpion that now carries his name was found in an arid landscape near Agabara village about 50km (30 miles) north of Hargeisa, the capital of the self-declared republic of Somaliland.
It is not as venomous as some of its smaller cousins as there is often an inverse relationship between the size of a scorpion’s claws and the power of its sting, Mr Awale explains.
But Pandinurus awalei is just one of 50 scorpion species that live in Somaliland, some of which are only found in the Somali region.
This fact gives a hint at its rich biodiversity. As well as a host of animal species, there are at least 3,000 species of plants that have been identified and more than 700 of them are endemic to the region – and that number is growing.
“Every year new discoveries are coming,” says Mr Awale, who himself found a new species of aloe in 2014.
“This articulates the message that all that is coming from Somaliland and the region is not that bleak. We always hear negative news and this marks a shift in the narrative that is different from the mainstream perception of piracy, extremism, famine and instability.”
True to his name – Awale means “the lucky one” in Somali – he made his own discovery by chance.
He was driving off-road “in the middle of nowhere” on one of his many field trips when he spotted huge clumps of more than 1,000 aloe plants.
“It was something I had never seen in my life,” he says and he went to investigate.
The plant was also a different colour to other aloes and though the local people knew it as dacar-cas (red aloe), they did not know how unusual it was.
After taking a sample and going through a lengthy research and verification process – which included searching the archive at London’s Royal Botanic Gardens and the East African Herbarium in Nairobi – it was proved last year that this was a new species. Mr Awale and his team of researchers named it Aloe sanguinalis (red aloe).
The discovery was the culmination of a lifetime’s passion that he partly puts down to where he grew up.
Born in 1954 in Adadlay, a village 95km east of Hargeisa, he lived near the Gaan Libah mountain, “which is one of the most beautiful places in Somaliland in terms of biodiversity”.
He came from a family of pastoralists, but his father, who ran a small shop in the village, paid for his education and in the end he studied agriculture and environmental science at the Somali National University in Mogadishu.
‘Extinction threat’
Mr Awale’s upbeat message about the biodiversity of Somaliland is tempered by a concern for its future.
Like everywhere else, species are under threat and some are dying out.
A combination of changes of land use for urban development, the clearing of forests for charcoal, the proliferation of invasive species and climate change are “pushing a number of species into extinction”.
For Mr Awale, this is not about prioritising the needs of the natural world over human need.
“Biodiversity is the web of life,” he says.
“We draw on that natural resource for our sustenance, for our medicine, our shelter. The richer the biodiversity, the richer our quality of life will be too.
“A declining biodiversity means that we are becoming poorer and that makes our survival problematic.
To push this message in Somaliland, in 1995 he helped set up Candlelight, an organisation aimed at creating a society that is aware of environmental concerns.
He has also written books and articles, and appears on the radio and TV to increase awareness about the issue.
Mr Awale says he has noticed some changes in government policy, but most importantly he has a growing number of young people engaged in the work.
Despite being recognised by having a scorpion named after him, the environmentalist knows that this is not his struggle alone.
“The Somalis have a proverb: ‘A single finger cannot wash a face.’
“In other words: It’s no use myself being prominent and well known, if I don’t have people supporting me.”
As for the lesson that the discovery of Pandinurus awalei teaches, he is convinced “that there are more species to be discovered… if the time and space allows there will be a lot of discoveries”
Hanan Sultan, a young Omani jewellery designer based between Muscat, Dubai and London, is passionate about fine arts and fashion, but has found ‘jewellery design’ as the perfect middle ground. Skillful at combining traditional and contemporary materials in her creations, Hanan, however, is personally fond of yellow gold and rubies. “Creativity has no limits and… I have yet many miles to go…” she tells Hubert Vaz in an exclusive chat. Excerpts:
What, according to you, defines the value of a piece of jewellery?
The value of a piece of jewellery, to me, lies within its design execution. As a bench-trained jewellery designer, I’m very detail-oriented and committed to craftsmanship by blending traditional making skills with modern technology to achieve an unparalleled level of quality and luxury. I’m truly dedicated to creating timeless pieces that capture a balance of luxury, comfort, and emotional value using the finest materials – precious metals and stones.
When did you figure out that this was your cup of tea?
I realised that it was my cup of tea at an early age when I felt a strong passion for creativity. This passion led me to study (foundational) Fine Arts at Pratt in New York, followed by (foundational) Fashion Studies at the London College of Fashion. I recognised that the world of jewellery was perfect for me when I comprehended that it encapsulated both, fine arts and fashion. I eventually did my BA in Jewellery Design at Central Saint Martins in London. During my summer holidays, I did internships and courses with different institutes and jewellery brands in Dubai, London and Paris. This expanded my early industry knowledge and provided me with invaluable experiences.
To deepen my expertise, I pursued an MA in Jewellery and Metal at the Royal College of Art in London, which allowed me to refine my creative process and technical skills. Through hands-on experiences and continuous learning (as an Omani jewellery designer), I’ve developed a design approach that blends innovation with traditional jewellery design.
What distinguishes your creations from the rest in the fray in UAE/Oman or elsewhere?
My designs stand out for their precision and craftsmanship, achieved through CAD and CAM technologies, which allow for intricate details and consistent finishing. While I value the cultural significance of traditional handmaking techniques, I focus on blending modern innovation with timeless aesthetics to create unique and enduring pieces.
How differently, do you think, the Western world view jewellery unlike those in Asia and the Middle East?
I find that some of the western world’s overview on jewellery includes accessories, conceptual ‘wearable objects’, incorporating all sorts of contemporary non-precious materials, whilst Asians and Middle Easterns think of jewellery as ‘high/fine jewellery’ that usually incorporates precious metals and stones, most popularly, 18, 22, 24 carat gold, natural diamonds and precious gemstones.
Are the tastes of Arab women changing – is there a need for novelty and wow factor among the younger generation?
Arab women’s tastes, like women everywhere, are constantly evolving. This is due to the rise of the Internet, journalism, social media exposure and easy accessibility to global travel. There’s always a desire for novelty and ‘wow factor’, especially amongst younger generations. It’s human nature to seek fresh and exciting perspectives.
Do you like religious symbols used in jewellery or would you rather keep it creatively different?
Religion, like jewellery, is extremely personal. I appreciate how jewellery can help people of many different backgrounds connect to their faith. Some religious symbols are especially meaningful precisely because they are private and intimate.
As an Omani jewellery designer, which is your best creation so far, and was it sold to any affluent/prestigious buyer?
My favourites include pieces from my frankincense inlay collection. I’ve had buyers from the Gulf, America, Canada and the UK approach me to acquire some of these pieces.
When you customise jewellery, do you follow the client’s requirement or educate them about what’s best for them?
It is important for me to listen to my clients’ wants and needs as well as present them with different options and solutions, ultimately educating them to make the decision that would suit them best.
How popular is your business?
Working in Dubai has been great for me, professionally, because I’ve been able to share my work with a global audience. The global accessibility of Dubai has meant that I’ve been able to make in-person sales to American, British, and European clients, as well as cultivate existing relationships in the Middle Eastern and Asian markets. Muscat is much quieter, on the whole, but provides a clarifying balance from the bustle of doing business in Dubai. Oman will always be my home and it would be very fulfilling to one day be able to showcase my work in Muscat, my hometown, as an Omani jewellery designer.
Do you also shoulder management/business promotion tasks?
At the moment, I’m managing all aspects of the business, from creative direction to production to logistics, marketing and sales. This is to be expected for young designers at the beginning of their career. But I’m looking forward to being able to focus even more exclusively on the creative processes as the brand grows and I develop my team.
If not in this field which other profession is close to your heart?
If not jewellery design, I would love to explore more of fine arts, arts education, academic arts, or research – something deeply creative and thought-provoking. Fashion design and journalism also intrigue me, they share a similar focus on storytelling, aesthetics, and pushing boundaries, which all align with my passion for design and creativity.
As a young designer entrepreneur have you reached anywhere close to your ultimate goal?
I believe, that creativity has no limits and endless possibilities, so I for sure think that I have yet many, many miles to go.
Red is timeless…
Asked about her personal preference of jewellery, Hanan Sultan struck a unique note. “Yellow gold and rubies are my personal favourites. My friends even call me ‘the queen of rubies’. They hold a special place in my heart because they’re a part of my familial heirlooms, and I love the idea of carrying that legacy into the future. Rubies, to me, resemble their colour – red is timeless and powerful.
