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In-person and virtual festival showcases films from Arab world and diaspora.
The Arab American National Museum in Dearborn, Michigan, will kick off the Arab Film Festival on Friday.
Home to one of the largest Arab-American communities in the country, some consider Dearborn to be the “Arab capital” of the US and the museum has been devoted to documenting, preserving and presenting the history, culture and contributions of the community since 2005.
The annual festival will run from August 12 to 21, with a line-up featuring comedy shorts and documentaries tackling America’s Israel bias.
“As a young Arab American myself, I never really saw my story, my family story reflected in the music I listened to or the films that I watched or the textbooks in my classroom,” said Dave Serio, curator of education at the museum.
“So our goal really is to kind of inspire Arab Americans to see their stories, their perspective, people that look like them, names that they might have, on the big screen.”
Beginning in 2005, it is one of the museum’s longest-running programmes and offers a range of windows into Arab cinematic creativity and storytelling.
One of the films in this year’s set is When Beirut Was Beirut from writer-director Alessandra El Chanti. The short is a “poetic hybrid documentary” that focuses on an imagined conversation between three famous buildings in the Lebanese capital and what they witnessed during the country’s civil war.
“I wonder what inanimate objects could say, because they also have stories, too,” Ms El Chanti, a Lebanese citizen who now lives in Doha, Qatar, told The National.
“I feel like we always go to Lebanon and we’re just passers-by — we recognise that there are war-torn buildings, you can see the bullet holes.
The film, which began production in 2020, was produced entirely over Zoom by an all-Lebanese team of six artists.
Many of the films at this year’s festival will be making their US or Michigan state debut, Mr Serio said.
Ms El Chanti hopes members of the Lebanese diaspora watching her film at the festival walk away feeling “there’s a lot that you should learn about your country that you don’t know about — it literally could be from the perspective of anything and everything”.
Yasmina Tawil, the director of film programming at the Arab Film and Media Institute — one of the festival’s sponsors — told The National that while Arab film festivals such as this are considered “niche” in the entertainment industry, they can build towards more inclusion in the mainstream.
“We’re not a Sundance, we’re not a Cannes.
“But when a distributor goes to pick up a film, [the festivals] will add to the credence and the hype of the film. And I would at least hope that distributors would look at that as a sign of one of their big audiences … already knows about and really likes the film enough to programme it in their festival.”
“They’ll get picked up for distribution in the Middle East, in Europe and then maybe not make it over here [to the US]. Or if a torrented copy does, it might not have English subtitles and things like that.”
She added that her institute’s mission is, in part, to serve as a “caretaker” for Arab films in America.
The museum has offered both virtual and in-person attendance options, opening its mission to viewers across state and national borders.
“The Arab-American community is ridiculously talented,” said Mr Serio. “And our film festival is just honoured to be able to showcase a fraction of the amazing work that the Arab-American community is working on.”
source/content: thenationalnews.com (edited)
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Poster for the 2022 Arab Film Festival at Dearborn, Michigan’s Arab American National Museum. All photos: Arab American National Museum
Arabic Calligraphy, the art of creating decorative handwriting or lettering, is one of the oldest art forms from the Arab region; one that has not only thrived with time but also evolved into a unique form of expression. It survived through several tumultuous periods that threatened its existence, from civil wars to an invasion by the Mongol Empire that destroyed Baghdad.
Even though the writing wasn’t as focused on in the past, with many Arabs preferring to memorize poetry and other forms of text and pass them down verbally, that changed significantly later. Calligraphy would flourish to include the preservation of the Quran, adorn mosques as well as the palaces of kings, and by royal scribes when writing decrees, among other things.
In celebration of World Calligraphy Day, we decided to dive into the past and look back at some of the most well-known and prominent calligraphers from the Arab world.
Ibn Muqla
One of the biggest names in developing and improving Arabic calligraphy, born in 885 AD in Baghdad, Iraq, during the Abbasid Caliphate, he started out as a tax collector before rising through the ranks and becoming the Caliph’s Vizier three different times.
At this time, the Kufi style dominated the calligraphy scene, but Ibn Muqla invented new art styles that superseded the previous ones. Ibn Muqla was the one who invented the Thuluth and Al-Mansoub styles, as well as the foundations and rules for others, such as Naskh. The Naskh and Thuluth got further development throughout the centuries that followed, and calligraphers still use them today.
While the Kufic style was rigid in its overall design, Naskh had a more cursive structure but wasn’t as popular and as used at the time, Ibn Muqla changed that by improving on it and using it in official decrees, and private correspondence.
Ibn Muqla’s Thuluth style was new with its letters having long vertical lines with broad spacing. Its name translates to “one-third”, in reference to the maximum height for the letters on the same line must not exceed one-third of the ‘alif.
As for the Al-Mansoubstyle, it mainly focused on three measurements: the size of the period meaning the “Noqta”, the circle with a diameter equal to the height of the alif (the first letter in the Arabic language) and, and the height of the alif.
Little is known when exactly Ibn Al-Bawwab was born. However, we know of his existence and his body of work thanks to the survival of many of his manuscripts, Qurans, and texts referring to him by name.
With his name literally translating to “son of the doorman,” he didn’t grow up in a wealthy family and had to work to make a name for himself. He did so by learning about law and theology and working in several professions, such as a home decorator. However, he would later settle on working in book illumination and calligraphy.
Over years of hard work, he became renowned as a master calligrapher; fluent in six different styles in the field, perfecting the Al-Mansoub style and developing the Reyhani, Naskh, Tawqi, and Muhaqaq styles significantly.
Housed at the Chester Beatty Library in Dublin, Ireland, is the sole surviving Qur’an penned by Ibn al-Bawwab gifted to the country by Ottoman Sultan Selim I.
Originally from Syria, Mohammad Hosni Al-Baba was born in 1894 and is considered one of the last classical calligraphers. Al-Baba received his initial formal training with the Turkish master, Istanbul-based Yousef Rasa, who had renovated the Umayyad Mosque in Damascus, Syria. Al-Baba would later study under another renowned calligrapher, Mehmed Showki Afendi, author of the work “The Thuluth & Naskh Mashqs.”
He would later travel to Cairo, Egypt, becoming one of the leaders in Islamic and Arabic calligraphy, turning his home into a hub for artists, calligraphers, and poets. Al-Baba would be famous for improvements to the lettering in the Thuluth style, the linear structure of Arabic script, and was appointed by King Farouk as the first professor to be a master at the Royal Institute of Calligraphy.
His children would continue his legacy but in different fields since many grew up surrounded by artists when they visited Al-Baba’s home. The most famous of his children are actress Soad Hosni, dubbed “Cinderella of Egyptian Cinema,” and Najat Al Saghira, who became an actress and singer.
Born in 1944, Iraqi painter and calligrapher Hassan Massoudy continues to be one of the biggest inspirations for many modern artists today. French writer Michel Tournier even considered him as the “greatest living calligrapher” in 1989.
Massoudy grew up in Baghdad, Iraq, until 1969, when he fled to Paris, France, entering the École des Beaux-Arts, where he studied figurative painting. At the time, he looked for a job to pay for his studying, finally finding one as a calligrapher in Arabic magazines, writing their headlines.
While he wasn’t famous for a traditional calligraphy style, his distinct and elaborate designs made him stand out among the rest of the artists of his time. Massoudy would delve into the world of theater, collaborating with artists and choreographers, creating different productions focusing on the harmony of dance, calligraphy, and dance routines.
Studying abroad but seeking inspiration from his traditional roots, Tunisian artist and calligrapher Nja Mahdaoui invented the world of Arabic calligraphy as a graphic style, creating what was called “Calligrams.”
Born in 1937 in Tunis, Tunisia, he first started learning art history and painting at the Carthage National Museum. He later traveled to Rome, Italy, where he continued to study painting and learned more about philosophy at the Santa Andrea Academy. He also moved to Paris, France, where he went to the Cité Internationale des Arts and École du Louvre before returning to his home country in 1977.
His calligraphic style focuses mainly on the designs he creates as a whole rather than the composition of words since his “calligrams” resemble Arabic letters but have no literal meaning, leading to many naming him the “inventor of abstract calligraphy.” People can see Mahadaoui’s work on several materials used as a canvas, including jewelry, drums, leather, paintings, walls, glass, and so much more.
A UNESCO Crafts Prize laureate, Mahdaoui, graced the Facebook campus in 2018 by painting one of their halls using Arabic calligraphy in his unique style as part of the “FB AIR program,” turning their hall into a vividly colorful masterpiece.
Egyptian artist and calligrapher Ahmed Mustafa was born in 1943 in Alexandria, Egypt, graduating from the Faculty of Fine Arts at Alexandria University in 1966 before traveling to the UK on a scholarship to the Central School of Art and Design in London, England, where he earned his Ph.D. in 1989.
Inspired by his Islamic roots, his calligraphic works mainly focused on quotes from the Quran, among other sources. Working on several materials as his canvas, Mustafa has designs on glass and carpets, among others.
Mustafa also set up the Fe-Noon Ahmed Moustafa Research Centre for Arab Art and Design in London in 1983. He lectures and creates workshops globally as well as does commissions, one of which was presented by Queen Elizabeth II to Pakistan for the country’s fiftieth anniversary in 1997.
The following year, the Vatican invited him to do an exhibition at the Pontifical Gregorian University in Rome, Italy. World media at the time announced it as the first achievement of its kind in the history of Muslim-Christian relations.
Did you know that many of the Egyptian colloquial words Egyptians use on a daily basis are not actually Arabic?
The Egyptian Arabic dialect is fundamentally Arabic, but with the influence of history and local populations, some of the peculiarities that set the Egyptian dialect apart come from the integration of ancient Egyptian, Greek and Coptic words and expressions. Surviving for thousands of years, many commonly used, modern-day Egyptian words and phrases can actually be traced back to the current dialect’s ancient predecessors.
Here are some examples of words Egyptians use, often not knowing their ancient origin, as per the books ‘From Pharaoh’s Lips’ (2003) by Ahmad Abdel-Hamid Youssef, and ‘Al Logha Al Masrreya Al Qadeema’ (Ancient Egyptian Language, 2012 ) by Abdelhaleem Nour El-din.
UMBU (DRINK)
Often, in communication with infants or toddlers, broken down or simplified words are used to allow the news speakers to express themselves without too much difficulty. For example, umbu is the word commonly used by Egyptian children to express their thirst. The ancient Egyptian term simply means “from the water”.
TA TA (STEP BY STEP)
When Egyptian parents try to help their crawling baby how to walk, they use the phrase “ta ta” derived from the ancient Egyptian word “ti ti”. Though Arabic became the primary language in Egypt, the Coptic language was initially still being used in everyday life for the majority of the population. The term “ti ti” was adopted by the Coptic language and modified to “ta ta”, which is used until today.
MAMM (FOOD)
The word Mumm is an Egyptian slang word derived from the ancient Egyptian “my wnm”, which means ‘give to eat’. Many Egyptians, until this day, teach their babies to say “mumm” whenever they are hungry — as it is easy and quick to sound out.
DAHYA TIWADDIH AL AMENDI (MAY A DISASTER SEND HIM TO HELL)
The Egyptian phrase “Dahya tiwaddih al amendi”, is originally ancient Egyptian. The word “amendi” is a Coptic word meaning “hell”, which was derived from the ancient Egyptian word “imntt”, meaning the ‘underworld’.
BIKH (BOO!)
The word “Bikh!”, meaning “Boo!”, is often used in modern day Egypt to sneak up on someone and scare them. The term is an ancient Egyptian word “pa akh” meaning “demon” or “ spirit”.
WAHAWY YA WAHAWAY IYUHA (THE MOON HAS APPEARED)
The Egyptian phrase “Wahawy ya Wahaway iyuha” is part of a song Egyptians sing during the holy month of Ramadan. Families and young children swing their fanoos (lanterns) as they sing the lyrics to Wahawy ya Wahaway iyuha. The popular lyric is believed to be inspired from the ancient Egyptian word “wah” meaning ‘to put’ or ‘appear’, and “iyah” meaning “moon”. Thus, comprising the lyric “the moon has appeared” during the month of Ramadan, which is decided upon according to the lunar calendar in Islam.
KRKR (LAUGHING)
The word “krkr” is used frequently in modern Egyptian day to describe someone who is laughing uncontrollably. The term is originally ancient Egyptian “ķrķr” and was adopted into modern day Egyptian society.
GATEK MAW (MAY A LION FETCH YOU)
The phrase “jak maw” or “gatek maw”, often switched depending on the region it is used in, essentially means “may a lion come to you”. The phrase is an Egyptian expression used as an insult. The ‘maw’ is based on a pun on the words “lion” and “mother”. The expression is often used by mothers bothered by their children.
NYU Abu Dhabi research scientist Dr. Dimitra Atri has produced the world’s first ever Mars atlas in Arabic, Emirates News Agency reported.
The atlas uses data from the UAE’s Emirates Mars Mission (EMM) — also known as Hope or Al-Amal — in order to make the findings of the probe more accessible to both the UAE’s Arabic-speaking population and the rest of the world.
The Mars Atlas Project combines various images from the Hope probe to map the planet’s surface.
The end result is a comprehensive view of Mars and stunning images of a planet that once had similar atmospheric conditions to Earth.
Dimitra Atri used data from UAE’s Hope probe to map the red planet.
Atri and his team compiled the atlas by processing observational data from EMM’s Emirates eXploration Imager, one of three instruments onboard the orbiter. The device will also assist the team in showing how the planet changes over the course of one Mars year, which is roughly equivalent to two Earth years.
As more data from the Hope probe becomes available, the atlas will be gradually updated.
The data will help scientists gain a better understanding of the planet’s atmospheric thinning, which has caused it to cool and dry over the last 4 billion years.
Atri predicts that the collected data will be used to answer unsolved scientific questions about the erosion of Mars’ atmosphere.
The findings could help the international scientific community to better understand Earth’s atmospheric processes, he said.
Cairo witnessed the seventh edition of the Cairo International Biennale of the Arabic Calligraphy Art under the auspices of Minister of Culture Ines Abdel-Dayem at the premises of Cairo Opera House.
Under the slogan ‘Pioneers and Renovators in 100 years (1922/2022)’, the biennale included a three-day seminar that ran from 6 to 9 June at El-Hanager Cinema that highlighted the most prominent figures of Arabic Calligraphy in Egypt and the Arab world as well as an art exhibition showcasing artistic gems of this Art from 125 countries represented by 15 artists at the Art Palace in the Cairo Opera House Complex that is running from 7 to 20 June.
Furthermore, the event established a new tradition of honouring artists and researchers for their achievements, and a side competition was held in the name of renowned Egyptian calligrapher Khedr El-Portsaidy — the founder of the Arabic Calligraphy Museum as well as the one who accredits and certifies Arabic calligraphers in Egypt.
In the opening session, Mohamed El-Baghdady — the general commissioner of the biennale — noted that this year marks the centenary jubilee of the establishment of Egypt’s first calligraphy school during the reign of king Fouad in 1922.
The session also included the presentation of a research paper written by Nahla Imam — country representative of Egypt at the 2003 Convention of Safeguarding the Intangible Heritage of UNESCO — who shared her experience in adding Arabic calligraphy knowledge, skills, and practice on UNESCO’s representative list of intangible cultural heritage in December 2021.
Mohamed Hassan Abu El-Khair — the first to innovate the ‘mashq’
The second day of sessions showcased the pioneers and renovators of such enchanting art.
The first paper was presented by researcher and calligrapher Mohamed El-Shafaai on passing down the practice of such art in Egypt, taking the family of Mohamed and Abdel-Aziz Abu El-Khair as an example, as the two are renowned Egyptian calligraphers that this year’s round was dedicated to.
He started off by revealing that the concept of passing down this form of art dates back to the pre-Islamic era, explaining that the initial idea behind Arabic calligraphy was transcription, and then the artistic element came later.
“During the pre-Islamic era, except for a small circle, very little knew how to write Arabic, and according to Abdalla Ibn Abbas, the first person to begin writing in Arabic in the tribe of Qureish was Harb Ibn Umaya — one of the masters of the tribe and the father of Sufian Ibn Harb.
The other key person in calligraphy art was El-Wazir Ibn Noqla, who was famous during the Abbasid Caliphate and inherited the art from his father El-Ali Ibn Hassan, explained El-Shafaai.
Mohamed Hassan Abu El-Khair was born in Cairo in 1921, he studied in Al-Azhar and then joined The School of Improving Calligraphy when he was only 17, where he was the top of his class and was taught by calligraphy masters such as Sheikh Fakhr El-Din, Sheikh Ali Badawi, and Mohamed Hosni El-Baba — the father of iconic Egyptian actress Soad Hosni to name but a few.
He excelled in El-Sulus and Reqaa calligraphy and soon became a professor of the art of calligraphy at Oum El-Qoura University in Mecca for 20 years.
“He was the first to innovate in the mashq (an educational manual technique) of the solos of Arabic calligraphy that are taught to fourth graders, where he started teaching students to write whole sentences from the beginning instead of focusing on letters with no context,” El-Shafaai added.
Abdel-Qader Al-Shihabi — the calligrapher of the Palestinian government
The second paper focused on Abdel-Qader Al-Shihabi — a Palestinian calligrapher — that was written by Farag Hussieny. Al-Shihabi is a renowned Palestinian calligrapher whose fame reached its peak during the first half of the 20th century and was known as the ‘calligrapher of the Palestinian government.’
“Born and raised in Jerusalem, Abdel-Qader Al-Shihabi comes from a long line of calligraphers that started off this art between the 12th and 14th year of the Hijri calendar, however, Al-Shihabi learned calligraphy in Istanbul at the hand of Mohamed Ezzat, the biggest artist. He was known for his suluth calligraphy, which decorates the walls of Al-Aqsa Mosque to date. He also spent all his life teaching calligraphy in Jerusalem and encouraging young artists to follow his passion,” explained Hussieny.
Abdalla Al Zohdi: the calligrapher of Al-Haramein Al-Sharifine
The third paper covered the ‘calligrapher of Al-Haramein Al-Sharifine(The Two Holy Mosques) Abdalla Al-Zohdi and was written by Sami Saleh Abdel-Malak.
“Born in Nablus, Abdalla Al-Zohdi was born around 1251. His family moved to Istanbul, where he studied and excelled in calligraphy at a very early age. His artistic fame made him the official calligrapher of the Prophet’s Mosque in Medina, where his calligraphy adorns the walls and ceilings of the mosque till now,” the paper explained,
“During the reign of khedive Ismail, he was commissioned to write the calligraphy of the Keswa of the Kaaba and Mahmal. His implacable calligraphy was quite visible and stood out in the design of the keswa from that day onwards. He was known by his highly complex and geometric Sulus calligraphy.”
The translators of books about culture, physics and data mining are among the latest recipients of the prestigious King Abdullah bin Abdulaziz International Awards for Translation.
This year’s event, covering works published in 2021, marks the 10th anniversary of the awards. There were six categories and the winners, chosen by the event’s board of trustees, were announced on Monday.
Izz ddeen Khattabi Riffi’s translation from the original French of “Beyond Nature and Culture” by Philippe Descola took the award for works in the humanities category translated into Arabic. It was shared by Abdelnour Kharraki for his translation of “Data Mining for the Social Sciences: An Introduction” by Paul Attewell, David Monaghan and Darren Kwong, originally published in English.
The award for institutions went to the publishing and translation department of Obeikan Company, and to Al-Arabi Publishing & Distribution.
There were also two winners in category for works in the natural sciences translated into Arabic, both for books originally published in English: Dr. Sausan Hassan Al-Sawwaf and Dr. Laila Saleh Babsil for their translation of “Physics in Biology and Medicine” by Paul Davidovits; and Yahya Khlaif and Abdullatif Al-Shuhail for their translation of “Introduction to Carbon Capture and Sequestration” by Berend Smit, Jeffrey A Reimer and Curtis M. Oldenburg.
Three awards were presented in the category of Individual Efforts in Translation, to Hamza Qablan Al-Mozainy from Saudi Arabia, Murtazo Saydumarov from Uzbekistan, and Samir Mina Masoud Greeis, who is of Egyptian-German nationality.
The judges decided to withhold the awards in the two remaining categories, for books about the humanities and natural sciences translated from Arabic into other languages.
The United Nations Educational, Scientific and Cultural Organisation (UNESCO) headquarters in Paris held a ceremony for the 18th edition of the Sharjah Prize for Arab Culture (SPAC), organised by the Sharjah Department of Culture in cooperation with UNESCO.
The Prize has been awarded to Dunya Mikhail, an American-Iraqi poet, and Helen Al Janabi, a Swedish actress of Syrian-Iraqi origin.
Sheikh Salem Khalid Abdullah Al Qasimi, Deputy Secretary of State for Heritage and Arts Sector, UAE’s Permanent Representative to the UNESCO, along with Professor Mohammed Ibrahim Al Qaseer, Director of Cultural Affairs at the Department, in addition to dignitaries, writers, intellectuals and members of the diplomatic corps accredited to the United Nations.
Ernesto Otuni Ramirez, UNESCO’s Assistant Director-General for Culture, gave a speech in which he expressed his gratitude and appreciation to H.H. Dr. Sheikh Sultan bin Muhammad Al Qasimi, Supreme Council Member and Ruler of Sharjah, and for his cultural and humanitarian renaissance role at the local, regional and global levels.
Afterwards, Abdullah bin Muhammad Al Owais, Chairman of the Sharjah Department of Culture, gave a speech in which he expressed his happiness at the continuation of the UNESCO-Sharjah Prize for Arab Culture editions, appreciating the role of UNESCO in managing the prize and sponsoring many cultural programmes.
Al Owais and Ernesto Ramirez awarded the 18th Sharjah Prize for Arab Culture to Dunya Mikhail and Helen Al Janabi, in addition to honouring the winners of the 17th session.
Bread on Uncle Milad’s Table by Libyan debut novelist Mohamed Alnaas was announced as the winner of the 2022 International Prize for Arabic Fiction (IPAF).
The novel, published by Rashm, was named as this year’s winner by Chair of Judges Shukri Mabkhout during a ceremony in Abu Dhabi that was also streamed online.
In addition to being awarded USD $50,000, funding will be provided for the English translation of Bread on Uncle Milad’s Table, and Mohamed Alnaas can expect to see an increase in book sales and international recognition.
Shukri Mabkhout, Chair of the 2022 Judges, said: “The winning novel is written in the form of confessions of personal experience. Its plethora of details is deftly unified by a gripping narrative, which offers a deep and meticulous critique of prevailing conceptions of masculinity and femininity and the division of work between men and women, and the effect of these on both a psychological and social level.”
He added that the novel, falls into the category of novels which question cultural norms about gender; however, it is embedded in its local Arab context, and steers away from trivial projections or an ideological treatment of the issues, which would be contrary to the relativism of fiction and its ability to present multiple points of view.
Bread on Uncle Milad’s Table is a unique story based in Libya. In the closed society of his village, Milad strives to live up to the definition of ideal masculinity, as his society views it. However, after all his best efforts, he fails to be ‘a man’, and after meeting his sweetheart and wife-to-be, Zeinab, decides to forget about this definition and be himself. Living at home, he performs the tasks which his society reserves for women, while Zeinab works and supports the family. Milad is unaware of how he is mocked in the village until his nephew breaks it to him. Bread on Uncle Milad’s Table questions static ideas of gender and champions the individual in the face of destructive ideas adopted by the majority.
Mohamed Alnaas, is a short story writer and journalist from Libya, born in 1991. He obtained a BA in Electrical Engineering from the University of Tripoli in 2014, and his short story collection Blue Blood was published in 2020. Bread on Uncle Milad’s Table (2021) is his first novel and he wrote it in just six months during lockdown and whilst Tripoli was under bombardment. He says writing the book was his “refuge from insanity” amidst the news of Covid and war.
At 34, Alnaas is the second youngest writer to win the International Prize for Arabic Fiction and the first Libyan. Bread on Uncle Milad’s Table was published with support from the Libyan Arete Foundation.
Bread on Uncle Milad’s Table was chosen by the judges as the best work of fiction published in Arabic between 1st July 2020 and 30th June 2021. It was chosen from a shortlist of six novels by authors from Egypt, Kuwait, Libya, Morocco, Oman and, for the first time, the UAE. The shortlisted finalists — Khalid Al-Nassrallah, Tareq Imam, Reem al-Kamali, Bushra Khalfan and Mohsine Loukili — will each receive USD $10,000.
The panel of five judges was chaired by Tunisian novelist, academic and previous IPAF winner (The Italian, 2015) Shukri Mabkhout. Joining him on the judging panel were Libyan doctor, poet and translator Ashur Etwebi, Lebanese writer and PEN International board member Iman Humaydan, Kuwaiti poet and critic Saadiah Mufarreh and Bulgarian academic and translator Baian Rayhanova.
The award saw a high turnout from authors around the world, with more than 3,000 applications submitted from more than 55 countries, including 20 Arab countries.
Sheikh Zayed Book Award (SZBA) announced on Monday the winners for its 16th edition across seven categories, selecting six literary figures, intellectuals and translators, along with Egypt’s Bibliotheca Alexandrina, for top honours.
Over the years, the Sheikh Zayed Book Award has managed to expand and become one of the most prestigious events in the Arab world, allowing for the development of cultural dialogue and the creation of new opportunities for authors and translators around the world.
This year’s winner in the young author category is Tunisian professor Mohamed al-Maztouri with his book Al Badawa fi al She’er al Arabi al Qadeem (Bedouinism in Ancient Arabic Poetry).
“The author of this book, Mohamed al-Maztouri, presents a serious academic study of bedouinism in ancient Arabic poetry,” the Zayed programme commented.
Adding that Maztouri “discusses its diverse concepts and many manifestations, describing it as a culture with special landmarks and a lifestyle inseparable from its place, environment, and geography.”
From pre-Islamic times the Arabian Peninsula has been home to world-class poetry that is deeply connected to values of bravery, nobility, eloquence and at times sensitivity.
Throughout the centuries, poetry’s popularity has only grown in the region, attracting new audiences in both the Arabian Peninsula and other Arab countries in North Africa and the Levant.
Today, the trend has been further boosted by Emirati initiatives and competitions.
The translation award went to Egyptian translator and author Ahmed Aladawi for his translation of the American author, George Makdisi, book “ The Rise of Humanism in Classical Islam and the Christian West” into Arabic.
Each winner receives a life-changing prize of AED 750,000 (USD 204,190/GBP165,220).
Winners will also be honoured in a ceremony at the Abu Dhabi International Book Fair later this year.
The Cultural Personality of the Year winner will be presented with a gold medal and a certificate of merit, as well as a Dh1 million prize.
source/content: thearabweekly.com
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Full list of winners of the Sheikh Zayed Book Award 2022:
Literature
Maq’ha Riche, Ain Ala Massr (Eye on Egypt: Cafe Riche) by Maisoon Saqer. Published by Nahdet Misr Publishing
Children’s Literature
Loghz al Kora al Zujajiya (The Mystery of the Glass Ball) by Maria Daadoush. Published by Dar Al-Saqi
Young Author
Al Badawa fi al She’er al Arabi al Qadeem (Bedouinism in Ancient Arabic Poetry) by Mohamed Al-Maztouri. Issued by the Faculty of Literature, Arts and Humanities at Manouba University and the GLD Foundation
Translation
Nash’at al Insaniyat Einda al Muslimeen wa fi al Gharb al Maseehi (The Rise of Humanism in Classical Islam and the Christian West) by Ahmed Aladawi. Published by Madarat for Research and Publishing.
Art and Literary Criticism
Al Sarid wa Taw’am al Rooh: Min al Tamtheel ila al Istinaa (The Narrator and the Soulmate: From Acting to Faking) by Mohamed Aldahi. Issued by Le Centre Culturel du Livre.
Arab Culture in Other Languages
The Arabian Nights in Contemporary World Cultures: Global Commodification, Translation, and the Culture Industry by Muhsin J. Al-Musawi. Cambridge University Press.
Gharbi is one of a number of Moroccans who have won similar prizes.
Youness Gharbi is the latest in a list of other Moroccans to have claimed a prize for his Quran recitation skills, this time in Saudi Arabia.
Visually impaired Gharbi won the “Otr Elkalam” competition on Wednesday, with a prize of SAR 5 million ($1.3 million).
He received his prize during a ceremony celebrating the completion of the international Quran reciting competition whose name is Arabic for the fragrance of speech.
The Chairman of the board of directors of Saudi’s general entertainment authority , Turki Al-Seikh, delivered the prize to Youness Gharbi and another British contestant Mohamed Ayoub who came in second place.
Mohamed Ayoub received an award of a little over half a million dollars.
In the call to prayer category, a Turkish contestant came in first place, Muhsin Kara, receiving SAR 2 million ($533,200), while another Turkish contestant Albijan Celik came in second place, winning a prize of SAR1 million ($266,600).
Saudi contestant Anas Al-Rahili came in fourth place with a SAR250,000 ($66,650) award.
During the ceremony, the event organizers announced that the “Otr Elkalam” competition will open its doors for international Quran reciters during Ramadan next year.
The “Otr Elkalam” competition was organized by the Saudi government’s General Entertainment Authority this month, to coincide with Ramadan.
Moroccans are no strangers to winning Quran reciting awards. In 2020, Five Moroccans won a Quran reciting competition award in Abu Dhabi during a virtual ceremony.
Nearly all prizewinners of the Abu Dhabi competition were Moroccans.
Moroccan Fatima-Zahrae Mrabet claimed the first place in the women’s “All Nationalities” category, and Moroccan Kaoutar Zribi and Chaimae Lchab trailed behind respectively in second and third place.
Moroccan men equally distinguished themselves at the ceremony, with Anas Mhamdi ranking first in the men’s “All Nationalities” category and Abdellah Bela ranking third within a different category.
