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Hira project provides immersive experience of Islamic history, Qur’anic heritage
Makkah Deputy Gov. Prince Saud bin Mishaal bin Abdulaziz recently inaugurated the Holy Qur’an Museum in Makkah’s Hira Cultural District.
Developed under the supervision of and with support from the Royal Commission for Makkah City and the Holy Sites, the museum highlights the Qur’an as the primary source of guidance for Muslims and is designed to enrich the religious and cultural experience for both locals and visitors.
It is home to rare manuscripts, historical copies of the Qur’an and interactive displays that allow visitors to explore the journey of Qur’anic transcription and its preservation through history, the Saudi Press Agency reported.
Spanning about 67,000 sq. meters, the Hira Cultural District is a focal point for those keen to experience the spirit and history of Makkah. Centered on Mount Hira, where the first revelation descended, it includes various facilities designed to enhance the religious and educational experience.
Among them is the Revelation Exhibition, which offers an interactive portrayal of the descent of revelation, and another that allows visitors to ascend to Hira Cave which was the scene of the revelation.
Among the artifacts on display are a photographed copy of the Qur’an manuscript of Uthman bin Affan and several ancient stone inscriptions of Qur’anic verses.
The project also incorporates the Saudi Coffee Museum, the Cultural Library and Hira Park.
The Holy Qur’an Museum will remain open throughout Ramadan.
source/content: arabnews.com (headline edited)
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The museum highlights the Qur’an as the primary source of guidance for Muslims and is designed to enrich the religious and cultural experience for both locals and visitors. (SPA)
The Kuwaiti athlete set a new person best time at the games in the women’s single sculls final rowing competition on Friday
Regional female athletes are giving us plenty to cheer about at the Paris 2024 Olympics.
Team Bahrain’s Amani Al-Obaidly set a new national and personal best record in the women’s 100m backstroke heats earlier this week, while Team Saudi proudly celebrated its first female Olympic swimmer, 17-year-old Mashael Al Ayed. Emirati sprinter Maryam Al Farsi beat out her best time, setting a new personal record during the women’s 100-metre sprint today.
Now Kuwait’s Soaad Al-Faqaan is celebrating her own great accomplishment: setting a new national record in the the women’s single sculls final rowing competition. Soaad is Kuwait’s first female Olympic rower. Today, at Vaires-sur-Marne Nautical Stadium, she beat out her best time by 11 seconds in the women’s single sculls final E race, finishing with a time of 8:05.18 in fifth place.
Earlier this week she came fourth in the qualifying rounds, clocking a time of 8:28.89.
While she won’t be moving forward, Soaad has done a huge service to her country and the sport of rowing — and is clearly an inspiration for aspiring athletes from the region.
Three semi-finalists from the Middle East are in the running for a grand prize of €400,000 and global recognition
Three designers from the Middle East are among the 20 shortlisted names for the 2025 LVMH Prize.
The annual award is handed out across three categories. The Young Fashion Designers winner will receive a €400,000 endowment and a year of mentorship. The Karl Lagerfeld Prize winner will be awarded €200,000 and a year of mentorship, and the Savoir-Faire Prize recipient will receive a €200,000 grant along with mentorship.
Now in its 12th year, the prize has thrown a spotlight on rising talent, with past winners including SS Daley, Ahluwalia, Grace Wales Bonner and Marques’Almeida. The 20 semi-finalists will present their work to LVMH jury members at the Louis Vuitton Foundation at Paris Fashion Week, from which the winners will be selected.
Here’s a look at the three designers from the region who are in the running.
Yasmin Mansour, Qatar
Launched in 2014, the eponymous Qatari label is one of the first homegrown women’s luxury labels in the country. It creates elevated womenswear described as pret-a-couture, or ready couture.
Utilising deft tailoring, bold silhouettes and roomy, architectural shapes, the brand is rapidly making a name for itself. After winning the evening wear category at the 2024 Fashion Trust Arabia awards, Yasmin Mansour is aiming for further recognition at LVMH.
Cynthia Merhej, Lebanon
Lebanese designer Cynthia Merhej founded Renaissance Renaissance. The brand is the product of a strong fashion heritage – Merhej is a third-generation couturier, and combines rich femininity with a deep-rooted sense of rebellion. Its pretty pieces feature delicate elements such as bows, ties and frills that nod to historical notions of what defines “womanhood”.
Look closer, however, and the contemporary shapes and cuts are challenging and new. Frilly mini skirts, ruched tops, bulbous skirts and sheer, tiered dresses are some of the pieces that make this Beirut label beloved of the cool girl crowd, including Chloe Sevigny, while never losing wearability.
Eager to protect the unique dressmaking skills of Beirut, every piece is made in the Lebanese capital. Merhej was chosen for Net-A-Porter‘s The Vanguard global mentorship in 2021, the same year she was a semi-finalist for the LVMH Prize. Will she strike it lucky the second time around?
Ahmed and Razan Hassan, Saudi Arabia
KML is a Saudi menswear label founded in 2022 by Ahmed and Razan Hassan. The designers have built their creations on hours of research into how humans have dressed through history and how meanings have distilled through time. This has resulted in collections that challenge the notions of contemporary fashion and what it signifies.
Some labels could lose themselves in such highbrow thinking but KML retains a keen eye for the wearable, with richly draped wrap tunics, wide-legged trousers and tops with discreet cut-out panels. Clever, intriguing and thought-provoking, it is little wonder that when stylist Law Roach attended 1001 Seasons of Elie Saab in Riyadh, he did so wearing KML.
The collaboration between Israeli and Palestinian filmmakers follows activist Basel Adra as he risks arrest to document the destruction of his hometown
In the film, Israeli journalist Yuval Abraham embeds in a community fighting displacement
“No Other Land,” the story of Palestinian activists fighting to protect their communities from demolition by the Israeli military, won the Oscar for best documentary.
The collaboration between Israeli and Palestinian filmmakers follows activist Adra as he risks arrest to document the destruction of his hometown, which Israeli soldiers are tearing down to use as a military training zone, at the southern edge of the West Bank. Adra’s pleas fall on deaf ears until he befriends a Jewish Israeli journalist who helps him amplify his story.
“About two months ago, I became a father, and my hope to my daughter that she will not have to live the same life I’m living now, always fearing settlers, violence, home demolitions and forcible displacements,” Adra said on stage in Los Angeles. “‘No Other Land’ reflects the harsh reality that we have been enduring for decades and still resist as we call on the world to take serious actions to stop the injustice and to stop the ethnic cleansing of the Palestinian people.”
Abraham, an Israeli journalist, spoke at length about why their film was a collaboration between Israelis and Palestinians. “We made this film, Palestinians and Israelis, because together, our voices are stronger,” he said. “We see each other, the destruction of Gaza and its people, which must end, the Israeli hostages, brutally taken in the crime of Oct. 7, which must be freed.”
In his speech, Abraham added that he and Adra live “unequal” lives. “We live in a regime where I am free under civilian law and Basel is under military laws that destroy his life and he cannot control,” he said. “There is a different path, a political solution without ethnic supremacy, with national rights for both of our people.”
Abraham stated that US foreign policy under the administration of President Donald Trump “is helping to block this path.”
“Why can’t you see that we are intertwined, that my people can be truly safe if basil’s people are truly free and safe?” he added.
“No Other Land” came into the night a top contender after a successful run on the film festival circuit. It did not, however, find a US distributor after being picked up for distribution in 24 countries. For the Oscar, it beat out “Porcelain War,” “Sugarcane,” “Black Box Diaries” and “Soundtrack to a Coup d’État.”
The documentary was filmed over four years between 2019 and 2023, wrapping production days before Hamas launched its deadly Oct. 7, 2023 attack on Israel that started the current war in Gaza.
In the film, Israeli journalist Yuval Abraham embeds in a community fighting displacement, but he faces some pushback from Palestinians who point out his privileges as an Israeli citizen. Adra says he is unable to leave the West Bank and is treated like a criminal, while Abraham can come and go freely.
The film is heavily reliant on camcorder footage from Adra’s personal archive. He captures Israeli soldiers bulldozing the village school and filling water wells with cement to prevent people from rebuilding.
Residents of the small, rugged region of Masafer Yatta band together after Adra films an Israeli soldier shooting a local man who is protesting the demolition of his home. The man becomes paralyzed, and his mother struggles to take care of him while living in a cave.
source/content: arabnews.com (headline edited)
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Basel Adra, Rachel Szor, Hamdan Ballal and Yuval Abraham win the Oscar for Best Documentary Feature Film for “No Other Land” during the Oscars show at the 97th Academy Awards in Hollywood, Los Angeles, California, U.S., March 2, 2025. REUTERS/Carlos Barria
‘From Ocean to Gulf: Heritage Music of the Arab World’ is a new series by Ahram Online, in partnership with the AMAR Foundation (Foundation For Arab Music Archiving and Research).
Music is a powerful force for healing and reconnecting us with our roots and shared humanity in a world of numerous challenges.
‘From Ocean to Gulf: Heritage Music of the Arab World’ is a new series by Ahram Online, in partnership with the AMAR Foundation (Foundation For Arab Music Archiving and Research). Focusing on the early years of recording in our region that reflected a modern cosmopolitan repertoire, which coincided with the Renaissance era that flourished in Egypt between the mid-19th century to the 30s of the twentieth century, this initiative aims to introduce our audience to the iconic figures of Arab music whose contributions have enriched our intangible cultural heritage and inspired generations worldwide.
Our series kicks off with Munira Al-Mahdiyya (1885-1965), the Sultana of Tarab Music.
El Set Munira (1885-1965)
In Arab culture, the adjective “Set” is associated with a special high status and great admirable value to any woman. Known to the public as El-Set (The Lady), Munira Al-Mahdiyya stands out as a music icon, a feminist, and a patriotic figure of the early twentieth century. Born in the delta governorate of Zaqâzîq, Egypt, Munira, whose real name was Zakiyya Mansûr Gânim or Zakiyyya Hassan, was known for her powerful, enchanting voice and presence.
She took the Azbakiyya stages by storm at the beginning of the 20th century and had her first records in 1906, making her one of the few women producing commercial recordings before WW1.
‘ālima verses’ ālima
Munîra mastered a learned repertoire and was a versatile ‘ālima, as per the dominant practice in the 19th century. At private concerts, she sang adwar and qasâ ‘id for men and reserved the taqtuqa for women or the public audiences of the theatres. She was also a great mawwāl singer.
The word’ ālima means “the learned,” but it can also refer to a female singer of the wedding repertoire.
By the 20th century, the term‘ālima had another connotation, namely muṭriba, a singer of high-standard repertoire for high-class audiences. At the same time, a‘ālima was a mundane singer whose repertoire consisted exclusively of female wedding songs, mostly ṭaqṭūqa, Egyptianized Aleppan qadd, or Aleppanized Egyptian ṭaqṭūqa.
So, Munīra al-Mahdiyya is a symbol of this transitional period and may be the one who changed the name of dawr-singing ‘ālima to muṭriba. The repertoire recorded by Munīra al-Mahdiyya with Baidaphon, Odeon, and Zonophone is, in part, very similar to what her predecessor, Bahiyya al-Maḥallawiyya, recorded.
“Usṭa Munīra” and her Culture Café
In Ratība al-Ḥifnī’s book titled Munira al-Mahdiyya, she indicates that “after this continuous success –around 1910/12, Munīra rented a café in Azbakiyya which she furnished luxuriously and named “Nuzhat al-Nufūs”, and which soon became famous as the gathering spot of artists, intellectuals and thinkers, in addition to the elite of society, notables and major businessmen, who met there daily. No other café in Egypt was as famous as “Nuzhat al-Nufūs.” The cafe became so famous that the British authorities had to acknowledge its special status and allowed only this café to operate as usual even after they decided to close down all the cafés and gathering places upon the start of WW1 in 1914.
Munira the first
Munīra al-Mahdiyya started her theatre career around 1916, according to various sources. She joined the troupe headed by Salâma Higazi, and after the onset of Higazi’s last illness, she sang the role that had been written for him in “Salâh al-Din al-Ayyûbî”. This is how, disguised as a man, she was the first Egyptian Muslim woman to perform on stage. She was also the first muṭriba to perform on stage without a ḥijāb, or veil. She reached the peak of success in January 1927 with the presentation of “Kilyûbatrâ wa Mârk Antuwân” (Cléopatre and Marc Antoine) with Muhammad Abd al-Wahhâb.
She formed and managed her own company for over ten years and performed new roles written primarily for her, including Arabic adaptations of Tosca, Carmen, and Madame Butterfly. Accordingly, she was one of the first leading female cultural entrepreneurs.
The breeze of freedom in Munîra al Mahdiyya’s theatre
Her company frequently performed patriotic songs that were summarily censored by the British, giving rise to the slogan “Hawa al Hurriya fi masrh Munîra al Mahdiyya” (The breeze of freedom in Munîra al Mahdiyya’s theatre). An independent and famous woman, in 1926, Munîra received a medal from the Ministry of Public Works for services rendered to the revival of Arab singing. Munîra is also the most famous of a multitude of artists of the theatrical scene during the 1920s.
Munira was also known for her patriotism. In 1922, exactly two years after the tomb of Tutankhamun was discovered in the Valley of the Kings in Luxor, Munīra al-Mahdiyya sang a ṭaqṭūqa to the maqām jahārkāh –composed by Al-Qaṣṣabjī– “Mā ygibshi zayyī in laff el-kōn, dah iḥnā abūnā Tut’ankhamūn” (I am like no other for I am the granddaughter of Tutankhamen). The ṭaqṭūqa is politically significant in that it demonstrates that a political, patriotic, and ideological link between Egypt’s ancient and Islamic history had infiltrated the hearts of the people, who considered the ancient Egyptians as their ancestors, thus echoing the Wafd party’s discourse following the 1919 revolution. Furthermore, Munīra sang “Shāl el-ḥamām ḥaṭṭ el-ḥamām” (Doves flew, doves came back) after the first and second exiles of Saad Zaghlūl.
Munīra al-Mahdiyya’s most significant successes as an artist came first during her Baidaphon era in the early 1920s after she returned to Cairo following her long tour in the Levant and after forming a takhet on her first encounter with the theatre. Then, in 1925, she became enormously successful after performing Dāwūd Ḥusnī’s operetta “Al-Ghandūra,” which she adapted for the cinema a decade later. Unfortunately, the movie, a significant record of Munira’s theatrical performance, has been lost. She later performed in many other plays where the patriotic hints in her performance were captured readily by her audience, giving her an aura of patriotic significance closely associated with the still famous commercial slogan “The breeze of freedom”.
Munira opened the door to several performers who followed in her footsteps, including Badiaa Massabni (1892-1974) and alma Bamba Kashar’s nieces, Fathiyya and Ratîba Ahmad, who performed in local operettas. Later in the same decade, ̕Azîza Hilmî and Fâtima Sirrî became singing actresses, but like Munîra, were unfortunately forgotten at the end of the 1930s.
In the mid-1950s, the Egyptian Radio dedicated a two-hour show to Munira, whom they called “Sultana of Tarab.” A short television interview followed this in 1961. Munira passed away in 1965 in the shadow of her previous achievements and glory.
For more about Munira, please check the Munira Podcast series by AMAR.
The Arab-Hellenic Chamber of Commerce and Development hosted Tuesday the fifth workshop, “Doing Business in the Arab World,” in Athens, alongside the sixth roundtable discussion, “Meet the Arab Ambassadors.”
The roundtable, moderated by Rashad Mabger, the chamber’s secretary-general, welcomed 88 business leaders from 67 Greek companies.
It featured discussions on Arab-Greek relations with participation from several ambassadors, including Omar Amer (Egypt), Saad Alammar (Saudi Arabia), Mohammed Sbihi (Morocco), Mansour Saad Alolaimi (Kuwait), and Zuhair Ensour (Jordan). They addressed their countries’ relations with Greece, investment opportunities, and prospects for enhancing bilateral trade and business collaboration.
Egypt’s Ambassador Amer highlighted the growing economic and trade ties between Egypt and Greece, referencing key strategic projects in the energy sector, such as the electrical interconnection initiative.
He also pointed out promising investment opportunities in infrastructure, port connectivity, maritime transport, and joint tourism, which align with the mutual interests of both nations. He elaborated on the incentives that Egypt offers to attract foreign investments.
The second session featured Ambassadors Souad Trabelsi (Tunisia) and Ali Khalfan Al-Mansouri (Qatar), along with Chargés d’Affaires Firas Al Rashidi (Syria), Amjd Elyas (Sudan), Marwan Francis (Lebanon), and Adra Benboudiaf (Algeria).
Moderated by Haris Lambropoulos, president of the Hellenic Development Bank of Investments, the speakers highlighted their countries’ investment environments and preferred sectors to enhance trade ties and partnerships with Greece.
Harry Theoharis, a member of the Hellenic Parliament and candidate for the UN Tourism Secretary General position, reiterated his commitment to bolstering Arab-Greek relations across business and cultural sectors, building on his previous role as minister of tourism and vice minister of economy.
Dimitris Skalkos, Greek secretary-general for international economic relations, discussed the Hellenic government’s initiatives to strengthen Greek-Arab cooperation and outlined Greece’s potential as a business and investment hub.
Kyriakos Pozrikidis, managing director of TIF HELEXPO S.A., elaborated on the rich history and significance of the Thessaloniki International Exhibition as Greece’s premier international fair.
As a cherished tradition, the fifth edition of the “Doing Business in the Arab World” workshop offered valuable insights for Greek entrepreneurs aiming to enter or expand in Arab markets.
Takis Kakayannis, trade commissioner and former president of the Greek community in Morocco, shared key aspects of doing business in Morocco.
Spyros Xanthis, managing director of EUROSOL HELLAS S.A. and board member of the Arab-Hellenic Chamber, moderated a panel featuring presentations by Commercial Attachés from various Greek embassies, including Afroditi Iconomou (Algeria), Stamatios Zachariadis (Tunisia), and Evangelos Dairetzis (Cairo), along with staff members from the Greek Ministry of Foreign Affairs.
The workshop concluded with representatives from Greek companies engaging in direct discussions with commercial attachés, gaining insights into the specific dynamics of Arab markets.
The Arab-Hellenic Chamber invited attendees to participate in the second Arab-Hellenic Maritime Conference, which is scheduled for 25-26 June this year.
Performed on special occasions, the performance showcases the Kingdom’s heritage
It begins with the recital of a poem, followed by drummers setting the rhythm for the dancers
The Founding Day celebrations set a Guinness World Record for the largest Saudi Ardah performance in Riyadh, with 633 participants showcasing this traditional dance.
This achievement underscores the Ardah’s deep-rooted significance as a national tradition, reflecting pride in Saudi identity and a commitment to preserving and promoting cultural heritage globally, the Saudi Press Agency reported.
Organized by the Royal Commission for Riyadh City and the Principality of Riyadh Region from Feb. 20 to 23, the Founding Day event attracted hundreds of thousands of visitors from diverse backgrounds.
Performed on special occasions, the performance showcases the Kingdom’s heritage. It begins with the recital of a poem, followed by drummers setting the rhythm for the dancers.
The group leader then takes the stage, wielding a blade and demonstrating precise movements that mirror those of warriors in battle.
source/content: arabnews.com (headline edited)
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Founding Day celebrations set a Guinness World Record for the largest Saudi Ardah performance in Riyadh. (SPA)
With an investment of almost USD 12 billion, the UAE was Egypt’s largest backer, trailed by the US at USD 10.3 billion.
Egypt received the highest international investment in the Arab world in 2024, securing nearly USD 30 billion across 122 projects, about a third of the region’s total, according to a report by regional investment agency Daman.
The UAE was noted as the country’s top investor, contributing almost USD 12 billion, followed by the United States with USD 10.3 billion. Total foreign investment in the Arab world reached approximately USD 80 billion with Saudi Arabia ranking second after Egypt, attracting USD 17.6 billion,
while the UAE followed with USD 13.3 billion. Although the report does not specify project types, experts suggest most investments focused on oil, gas and renewable energy.
In the world of fragrances, few names evoke as much resonance and admiration as Swiss Arabian Perfumes Group. Established as the first perfume manufacturer in the UAE, this year marks a significant milestone for the renowned UAE-born perfume house as it celebrates its golden jubilee – 50 years of crafting perfumes with luxury and elegance.
The beginning was in 1974 when Swiss Arabian seamlessly blended Arabian perfumery techniques with modern innovation. Hussein Adam Ali, Founder and Chairman of SAPG, came from Yemen to the UAE in 1974 with a dream. A man driven by an insatiable passion for perfumery and a deep appreciation for the art of scent, he laid the foundation for what would become a global fragrance empire.
Over the past five decades, Swiss Arabian has gained global recognition and taken pride in representing the art of perfumery to the rest of the world. As we reflect on five decades of fragrance mastery, it’s a story worth exploring about how this fragrance empire was built. Hussein Adam Ali’s keen understanding of the nuances of fragrance, coupled with an unwavering commitment to excellence, drove the brand to new heights.
“When I first moved to the UAE, I walked in the sun to save on taxis. This country became my home and turned my dreams into reality.”
“I was 30 years old when I came to UAE to set up my business here. This country became my home and turned my dreams into reality. With an investment of half a million dirhams, 5,000 square feet perfume factory had been set up in Sharjah and became fully operational in six months. I was my own boss and drew a minimum stipend to cover my expenses. Today, SAPG has over 1000 employees and global business operations,” says Hussein Adam Ali, Founder and Chairman, SAPG.
His sons, Nabeel Adam Ali and Nader Adam Ali joined the company at a young age as well, and through their leadership, shaped Swiss Arabian Perfumes Group into a multinational award winning perfume house.
Swiss Arabian’s growth strategy is their product. Constantly innovating, creating and ensuring customer satisfaction is the core of their business. The brand’s continuous efforts at striving for perfection is evident in every aspect of its operations, from sourcing the finest raw materials to the meticulous craftsmanship that goes into creating each bottle of perfume.
Despite the evolving trends and preferences in the perfume market, the brand has stayed true to its roots while embracing modern techniques and ingredients. This dedication to both tradition and innovation has earned Swiss Arabian a loyal following and global expansion. The Group also expanded to more brands such as Sapil Perfumes, Shirley May, Shirley May Deluxe and Alta Moda.
As Swiss Arabian Perfumes Group commemorates its 50th year, it is a celebration of longevity and a testament to hard work. Looking ahead, the company remains committed to pushing boundaries and creating fragrances that resonate with the diverse tastes and preferences of its clientele.
