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New course offers four tracks specific to journalism, humanitarian work, health care and business
“Arabic for Professionals” carricula are proofed by Arabic academics from top universities
Six Syrian refugees in the US have crafted the “Arabic for Professionals” course launched on Wednesday by NaTakallam, a refugee-powered social enterprise that provides language learning, translation and interpretation services.
The course’s contents have been proofed by Arabic academics from top universities, such as the American University of Paris, according to a press release by NaTakallam.
Tailored for upper-intermediate and advanced Arabic students, “Arabic for Professionals” offers four tracks specific to journalism, humanitarian work, health care and business.
“The program is the outcome of conversations about common teaching challenges among NaTakallam language partners, especially when it comes to Arabic in practice,” said Carmela Francolino, NaTakallam’s talent and community manager.
“After defining the general profiles of our students and their needs, the necessity of structured courses for intermediate and advanced students was clear, as were the topics we needed to focus on,” she said.
Combining synchronous and asynchronous learning, “Arabic for Professionals” provides flexibility to fit busy schedules. The curricula are divided into several units, including exercises to reinforce each point and ten one-hour private lessons with an experienced tutor.
In addition to a focus on Modern Standard Arabic, a lingua franca used across the Arabic-speaking world, the one-on-one tutoring sessions offer students the opportunity to practice what they have learned in spoken dialects of Levantine Arabic.
Multiple pilot students have noted that the blended structure of the course provided an impetus for them to continue learning the language after their progress had stalled.
“For NaTakallam, whose core mission is to showcase the talents of displaced and conflict-affected people, it is especially meaningful that our language partners are not only teaching this curriculum but have created it in its entirety,” said Aline Sara, co-founder and CEO of NaTakallam.
Besides the new Arabic for Professionals program, NaTakallam offers an Integrated Arabic Curriculum, a 25-hour course that teaches Modern Standard Arabic and Levantine Arabic concomitantly, as well as one-on-one language tutoring in Arabic, Armenian, French, Kurdish, Persian, Russian, Spanish and Ukrainian.
Longtime scholar Linda Jacobs calls it “the best-kept secret in New York history.” She is talking about New York City’s forgotten Syrian enclave of immigrants (often referred to as Little Syria) that once thrived in the late 19th and early 20th centuries, forming the first Arab-speaking community in the US.
As part of an initiative supported by Lower Manhattan Cultural Council, Jacobs led in-person walking tours on Washington Street, the main hub of Little Syria, this summer. For Jacobs, it is a story that hits close to home.
Just-landed Middle Eastern immigrants at Ellis Island, ca. 1905. (Supplied)
All four of her grandparents emmigrated from modern-day Lebanon in the late 1800s, moving to Washington Street. “I was just interested in doing my family genealogy, and more importantly, for me, understanding if the myths or stories we were told as children in our family matched the reality … Some made it, some didn’t,” she told Arab News.
Aside from the presence of Arabs, Washington Street was home to other nationalities, including German and Irish families. It was an economic and cultural center, full of stores, cafes, and factories. It was not a bed of roses, though, according to Jacobs.
Built on landfill, Washington Street suffered from poor living conditions and a lack of clean air. Because the area was located near the tidal Hudson River, water would come up through the basements of tenement buildings.
60-62 Washington Street, where dozens of Syrian-owned businesses were located, 1903. (Supplied)
To make matters worse, the rate of infant mortality, due to tuberculosis, was high. “It makes you cry, it’s really sad,” said Jacobs. “You can imagine that people did not want to remember this time of their lives, and I think that’s why my grandmother never talked about it. She never mentioned the word(s) ‘Washington Street’.”
A majority of the people referred to as Syrians who came to New York City most likely hailed from Lebanon, seeking better economic opportunities. Those who initially arrived were farmers and laborers, later followed by wealthier classes. The lucrative trade of peddling was a common profession amongst Syrians, who saved up money to open their own businesses and relocate to safer boroughs, such as Brooklyn.
By the 1940s, the Syrian community was non-existent on the street. The physical neighborhood was destroyed, making way for building the Brooklyn–Battery Tunnel. Today, Washington Street is a neglected area, where only three buildings, including the facade of St. George’s Melkite Church of the Syrian Community, have survived, but most lack landmark status granted by the city.
Conducting such walking tours around the area is important for Jacobs. “All were surprised because no one had any idea that this community existed,” she remarked. “It’s a mixed blessing, because in a way, it’s a real lesson to others to try and save their communities from total destruction. And on the other side, it’s very sad to have it all be gone.”
source/content: arabnews.com (headline edited)
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New York City’s forgotten Syrian enclave of immigrants (often referred to as Little Syria) thrived in the late 19th and early 20th centuries. (Supplied)
Dalila’ will join ‘Mousa’ as part of director Peter Mimi’s action-packed cinematic universe, ‘The Underdogs’.
Actress Yasmine Sabri is suiting up as Egyptian cinema’s first female superhero!
Peter Mimi – the director of famed Ramadan series ‘Al Ikhtiyar’ (The Choice) – is expanding on the superhero cinematic universe he created for his 2021 action film ‘Mousa’ starring Karim Mahmoud Abdelaziz and Eyad Nasser, in which a shy engineering student creates a powerful robot to avenge his father.
Joining ‘Mousa’ as part of Mimi’s ‘The Underdogs’ franchise will be ‘Dalila’, where Yasmine Sabri will star as a badass motorcyclist on a mission for justice. Filming for ‘Dalila’ has already begun, with Sabri currently undergoing intense physical training and motorcycle training to prepare for the film’s intense action sequences (which, if ‘Mousa’ was anything to go by, will be absolutely explosive). The Avengers who?
While Sabri is working on her super stunts, the actress has already wrapped up filming for ‘Bo’ Bo’ starring Ami Karar and ‘Abou Nasab’ starring Mohamed Emam, both of which will come out during the Eid al-Adha holiday.
‘Dalila’ is set to hit movie theatres in 2023, although details on the rest of the cast has yet to be announced.
The King Salman Global Academy for Arabic Language has launched the “Khawalid” initiative, an audio platform that aims to record 1,000 selected poems from the pre-Islamic era, in line with the Ministry of Culture’s Year of Arabic Poetry.
Abdullah Al-Washmi, secretary-general of KSGAFAL, told Arab News that the initiative, which translates to “living forever,” aimed at enriching Arabic content in various media.
He said: “Strengthening the role of the Arabic language is part of the set of goals from which the King Salman Global Academy for Arabic Language stems.”
One of its goals is to highlight the scientific, cultural and civilizational status of the Arabic language. It aims to create a platform that helps preserve Arabic content in the field of poetry.
Al-Washmi added that it will also make poetry, especially Arabic poems from the pre-Islamic era, more accessible to the public.
He said: “It highlights the value of the Arabic language, which expresses the linguistic depth in Saudi Arabia, to bring it closer to the public and endear them to it, to deepen its status, and to raise awareness of it as an integral part of the identity of the Arab person.”
The initiative will focus on the era that began approximately 150 to 200 years before Islam, and the KSGAFAL will direct work over all stages.
Its task will involve verifying work and its attribution to its author, along with determining the meaning and integrity of the content.
The selection will be limited to poems that are no less than 10 verses, taking into account the diversity of the poets and the selected works.
Al-Washmi said: “Poetry in the pre-Islamic era constitutes an important literary material that can be invested in building linguistic knowledge, enriching the artistic and aesthetic experience, and contributing to linking the contemporary generation with its authentic literary heritage.
“This initiative confirms the KSGAFAL’s interest in the culture and arts of the Arabic language, in addition to its great care in planning, teaching and computerizing it, striving in all of this to achieve its goals, which are a target of the Human Capacity Development Program, one of the Saudi Vision 2030 initiatives.”
Gueddari’s art portrays the strength, resilience, and beauty of Moroccan women, in addition to advocating for their equal representation and recognition in society.
Houda Gueddari’s exhibition has captivated art enthusiasts at an ongoing art fair in the vibrant and culturally rich city of Rabat, with the artist’s work unveiling the remarkable artistic journey of a prominent Moroccan painter. Entitled “My Art, My Path,” the exhibition tackles pressing special issues as the artist uses her paintbrush as a weapon to create change.
In an exclusive interview with the gifted painter, Morocco World News had the opportunity to delve into her creative journey, discovering the personal anecdotes, challenges, as well as triumphs that have shaped her distinctive artistic style.
Between art and a more conventional career
Pursuing an artistic career, however, has not been easy for Gueddari, as she encountered many obstacles along the way. Faced with the pressure of pursuing a more conventional path, the Moroccan artist made a compromise and chose a paramedical career in dental prosthetics that still incorporated artistic elements.
But her passion for art remained unwavering. “I couldn’t let go of my dream,” she said. “I continued to seek opportunities to refine my skills, attending workshops and joining artist associations. These experiences opened doors to my first exhibitions and invaluable connections within the art community.”
The year 2016 marked a pivotal moment in Gueddafi’s artistic journey. With determination and vision, she founded the first art gallery in Fez, a space that showcased her own creations as well as supported and promoted fellow local artists.
“The gallery became a vibrant hub of artistic expression,” she reminisced, adding that “it was a joy to witness the dialogue and appreciation it fostered among art enthusiasts and collectors.”
When the COVID-19 crisis hit Morocco, it brought about unanticipated challenges, necessitating the temporary closure of the gallery amid a nationwide lockdown.
Yet, Gueddari did not allow this setback to extinguish her artistic spirit. “I adapted to the circumstances … I sought alternative ways to share my work with the world,” she said.
This includes the artist’s active presence on social media, notably her Instagram page with nearly 100k followers. Gueddari’s social media platforms serve as a medium for her to share her paintings, inspirations, and thoughts with art enthusiasts.
International recognition
Gueddari has made a name for herself as a renowned artist in Morocco, especially in the city of Fez where she lives.
In addition, her talent shone on the international stage with various achievements, including being selected as a finalist in a prestigious competition in Dubai. She also received acclaim for her work in Florence in 2022, winning the Leonardo Da Vinci international prize.
She fondly recalled her participation in the renowned Biennale art exhibition in Venice, Italy, and exhibiting at the Museum of Modern Art in Barcelona.
As travel restrictions were imposed worldwide, Gueddari redirected her focus toward promoting art within Morocco. In collaboration with the Marriott Hotel in Rabat, she orchestrated the ongoing “My Art, My Path” exhibition.
Speaking about her artworks, she said that she draws inspiration from various movements, including cubism and surrealism. “A little bit Picasso, a little bit Dali … I was inspired by several artists, but the truth is I really just try to be myself,” she explained.
Gueddari sees herself as a “committed artist.” She said: “When I paint, I paint my emotions, I lose my life, I paint everything that happens around me.”
Through her art, Gueddari tackles various themes and social issues, including women’s rights and the crucial role they play in Moroccan society.
“Women play an integral role in society, and their contributions should never be underestimated or undervalued. It is essential to create an environment where women have equal opportunities to thrive, express themselves, and pursue their dreams,” she said.
The “My Art, My Path” exhibition merges traditional and contemporary expressions, embodying the Moroccan artist’s profound connection to her homeland and its rich artistic heritage. “I am very proud to be Moroccan … I am very proud to represent my country as an artist,” she said.
Art as a constant quest for growth, self-discovery
Discussing the obstacles artists worldwide face, Gueddari acknowledged the challenges they have to endure, saying: “The life of a painter demands unwavering dedication and perseverance.”
“It is a constant quest for growth and self-discovery,” she stressed, underlining that these challenges serve as golden opportunities for artists to achieve personal and artistic growth, as well as push the boundaries of their creativity and inspire others along the way.
Despite the difficulties that artists encounter, Gueddari argued that the artistic journey is extremely rewarding. “The world of art teaches us tolerance, acceptance, openness to the other, and openness to the world.”
Through her work and her online presence, the Fez-based artist actively promotes art in Morocco, seeking to deepen the understanding and appreciation of the artist’s spirit and the nation’s artistic landscape.
Talking about the future of art in Morocco, she said that she is “very optimistic,” especially since the government has been giving more importance to art and culture.
After her exhibition in Rabat comes to an end, Gueddari will embark on another journey, with plans to hold exhibitions in various Moroccan cities, including Marrakech and Agadir.
When asked about her message to aspiring Moroccan artists, Gueddari shared a heartfelt, encouraging piece of advice. “Never settle for what you already know,” she said. “Embrace versatility, expand your knowledge, and explore different artistic domains. Stay true to yourself, and draw inspiration from other artists.”
Prominent Egyptian gynaecologist and author Mohamed Abul-Ghar won on Sunday the State Nile Award in Science and Advanced Technological Sciences.
Minister of Higher Education and Head of the Scientific Research and Technology Academy Mohamed Ashour announced that Cairo University’s Professor at the Faculty of Medicine Dr Mohamed Abul-Ghar and Mansoura University’s professor at the Faculty of Medicine Dr Hassan Abul-Enein won the State Nile Award in Science and Advanced Technological Sciences.
“It is the state’s recognition of scientists’ efforts in advancing the nation and building the new republic and knowledge economy,” Ashour said on Sunday in a press conference at the New Administrative Capital.
Abul-Ghar started, with a group of medical doctors, Egypt’s first-ever centre for in vitro fertilisation (IVF).
Abul-Ghar, 82, received the Egyptian National Award for Scientific Excellence in 1999. He also received honourary membership of the European Society for Human Reproduction and Embryology in 2004 and honourary membership in the International Federation of Fertility Societies in 2000.
Abul-Ghar has also been active politically as he established, with other university professors, the 9 March Movement for the Independence of Universities during the rule of the late President Mubarak. He was also among the spokespersons of the National Association of Change.
Following the ouster of Mubarak in February 2011, Abul-Ghar was among the founders of the left-liberal Egyptian Social Democratic Party.
Aside from his medical scientific career and political activism, the prominent gynaecologist established himself in recent years as a bestselling non-fiction author with a special interest in the modern history of Egypt, specifically the pre-1952 liberal era.
Among his bestselling books are Egyptian Jews in the 20th Century, The Egyptian Legion and The Pandemic that Killed 180,000 Egyptians.
Fawaz bin Ali Al-Dahas, a former director general of the Makkah History Center, said: “Uthman bin Affan was the first to order the construction of a portico, and it was called the Ottoman portico”.
The porticoes of the Grand Mosque in Makkah, with their Islamic architectural motifs and inscriptions of verses from the Qur’an, have a history that dates back to the time of Uthman bin Affan, the third caliph who led the Muslims after the death of the Prophet Muhammad.
Known as “riwaq” in the Arabic language, the porticoes or arcades are structures built as entrances that usually open into courtyards. The word “riwaq” was first used to refer to the structure that surrounds the circumambulation area of the Kaaba.
The porticoes surrounding the Holy Kaaba were not part of the original design.
Fawaz bin Ali Al-Dahas, a former director general of the Makkah History Center, said: “Uthman bin Affan was the first to order the construction of a portico, and it was called the Ottoman portico.”
This was later expanded during the Abbasid caliphate in the 8th century. The modifications included the addition of elaborate mosaics and inscriptions that remain to this day.
There was no further expansion of the portico until the foundation of the Saudi state under King Abdulaziz.
“During King Abdulaziz’s reign, there was an expansion of the Prophet’s Mosque in Madinah, and the king wanted to do the same at the Grand Mosque in Makkah, but he died before that could happen,” Al-Dahas said.
The first Saudi expansion of the Grand Mosque happened during the reigns of King Saud, King Faisal and King Khalid, and included the reconstruction of the Ottoman portico.
The second Saudi expansion began in 1988, with King Fahd laying the foundation stone.
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BACKGROUND
• The first Saudi expansion of the Grand Mosque happened during the reigns of King Saud, King Faisal and King Khalid, and included the reconstruction of the Ottoman portico.
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• During King Abdullah’s reign, the Grand Mosque underwent the largest expansion in its history, increasing its total capacity and expanding the courtyard around the Kaaba.
During his reign, large courtyards surrounding the mosque were built and paved with heat-resistant marble. The Safa and Marwa area was expanded to facilitate the movement of those performing the Sa’ee — an integral part of the Hajj and Umrah pilgrimage — and a bridge was built to connect the roof of the mosque to Al-Raquba area.
During King Abdullah’s reign, the Grand Mosque underwent the largest expansion in its history, increasing its total capacity and expanding the courtyard around the Kaaba.
King Salman has since launched five initiatives as part of a plan for the third Saudi expansion of the Grand Mosque. These include the expansion of the main building and courtyards, a pedestrian tunnel project and a central service station project.
As a result of the many expansion projects since the creation of the Saudi state, Abdulrahman Al-Sudais, president of the General Presidency for the Affairs of the Two Holy Mosques, announced in May that the Ottoman portico would be renamed the Saudi portico.
“The Saudi portico will be complementary to the Ottoman portico, with its distinction in a larger area that the Grand Mosque has never seen before,” Al-Sudais said.
The Saudi portico provides a wider space for worshipers with its high-quality engineering standards and is characterized by the availability of technical services, sound and lighting systems, and a faith-based environment for visitors to the mosque.
source/content: arabnews.com (headline edited)
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A look at how the Portico by the Abbasid caliphate looked like, as taken by the first Makkah photographer, Abdul Ghaffar. / (Library of Congress photos)
The arts and theatre events will run until July 9 in London and across the UK.
How do you programme an Arab festival that questions Arab identity? This was the challenge facing Alia Alzougbi and Taghrid Choucair-Vizoso as they approached their first attempt at curating Shubbak Festival – the arts, film and theatre event that runs every summer in Britain.
Running until July 9, Shubbak will stage more than 40 plays, music events, films, exhibitions, workshops and standup comedy shows, produced by creatives from the Middle East and its diaspora.
The acts will range from debut solo work by musician Hamed Sinno, formerly of Mashrou’ Leila, to stand-up by Palestinian comedian Sharihan Hadweh, who dissects the hurdles of life in the West Bank from her perspective as a blind artist.
“We’re quietly challenging ‘stay in your lane’ politics,” says Alzougbi, who was appointed with Choucair-Vizoso as co-chief executive of Shubbak last year. While the 75th anniversary of the Nakba was a major part of the backdrop to their curation, so were wider cultural conversations such as climate change and the Black Lives Matter movement.
And the pair, who each grew up across the Middle East and London, saw that the very notion of being Arab includes complex layers of belonging, which they wanted Shubbak to reflect.
“Part of the obstacle that we come across in being an ‘identity festival’ is this notion of homogeneity and genericity,” Alzougbi continues. “One of the first things that we did was to change our strap line from ‘Shubbak: A Window on Contemporary Arab Culture’ to ‘A Window on Contemporary Arab Cultures’.
“We pluralised it in order to acknowledge that Arab identity is complex, it’s fluid, it’s imagined, it’s constructed, and we were very interested in both the personal and political changes – whether they’re tectonic or barely sensed.”
As part of their commemorations of the Nakba, for example, they are staging the play “Trouf: Scenes from 75* Years,” which evolves and grows every year it is performed. First staged as “Scenes from 68* Years” at the Arcola Theatre in East London in 2016, it reflects the continuing nature of the Palestinian struggle as it records the years that have elapsed both since the Nakba and since its own beginnings.
Its author, too, speaks to the movement of people common in Arab (and non-Arab) cultures. It was written by Hannah Khalil, a Palestinian-Irish playwright, who now lives in London and grew up briefly in Dubai.
The version of the play at Shubbak is staged by two Tunisian theatre companies – L’Artisto and Nabeul Performing Arts Centre found points of connection between the Palestinian story and their own experience, in scenes showing queuing for goods or lost and forgotten villages, as people in both Tunisia and Palestine move from rural to urban environments.
The festival features performers from a number of Maghrebi countries including Tunisia. Alzougbi and Choucair-Vizoso were interested in the Arabic-speaking countries of North Africa as places where Arab and African identities have long mixed and intersected.
They partnered with the recently reopened Africa Centre, an important site in the history of African liberation movements, to host an exhibition that takes Libya as its starting point, dissecting and expanding the way governments use visual culture to entrench their power.
“North Africa sometimes can get lost in identity politics and borders around imagined communities,” says Alzougbi.“This collaboration between Shubbak and the Africa Centre represents a deep commitment – an acknowledgement and celebration of North Africa as this place where we all meet.”
The pair also thought hard about the inclusivity of the event: “Shubbak is for everyone,” says Choucair-Vizoso, explaining that some performances offer childcare, so that parents can watch the play without thinking about the babysitting cost waiting for them at the end, while other events have a pay-what-you-can sliding scale.
Others are free. “We’re committed to reducing access barriers to the arts and to festivals,” she continues. “We’re actively thinking of who may have previously felt excluded – not necessarily from Shubbak, but in any festival. People are so overwhelmed by the grind of the everyday, particularly here in London with the cost of living crisis and the illegal immigration bill.
“They’re so battered by having to survive daily life that there’s no capacity to be an exhibition visitor or a theatre audience member. So for us, we thought, how do we bring together people – who feel like they’re on the periphery – together with exceptional, global artists?”
The festival also continues Shubbak’s past practice of staging events beyond London. The Saudi-Palestinian artist Tamara Al-Mashouk presents a piece about migrant detention centres in Dover, the coastal destination for many crossing the Channel from France.
The choreography The Power (of) The Fragile, in which Mohamed Toukabri explores separation and closeness, on stage with his mother, will be performed both at the Battersea Arts Centre in London and at the Lowry near Manchester.
Their consideration of the ethics of the event also went beyond the audience. Much of the subject matter treated by Arab cultural producers is harrowing: responses to continuing occupation, deprivation or unstable politics. What does it mean to launch yourself through that, night after night? And how do Arab producers tackle challenging topics, such as gender violence or religious extremism, without falling into stereotypes about the Arab world?
To deal with these concerns, Alzougbi and Choucair-Vizoso are inviting performers, artists and writers from the Global South to closed-door sessions, where the pair hope participants can freely discuss these concerns and the emotional tolls – as well as what might be changed in the future with new generations of performers.
“We’re working with the knowledge that we’re constantly in flux, and that what served us yesterday no longer serves us today,” says Alzougbi. “That’s the human condition. We have these conversations openly in the team, and we do not always agree or have consensus. And aren’t we blessed to have that? Aren’t we blessed to have a space where we’re able to say ‘we’ve moved on’?”
Initiative will turn the house into a museum to preserve philosopher’s mark on history.
The UAE and Tunisia have signed an agreement to restore the Tunis home of 14th century thinker Ibn Khaldun and turn it into a museum to preserve his mark on history.
The agreement was signed by Abdulrahman Al Owais, chairman of the board of trustees of the Sheikh Zayed Grand Mosque Centre, and Hayat Al Qarmazi, Tunisia’s Minister of Cultural Affairs.
The initiative is being held under the patronage of Sheikh Mansour bin Zayed, Vice President, Deputy Prime Minister and Minister of the Presidential Court, and the Sheikh Zayed Grand Mosque Centre.
“The initiative to restore the house of the great Arab scholar and philosopher Ibn Khaldun in Tunis constitutes one of the initiatives of the Sheikh Zayed Grand Mosque Centre for preserving human heritage at all local, Arab and international levels,” said Mr Al Owais, who is also Minister of Health and Prevention and Minister of State for FNC Affairs.
Ms Al Qarmazi said the agreement was a “step in the right direction” in terms of advancing the partnership between the UAE and Tunisia in a way that showcases the rich cultural heritage of the Arab and Islamic worlds.
Ibn Khaldun home is located in the Bab Al Jedid area, one of the gates of the Tunisian capital. The house was built during the Hafsid rule and consists of a ground floor and an upper floor surrounding an open courtyard.
Born in Tunis in 1332, the scholar spent his early adult years studying law and taking part in local politics as he dealt with Arab tribesmen.
He wrote The Muqaddimah, a book which covered universal history, politics and civilisation, as well as biology, chemistry and theology.
Largely ignored in his lifetime, it was only 300 years later that Ibn Khaldun’s work was picked up by Orientalists and became fashionable in European circles.
Abdulrahman Al Owais, chairman of the board of trustees of the Sheikh Zayed Grand Mosque Centre, and Hayat Al Qarmazi, Tunisia’s Minister of Cultural Affairs, look at a model of the renovation plans. Wam
Kassem Istanbouli, Lebanese actor-director, and Hajer Ben Boubaker, French researcher and sound director, were awarded the 19th UNESCO-Sharjah Prize for Arab Culture at an award ceremony at UNESCO Headquarters in Paris on 26th June 2023.
The event, organised by the Sharjah Department of Culture in collaboration with UNESCO, celebrated the achievements of two winners.
The ceremony was attended by Abdullah bin Mohammed Al Owais, Chairman of the Sharjah Department of Culture; Ernesto Ottone Ramirez, Assistant Director-General for Culture at UNESCO; Mohammed Ibrahim Al Qasir, Director of the Department of Cultural Affairs in Sharjah; Ahmed Al Mulla, Deputy Ambassador of the UAE to France, and Aisha Al Kamali, Representative of the Cultural Attaché at the Embassy of the UAE in France, along with dignitaries, writers, intellectuals and accredited diplomats to the United Nations (UN).
Al Owais and Ramirez presented the 19th edition of the UNESCO-Sharjah Prize for Arab Culture to Istanbouli, winner of the Arab Personality Award, and Ben Boubaker, winner of the Non-Arab Personality Award.
The UNESCO-Sharjah Prize for Arab Culture recognizes recipients’ outstanding artistic achievements celebrating Arab art and culture globally. Core to UNESCO’s anti-racism and anti-discrimination agenda, the Prize promotes peace and dialogue to foster intercultural understanding and celebrate diversity.
For this 19th edition of the Prize, the international jury recognized Mr Istanbouli and Ms Ben Boubaker’s extraordinary contributions to promoting the arts and Arab culture and supporting their local communities.
Kassem Istanbouli is a Lebanese actor and director. Since 2014, he has led the rehabilitation of historical cinemas in Lebanon, including Stars Cinema in Nabatieh, and Al-Hamra and Rivoli in Tyre, abandoned or destroyed during civil war.
Mr Istanbouli is involved with several international projects focused on skills enhancement, youth empowerment and collaborative partnerships. In 2020 he co-founded the Arab Culture and Arts Network (ACAN) to design and implement online cultural activities across the Arab region. The Network includes over 700 organizational and individual members from across the world.
Mr Istanbouli is also director and founder of the Lebanese National Theater in Tyre and the Lebanese National Theater in Tripoli and has been a project manager at the Tiro Association for Arts in Lebanon since 2014.
Hajer Ben Boubaker is a French-Tunisian independent researcher and sound director. Her research focuses on a socio-historical analysis of Arab music and the cultural history of the Maghreb community in France and around the world.
In 2018, she created and self-produced the Vintage Arab podcast, which explores Arabic musical heritage. At the intersection of research and art, the podcast allows her to keep a foot in each sphere.
Ms Ben Boubaker is a producer and documentary director for France Culture, where her work questions the sound and political memory of immigration. As a researcher, she is associated with the Arab and Oriental music collection at the Bibliothèque nationale de France, and continues to write for scientific journals, including “Paris, capitale maghrébine: une histoire Populaire” in October 2023.
Created in 1998 and run by UNESCO at the initiative of the United Arab Emirates, the UNESCO-Sharjah Prize awards two laureates per year — individuals, groups or institutions — in recognition of their contribution to Arab art and culture, or for participating in the dissemination of the latter outside the Arab world.
The initiative contributes towards the Organization’s objective of fostering inclusive, resilient and peaceful societies. The Prize carries a monetary value of USD 60,000, which is equally divided between the two laureates.
