Arabs & Arabian Records Aggregator. Chronicler. Milestones of the 25 Countries of the Arabic Speaking World (official / co-official). AGCC. MENA. Global. Ist's to Top 10's. Records. Read & Enjoy./ www.arabianrecords.org
Numbeo, the world’s largest cost of living database, has released its Quality of Life Index by City 2025. With a score of 178.7, Doha ranks 3rd overall in Asia and 77th globally.
The Quality of Life Index by City is calculated based on purchasing power index, safety index, healthcare index, cost of living index, property price to income ratio, traffic commute time index, pollution index, and climate index.
Top 10 in Quality of Life Index by City 2025: Asia
For generations, rural households in Tunisia have burned olive waste for cooking and heating, or used it as animal feed
The International Olive Council estimated Tunisia will be the world’s third-largest olive oil producer in 2024-2025, with an expected yield of 340,000 tons
In a northern Tunisian olive grove, Yassine Khelifi’s small workshop hums as a large machine turns olive waste into a valuable energy source in a country heavily reliant on imported fuel.
Holding a handful of compacted olive residue — a thick paste left over from oil extraction — Khelifi said: “This is what we need today. How can we turn something worthless into wealth?“
For generations, rural households in Tunisia have burned olive waste for cooking and heating, or used it as animal feed.
The International Olive Council estimated Tunisia will be the world’s third-largest olive oil producer in 2024-2025, with an expected yield of 340,000 tons. The waste generated by the oil extraction is staggering.
Khelifi, an engineer who grew up in a family of farmers, founded Bioheat in 2022 to tackle the issue. He recalled watching workers in olive mills use the olive residue as fuel.
“I always wondered how this material could burn for so long without going out,” he said. “That’s when I asked myself: ‘Why not turn it into energy?’“ Beyond profit, Khelifi hopes his startup helps “reducing the use of firewood as the country faces deforestation and climate change.” At his workshop, employees transport truckloads of olive waste, stacking it high before feeding it into the processing machines.
The material is then compacted into cylindrical briquettes and left to dry for a month under the sun and in greenhouses before its packaging and sale.
Khelifi began developing his idea in 2018 after he traveled across Europe searching for a machine to turn the olive paste into long-burning fuel.
Unable to find the right technology, he returned to Tunisia and spent four years experimenting with various motors and mechanical parts.
By 2021, he had developed a machine that produced briquettes with just eight-percent moisture. He said this amount sign
ificantly reduces carbon emissions compared to firewood, which requires months of drying and often retains more than double the amount of moisture.
Bioheat found a market among Tunisian restaurants, guesthouses, and schools in underdeveloped regions, where winter temperatures at times drop below freezing. But the majority of its production — about 60 percent — is set for exports to France and Canada, Khelifi said.
The company now employs 10 people and is targeting production of 600 tons of briquettes in 2025, he added.
Selim Sahli, 40, who runs a guesthouse, said he replaced traditional firewood with Khelifi’s briquettes for heating and cooking. “It’s an eco-friendly and cost-effective alternative,” he said. “It’s clean, easy to use, and has reduced my heating costs by a third.”
Mohamed Harrar, the owner of a pizza shop on the outskirts of Tunis, praised the briquettes for reducing smoke emissions, which he said previously irritated his neighbors. “Besides, this waste carries the soul of Tunisian olives and gives the pizza a special flavour,” he added.
Given Tunisia’s significant olive oil production, waste byproducts pose both a challenge and an opportunity.
Noureddine Nasr, an agricultural and rural development expert, said around 600,000 tons of olive waste is produced annually. “Harnessing this waste can protect the environment, create jobs, and generate wealth,” he said. Nasr believes repurposing olive waste could also help alleviate Tunisia’s heavy dependence on imported fuel.
The country imports more than 60 percent of its energy needs, a reliance that widens its trade deficit and strains government subsidies, according to a 2023 World Bank report.
Fuel and gas shortages are common during winter, particularly in Tunisia’s northwestern provinces, where households struggle to keep warm. Redirecting agricultural waste into alternative energy sources could ease this burden.
Yet for entrepreneurs like Khelifi, launching a startup in Tunisia is fraught with challenges.
“The biggest hurdle was funding,” he said, lamenting high-interest bank loans. “It felt like walking on a road full of potholes.” But now his goal is “to leave my mark as a key player in Tunisia’s transition to clean energy,” he added. “And hopefully, the world’s, too.”
source/content: arabnews.com (headline edited)
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A man arranges rolls of olive pomace at the grounds of start-up Bioheat, on Mar. 3, 2025 in the town of SanHajja near Tunis. (AFP)
Consumers buy in large quantities, as chocolates are a key part of Eid celebrations
Prices vary based on the type, origin, packaging and serving plates
The sweets and chocolate market is growing, driven by rising consumer demand for diverse options, high chocolate demand and special Eid Al-Fitr promotions that boost sales.
According to the Zakat, Tax and Customs Authority, the Kingdom’s chocolate imports exceeded 123 million kg in 2024, reflecting increased demand, the Saudi Press Agency reported on Saturday.
The UAE, the UK, Jordan, Egypt and Turkiye are among the main countries from which the Kingdom imports chocolate, offering a variety of products to meet consumer expectations.
Shops are eager to offer a wide range of locally manufactured and imported sweets and chocolates. Consumers buy in large quantities, as chocolates are a key part of Eid celebrations. Prices vary base
d on the type, origin, packaging and serving plates. Local sweets range from SR30 ($8) to SR150 per kg, including candies, toffee, biscuits and chocolates.
The authority attributed price stability to abundant production and low manufacturing costs, though imported sweets, especially from Europe and the East, are pricier. Pure or dark chocolate with special fillings can cost up to SR300 per kg.
source/content: arabnews.com (headline edited)
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The sweets and chocolate market is growing, driven by rising consumer demand for diverse options, high chocolate demand and special Eid Al-Fitr promotions that boost sales. (SPA)
Palestinians in their thousands prayed at Jerusalem’s Al-Aqsa mosque during Laylat al-Qadr, considered the holiest night in Islam.
Some 180,000 Palestinians performed nighttime and Tarawih prayers at the sacred Al-Aqsa Mosque in occupied Jerusalem on Wednesday despite Israeli restrictions, the Jerusalem Islamic Endowments Department said.
Israeli authorities reportedly prevented scores of West Bank Palestinian worshippers from reaching the holy site, after refusing them entry at the Qalandia and Bethlehem checkpoints, the Palestinian Wafa news agency said.
The Israeli authorities claimed they did not carry valid documentation – a common pretext used to justify such restrictions.
Israeli forces were also deployed in the alleys of the Old City of Jerusalem, turning it into a “military zone,” according to the Palestinian Jerusalem Governorate local authority, obstructing Palestinians’ access to the mosque.
Several other Palestinians were banned from entry at the mosque’s gates, according to the Wadi Hilweh Information Center, a local human rights group, as cited by the Turkish Anadolu agency.
Last year, 200,000 Palestinians performed such prayers at Al-Aqsa, under similar heavy restrictions.
Earlier this month, as Muslims welcomed Ramadan, Israel announced it would only allow children under the age of 12, women above the age of 50 and men above the age of 55. Palestinians who fall under this category are obliged to carry special permits issue issued by authorities.
The prayers took place during Laylat al-Qadr – the holiest night in Islam, which falls during the last 10 days of Ramadan. The night, translated into English as ‘Night of the Power,’ marks when the holy Quran was revealed to the Prophet Muhammad by the angel Gabriel.
Muslims worldwide generally increase acts of prayer, often staying in the mosque between nighttime and dawn prayers, and exercise spiritual retreat, known as I’tikaf during this period.
Muslims also believe that acts of good deeds are multiplied manifold during the period, as the night of power is said to be “better than a thousands months,” according to the Quran .
As prayers were held across the Muslim world and communities, many imams included prayers for the people of Gaza, subject to indiscriminate Israeli attacks which have killed over 62,000 people over the last 16 months.
Journalists barred from Al-Aqsa
Israeli forces have also imposed restrictions on journalists covering events at Al-Aqsa this month. Authorities have reportedly barred at least 13 journalists from entering the Al-Aqsa compound.
Among them was Basem Zidani, who told The New Arab’s sister site, Al-Araby Al-Jadeed, that Israeli forces said that the Shin Bet security service had a secret file showing that his presence at Al-Aqsa Mosque, especially during Ramadan, would “disturb public order”.
Zidani said he was summoned to the Qishleh police station, where he was interrogated by a police officer who then told him that he would be banned from entering Al-Aqsa compound.
The journalist sought to contest this ban through local rights organisations, but to no avail.
“It is clear that I was targeted because of my journalistic work during the war on Gaza, but I do not regret it.”
source/content: newarab.com (headline edited)
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Prayers at Al-Aqsa took place in defiance of Israel’s restrictions on Palestinian worshippers [Getty/file photo]
Omani athlete Mubeen al Kindi secured gold in the hammer throw at the U-23 Arabian Athletics Championship creating not only a new Omani record but also the championship record by achieving a distance of 67.46m.
Speaking from Egypt to Muscat Daily, Kindi expressed his pride, stating, “I am delighted to have won gold in the hammer throwing competition and set both a new Omani record and a new championship record.”
This achievement is a testament to the tremendous efforts of the technical staff led by coach Saeed Al Harithy, who meticulously managed both technical and psychological preparations for each tournament, he added.
“I am grateful for the unwavering support provided by the Ministry of Culture, Sports and Youth throughout my journey. This participation marks the fourth Omani record achieved this year in the meet, fulfilling our ambitious goals.”
Reflecting on the tournament, he recounted, “I achieved this result after six throwing attempts: 67.46m in the first attempt, 66.71m in the second, 65.48m in the third, 65.63m in the fourth, 65.63m in the fifth, and finally 66.70m in the sixth and last attempt.”
Discussing his preparation for the championship, he said, “The preparation phase was extensive, focused on gradual improvement towards achieving a 67-meter mark. I had promising results during training camps, including in Egypt and the Egyptian Club Championship, where I reached 66.24m. Looking ahead, my goal is to hit cross the 68m mark next year as part of our planned progression. As I transition from junior to senior level in hammer throw with a 7.26kg weight, I am determined to achieve new milestones in my upcoming endeavors.”
Kindi expressed gratitude, saying, “I deeply appreciate the steadfast support from the Ministry of Culture, Sports and Youth, the Omani Athletics Federation, and the Omani Olympic Committee.”
From the Omani delegation, Ali al Balushi won gold in 100m and 200m races, while Hussein al Farsi got bronze in 800m.
Saudi Arabia’s Ministry of Culture has announced the Kingdom’s inaugural participation at the 24th International Exhibition at the Triennale Milano design museum in Italy later this year, with a pavilion dedicated to the agricultural oasis of Al-Ahsa.
Curated by Lulu Almana and Sara Al-Omran, with Alejandro Stein as creative director, the exhibition is hosted by the Architecture and Design Commission and will be titled “Maghras: A Farm for Experimentation.” It will run from May 13 – Nov. 9.
It will explore the intersection of farming traditions, ecological shifts and cultural memory within a rapidly transforming landscape. The exhibition draws from research, artistic interventions and community-driven programs cultivated at Maghras, a farm and interdisciplinary space in Al-Ahsa.
Al-Ahsa, located in the Eastern Province, has been historically defined by its abundant water sources. It has undergone significant environmental and social transformations, mirroring broader changes in agrarian communities worldwide. The area has been farmed since the third millennium BCE.
The pavilion takes the form of a transplanted maghras — a traditional unit of land defined by four palm trees. Through videos, sound installations and participatory programs, the exhibition invites audiences to engage with Al-Ahsa’s evolving agricultural ecosystems.
In the lead-up to the exhibition, artists, architects, and researchers collaborated with Al-Ahsa’s farming communities, gathering firsthand insights into the region’s shifting landscape. This knowledge exchange was further explored through performances, film screenings and local workshops examining the deep connections between culture and agriculture.
In collaboration with Google Cloud, Media City Qatar’s initiative, ‘Qatar ArtBeat,’ united the nation’s voices to create a groundbreaking AI-generated artwork.
Qatar National Day marks the unification of the nation in 1878—a defining moment in its history. Celebrated annually on December 18, it is a day to honour Qatar’s rich heritage and look ahead to its boundless aspirations for the future.
At Media City Qatar, we asked ourselves: How can we celebrate this cherished tradition while embracing the innovations that shape tomorrow? How can we bridge the past and the future, merging tradition with technology, to unite our people in a shared celebration?
The answer was ‘Qatar ArtBeat’.
A groundbreaking activation in partnership with Google Cloud, this initiative brought together the collective voices of the nation to generate an AI artwork co-created by the nation. This innovative project marked a historic milestone, merging culture and technology in an unprecedented way.
‘Qatar ArtBeat’ not only captured the collective spirit of Qatar but also set a Guinness World Records™ for the “Most People Contributing to an AI-Generated Image,” with over 15,000 contributions, more than 5.4 million people reached, and in excess of 68,000 engagements from across the country. This milestone showcases the potential of technology to unify communities and amplify their voices on a scale never seen before.
Celebrating innovation and tradition
‘Qatar ArtBeat’ invited citizens and residents to share their reflections on what Qatar means to them between December 9 and December 17 through Media City Qatar’s social media channels.
Additionally, public conversations on various platforms were analysed, with responses processed by Google Cloud’s advanced AI technology—such as Vertex AI platform, Gemini models, and BigQuery data platforms. This cutting-edge process transformed sentiments found in social media comments and posts into a cohesive and breathtaking artwork co-created by the nation, for the nation.
The final masterpiece, unveiled on December 18, became a visual narrative of Qatar’s collective aspirations and creativity. The initiative perfectly symbolised the harmony between the nation’s traditions and modern innovation, showcasing how technology can preserve and celebrate cultural identity in meaningful ways.
By engaging communities across Qatar, the activation demonstrated how digital platforms can foster inclusivity, accessibility, and collaboration. This activation ensured that every voice contributed to the nation’s story, transforming individual reflections into a collective celebration of shared values and unity.
Pioneering the future of digital media
As a catalyst for next-generation media and technology, Media City Qatar connects media companies, entrepreneurs, innovators, and creative talents to shape the future of the industry.
Our focus spans gaming, news, digital and social media, media technologies, content localization, animation, broadcasters, production and post-production, and publishing. We take particular pride in fostering initiatives that celebrate Arabic-language content, uniting tradition with modern innovation.
By encouraging enterprises that specialise in the Arabic language or seek to expand into Qatar and the Middle East, Media City Qatar continues to champion the region’s voice on a global stage.
‘Qatar ArtBeat’ exemplified this mission, setting a new benchmark as the first-of-its-kind initiative in Qatar—and possibly worldwide—that achieved a new world record.
The project also highlighted the transformative potential of generative AI in storytelling and community engagement. By leveraging Google Cloud’s advanced technology, reflections were seamlessly transformed into art, reinforcing the significance of human input in creating impactful digital experiences.
A legacy for Qatar and beyond
As we look to the future, we imagine the children of today—tomorrow’s dreamers and innovators—continuing to celebrate the heritage of this great nation.
‘Qatar ArtBeat’ is a promise that Qatar’s story will be told in new and imaginative ways for generations to come. At Media City Qatar, where next is made, we are proud to help shape that future, blending tradition and technology to inspire the Qatar of tomorrow.
A discovery in Morocco has unveiled the oldest Cerapodan dinosaur fossils on the planet – dating back 174 million years.
The fossils, dug up in the rocky lands of El Mers III, near Boulemane, could change everything we know about these humongous plant-munching creatures. Before this, the only known fossil from this period was a lonely thigh bone found in the United Kingdom.
Experts from Sidi Mohammed Ben Abdellah University in Fez and the UK’s Natural History Museum made the find and published their report on March 12.
Though the fossil isn’t complete, researchers say it proves Morocco was home to some of the earliest herbivore dinosaurs ever recorded. Even more exciting is that the same site also contains some of the world’s oldest ankylosaurus and stegosaurus.
During their early days, Cerapodans walked on two legs and used their front limbs to grab food. But over time, some bulked up, dropped to all fours, and developed powerful chewing skills, making them the top plant-eaters of their era.
Scientists say these creatures split into two groups – Ornithopods (which include duck-billed dinosaurs) and Marginocephalians (which had fancy headgear). The Moroccan fossils belong to the Ornithopods.
This discovery is a game-changer in dinosaur history, suggesting the Middle Jurassic was a key moment for these giants to take over the prehistoric world.
What do Wallada Al-Mustakfi, Rufaida Al-Aslamia, Dayfa Khatun, and Aminatu have in common? They are all distinguished women in Islamic history that you more than likely have never heard of before. That is about to change thanks to a new painting by the acclaimed Iraqi artist Afifa Aleiby, whose colorful “A Wonderful World,” pays tribute to 16 noteworthy Muslim women whose names have faded away over time.
Commissioned by the Barjeel Art Foundation in Sharjah, the painting will be on public display at the House of Wisdom in Sharjah until the end of Ramadan and will later be transferred to the Sharjah Museum of Islamic Civilization.
Aleiby’s work is a companion piece to a 1988 painting titled “Islamic Scientists,” by the late Syrian artist Mahmoud Hammad and currently in the collection of Barjeel Art Foundation.
In his composition, Hammad highlighted 16 influential male scholars and physicians, including Ibn Sina and Ibn Rushd. “Exhibited together for the first time, these artworks stand as a powerful reminder of the transformative impact of these intellectuals, both men and women, on the history of Islamic civilization,” reads a wall text. The recent unveiling event opened with a panel talk, where Aleiby and Hammad’s daughter, Lubna Hammad, discussed the displayed artworks.
Aleiby noted some of the difficulties in taking on this open-call commission, including a lack of resources, literary and visual. “Some of these women have only two or three lines written about their history and role,” she said.
In her detailed piece, dotted with symbolic elements (such as the proud peacock and a library of books) and set against a serene landscape, Aleiby depicted notable women of medicine, astronomy, poetry, science, education and military leadership who lived between the 7th and 17th centuries in Africa, Andalusia, India, and the Arab world.
One of these figures is Razia Sultana, who was born in the 13th century and went on to become the first and only female ruler of the Delhi Sultanate in India. From the 11th century, there is also a depiction of Safiyya bint Abdullah Al-Riyy, who was a skilled calligrapher and poet in Andalusia. Another Andalusian woman of poetry is the rebellious and liberal Wallada Al-Mustakfi, who formed a literary salon that was a meeting point for male and female voices.
Nestled in Baghdad, the Iraq Media Museum offers a captivating journey through the history of Iraqi media and art. Featuring rare artifacts, vintage equipment, and historical archives, the museum celebrates decades of media evolution while preserving the nation’s cultural identity.
Established in 2022 under the management of Mina Al-Hilu, the museum stands as a tribute to Iraq’s rich media heritage. The project was initiated with support from Naseer Shamma in 2018 and funded by the Iraqi Private Banks League.
A glimpse into Iraq’s media past
Housed in a building once used for radio training and later as a substitute for the Iraq Studio, the museum displays an array of historical items that tell the story of Iraq’s media landscape. These include:
Television cameras and radio equipment from the mid-20th century.
Photographic equipment and film editing devices from as early as the 1910s.
Magazines and newspapers chronicling over five decades of Iraqi journalism.
Personal contributions from notable media figures, such as:
Awards donated by actor Sami Kaftan.
Handwritten works from the late filmmaker Yusuf Al-Ani, gifted by his family.
The complete studio of photographers Abdullah and Hussein Hassoun.
Rare and iconic artifacts
Among the museum’s unique treasures is a golden bird in a cage, a gift from Adolf Hitler to King Ghazi in the 1930s. This artifact, nearly lost to theft, was later recovered and donated to the museum by radio director Khattab Omar.
Another highlight is a sound mixer used by renowned Iraqi composer Talib Al-Qaraghuli, alongside numerous other items that showcase Iraq’s artistic and media ingenuity.
Museum layout and future plans
The museum currently consists of three main halls:
Journalism Hall: Featuring archives and press-related items.
Television and Radio Hall: Home to vintage broadcasting equipment.
Miscellaneous Hall: Displaying a variety of media artifacts.
Additionally, an upper floor includes:
A hall mimicking the set of the iconic show “Sports in a Week”.
An exhibition space for presentations and events.
Expansion plans
The museum has ambitious plans to expand with new halls dedicated to:
Pioneers of Iraqi culture and art.
Iraqi cinema memorabilia.
A caricature and comics archive to celebrate the nation’s satirical art.
Challenges and calls for collaboration
Despite its significance, the museum struggles to attract international visitors. Mina Al-Hilu expressed frustration over the lack of coordination with tourism authorities, noting that tours to the museum are absent from Baghdad’s 2025 tourism programs.
Given that Baghdad was chosen as the Capital of Tourism 2025, the Ministry of Culture and related institutions should have included the Media Museum in tour itineraries for Arab and foreign delegations,” Al-Hilu remarked.
Sources and contributions
The museum’s collection has grown thanks to contributions from:
Iraqi Media Network warehouses, providing a majority of the items.
Ministry of Culture and Parliament archives, including equipment from the 1980s.
Donations from media personalities, citizens, and private collectors.
In total, more than 200 artifacts have been collected, cataloged, and restored with the help of retired engineers and media professionals.
A unique cultural destination
The Iraq Media Museum is more than a collection of artifacts—it’s a window into the soul of Iraq’s media history. With rare treasures, fascinating exhibits, and plans for expansion, it stands as a testament to the resilience and creativity of Iraqi culture.
For tourists and locals alike, the museum offers a unique opportunity to experience Iraq’s rich artistic and media legacy.
