Month: December 2023
MENA: Breakthrough Artists of 2023 (Middle East & North Africa)
MENA: Best Albums Of 2023 (Middle East & North Africa)
The SceneNoise team presents their picks of the 50 best albums released across the MENA region in 2023.
As 2023 comes to a close, the SceneNoise team takes a look at the most prominent albums and EPs released in the MENA region during the year. From pounding post-Shaabi rhythms to free-form Jazz compositions and speaker-rattling Trap and Drill, the year was full of artists taking risks with their sonic identities, as the regional music scene as a whole has begun to embrace change and development when it comes to the styles that shape our sound.
Here are our picks for the top 50 albums and EPs of 2023:
Marwan Moussa – Import / Export
A prominent figure in Egypt’s rap scene and winner of the Best African Rapper award, Marwan Mousa’s 2023 album ‘IMPORT//EXPORT’ delved into two distinct styles. The first half, aptly titled ‘IMPORT’, showcases a fusion of western-influenced trap and drill, while the second half, ‘EXPORT’, embraces the rich sonics of Shaabi music in collaboration with multi-platinum Grammy-nominated producer Khaled Rohaim.
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3Phaz – Ends Meet
3Phaz’s distinctive approach to Egyptian and electronic music in his latest album, “Ends Meet,” has garnered widespread acclaim for its innovative take on deconstructing Shaabi rhythms and Arabic melodies with a blend of traditional sounds from Shaabi and Mahraganat, as well as intersections with Grime, Techno, and Bass-heavy subcultures.
‘Ends Meet’ captures a world that may not be utopian but exudes a sense of liberation and joy through seven percussion-driven compositions, featuring hard-hitting kicks, dynamic rhythmic excursions, and traditional flute-like synth melodies.
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Grande Toto – 27
ElGrandeToto leaves his mark once again on the global music scene with his latest release, ‘27’. The album showcases Toto’s journey from the streets of Casablanca to a sold-out concert at the legendary Olympia in Paris, solidifying his position as the most streamed Arabophone artist on Spotify.
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The Wanton Bishops – Under the Sun
The Wanton Bishops’ album ‘Under the Sun‘ defies genre categorization, encompassing Oriental, Electronic, Blues, Rock and Roll, Psychedelic, Surf, Synth-pop and Dance influences. The album serves as an ode to Beirut, uniting the city’s divided polarity and bridging the gap between the post-war generation and internet millennials.
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Hady Moamer – Zekrayat ElMostabal
Hady Moamer, known under the pseudonym Jean Bleu, has been steadily rising in Egypt’s music scene. After making his mark as both a producer and rapper with the eclectic EP ‘Darbt Bar2‘, Moamer unveiled his second EP, ‘Zekrayat Elmostabal‘ (‘The Memories of The Future’), a captivating collection of tracks that blend Upper Egyptian folklore with modern British sounds, exploring a range of human emotions.
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Pink Seasalt – Out of Luck
Egyptian indie rock band Pink Seasalt took us on a trip with their dreamy and eclectic tunes on their album ‘Out of Luck’. Led by guitarist and songwriter Mahmoud Hafez, the band’s mesmerising live performance at Memphis Records’ Tidal Dream Festival earlier this year showcased their talent and won the hearts of a crowd of fans.
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El Mokh – El Magzar
Egyptian music producer El Mokh, took a new direction to Mahraganat music in his debut album ‘El Magzar.’ Seamlessly blending influences from Lofi, Shaabi, Mahraganat, and Hip-hop, the album features seven tracks that artfully divide into two distinct halves.
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Xander Ghost – Fayadan
Cairo-born, UK-based rapper and producer Xander Ghost’s ten year long career with music has led him to develop a unique blend of electronic music, pop, and rap music that maintains accessibility in his EP ‘Fayadan‘, a fusion of experimental mixes, Synth-Trap beats, and unexpected sounds rarely heard in Arabic rap.
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Noel Kharman – Mouthakerti
Rising to regional notoriety through her viral mash-ups of Arabic classics and modern pop songs, followed by a successful run of original releases, Palestinian artist Noel Kharman finally released her long awaited debut EP ‘Mouthakerti’ (My Diary), where she channels a blend of Arabic Pop influences while tackling love, loss, hope and ambition.
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Taymour Khajah – Barren Land
In music, it’s said that you need to know all the rules before you can break them. On ‘Barren Land’, Kuwaiti multi-instrumentalist, composer, and music producer Taymour Khajah takes this statement to heart as he deftly blurs the lines between technical prowess and rebellious cacophony in his blend of spoken word vocals and free-thinking Jazz instrumentals.
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Dina El Wedidi – Five Seasons
On her latest EP ‘Five Seasons’, Egyptian artist Dina El Wedidi effortlessly laces dense melodic and rhythmic ideas into an accessible fusion of Jazz, Pop, and traditional Arabic music in one of her most intricately arranged releases to date.
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Hamza Namira – Raye2
‘Raye2’ serves as a glimpse into current-day Egyptian Pop music, as the album embraces elements from emerging global trends such as Afrobeats, while still maintaining the quintessential feel-good energy of a Pop record. With artists around the region experimenting with similar sonics, this album stands out for the sheer effort and attention to detail found in its thoughtful production and songwriting.
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Husayn – Switch
After his success with the Egyptian rap group Maadi Town Mafia, Husayn took the opportunity to explore his own personal sound with his album ‘Switch’, where he touches on genres like Pop, EDM, old-school Hip-hop, and Trap, while tying everything together under the concept of making the switch between different personas to interact with different people.
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Muhab – Ya Kahera
Having made a name for himself in the Egyptian rap scene in the last year with the release of two full-length albums, ‘Bye’, and ‘Ya Kahera’, Muhab struck a chord with Rap fans due to some similarities with Egyptian Rap pioneer Marwan Pablo. However, in ‘Ya Kahera’, the artist began developing a sound that he could truly call his own, where he adopts elements of Egyptian Trap and Shaabi instrumentals, while veering further from typical Rap flows and looking more to RnB inspired vocals.
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Assyouti – The Disintegration of Eric Omelette
Considered a pioneering figure in Cairo’s underground electronic music scene, Egyptian producer Assyouti has established himself over the years through his high-octane releases and unmatched energy. On his latest release ‘The Disintegration of Eric Omelette’, Assyouti outdoes himself yet again with a collection of no-nonsense jungle and his personal spin on breakcore.
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Saint Levant – From Gaza With Love
After being propelled into the global mainstream with the success of his 2022 single ‘Very Few Friends’, Palestinian artist Saint Levant took on the task of developing his new-found style of sultry trilingual RnB on his sophomore EP ‘From Gaza, with Love’, where he revisits a series of tumultuous love affairs, funnelled through the melodies that shaped his upbringing.
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Shobee – HOWLS
Moroccan artist Shobee has been consistently rising through the ranks of the kingdom’s rap scene, showcasing smooth flows and an underlying musicality throughout his spontaneous releases. Having released his debut album ‘HOWLS’ earlier this year, the rapper made a point to display his versatile and experimental instrumentals in the concise full-length project, while retaining his low-key energy that he has become highly regarded for.
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Wingii – Magnesto
Much like fellow rapper and Maadi Town Mafia member Husayn, Egyptian rapper Wingii also uses his debut album to explore his own sound with a mix of Jersey Club, Trap, and Drill beats, along with some Alt-rock and piano-based instrumentals in the introspective album named after, and heavily inspired by, the life of his uncle Mangesto.
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Rasha Nahas – Amrat
Departing from big-band arrangements and opting instead for a more minimalistic pallet, Rasha Nahas’ ‘Amrat’ is a story of two chapters; the first driven by loneliness and alienation, written during the pandemic while suffering a hand injury, and the second driven by a longing for home. In the process of writing the album, Nahas’ injury limited her usual guitar-based workflow, leading her to experiment with new sounds and electronic instruments, marking the album as a transformative point in the artist’s career.
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Ouella – Yak Labas
‘Yak Labbas’ is a 6-track EP in which Moroccan artist Ouella expresses his longing for his Moroccan heritage. Born and raised in Egypt, Ouella’s experience has been that of feeling like an outsider in either culture, and in this EP, he dives into his constant need to connect with his roots.
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Maurice Louca & Elephantine – Moonshine
Forming a musical family of sorts while recording the album, Egyptian experimentalist Maurice Louca and the band of free-form Jazz musicians, Elephantine, have developed a close interpersonal connection that sits at the core of ‘Moonshine’. With two drummers, expansive arrangements, and an underlying sense of melancholic expression, the album delivers a sonic experience that is both organic and intoxicating.
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Tardast – Leave to Remain
Speaking on his struggles as a refugee in the UK, Iranian grime MC Tardast’s Farsi flows, signature production style, and traditional influences give ‘Leave to Remain’ its distinct sound, coined as ‘Farsi Grime’ by the artist himself. In this album, Tardast refines this sound even further as he recounts his growth as an artist in the diaspora.
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SANAM – Aykathani Malakon
Lebanese free-rock sextet SANAM’s debut album is an otherworldly exploration of spacious textures, poignant poetry, and visceral instrumentation. Having decided to record the album live with no overdubs, the six seasoned musicians’ varied backgrounds blended together in the undirected harmony that arose from their improvisation.
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Laï – Digital
In her debut EP ‘Digital’, Lebanese singer-songwriter Laï ventures into a dark interpretation of Pop music, full of moody textures and ominous atmospheres, in a style she describes as Anti-pop. The ambitious concept of the album, along with the animated visualizers, present Laï as a digital version of herself, adding to the nuance of emotional exploration found on the release.
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QOW – EL Mosameh Sherine
By sampling and rearranging some of Sherine Abdel-Wahab’s most memorable ballads, Egyptian producer QOW, also known as Omar El Sadek, takes listeners on an unfolding ambient odyssey, where evolving textures and soft melodies draw listeners into the project’s hypnotic draw.
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Baskot Lel Baltageyya – Baskot
While listening through this album, you may pick up on elements from genres such as Alternative Rock, Electronica, or Post-shaabi, but when fused together, the sound of ‘Baskot’ defies categorization, as it does not lean too heavily on any one influence. Instead, the album only weaves these familiar elements within the surreal soundscapes that give the album its character, brought to life through Adham Zidan’s experimental compositions and Anwar Dabbour’s uncanny songwriting.
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ZULI – Komy
While legendary Egyptian producer ZULI’s latest EP ‘Komy’ is full of hard-hitting club bangers, it is only a taste of what the artist has in store for the future, as he explains that the EP is a collection of tracks that have been sitting around for years, with some dating back to as early as 2016 which he wanted to “get out of the way” before releasing his newer material. The EP still stands out as an innovative release, in which the producer looks to collaborators around the region to expand his sonic influence. The producer, along with his collaborators, also made the commendable decision to donate all proceeds to Medical Aid for Palestinians (MAP).
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Zenobia – Warriors Never Die
Musical duo Zenobia ventures into the realm of Palestinian folk songs, specifically those associated with women’s melodies. Zenobia carefully selected four emblematic folk songs traditionally sung by women, originally intertwined with moments in everyday life such as weddings, celebrations, and funerals, amplifying the voices of marginalised individuals, becoming a conduit for the narratives of the unheard.
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Shkoon – Masrahiya
Delving into the Arabic rendition of “theatre” or “a play,” Shkoon’s latest album, ‘Masrahiya,’ explores the intricacies of performances and the masks we wear in our daily existence. ‘Masrahiya’ unfolds as a masterful tapestry within the framework of a three-chaptered album, where themes of tragedy, politics, and irony seamlessly intertwine. The duo characterises their music as a perpetual rebellion against traditional sonic norms, ardently endeavouring to surpass cross-cultural boundaries and reflect on the multifaceted nature of the human condition.
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Mishaal Tamer – The Deep
Mishaal Tamer’s enchanting voice transformed the Saudi singer into the Middle East’s loverboy. Each song on the album casts a spotlight on pivotal moments that have shaped Mishaal’s life and career. The album is a poignant exploration of the artist’s fears and anxieties, and reflects his willingness to confront and share the most intimate chapters of his personal narrative through the medium of music.
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Lana Lubany – The Holy Land
Palestinian Pop artist Lana Lubany’s ‘The Holy Land’ is an introspective, eight-song musical exposé, examining themes of homeland and belonging. Connecting Western and Middle Eastern sounds, Lana Lubany’s distinct, alluring, and rhythmically bilingual music resonates loudly in her latest release. ‘The Holy Land’ presents the narrative of her personal odyssey from self-loss to self-discovery with each song functioning as a distinct chapter representing negativity, temptation, mental turmoil, reaching a point of no return, and ultimately reclaiming personal strength.
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El Kontessa – Nos Habet Caramel
El Kontessa’s inaugural album, ‘Nos Habet Caramel’, unites seven sample-rich, rhythm-infused tracks characterised by percussions, impactful vocal hits, synths, and sounds sourced from Cairo’s environments. Seamlessly merging her production skills with DJ expertise, El Kontessa crafts each track into a condensed and dynamic structure reminiscent of a DJ’s set.
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Tinariwen – Amatssou
‘Amatssou’ is the ninth album by the Tuareg band Tinariwen, with the album’s title meaning “beyond the fear” in Tamasheq, a Berber dialect. The Tuareg band intertwines their trademark winding guitar melodies and mesmerising rhythms with contributions from guest musicians, including Daniel Lanois on pedal steel, piano and strings. The enriched arrangements give the songs a grand and universally resonant quality. Infused with poetic allegory, the lyrics advocate for unity and freedom. Within the songs, themes of struggle and resistance emerge, subtly alluding to recent political turmoil in Mali.
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Youmna Saba – Wishah
‘Wishah’, which translates to ‘Veil’ in Arabic, is a musical composition composed by Youmna Saba featuring voice, oud, and electronic sounds. Structured into five distinct chapters, the composition unfolds to reveal a process of gradual revelation. Each track peels away layers of constructed emotions and perceptions intricately woven over time, exposing a space that no longer holds existence. “Wishah” serves as a poignant farewell to home, capturing the essence of departure and the transformative experience that accompanies it.
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TIF – 1.6
Hailing from Algeria, TIF stands as a trailblazer in the burgeoning North African rap scene, seamlessly blending Hip-hop bass with Oriental influences. Often referencing themes of love, emancipation and homeland in his lyrics, TIF is a master in code switching, with his soft vocals offering a fresh approach to rap. ‘1.6’ is a highly awaited follow-up to his standout performance on ‘Houma Sweet Houma’ in 2022.
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Teen Idle – Nonfiction
In her latest album, ‘Nonfiction,’ New-Jersey-raised Egyptian-born musician Sara Barry explores themes of departure, heartbreak and the challenges of growing up. The album vividly depicts the perpetual process of bidding farewell to childhood and the hardships that accompany adulthood, underscoring our hesitancy to embrace change. Through its 11 tracks, ‘Nonfiction’ skillfully blends indie-rock with bedroom pop, creating a sonic landscape that blurs traditional boundaries.
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Mayssa Jallad – Marjaa: The Battle of the Hotels
‘Marjaa: The Battle of the Hotels’ is a concept album based on singer-songwriter Mayssa Jallad’s dual expertise in music and urban research. Crafted in collaboration with producer Fadi Tabbal, the music intricately weaves Tabbal’s spatial approach to sound with Jallad’s exploration of Beirut’s Hotel District. The album is a homage to Jallad’s master’s thesis in Historic Preservation, a comprehensive study detailing the history of the Battle of the Hotels that unfolded in the late 70s in Lebanon.
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Acid Arab – Three
The Franco-Algerian collective Acid Arab’s latest, titled ‘٣ (Trois)’ features ten tracks of compelling dancefloor hits. The album’s sophisticated production and the captivating performances of eight guest vocalists from North Africa, Syria, and Turkey contribute to its diverse and intriguing nature. Acid Arab incorporates Algerian Gasba, Anatolian Trance, Synthetic Dabkeh, and Bionic Raï. With nearly a decade of exploration in various music genres through collaborations and extensive travels across the Mediterranean and beyond, Acid Arab continues to push boundaries.
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Vargas – I Hate Summer
In his second studio album, Moroccan rapper Vargas ventures into new territories, exploring a fusion of techno, rap, dance, and drill. ‘I Hate Summer’ has a variety of low and high energy tracks which share the same fusion of sounds and genres that are distinct to Vargas’ persona.
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Hassan AbouAllam – Shalfata
Cairo-based Hassan AbouAllam’s latest dance album is made up of four tracks, plus a remix of each of them from renowned producers and dancefloor masters Zuli, 3Phaz, Trakka, and Joaquin Cornejo. The project is marked by clean mixed drums and distorted sound design and vocals, giving listeners some ear candy within every track.
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Marwan Pablo – Akher Qet3a Faneya
After another lengthy hiatus, Alexandria-born rapper Marwan Pablo dropped his long-awaited ‘Akher Qet3a Faneya’. The album was mostly produced by Pablo himself, along with a few tracks produced by frequent collaborator Hadi Moamer. Although Pablo didn’t necessarily switch his sound, he introduced new flavours and twists that added to his discography of bouncy production and social commentary-based rhymes, illustrating the dark realities of his personal experiences in society.
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El Sawareekh – 2oll Ya Rayek
This project illustrates the Mahraganat duo’s originality and consistent efforts to develop their sound. By incorporating numerous elements from genres such as Shaabi, Hip-hop and Pop, they have managed to refresh their influential style in their latest EP.
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Zaid Zaza – Zaza El Waseem
On his latest album ‘Zaza El Waseem’, Ziad Zaza points to change as his main motivation behind the LP. The Fayoum-born, Cairo-based artist juggles multiple genres on this release, dabbling with EDM, Pop and Mahraganat sonics while also staying true to the Drill sonics that have defined his sound in the past.
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MOSHTRQ – VA01 MOSHKILA
After establishing a reputation for themselves within Cairo’s underground music scene, MOSHTRQ’s first release as a collective sees them embarking on an exploration largely centred around fast tempos and left-field sonics. From Postdrone’s warped break-beats and vocal chops to Yaseen and Dakn’s tempo shifting hybrid bass banger, it’s safe to say that every MOSHTRQ artist adds their own distinct sound and character to this release.
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Afroto – Belad
Afroto’s five-track EP ‘Belad’ showcases his diversity as an artist as he expands his vocal style within multiple genres ranging from Shaabi, Trap and Electronica. ‘Belad’ also features regional rap stars Ziad Zaza and Marwan Moussa, who amplify the energy of the EP with their electrifying verses.
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Sabine Salame – Tafi El Daw
Lebanese artist Sabine Salame’s debut album features 10 diverse tracks that take the listener through the different emotional stages of immigration. The album stands out due to its effortless merge of Rap, spoken word and melodic singing. Through the use of dark humour, Sabine is able to translate her personal tragedies of separation and alienation into an overall uplifting experience. The album is a collaboration with fellow Lebanese producer and sound design artist, Jawad Nawfal AKA Munma.
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Mvndila – HYDR
Straight from the heart of Sudan emerges 23-year-old up-and-coming rapper, singer and songwriter Mvndila who delivers heartfelt testimonies about the emotional toll of being a young man in a modern day Sudan on his latest EP ‘HYDER’. The five-track EP comes with heavyweight production credits boasting names like ‘77, Sammany, Swish, Khayyat, and MarwanOnTheMoon, while covering topics such as depression, love and codependency.
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Lil Baba – Seif
Known for his influential production style, Lil Baba’s debut EP as a rapper showcases his singing chops, smooth flows and witty wordplay. The release also brings together members of ‘El Mexic’ collective such as Abo El Anwar, Ahmed Santa, and Abyusif, as well as Egyptian hit-maker 3enba to deliver a diverse list of tracks that maintains a consistent vision and sound throughout.
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Eldab3 – 3awdet Eldab3
Although Eldab3 hasn’t been the most active artist throughout his career, when he does release, he makes sure that he offers a valuable addition to the sound coming out of the region. In ‘3awdet Eldab3’, the artist refines his fusion of Rap, Electronic and Mahraganat to create well-rounded entries that solidify his artistic vision with his most concise collection of tracks to date.
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Abo El Anwar – Akhro Noor
Prolific Egyptian rapper Abo El Anwar dropped his first full-length album ‘Akhro Noor’ in early 2023. The project features a set of heavy hitting tracks that revolve around Jersey club beats, old school Rap sonics, as well as some emotional RnB tracks. The project also features summer-hit Blanco, featuring Maadi Town Mafia member Husayn, where the pair go back and forth along the track while effortlessly merging their flows and lyrics creating a catchy sing-along that took TikTok by storm.
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source/content: cairoscene.com (headline edited)
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MIDDLE EAST & NORTH AFRICA
QATAR: 3D Printed – Longest Independent Concrete Structure Built using 3D Printing Technology enters Guinness World Records
The pavilion of the Ministry of Communications and Information Technology (MCIT) TASMU (SMART Qatar) recorded the longest independent concrete structure built using 3D printing technology.
According to the Qatari News Agency (QNA), the pavilion of the Ministry of Communications and Information Technology (MCIT) TASMU (SMART Qatar) has entered the Guinness World Records Book as the longest independent concrete structure built using 3D printing technology.
On this occasion, HE Minister of Communications and Information Technology Mohammed bin Ali bin Mohammed Al Mannai stated that the Guinness World Record is not only a symbol of innovation and achievement, but also a testimony to the State of Qatar’s commitment to transcending all boundaries in the field of technology – promoting fruitful cooperation and providing innovations that improve peoples lives. The MCIT pavilion is tangible evidence of the technological progress witnessed by the State of Qatar, where traditional values are in harmony with advanced technology to meet global challenges.
The Ministry’s pavilion was built on an area of 170 square meters with a height of 12.4 meters, and was designed in the form of a tower consisting of ten levels with seven bricks in each row. It was built from 75 individually 3D printed pieces, as “an ideal example of fruitful cooperation between different talents and experiences, and a living example of transforming ambitious visions into tangible reality,” according to the QNA.
MCIT is actively contributing to Expo 2023 Doha as an event that is in line with Qatar National Vision 2030 and focuses on sustainability and innovation. The Ministry’s pavilion represents its commitment to providing technology-based solutions and enhancing efforts made in support of sustainability endeavors that are in the interest of residents, citizens, companies, and visitors in the State of Qatar.
Recently, Qatari students – Mohammad Fadhel Annan and Lujain Al Mansoori – were awarded 25,000 QAR from a Qatar Development Bank (QDB) competition for their 3D printed vegetable development, in which they used a custom-made 3D printer and a combination of artificially grown vegetable cells and UV-sensitive 3D printer ink.
source/content: voxelmatters.com
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Source: Qatari News Agency (QNA).
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QATAR
MOROCCAN-BRITISH: Model Nora Attal is going places but never forgets where she’s from
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.
source/content: thenational.ae (headline edited)
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pix: Vogue Magazine
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BRITISH / MOROCCAN
LEBANESE-FRENCH Lina Ghotmeh Awarded Winner of the ‘Great Arab Minds’ (GAM) Awards 2023 in Architecture & Design
His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice President, Prime Minister and Ruler of Dubai, has announced Prof. Lina Ghotmeh, architect and professor of architecture, as the winner of the first Great Arab Minds (GAM) award in the architecture and design category, in recognition of her timeless contributions to global architecture.
In a tweet published on his official X account, Sheikh Mohammed congratulated Prof. Ghotmeh on winning the first award in this category of GAM, the Arab world’s largest movement launched in 2022 to search for exceptional Arab talents in various fields. Prof. Ghotmeh’s insightful work and research highlight the intimate relationship between architecture and nature.
His Highness Sheikh Mohammed said that architecture and architectural landmarks are the foundation of the distinguishing features that set cities and communities apart, and the building blocks of their identities and values, making them easily recognised. He added that they are also timeless tales of the creative outputs of humanity and the rise of civilisations.
Prof. Ghotmeh has a remarkable track record in her field. She has overseen the development of over 65 global architectural projects, including renowned museums, exhibitions and cultural buildings. More specifically, Ghotmeh conducts in-depth analyses of environments and meticulously selects materials that are not only suitable for each setting but also capable of withstanding harsh conditions. Her unique approach ensures that all her projects are evolved and practical outcomes of her research on coexisting with nature and the surrounding environment.
Among Prof. Ghotmeh’s most notable works is a building near the industrial port of Beirut, which survived the 2020 Beirut explosion, having been designed using innovative techniques and select local materials.
www.linaghotmeh.com
source/contents: wam.ae (headline edited)
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FRANCE / LEBANON
EGYPT Opens World’s Largest Wastewater Treatment Plant. Bahr El Baqar Plant Holds 3 Guinness World Records.
The Bahr El-Baqar wastewater treatment plant is a joint venture between the Arab Contractors Company and Orascom Construction.
The Bahr El Baqar wastewater treatment plant, located in the northern governorate of Port Said, was recently inaugurated by President Abdel Fattah El-Sisi. A joint venture between the Arab Contractors Company and Orascom Construction it is the largest of its kind worldwide with a daily production capacity of 5.6 million cubic meters.
It is equipped with advanced operating systems for pumping raw water, flocculation, decantation, filtration and disinfection. The plant will recover the wastewater that flows along the Bahr Al-Baqar drain. The triple-treated water will be transferred to North Sinai in order to contribute to the reclamation of agricultural land within the framework of the national project for the development of Sinai and to support making the best use of the state’s water resources.
The Bahr El Baqar wastewater treatment plant holds three Guinness World Records: It’s the world’s largest water treatment facility, the largest sludge treatment plant and the largest single-operator ozone generating plant.
source/content: waste-management-world.com (headline edited)
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© The republic of Egypt presidency
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EGYPT
SAUDI ARABIA emerges as Global Leader in Green Minerals, says Vice Minister. World’s 3rd Largest Producer of Phosphate Fertilizer
Saudi Arabia has the competitive advantage of becoming a global leader in green minerals, according to the vice minister for mining affairs at the Ministry of Industry and Mineral Resources.
Addressing a news conference for the third edition of the Future Minerals Forum scheduled from Jan. 9-11 in Riyadh, Khalid Al-Mudaifer emphasized that the Kingdom holds a unique competitive edge as a central hub for mineral processing encompassing green minerals, steels, aluminum, copper and magnesium.
“Saudi Arabia is a place to convene the world. Our demand for minerals and our transformation in minerals make us the place for the convening,” Al-Mudaifer told Arab News in an interview.
He also underlined that the Kingdom boasts substantial natural resources estimated to be around $1.3 trillion.
A significant share of these resources includes phosphate, constituting 25 percent of the estimated wealth.
“Saudi Arabia is the third largest producer of phosphate fertilizer … this is considered almost 7 percent of the world,” Al-Mudaifer asserted.
Reaffirming the Kingdom’s competitive advantages, Al-Mudaifer also underscored that the process of making phosphate involves specific infrastructure needs, including gas for ammonia and nitrogen production and sulfur, which Aramco produces through its oil and gas operations.
These competitive advantages have enabled the Kingdom to build its phosphate industry on the back of investments of over SR60 billion ($16.2 billion).
“We have announced, or there is work to enable phosphate four and three, for which another SR40 billion will be invested in the future,” Al-Mudaifer added.
The goal is to position the Kingdom as the second or third-largest supplier of phosphate fertilizers globally.
Additionally, he noted that the private sector has played a significant role, investing more than SR120 billion in these initiatives.
At the same time, the government has also contributed over SR50 billion to enhance and support the growth of the phosphate industry.
This approach illustrates a collaborative effort between the private and public sectors to boost Saudi Arabia’s capabilities and competitiveness in the global phosphate fertilizer market.
During the news conference, Al-Mudaifer revealed that 95 countries and over 20 organizations worldwide will participate in the FMF.
“For the first time, we will have the Saudi Geological Survey participate in this conference,” he said, adding that there would be over 75 sessions from Jan. 10-11.
In October, during the Middle East and North Africa Climate Week 2023, Al-Mudaifer highlighted Saudi Arabia’s strategy for becoming a powerhouse in the sector, according to the Saudi Press Agency.
He emphasized that by leveraging the Kingdom’s strategic location, advanced infrastructure and strong local demand, the government is charting a path toward securing the minerals necessary for its national industrial transformation.
“Saudi Arabia is committed to the transition to green energy, as demonstrated by the development of a mining and mineral industries strategy designed to address critical challenges,” he had said then.
The Kingdom has pledged to achieve net-zero emissions by 2060. It has undertaken $1 billion of climate change initiatives to hit this target, including working toward a regional carbon capture and storage center, an early storm warning hub and cloud seeding programs.
source/content: arabnews.com (headline edited)
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Khalid Al-Mudaifer emphasized that the Kingdom holds a unique competitive edge as a central hub for mineral processing encompassing green minerals, steels, aluminum, copper and magnesium. AN
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SAUDI ARABIA
EGYPTIAN-AMERICAN Economist Dr. Mohamed El-Erian Announced as the Winner of the First ‘Great Arab Minds Economics Award 2023
His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice President, Prime Minister and Ruler of Dubai, has announced Dr. Mohamed El-Erian, President of Queens’ College at Cambridge University, as the winner of the first Great Arab Minds (GAM) award in the economics category, in recognition of his incredible contributions to the field of economics and his perceptive analysis of changes in economic and financial systems.
Announcing this in a tweet on his official X (formerly Twitter) account, Sheikh Mohammed stated that economics has always been the foundation for stability and growth and the catalyst for innovative and developmental efforts that benefit both individuals and communities.
He noted that creativity in the field of economics is a driver of intellectual progress, prosperity and international cooperation, with ambitious economic visions serving as the main pillar in driving development, building the future of nations and boosting fruitful cultural and civilisational exchange.
An economist with an undergraduate degree from Queens’ and a DPhil from Oxford, Mohamed El-Erian previously served as chief executive officer and co-chief investment officer of Pimco, Deputy Director at the International Monetary Fund, Chair of President Obama’s Global Development Council and President of Harvard Management Company.
Throughout his career, Dr. El-Erian has been involved with universities and think tanks around the world, including his roles at the University of Pennsylvania as the Rene M. Kern Professor of Practice at the Wharton School of and Senior Global Fellow at the Lauder Institute.
After years of dedicated learning and professional experience, he emerged as an outstanding consultant providing services to prestigious financial institutions such as Allianz and Gramercy Funds Management. Additionally, he has been an active contributor to several non-profit organizations, including the National Bureau of Economic Research.
Dr. Mohamed El-Erian’s impact on the field of economics extends beyond his corporate and institutional work. His written works and research have yielded a wealth of advice, insights, and economic concepts, establishing them as key references in economics, finance, and business. Among his well-known books are ‘When Markets Collide’ (2008), ‘The Only Game in Town’ (2016), and his latest collaborative work, ‘Permacrisis: A Plan to Fix a Fractured World’ co-authored with esteemed economic experts. Furthermore, Dr. Mohamed El-Erian is recognized as a prominent contributor and editor for Financial Times and Bloomberg.
Owing to his intellectual prowess, he has been named one of the ‘Top 100 Global Thinkers’ for four consecutive years by ‘Foreign Policy’ magazine.
In addition to presenting innovative theories on global economic matters, Dr. El-Erian is widely acknowledged as a leading expert in the realm of global capital markets. He is notably credited with introducing the concept of the “new normal”, a term characterising the state of the global economy post the global financial crisis.
source/content: wam.ae (headline edited)
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AMERICAN / EGYPTIAN
SOMALI-born Abdullahi Mire, Champion of Refugee Education Wins Top Prestigious UNHCR Nansen Refugee Award
A former child refugee born in Somalia, who dedicated himself to changing lives through education, has been namedas this year’s winner of the prestigious UNHCR Nansen Refugee Award.
Abdullahi Mire grew up in the sprawling Dadaab refugee complex in northeastern Kenya with its population today of more than 240,000 registered refugees, mostly from Somalia.
The UN refugee agency (UNHCR) coordinates operations there together with partners, relying also on the support of the Kenyan Government and host communities.
The majority of the population, around 56 per cent according to 2020 figures, are children.
At that point there were over 60,000 students enrolled up to secondary school level, but despite that, the demand for teachers, supplies and classroom space, has long outstripped supply, leading to poor educational outcomes.
Educational pioneer
Of those managing to complete secondary school only a small number have been able to carry on into tertiary education.
Mr. Mire spent 23 years living in the Dadaab complex himself, from the early 1990s, and eventually went on to graduate with a diploma in journalism and public relations in 2013 from Kenya’s Kenyatta University.
After working for the UN migration agency IOM , in Somalia, specialising in the disarmament, demobilisation and reintegration of former combatants, he realised that without being literate, many were being brainwashed and radicalized.
Life-changer
His experience led him to start the Refugee Youth Education Hub (RYEH) in 2018, focusing on refugee education and youth development.
“I want to change the lives of refugee children and youth living in Daadab”, he told the UN Assistance Mission in Somalia (UNSOM) in 2020.
“The only way to do that is through education. If you give quality education for these children or youths, their lives will be improved for good,” he added. “For societies to progress, especially the ones recovering from decades of conflict, education must be a priority. I think it’s the midwife of peace and stability, if not more.”
Personifying change
Speaking ahead of the award announcement, UN High Commissioner for Refugees, Filippo Grandi, said: “Abdullahi Mire is living proof that transformative ideas can spring from within displaced communities.
“He has shown great resourcefulness and tenacity in strengthening the quality of refugee education.”
UNHCR noted that after growing up in the Dadaab camps, Mr. Mire had resettled to Norway, “but a yearning to serve his community drew him back”.
His education hub has opened three libraries in the camps – stocked with donated books – and expanded learning opportunities for tens of thousands of displaced children and youth.
“The win is not for me alone,” said Mr. Mire, 36. “It is for all the volunteers I work with… It is for the children in the schools.”
Regional winners
UNHCR also announced the regional winners to be honoured this year:
• Elizabeth Moreno Barco (Americas): a human rights defender who advocates for communities affected by armed internal conflict in Colombia
• Asia Al-Mashreqi (Middle East & North Africa): founder and chairperson of the Sustainable Development Foundation, which has assisted nearly two million individuals in Yemen affected by conflict
• Abdullah Habib, Sahat Zia Hero, Salim Khan and Shahida Win (Asia-Pacific): four Rohingya storytellers documenting the experiences of stateless Rohingya refugees
• Lena Grochowska and Władysław Grochowski (Europe): a Polish couple whose hotel chain and foundation provide shelter and training to refugees
The awards will be presented at a ceremony in Geneva on 13 December at the Global Refugee Forum 2023.
Hosted by the prominent US television journalist Ann Curry, the event will showcase the winners’ work and feature performances by Lous and the Yakuza, MIYAVI and Ricky Kej. It will also be livestreamed.
The awards are made possible through support from the Governments of Norway and Switzerland, IKEA Foundation, and the City and Canton of Geneva.
They are named after the Norwegian explorer, scientist, diplomat and humanitarian Fridtjof Nansen.
source/content: news.un.org (headline edited)
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UNSOM / Abdullahi Mire (far right) is supporting education initiatives in Dadaab refugee complex in northeastern Kenya.
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SOMALIA