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The 23rd Arab Radio and TV Festival kicked off on Monday in Tunis under the slogan of “Celebrating Arts and Culture.”
The opening ceremony was hosted on Monday at the City of Culture under the theme: “Arab Perfumes,” and the closing ceremony will be broadcast live by the various Arab TV channels and radio stations.
The official ceremony was attended by several Arab senior officials, including diplomats, professionals from the festival’s media partners and featured artists.
The official guests included President of the Arab States Broadcasting Union (ASBU) Mohammed bin Fahd Al-Harthi, ASBU Director General Abdelrahim Suleiman, Cultural Affairs Minister Hayet Ketat Guermasi and Syrian Minister of Information Butros al-Hallaq.
A tribute was paid to Egyptian actress Sherine, Lebanese filmmaker Georges Ghabbaz, Emirati actress Fatma Houssani, Libyan filmmaker Hassan Garfel, Moroccan filmmaker Sanaa Akroud, Syrian actor Milad Youssef and actress Rawaa Saadi.
The festival further paid tribute to leading figures from the Arab audiovisual landscape, including former chairman and CEO of the Tunisian radio and television broadcasting corporation (ERTT) Abdel Aziz Kacem, Tunisian actor Moncef Baldi, former Director of Egyptian Radio Iness Jawhar, former ASBU Director of the Administrative and Legal Committee Hani Farraj, Bahraini filmmaker Ines Yacoub and Taki Eddine Soubira from Comoros.
The awards of the 14th edition of the Arab Music and Song Contest were handed over during the ceremony, which was held at the ASBU headquarters in Tunis last May.
The Tunisian Radio won the 2nd award (US$ 3 thousand) in the musical works section for a composition entitled “Tamiarat” by Mohsen Matri.
The winning works were selected by a jury made up of musician Mona Chtorou (Tunisia), artisit Mona Abelghani (Egypt), artist Dhia Eddine Jebbar Faraj (Iraq), academic Achour Fanni (Algeria) and poet Hédi Daniel (Syria).
The 18th Arab Media Forum kicked off on Sunday in Kuwait under the patronage of Prime Minister Sheikh Ahmad Nawaf Al-Sabah.
The event focused on a range of issues pertaining to the future of media in the region, Kuwait News Agency reported.
During one of the sessions, Jameel Al-Thiyabi, editor-in-chief of Saudi newspaper Okaz stated that the rise of Artificial Intelligence would have an impact on media outlets all over the world, emphasizing the importance of keeping up with AI developments in media rather than falling behind.
The Arab League’s assistant secretary-general for media Ahmed Khattabi stressed the importance of addressing challenges within digital media, adding that improving media capacities should not overshadow topics of significant importance to the Arab world, particularly the Palestinian cause.
Meanwhile, Waleed Al-Jasim, editor-in-chief of Kuwaiti newspaper Al-Rai, said Arab media faced challenges surrounding media freedoms, adding that social media platforms allowed for more freedom of expression compared with mainstream media.
Hatim Al Taie, editor-in-chief of Omani newspaper Al-Roya, warned younger people working in the industry needed to prepare for the oncoming digital media transformation. He called on the Arab League to impose fees on international media companies, with the money used in funding media entities in the Arab region.
Egyptian acclaimed composer Omar Khairat has been selected as the Cultural Personality of the Year by the organizers of the UAE’s 17th edition of the Sheikh Zayed Book Award (SZBA).
Omar Khairat will be awarded “in honour of an illustrious, decades-long career of timeless musical creations that have contributed to shaping the collective cultural consciousness of the Arab region,” as stated by the SZBA’s official website.
“The SZBA’s Board of Trustees endorsed the Scientific Committee’s decision to choose Khairat as the Cultural Personality of the Year in recognition of his remarkable talent and artistic turnout, which has been tremendously popular in the Arab world and has been featured in musical introductions to films and many dramas.”
The SZBA is organized by the Abu Dhabi Arabic Language Centre (ALC); part of the Department of Culture and Tourism – Abu Dhabi (DCT Abu Dhabi).
Winners of this year’s SZBA also include Iraqi poet Ali Jaafar Alallaq; French author Mathieu Tillier; Algerian author Said Khatibi; Tunisian translator Chokri Al Saadi; Tunisian critic Jalila Al Tritarm, and Egyptian publishing house Dar ElAin.
Excellence and Innovation
Each year, the Cultural Personality of the Year award is given to “a prominent figure who has contributed to the advancement of Arabic culture and promoted peaceful coexistence.”
“This year, we are proud to select Omar Khairat, one of the most renowned and celebrated musicians in the Arab world,” stated Undersecretary of DCT Abu Dhabi Saood Abdulaziz Al Hosani.
“His constant striving for excellence and innovation has seen the artist make an incalculable impact on the music industry and the wider cultural landscape, as well as foster important cross-cultural dialogue. His passion reflects Abu Dhabi’s vision to nurture creativity and harness the power of the arts to build bridges and transcend borders,” he added.
Considerable Career
Born in 1947, the multi-awarded Omar Khairat is one of the top musicians of the Arab world with hundreds of memorized compositions in his repertoire.
Throughout his long successful career, he has written scores for numerous films and television series, including The Sixth Day (1984); The Terrorist (1993); Mafia (2002); Girl’s Love (2003); The Embassy in the Building (2005), and Deer’s Blood (2006), to name but a few.
His concerts are usually fully-booked weeks ahead of time with his wide fan base singing along and humming with compositions like Heya Di El-Hayah; Fi Hawid El Leil; Arabian Rhapsody; Fiha Haga Helwa; Eadam Mayet; El-Khawaga Abdel-Kader; Giran El-Hana; Saber; Arfa; Qadeyet Am Ahmed; Khali Balak Men Aklak, and other classic hits of time-honoured TV and films themes.
Among his upcoming performances is the 3rd of June’s large concert at the Sound and Light Theatre at the Pyramids and Sphinx site in Giza, where half of the tickets have already been sold-out.
Syrian American Mayor Khairullah says Biden should end ‘racism’ against Muslims and Arabs
‘I don’t think it is fair to make a documentary to show that Cleopatra was Black. This is changing history,’ says Egyptologist Zahi Hawass
The Ray Hanania Radio Show, a weekly program sponsored by Arab News, kicked off its third season on Thursday with an explosive episode last night. It featured as its first guest Syrian American Mayor Mohamed T. Khairullah, who was controversially banned from the White House Eid celebration.
During his appearance on the show, Khairullah slammed President Joe Biden, saying it is his responsibility to end the “racism” and “discrimination” against Muslims and Arabs that is a part of the system.
The Ray Hanania Radio Show, which first aired in October 2020 ahead of the US elections at the time, hosts a wide array of guests tackling crucial topics in the Arab world.
One such topic tackled this season is the recent Netflix docuseries controversy surrounding the casting of Adele James, a Black actress, as Cleopatra, whom historians agree was of Greek origin.
The furor came from Egyptians and other Arabs accusing the producers of the film of appropriating their culture. The Ray Hanania Radio Show thus hosted world-renowned Egyptologist Zahi Hawass who set the facts straight.
“Cleopatra was a Macedonian…I really think that the reason this film is shown now (is) because some people want to say that the origins of Ancient Egypt were Black,” he said on the show, adding, “I don’t think it is fair to make a documentary to show that Cleopatra was Black. This is changing history.”
Continuing with the topic of Arab representation in Hollywood was Arab News’ very own Editor-in-Chief Faisal J. Abbas.
On the show, Abbas cited Arab American writer and academic Jack Shaheen and his book “Reel Bad Arabs,” which says that, out of 1,000 films, Arabs were only presented or portrayed positively in 12 percent of them.
“As Arabs, we should not wait for Hollywood, and we should not wait for people with Orientalist agendas to tell our story. We should be the masters of our own destiny, we should be the masters of our own storytelling,” Abbas said.
“I’ll tell you one more thing before we conclude. Actions speak louder than words.”
The Ray Hanania Radio Show is broadcast live on WNZK AM 690 Radio in Greater Detroit and on WDMV AM 700 in Washington D.C. every Wednesday at 5pm EST / 12am KSA, also available on all Arab News podcast channels.
Guinness World Records recognizes longest phrase made from coffee beans
UNESCO added Saudi Khawlani coffee and the skills and knowledge associated with its cultivation to its Intangible Cultural Heritage list
The Heritage Commission has set a world record for the longest phrase made from coffee beans.
The phrase, “Heritage Commission,” comprised 6,088 Saudi Khawlani beans and was created as part of the commission’s events to mark World Heritage Day.
The creation, whose record length was recognized by Guinness World Records, was displayed at the King Abdulaziz Historical Center in Riyadh, where the commission’s representatives received their official certificate.
Saudi Arabia is one of the world’s largest consumers of coffee and achieving self-sufficiency in its production is a goal of Saudi Vision 2030.
Khawlani is one of the world’s most sought after coffee beans. It has been cultivated in the Jazan region for more than eight centuries and is mentioned many times in old poems and songs from the region.
Last year, UNESCO added Saudi Khawlani coffee and the skills and knowledge associated with its cultivation to its Intangible Cultural Heritage list.
According to statistics from the 2022 Saudi Coffee Festival, the Jazan region is home to more than 2,000 coffee farms, over 384,000 coffee trees and an annual production of over 900 tons.
source/content: arabnews.com (headline edited)
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The phrase, ‘Heritage Commission,’ comprised of 6,088 Saudi Khawlani beans, was created as part of the commission’s events to mark World Heritage Day. (SPA)
The director received a master’s degree in fine arts specializing in film production at the prestigious American Film Institute in Los Angeles
Hana Kazim’s short film ‘Makr’ screened at several genre festivals including Fantastic Fest in Texas and FrightFest in London
Director Hana Kazim founded Wiswas Productions, dubbed the first Arab horror-focused production company, in a bid to celebrate the power of the thrilling genre.
The Emirati auteur recently directed a Saudi Arabia-focused episode of STARZPLAY’s “Kaboos,” which is set in different eras and across countries in the MENA region, taking viewers on a journey through frightening urban legends from Saudi Arabia, Kuwait, Egypt and the UAE.
“I found that there’s a lot of interest in horror and a lot of stories to tell, and a lot of things you can say through horror,” Kazim told Arab News.
“I think some of the most courageous stories right now are being told through the mask of horror, mainly because horror can seem like to the mass audience as a spectacle, but in reality, horror has always been a champion of telling some deep truth about society, a huge commentary on society, and it’s almost like the most acceptable form of commentary in almost every region,” she added.
After receiving a master’s degree in fine arts specializing in film production at the prestigious American Film Institute in Los Angeles, Kazim returned to the region to hone her craft.
Kazim’s decision to launch her company came after the release of her short film “Makr,” which she wrote and directed in 2018. The movie, which gained more than half a million views online, screened at several genre festivals including Fantastic Fest in Texas and FrightFest in London. It was translated to Farsi, Korean and Japanese.
The director, who has worked as a film executive in the UAE since 2015 and has been involved in the production of several Arab films, including “Rashid & Rajab” (2019) and 2021 box office hit “Al-Kameen,” said that she believes horror, “for the most part, hasn’t been done well” in the region, because finding a perfect storyline in is a challenge in the genre.
“I think our audiences are still a little too critical of everything they see. They take everything a little bit more literally. So, having to break into horror is tough because you have to be somewhat near being realistic while at the same time balancing the scales of not being too aggressive or too judgmental,” Kazim said.
The director believes that the main reason horror as a genre has lagged in the region is because filmmakers are going for scares rather than meaning.
“I think Arab audiences are always looking for meaning in stories, be it a comedy, be it a drama — they’re looking for meaning more than just entertainment. And unfortunately, we, filmmakers, come from entertainment. So, we feel like making entertainment and we forget the idea of having meaning behind stories,” she added.
“I think the Middle East has the potential to be well known for its horror because we have so many untold stories, be it from folklore to real stories — there’s a huge timeline of horror films that we can make that could span around 20, 30 and 40 years.”
source/content: arabnews.com (headline edited)
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The Emirati auteur recently directed a Saudi Arabia-focused episode of STARZPLAY’s “Kaboos.” (Supplied)
Three recent titles on the life and history of the Copts reflect on elements of a complex story.
Mozakerat Aaela Masseihiya bein Ras Ghareb wal Qahera (Memoirs of a Christian family between Ras Ghareb and Cairo), by Elia Mahfouz Bashir, Cairo: Al-Arabi Publishing. pp. 196.
“At that time there was a [spontaneous] acceptance of the other; actually, the concept of this other was not really there – not as a fully defined concept any way”.
This is one of very few lines that evokes the “Christian” in the title of the pleasant-to-read 196-page text.
Elia Mahfouz Bashir, now a 65-year-old pathologist, recalls memories of his easy-going and uninhibited childhood in the Red Sea city of Ras Ghareb where his father worked for an oil company.
This is the interesting thing about the choice of the title. It offers a contrast to a sequel of articles where Bashir offers accounts from his time in this city in the late 1950s and early 1960s prior to the retirement of his father that forced the family away from its Red Sea haven to Cairo. Those are accounts of the city, the sea, playmates, school, family gatherings, comparisons between the Red Sea and the Mediterranean and so on.
So, for a while, the reader is left to wonder about the significance of the “Christian” reference. And this is exactly the point. In the childhood of Elia Mahfouz Bashir, his faith and that of his family was not an issue. It only comes up across when he refers to a trip to his maternal family in Upper Egypt where he was escorted by his mother to one of the moulids of the Coptic saints or when he talks about the prayers for healing that a priest performed for he and a playmate of his, who happened to be a Muslim.
As Bashir put it in one of the articles, both the mosque and the church of Ras Ghareb were part of a wider communal ownership. He is attributing this state of mind to the norms that prevailed during the rule of Gamal Abdel-Nasser when the focus was on Egyptian identity and not the affiliation of faith as it later became under the rule of Anwar Sadat.
Bashir had originally started sharing his reflections on his childhood in Ras Ghareb on Facebook before he decided to assemble the pieces into a book that stands as a testimony for his experience.
Abkareit Al-Massih: AlMaaraka AlMaghoula bein AlAqbat wa Al-Akkad – Watheiq Tarikheyah (The Genius of Jesus: The Unknown Battle Between Copts and Al-Akkad – archival documents), by Robert Al-Fares: Rawafd Publishing, 2023. pp. 172.
In line with his head-on and mince-no-words approach, Robert Al-Fares, journalist and author of several titles on Coptic social history, is putting out a book that addresses the strongly established but often averted conflict between the Christian and Muslim creeds over the nature of Jesus Christ. For Christians, Jesus is as divine as human, and as such there is no point in trying to argue his genius as Al-Akkad did in his book that came out in 1953, under the title of “The Genius of Jesus,” to the dismay of the Copts of Egypt and particularly that of the Coptic Church of Egypt. For Muslims, however, Jesus is a prophet just like any other prophet that God had sent prior to Muhammad.
In this 172-page book, El-Farres digs out the archival details of a confrontation that took place when the book was put out by Akhbar Al-Youm Publishing, at the end of a sequel that Al-Akkad dedicated to argue the genius of Prophet Muhammad and the four early rulers of the Muslim state that followed him.
Those include letters and remarks from Coptic commentators and clergy, including Father Sergius, the prominent preacher of 1919 Revolution, who was put under house arrest by the Free Officers regime “for worry over his public influence.”
He also included the remarks and views of Muslim scholars who defended or disagreed with Al-Akkad.
The book also includes the replies that Al-Akkad offered and the remarks he added to the second edition of the book that came out in 1958 under the new title of “The Life of Jesus.”
While zooming in on this particular account of Al-Akkad “The genius of Jesus”, Al-Fares is being open in his criticism of the attempt of some Coptic and Muslim figures to overlook this difference instead of simply accepting ‘the other’ – given that as much as for Muslims, Christ is just a prophet, for Christians, Muhammad is not a prophet.
“We just need to acknowledge that we have different creeds; this is the core of coexistence,” he wrote.
Nossous wa Kerat hawla tarikh Al-Qapt min Al-Qarn Al-Aasher Hattah Al-Qarn Al-Tassaeiaashr (Texts and Narratives on the History of Copts – From the 10thCentury to the 19thCentury), by Magdi Girgus: Al-Maraya Publishing, 2023. pp. 273.
This book is part of the ambitious and really interesting work of historian Magdi Girgis who has been digging out accounts on the history of Copts from the archives to assemble a comprehensive and solid narrative on the lives of Copts in Egypt under the Muslim rule. As Girgus put it in the introduction to his most recent 273-page volume, it is “a free stroll across the history of Copts [during 10 consecutive centuries] through the text of some archival documents.”
The selection of documents, Girgus writes, is designed to address some significant points of Coptic history, and that of Egypt. He notes that his purpose is not just to share and analyse the content of these documents but to put the accounts they address within the wider context of social and political contexts.
Throughout his 10 chapters, with documents and with narratives on the context of the documents, Girgus goes through some of the most interesting accounts of the history of Copts.
These accounts include history of the Coptic Church and the Arabisation of the language of the church.
They also include a history of the sources used to chronicle the Coptic history and the archiving of documents on the Coptic history.
He also examines the relation between Church and State and the Islamic judiciary system as well as relations between Coptic clergy and Coptic notables and the state.
Moreover, he also examines the role of Coptic clergy in the rural areas.
A most controversial part of this book might relate to the argument Girgus offers on the issue of Arabisation.
Traditionally, many Coptic intellectuals have often argued that this was the outcome of the pressure of the Arab rulers of Egypt.
However, according to Girgus, the ‘choice’ of the Coptic Church to adopt the Arabic language was not necessarily about the pressure from Arab rulers but rather about the ‘choice’ of the Church of Egypt to embrace a national line away from the influences of the Church of Rome.
It was also, he argued, about the wish of the clergy to go along with the notables who had been trying to go along with culture of the new rulers in so many ways, including the most peculiar practice of polygamy by some Coptic notables despite the fact that polygamy is strictly forbidden in Christianity.
Actually, the evolution of relations between Church and State is perhaps one of the best explained issues in this book.
The first in the ‘Arab News’ series focusing on contemporary Arab-American artists in honor of Arab-American Heritage Month .
Los Angeles-based artist Saj Issa was raised between two different worlds. As the child of Palestinian parents who fled the First Intifada in the Eighties, she grew up in St. Louis, Missouri, and spent her summers in Palestine. “Each setting brought out a different part me,” she tells Arab News.
“At first, it took a minute for me to come to terms with that. I thought I wasn’t being authentic: The person that I was portraying myself as at school around my friends was different than the person I was portraying at home. But I realize that those are all parts of me. I don’t really see it as an issue so much now as I did when I was younger.”
Issa is an emerging visual artist, who obtained a Master’s in Fine Arts from the University of California and has had her work displayed in LA’s museums and art fairs. Her drive to create art began in childhood, marked by a tactile tendency to paint and make crafts.
“I grew up watching (creator of the US TV show “The Joy of Painting”) Bob Ross — America’s savior — and I was mimicking that action of holding a painting palette,” Issa recalls.
Her ceramic tile pieces juxtapose design elements that are omnipresent in both Eastern and Western cultures. She merges major Western company logos — such as Nike, Coca Cola, and Shell — with Middle Eastern geometrical and vegetal patterns.
“I’m interested in the consequences of globalization,” says Issa. “My choice of which brands make an appearance are based on which ones made a critical impact in the East. I utilize traditional tile work combined with corporate logos as a way to draw connections between the way that colonization seeps into the indigenous ways of life. Repetition is also a means to communicate habits of consumption, mass production and advertising.”
That geometrical ornamentation continues throughout her other series, such as “Convenience Store,” which was partly inspired by her immigrant father’s former job in a corner store. The series’ portraits of workers evoke a feeling of nostalgia and loss of identity in a quick-transaction environment; standing behind the counter, surrounded by daily items, the workers’ faces — or entire bodies — are obscured by receipts.
“I just want to build my own visual language through these mediums,” Issa says.
A literary critic, editor and leading authority on Arabic to English translation lists five books to keep on your radar.
For the shorter days of spring, here are some new Arab books in translation coming in the early months of 2023 that run short, fast, and muscular.
These five are full of thrills, insight, and dark humour.
Shalash the Iraqi
By Shalash, translated by Luke Leafgren
The popular Iraqi blogger known as “Shalash” wrote his posts between 2005 and 2006, during the post-war insurgency in Iraq. Shalash took advantage of anonymity and wide reach to satirize political corruption, economic injustice, and more in an over-the-top comic tone.
By Haji Jaber, translated by Sawad Hussain and M Lynx Qualey
The hero of Haji Jaber’s Black Foam is a hustler and identity-shifter extraordinaire in desperate search not of cash, but of a community that will accept him. The young man—alternately Adal, Dawoud, David, and Dawit— starts in Eritrea, then in a refugee camp over the border in Ethiopia, next in a minority Jewish community in Ethiopia, and finally in Israel and Palestine. In this fast-paced novel, which alternates between comedy and tragedy, the narrator is willing to do almost anything to find a place he can belong.
By Zakaria Tamer, translated by Alessandro Columbu and Mireia Costa Capallera
These fifty-nine stories—by turns satirical and magical—are set in a fictional Syrian neighborhood called al-Qaweyq. Penned by one of the greatest living short-story writers, the stories in Sour Grapes follow a loosely connected cast of characters living at society’s margins and challenging everything that might keep them down.
James Montgomery, the award-winning translator of Antarah ibn Shaddad’s battle poems War Songs, now takes on early Arabic hunting poems. This collection brings together both the English and Arabic of twenty-six muscular, animal-centered works. In these timeless poems of man and nature, you’ll find trained cheetahs chasing down desert oryx, goshawks soaring, and archers stalking their prey.
Not a translation, but a noteworthy entry. The mystery-novel debut of Lebanese-American Margot Douaihy, Scorched Grace tells the story of Sister Holiday, a hard-boiled, much-tattooed nun with a troubled past who joins a convent in New Orleans. After an arsonist targets—among other things—her new convent, Sister Holiday launches an investigation. By focusing on family and secrets, Douaihy offers a new take on the figure of the hard-boiled detective.
Malmö Arab Film Festival (MAFF) announced that the Egyptian star Hussein Fahmy will be tributed with a life achievement award, which he will receive during the opening ceremony of the 13th edition of the festival, which will be held from April 28 to May 4, 2023.
The ceremony will be held in the Royal Hall (Rådhus) under the auspices of the City of Malmö and in the presence of the mayor.
Fahmy will also give a masterclass during the festival, which will be held in Malmö’s city library.
Hussein Fahmy has a tremendous artistic career that extends for more than half a century, from the time he played his first role in the movie “Dalal Al-Masria” directed by Hassan El-Imam in 1970 until his most recent role in the series “Sero El Batie” directed by Khaled Youssef, shown during the current month of Ramadan.
Through his career, Fahmy acted in more than two hundred films, series, plays, and radio works, and worked with the top-notch directors of Egyptian cinema, such as Youssef Chahine, Kamal Al-Sheikh, Henry Barakat, Mohamed Khan, and others, in addition to holding various cultural positions, including the presidency of the Cairo International Film Festival for two terms, the first between 1998 and 2001, and the second started in 2022 and continues to this day.
The founder and director of the Malmö Festival, Muhammad Keblawi, commented on the tribute, saying: “Tributes are not a compulsory annual tradition at MAFF. It is not only related to the presence of a great star or director in the city, but the festival is offering tributes only when those who deserve it attend. This year we are pleased with the presence of a living cinematic legend: Hussein Fahmy, who created a place in the memory of every viewer of Arab cinema and TV”.
For his part, Hussein Fahmy expressed his happiness with the award, stressing his appreciation for the contributions of MAFF to the Arab cinema during the last few years, and his aspiration to meet the audience of the Malmö and talk to them about his career.
The masterclass will be held in the Malmö City Library at 3pm, Sunday, April 30th, and the discussion will be moderated by critic Ahmed Shawky, who in 2022 published a book entitled “Hussein Fahmy: The Biography of Egyptian Cinema in Half a Century.”
