MOROCCO: The First Moroccan Watchmaker Fouad Zrhari Embraces Arab, Moroccan Culture with Timeless Elegance

Besides his Elaqsa Watches and the newly launched Lion Watch, Fouad Zrhari unveiled plans to launch a third brand in 2024 that is entirely Moroccan.

 In the world of horology, where time is measured with precision and elegance is crafted into every tick of the clock, Moroccan watchmaker Fouad Zrhari managed to fuse passion and craftsmanship and create meticulously designed pieces.

In an interview with Morocco World News, Zrhari shared his journey, one that transformed his love for watchmaking into a brand that blends the artistry of Arabic calligraphy and Morocco’s rich heritage.

A Passion ignited by chance

Zrhari’s love for watchmaking began by chance, as he describes it as “just a coup de foudre,” love at first sight. 

It was the charm of timepieces that captured his heart and the idea of creating an instrument capable of measuring time, with its intricate mechanical diversity, was simply fascinating.

“The idea of creating an instrument that measures time fascinates me,” he said, adding that “the precision of tiny pieces fitting together one by one until they tell the time is just incredible.”

Like many young individuals searching for their path in life, Zrhari initially found himself at a crossroads. He stumbled upon an opportunity to attend a school for micro-mechanics, a choice that would become instrumental in shaping his destiny. 

Little did he know that this decision would later lay the foundation for his future world of watchmaking. “The effort I exerted during that time serves me well today in the world of watchmaking,” he underlined.

“The school of micro-mechanics brought me immense value because it shares many similarities with instruments of measurement and calculation” which are used in watchmaking, he explained.

With his newfound skills, Zrhari went on to work with prestigious names in the industry, including Franck Muller, Roger Dubuis, and Jaeger-LeCoultre, which became his training ground. He reminisced about those days when celebrities graced the workshops.

Within these workshops, Zrhari undertook various roles, each offering a unique perspective on the art of watchmaking. 

Through various roles and tasks, he learned the intricacies of the watchmaking process and emphasized the importance of the diverse trades within the industry. “This experience taught me about the entire process of watchmaking,” he said.

Turning a Dream into Reality 

Yet, the defining moment of Zrhari’s journey came when he decided to take a leap of faith. Despite the challenges and strict regulations of designing watches while employed in Switzerland, he chose to work discreetly from his own home.

It was a risk, but it was fueled by a dream. “I saw many Arab personalities visiting the workshops and ordering their own models,” Zrhari recalled. “I turned to my friend and asked, ‘Why don’t Arabs manufacture their own watches?’ I didn’t understand it. Even though it might not be easy, I felt we should at least try.”

The response he received was one of doubt and skepticism. “Impossible,” his friend responded as he laughed. “It’s very difficult to gain recognition, very difficult to sell, and very difficult to invest in, as it demands a significant amount of money and time,” his friend told him.

However, Zrhari embraced this skepticism as a challenge, one he was determined to overcome.

That’s when Zehari decided to craft timepieces that are more than mere instruments that tell time, but a reflection of his heritage and a celebration of Arab culture.

Championing Arab Heritage in Watchmaking

Zrhari has infused his watches with a distinctive signature that pays homage to his Moroccan origins. “Arabic calligraphy, whether subtly concealed or prominently displayed, and Indo-Arabic numerals adorning the dial are the hallmarks of my creations,” Zrhari proudly said. 

His watches stand as unique works of art, capturing the essence of his Moroccan roots.

These watches are not just timekeeping instruments; they are an embodiment of his identity, designed to be “recognizable from a distance,” Zrahri said.

What sets them apart further is their exclusivity. Zrhari’s watches are exceptionally limited in number, with the ultra-exclusive Elaqsa Watches, and the newly launched Lion Watch offering affordability to a wider audience. 

Zrhari’s promise of a third brand, entirely Moroccan, in 2024 hints at an exciting future, where Zrhari’s artistry and Moroccan heritage will shine brightly in the world of horology.

Today, Zrhari’s journey has evolved into a mission. His passion for watchmaking has become more than just a hobby, as it is now a driving force with a clear purpose. 

“There is a huge market and enthusiasm in this business,” Zrhari emphasized as he spoke of his ambition to establish a watchmaking training center in Morocco. This endeavor is not just about creating timepieces; it’s about creating added value for the African continent, he noted.

In addition, Zrahri conveyed an important message of perseverance and ambition to the youth. 

“Don’t give up, even when faced with difficulties,” Zrhari advised. “Failure is not a setback; it’s an opportunity to become even stronger.”

He encouraged young individuals to transform their passion into a profession, regardless of the field they choose. With faith and determination, success will eventually come their way, he concluded.

source/content: moroccoworldnews.com (headline edited)

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Moroccan watchmaker Fouad Zrhari and some of his deisgns

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MOROCCO

OMAN: National Museum issues Special edition for Omani Navigator Ahmed bin Majid Al Saadi

 The National Museum has issued a special edition titled ‘Collection in Marine Science.’

The issue documents the greatness of Omani navigator Ahmed bin Majid Al Saadi, reviving his marine prowess and navigational creativity.

The collection documents the origin of the manuscript titled “Kitab al-Fawa’id fi ‘Ilm al-Bahr wa al-Qawa’id” (Collection of Manuscripts of Benefits in the Science of the Sea and Rules, as well as the abbreviation container in the origins of marine science and Arajiz), which has been on loan from Al Assad National Library in the Syrian Arab Republic to the National Museum since 2019.

In the opening speech of the publication, Jamal Hassan al Moosawi, Secretary General of the National Museum, said, “The display of the original manuscript ‘Collection in the Science of the Seas’ by the author Ahmed bin Majid al Saadi at the National Museum is an affirmation of the Omani identity of this unique scientific and historical personality.

This display comes in the context of the existing cooperation between the National Museum and the Ministry of Culture of the Syrian Arab Republic as part of the cultural diplomacy pursued by the National Museum.”

source/content: muscatdaily.com (headline edited)

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OMAN / SYRIA

SAUDI ARABIA: Winners of 3rd National Cultural Awards shine in Riyadh

The winners of the third National Cultural Awards were honored in a ceremony held in Riyadh on Saturday. The event was a night dedicated to celebrating cultural creativity and promising ambition.

Minister of Culture Prince Badr bin Abdullah bin Farhan presented the awards to the winners in the presence of Minister of Education Yousef Al-Benyan and Minister of Media Salman Al-Dossary. The ceremony was also attended by a distinguished group of intellectuals, writers and media figures.

The National Cultural Awards, an annual initiative by the Ministry of Culture, aims to recognize and showcase the talents of individuals within the country.

The awards also serve to promote their cultural products both locally and internationally, while providing financial and moral support to encourage their continued growth and success.

The winners were nominated for awards in 16 different categories, covering a range of areas including literature, music, architecture and design, nonprofits and film.

Prince Badr said: “We are happy to honor innovators in our beloved capital,” adding that the initiative aims to “shed light on talents, celebrate achievements, honor innovators and encourage cultural production.”

He said: “The newly launched business owner award for this year reflects the cultural system’s appreciation for the contributions of supporters of cultural activity across all cultural sectors, and acknowledges their vital role as an integral part of the efforts made by the cultural system entities.”

Prince Badr added: “The international cultural excellence award celebrates international cultural personalities and institutions contributing to enriching the contemporary international cultural landscape, in addition to celebrating the significant efforts in the field of international cultural exchange on a global level.”

He concluded by congratulating the winners of the National Cultural Awards for this year, urging them to continue their efforts and wishing everyone a future filled with arts and culture.

Author Abu Abdulrahman Al-Dhaheri received the cultural pioneer award for his extensive contributions to literature and culture. He has produced a diverse collection of publications in languages, literature, philosophy, art, Shariah sciences and history.

Businessman Abdulrahman bin Mahfouz won the business owner award for supporting cultural activity. The International Alliance for the Protection of Heritage in Conflict Areas received the international cultural excellence award.

In addition, Lubna Al-Khamis, a Saudi journalist, won the youth cultural award. The cultural institutions award was given to the Saudi Research and Media Group in the private sector and the Abdulrahman Al-Sudairy Cultural Center in the nonprofit sector.

The ceremony also recognized winners in other cultural sectors. Mohammed Ibrahim Yaacoub, a poet, received the literature award, and Adab Publishing won the publishing award.

Maha Al-Faleh was honored with the translation award, and Charmaleena Jewellery received the fashion award. Dr. Abdullah Al-Masri, a historian, won the national heritage award, and Bateel International was recognized with the culinary arts award.

Artist Manal Al-Dowayan was given the visual arts award, and the Riyadh Band received the theater and performing arts award.

Abdulrahman Mohammed won the music award, while Ibrahim Al-Hsawi won the film award. Kholoud Attar was recognized with the architecture and design award.

source/content: arabnews.com (headline edited)

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/Saudi Minister of Culture Prince Badr bin Abdullah bin Farhan with the winners of the third National Cultural Awards in Riyadh. (SPA)

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SAUDI ARABIA

QURAN CONTEST in SAUDI ARABIA : Islamic Affairs Ministry Announces Winners of the ’43rd King Abdulaziz International Competition of Holy Quran 2023′. First Prize Winners in 4 Categories from Saudi Arabia, Somalia and Senegal

The Minister of Islamic Affairs, Call and Guidance, Sheikh Dr Abdullatif bin Abdulaziz Al Al-Sheikh has approved the results and names of the winners in the 43rd edition of King Abdulaziz International Competition for Memorization, Recitation and Interpretation of the Holy Qur’an.


The competition, held at the Grand Mosque, witnessed the participation of 166 contestants representing 117 countries, competing in all five categories of the competition, with the total prize amount for this edition reaching SAR4,000,000.


In the first category, Ayoub bin Abdulaziz Al-Wahibi from the Kingdom of Saudi Arabia secured first place and received a prize of SAR500,000. Saad bin Saadi Sleim from Algeria came in second place, earning SAR450,000, while Abu Al-Hasan Hassan Najm from Chad achieved the third position, receiving a prize of SAR400,000.


In the second category, Ammar bin Salem Al-Shahri from the Kingdom of Saudi Arabia claimed the first position and was awarded a prize of SAR300,000. Mohammed bin Adnan Al-Omari from Bahrain secured second place, receiving a prize of SAR275,000. The third position went to Abdulaziz bin Malik Atli from Syria, who received a prize of SAR250,000.


In the third category, the winners include Mohammed bin Ibrahim Mohammed from Somalia, who clinched first place and received a prize of SAR200,000. Second place went to Shuaib bin Mohammed Hassan from Sweden, who was awarded SAR190,000 while Faisal Ahmed from Bangladesh secured the third position, earning SAR180,000 Saudi Riyals, and Mohammed Mufid Al-Azza from Indonesia claimed the fourth spot and received SAR170,000. Siraj Al-Din Muammar Kandi from Libya rounded off the top five, receiving a prize of SAR160,000.


Regarding the fourth category, the winners are as follows: Mohammed Ghai from Senegal secured the top position, earning a prize of SAR150,000. Hatem Abdulhamid Falah from Libya claimed the second spot, receiving an award of SAR140,000 and Yassin Abdulrahman from Uganda achieved the third position, with a prize of SAR130,000. Mashfiqur Rahman from Bangladesh attained the fourth position and was granted SAR120,000 while rounding off the top five, Abdulkader Yousef Mohammed from Somalia received a prize of SAR110,000.


As for the fifth category, Elias Abdou from the country of Larionion secured the first position, earning a prize of SAR65,000 while the second place went to Ibrahim Shahbandari from India who was awarded SAR60,000. Marwan bin Shalal from the Netherlands achieved the third position, receiving SAR55,000 and Mustafa Sinnanovic from Bosnia and Herzegovina attained the fourth position and received SAR50,000. Lastly, Hassib Amrullah from North Macedonia took fifth place, earning a prize of SAR45,000.

–SPA

source/content: spa.gov.sa (headline edited)

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pix: ehajportal.com

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ALGERIA / BAHRAIN / CHAD / LIBYA / SAUDI ARABIA / SOMALIA / SYRIA

JORDAN: 4th Amman International Film Festival reveals Winners of Black Iris Awards

Algerian period drama The Last Queen and Iraqi film Hanging Gardens were among those recognised.

Films from Palestine, Lebanon, Jordan, Iraq, Morocco, Tunisia and Egypt were among the top winners of this year’s Amman International Film Festival.

The Black Iris Awards ceremony was held on Tuesday at the Royal Film Commission in Amman. The event marked the conclusion of the fourth run of the festival. This year, the festival screened 56 films from 19 countries, including feature narratives, documentaries and short works. The films all marked their Jordanian premiere, with some making their worldwide or regional debut.

Hafreiat by Spanish filmmaker Alex Sarda was the winner of the Black Iris Audience Award for best foreign film. The documentary revolves around a Spanish archeological mission in northern Jordan where local workers excavate the land, working long hours for minute wages. At the centre of the story is Abo Dya, a Palestinian-Jordanian, working tirelessly to provide for his family, hoping to better their lives despite the criminal record that undermines his ambitions.

The Palestinian film Lyd, directed by Rami Younis and Sarah Ema Friedland, was named winner of two awards, including the Jury Award for best Arab feature documentary and the Fipresci Award, held in conjunction with the International Federation of Film Critics.

The film puts a spotlight on Lyd. A city with a 5,000-year history, Lyd was once a Palestinian capital and in the early 20th century was a thriving metropolis. Lyd highlights this rich history while also highlighting the bloodier aspects of its past, namely the massacres and expulsion of Palestinians by Israeli forces in 1948, after which the state of Israel was created and the city became known as Lod.

The documentary interviews survivors of the Nakba, Palestinians living in Lyd, as well as those in exile. The film juxtaposes the real-life footage with animation that treads into sci-fi territory, imagining what Lyd could have been like if not for the bloody events of the Nakba.

The Jury Award for Arab short film was given to two films – Hamza: A Ghost Chasing Me by Palestinian director Ward Kayyaland Trinou by Tunisian filmmaker Nejib KthiriThe Black Iris for best Arab short, meanwhile, was granted to My Girlfriend by Egyptian filmmaker Kawthar Younis.

The Special Mention prize for first-time documentary editor was awarded to Zakaria Jaber, director and editor of Anxious in Beirut. The documentary explores the trauma endured by denizens of the Lebanese capital in a film that aims to find a semblance of coherence within the tumultuous effects that have gripped Beirut.

Fragments from Heavenby Moroccan filmmaker Adnane Baraka was named winner of the Black Iris Award for best Arab feature documentary. The film follows a group of Amazigh nomads in Morocco as they search for bits of a Martian meteorite that landed in the desert in 2013, hoping it would better their lives.

The Special Mention prize for first-time lead actor/actress was awarded to two talents. Lebanese actress Marilyn Naaman was awarded for her lead role in Mother Valley. The film, set in the Lebanese mountains in the mid-20th century, follows a young wife as she faces the pressures of patriarchal society.

Egyptian actress Rana Khattab was also awarded for her role in the film Rat Hole. The feature, directed by Egyptian filmmaker Mohamed El Samman, follows a telemarketer working for a non-profit organisation trying to convince people to donate to various causes. The film pulls the curtain on the darker side of the Egyptian non-governmental organisations that scam people on the pretence of charity donations.

The Special Mention prize for first-time scriptwriter was awarded to Algerian filmmaker Adila Bendimerad, the director of the period drama The Last QueenBendimerad wrote the script for the acclaimed film with Algerian director Damien Ounouri.

The Iraqi film Hanging Gardenswon the Jury Award for Arab feature narrative. Directed by Ahmed Yassin Al Daradji, the film revolves around a 12-year-old boy who scavenges a landfill for sellable metal and plastic. He comes across a human-size doll, presumably brought and left behind by US soldiers. The boy names the doll Salwa and decides to keep and care for it; bathing it and trying to keep it from prying eyes. Soon, however, his secret is revealed, and he is in the crossfire of those who want to take Salwa for themselves, those who seek to commercialise from it, as well as those who want to obliterate it.

Finally, the Black Iris prize for best Arab feature was awarded to Ashkal. Directed by Youssef Chebbi, the crime thriller is set in Tunis and follows two police officers as they try to unravel the mystery behind a series of self-immolation cases.

source/content: thenationalnews.com (headline edited)

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pix: aiff.jo

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JORDAN

LEBANESE-BRAZILIAN: Lebanese Descendant Brazilian Henrique Tabchoury Collects Arabic Records in Brazil

Brazilian Henrique Tabchoury has listened to Arabic music records with his Lebanese father since he was a child and saw him get emotional with the songs of his homeland. Jamil Abrão Tabchoury was born in Tripoli, Lebanon, in 1917 and came to Brazil with his family in 1927 when he was nine.

After he died in 1988, Henrique inherited around 300 Arabic records from his father. Since then, he has dedicated his free time to rescuing, collecting, and cataloging Arab music material, many of them recorded in Brazil, as a way of honoring his father and the Arab colony that came to Brazil in the first diaspora in the late 19th century and early 20th.

A trained agronomist, Tabchoury works in agribusiness and, since the 2000s, started buying Arabic records for his collection, which today has around 4,000 pieces – some are not Arabic. He recently received a donation of 22 albums by Arab and Brazilian artists from the Arab Brazilian Chamber of Commerce (ABCC).

Tabchoury searches for Arabic music records in advertisements, used bookstores, antique shops, and websites. He collects Arab discography produced in Brazil and already has around 60 albums by Arab artists who lived and recorded in the country for labels such as Continental, Odeon, Arte-fone, and RCA Victor. The recordings were made between 1927 and 1935, and the collection includes records by artists such as Nagib Hankash and Nagib Mubarak.

“It’s a retrieval of the history of the Arab colony in Brazil; these artists were of fundamental importance for the community; they were an encouragement for the Arabs who came to Brazil,” said Tabchoury to ANBA.

The albums are mainly from Syrian and Lebanese artists. “I guess most are Lebanese artists as many sing odes to Lebanon, and 90% to 95% are Christian Arabs,” said Tabchoury. In his assessment, over half of these are Orthodox Christians, and less than half are Maronite Christians.

Of the 4,000 discs in his collection, he has already cataloged and digitalized around 580, and nearly 400 are Arabic music. “Cataloged, including private and serial recordings, we have 390 Arab 78rpm records produced in Brazil, apart from LP albums (vinyl), compact, and 10-inch records,” he informed. He intends to digitalize his entire collection and later launch a website with the music catalog and information about the artists.

One of his goals is to find all Arabic records of private recordings made in Brazil until the 1970s. After the 1970s, recordings from abroad began to arrive here,” he said. He also wants to find more old Arabic records, whether recorded in Brazil or not.

“Many people keep records for sentimental value, and some don’t know what to do and throw them in the trash. I’m looking for these records in my spare time; I go to other cities and talk to families. I have no commercial interest; my collection has a historical background and is a source of homage to the Arabs in Brazil,” he declared.

Tabchoury has already been to Araxá, Barretos, Uberaba, Goiânia, Curitiba, Porto Alegre, and Pindamonhangaba, among other Brazilian municipalities with Arab communities. “I want people to know I’m building this collection,” he said. He accepts donations and also buys records.

Contact

Henrique Tabchoury
Phone & WhatsApp: +55 (034) 99300-0675
Email: htabchoury@gmail.com
Instagram: @hentabchoury
Facebook: Henrique Tabchoury

Translated by Elúsio Brasileiro

source/content: anba.com (headline edited) / Bruna Garcia Fonseca

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BRAZIL / LEBANON

ARABS ORAL HISTORY: Oral History, Which Records Once-Silenced Voices, Gains Ground in the Arab World

Oral history, which is gradually taking hold as an academic discipline, captures potentially hidden corners of the historical record by listening to those whose voices might otherwise have been ignored.

“Oral history provides a big challenge to the people who are powerful, including historians, who think that they should get to decide whose stories are being told and what counts as evidence,” says Wesley Hogan, director of the Center for Documentary Studies at Duke University, in the United States, perhaps the best-established academic institute in the discipline.

In the Arab world, where official histories often reflect political viewpoints, oral history has taken on an increasingly important role, scholars say. Rosemary Sayigh, a retired faculty member at the American University of Beirut who has used oral history to record the stories of dispossessed Palestinians, says oral history has particular value in recording the status and experiences of women, agricultural and industrial workers, linguistic minorities, colonized societies, immigrants, refugees, and gypsies.

“The most powerful thing oral history does is force the researcher to look the subject in the eye—forcing the historian to be an ethnographer, actually sitting face to face with the narrator, listening to their voice and sensing their emotions and body language,” says Hana Sleiman, a Ph.D. candidate at the University of Cambridge and manager of a Palestinian Oral History Archive at the American University of Beirut. “It puts you in contact with the entire life narrative.”

The U.S.-based Oral History Association describes the field as gathering, preserving, and interpreting the narratives of people, communities, and participants in past events. The discipline is the oldest form of documenting history, dating back to times when sharing stories was the only form of creating a historical record. At the same time, it is one of the most modern means of documenting history, expanding with the use of tape recorders.

“The most powerful thing oral history does is force the researcher to look the subject in the eye—forcing the historian to be an ethnographer, actually sitting face to face with the narrator, listening to their voice and sensing their emotions.”Hana Sleiman
Manager of the Palestinian Oral History Archive at the American University of Beirut

Oral history as an academic sub-discipline was first established in the mid-1960s. “For a long time in the 1940s and 1950s, there was just not enough access to equipment,” says Hogan, at Duke. “We did not have access to portable tape recorders until 1963.”

One of the earliest uses of oral history by scholars was at Spelman College, a historically black institution for women in Atlanta, Georgia. Academics would take portable tape recorders to civil-rights movement meetings in the mid-1960s to record discussions and interview participants. Despite the clear value of having such on-the-spot recordings, many historians at the time viewed them with suspicion.

“Even though historians started to use [portable tape recorders] in the early ’60s, most history departments only started to admit oral history as evidence in the late 1970s, so it took a very long time for historians to be willing to accept oral history as evidence, comparable to evidence material, such as journals or written documentation,” added Hogan.

Oral History and Palestinians

Perhaps the event that has been the most documented by oral historians in the Arab world is the Palestinian Nakba. The 1948 Palestinian exodus, also known as the Nakba, occurred when more than 700,000 Palestinians—which was then more than half of the Palestinian population—were displaced from their homeland by the creation of Israel.

Much of that work has been collected by the Palestinian Oral History Archive, launched in June at the American University of Beirut. The archive contains more than 1,000 hours of video and tape-recorded interviews with Palestinians, made available to the public through a digital archive. Some of the interviews are available on the Internet.

Sleiman, the archive manager, says it “offers a push back in the face of the destruction of the villages and the attempts at erasing the records, and captures an entirely different layer of history that is not captured by written archives, including the most intimate texture of human life.” The collection includes folktales, songs, and the stories of the Palestinian refugees who fled to Lebanon.

Even Palestinian national cultural institutions have been slow to record Nakba experiences, but individual scholars and activists have moved in to fill the gap, says Sayigh.

“History is often written by the victors, and the story of the Nakba has been presented through the accounts of the Zionists and the colonial regimes,” said Lena Jayyusi, a professor emeritus at Zayed University.

“The details of the massacres and how civilians were forced out of their homes [during the Nakba] are very important to understand what happened; a general idea is not enough to build a foundation for the continuity and the remembrance of a certain community,” added Jayyusi.

Jayyusi also said oral history was important to “reconstruct Palestinian life before the Nakba: the social life, the religious life, the relationships between the people.”

Rising Respect for Oral History

Technological advances in managing sound and video files have made oral historians’ lives easier lately and increased the power of the discipline. Scholars can now more easily archive and index sound and video files, search files for particular speakers, and label emotions, as pointed out on the Oral History and Technology website.

Also, the average citizen now has easy access to powerful oral-history tools. “In a world where many people have access to a smartphone and an app that can record, and where data storage is cheap, we have increasing access to creating oral history archives,” says Hogan. “The more information we have from everyday people, people who are on the margins, the more we can understand societies, especially the ones in rapid transition.”

Many resources on the web, such as the International Oral History Organization, are also increasingly providing instructions and encouraging people to start their own oral history projects, filling a gap because universities do not often offer such courses. Archiving social media history is an important complement to oral history, scholars say, especially in societies where governments might delete what is now online.

Oral History and Academia

Oral history, just like any other qualitative research methodology, must be conducted with a critical eye, scholars say. Much of oral history relies on memory and a lot of subjectivity comes into play.

“People’s ideas and perceptions are reflected in oral history, and researchers should be aware of that,” explained Jayyusi.

Jayyusi said that no methodology is straightforward and objective, and researchers must be critical even when dealing with numbers. Methodologies must be triangulated, compared, and assessed, before producing a final report.

If oral history catches on with younger scholars, who fan out and capture the stories of today’s refugees and others whose stories are not being chronicled well in official channels, those scholars will be creating an evidence-rich gift for future historians.

source/content: al-fanarmedia.org (headline edited)

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An old man and a young girl were made refugees by the Arab-Israeli war of 1948. Experiences like theirs are being recorded by oral historians, so the story is not told only by the victors (Photo: Creative Commons).

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ARABS

ARABIC LANGUAGE: World Celebrates Arabic, ‘The Language of Poetry and the Arts’

  • UNESCO chooses theme for World Arabic Language Day 2023 
  • Arabic is one of the most widely spoken languages, used daily by more than 400m people

Language is a main pillar of any society, and a driving force for connecting communities. As one of the six official languages in the UN, and one of the most spoken languages globally, Arabic is an incubator of culture, science and knowledge.

It is also one of the most widely spoken languages in the world, used daily by more than 400 million people.

World Arabic Language Day has been celebrated by UNESCO every year on Dec. 18 since 2012, the date coinciding with the day in 1973 that the UN General Assembly adopted Arabic as the sixth official language.

UNESCO recently chose “Arabic — the Language of Poetry and Arts” as the theme of World Arabic Language Day 2023 to highlight the role Arabic has played in poetry and art for centuries.

Experts told Arab News that Arabic has many characteristics and aesthetic values, both in written text and spoken discourse.

“Arabic language is very closely linked to the arts, literature and various cultural styles, from poetry to prose, to the rest of the literary genres, such as the story, the novel, the narrative, and poems in various artistic and scientific fields,” Mohammed Alfrih, a member of the board of directors of the Saudi ‎Publishers Association, said.

“We can hardly find another language that mimics the Arabic language in its elegance and its different expressive ability, and it is not surprising that non-native speakers confirmed that, let alone its native speakers,” he said.

Yousef Rabab’ah, a professor of Arabic language and literature at ‎Jordan’s Philadelphia University, said: “The Arabic language is characterized by features and characteristics in derivation, vocabulary, and idiomatic expressions that make it able to keep pace with developments in various fields, and this is proven objectively.” 

Rabab’ah‎, who is editor-in-chief of Afkar Magazine, which is published by the Jordanian Ministry of Culture, said: “The Arabic language has been able throughout its history to influence many arts related to it, for example the arts of decoration, in which the Arabic calligraphy was essential in its formation. Artists were able to adapt the Arabic letters and Arabic calligraphy to produce artistic paintings and beautiful decorations that we see in places of worship, the walls of castles, palaces, and on the covers of books.

“Likewise, Arab voices, and the way they are performed and controlled, have a great role in the arts of singing, music and mirth, and we will not forget the plastic arts that adopt the formations of Arabic calligraphy which enter into the drawings of this type of art,” he said.

According to Hanan ‎Al-Sharnouby, assistant professor of literature and criticism at Alexandria University, the Arabic language has a profound association with various forms of arts, and it is necessary for those seeking to engage in linguistic arts and speech sciences to master the language.

Al-Sharnouby noted that language and art are interconnected, influencing each other. She emphasized that quality content for films, series, and theater necessitates a language that reflects Arab identity effectively and that the rich heritage of Arabic serves as a solid foundation for sophisticated art that fully engages its audience. 

Mohammed Daud, a professor of Arabic language and dean of the ‎Faculty of Linguistics at Sudan University of Science and Technology,‎ said: “There are formative and structural characteristics common to natural human languages, in addition to what is specific to each language.

“The Arabic language is distinguished by these formative and structural characteristics without the rest of the languages. It is represented by the fact that Arabic is concerned with the aesthetic values in the written text and spoken discourse, taking into account the semantic differences between words that appear synonymous in different structural contexts, which enabled it to express the same meaning in different ways and with amazing accuracy.

“This is reflected in its illustrative styles and its individual and collective creative arts, and applies to the ways of thinking of its speakers in their keenness to portray the details of artistic situations and the integrity of their creative production,” he said.

Daud said that the future of the Arabic language is bright due to the stability of its morphological, grammatical and semantic systems, and its ability to derive words and generate meanings through these means.

Tha’er Alethari, a professor of criticism and literature at University of Wasit in Iraq, said: “It is important to realize that Arabic is the only language in the world that has been understood for 2,000 continuous years.

“We read pre-Islamic poetry, understand it, and perhaps quote it on a contemporary issue, and this communication has given the language vitality and the ability to adapt to every era.

“There are two linguistic characteristics that helped it in this, the first of which is the abundance of linguistic roots in it, and the second is its etymological nature. Arabic does not depend on antecedents and suffixes in generating connotations, as is the case with most human languages. subject, noun, adverbs, etc,” he said.

source/content: arabnews.com (headline edited)

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World Arabic Language Day has been celebrated by UNESCO every year on Dec. 18 since 2012. (Reuters)

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ARABIC LANGUAGE

SUDANESE Historian Yusuf Fadl Hasan is SIBF 2022 ‘Cultural Personality of the Year’

Sharjah International Book Fair is honouring the leading academic for his distinguished works in research and documentation.

The Sharjah Book Authority (SBA) has announced Sudanese historian Yusuf Fadl Hasan as ‘Cultural Personality of the Year’ for its upcoming 41st annual edition of the Sharjah International Book Fair (SIBF 2022) in recognition of his invaluable contributions to the field of history and documentation of the nation’s developmental journey in political, cultural and scientific fields, in addition to his substantial efforts in promoting the research and documentation movement in Africa and Asia, and published  more than 30 books.

The SIBF ‘Cultural Personality of the Year’ initiative stems from SBA’s vision to honour distinguished figures who have contributed richly to various fields and serve as inspiration and model to younger generations.

Commenting on the selection of the Sudanese historian for its 2022 edition, which runs under the theme ‘Spread the Word’ from November 2 – 13 in Expo Centre Sharjah, HE Ahmed bin Rakkad Al Ameri, Chairman of SBA, said: “Our efforts echo the vision of His Highness Sheikh Dr. Sultan bin Muhammad Al Qasimi, Member of the Supreme Council and Ruler of Sharjah, of celebrating distinguished intellectual and creative personalities as pillars of sustainable cultural development. The Arab cultural world needs the invaluable work of distinguished figures like Prof. Yusuf Fadl Hasan to advance our realities and build our future.”

He added: “Sudan has constantly enriched Arab culture through leading contributions by prominent individuals in various fields. Naming Prof. Yusuf the Cultural Personality of the Year is a tribute to more than 60 years of vital work in research, documentation and studies of the African and Asian continents.”

Born in Al Mahmiyya, Sudan, in 1932, he received Bachelor degree in General Arts from Khartoum University in 1956, and Bachelor degree with honours in History from London University in 1959, and PhD in History from the University of London in 1964. He served as a lecturer at the History department at the University of Khartoum.

He served as the director of the Sudan Research Unit (which became the African and Asian Studies Institute) between (1972-1983), entrusted with chronicling the Sudanese heritage and spearheading a team of researchers. Prof. Yusuf served as the president of Khartoum University between 1985 – 1991, and was the editor of Sudan note and record magazine that has more than 20 editions. He also launched Sudanese studies magazine.

He has published more than 30 books, including The Arabs and Sudan: from the seventh to the early sixteenth century (1966), Introduction to the history of Islamic States in Eastern Sudan, Studies in Sudanese History, and co-edited Tabaqat wad Dayf Allah.

source/content: atalayar.com (headline edited)

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SUDAN

SAUDI ARABIA: King Abdulaziz Public Library Restores more than 3,000 Cultural Heritage items

The newly established restoration center at the King Abdulaziz Public Library in Riyadh has succeeded in preserving more than 3,000 rare scientific materials of cultural heritage. This includes photographs, documents, maps and rare books, as well as manuscripts.

The center was able to restore rare images depicting the old city of Diriyah, showcasing its location surrounded by a sea of palm trees.

The center restored 415 rare images of the city of Jeddah. The team of experts were also able to also restore 117 rare books, including their leather covers and internal pages.

In addition, the center restored a group of Saudi currencies, issued on 14 Dhu Al-Qa’da 1372 AH, corresponding to July 25, 1953 AD, when the Saudi Monetary Agency issued what was then known as the “receipts of pilgrims.” These were lightweight banknotes distributed and used during Hajj, starting at ten Riyals, of which 5,000 were printed with phrases in both Arabic and English.

The restoration center rehabilitated more than 615 rare documents and restored a series of rare magazines.

The center also cleaned up 2,235 rare and valuable maps in preparation for their restoration and preservation. The most notable was a map of the continent of Africa and the Arabian peninsula, drawn by Abraham Ortelius in 1570 AD.

The restoration center was inaugurated in late 2022, and has served as a space to handle artifacts carefully. Careful consideration is given to each item to maintain and preserve these pieces of history for future generations.

source/content: arabnews.com (headline edited)

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SAUDI ARABIA