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Ashraf Mahrous, known also as Kabonga, pulled a 279-ton train using only his teeth, while also observing the Ramadan fast.
An Egyptian wrestler has received recognition in three categories by Guinness World Records , including for breaking the world record for heaviest rail pull using only his teeth.
Ashraf Mahrous, known by his nickname Kabonga, also received certificates for the heaviest locomotive pull and fastest 100-metre road vehicle pull.
The successful world record attempts took place at Cairo’s Ramses train station on Wednesday and Thursday, where Kabonga pulled a 279-ton train using a rope held by his teeth. The wrestler pulled the train for a distance of close to 11 metres.
“On the first day, I was able to pull a two-ton cart, while fasting, for a distance of 107 meters in 37 seconds, breaking another record by pulling a one-ton cart for 100 meters and surpassing the 60-second barrier,” Kabonga told Anadolu, highlighting that he had been abstaining from eating and drinking due to the Ramadan fast, which lasts from pre-dawn to sunset.
“The next day, on Thursday afternoon, I pulled a train weighing 279 tons with my shoulders, while fasting, for a distance of 10 metres and 66 centimeters,” he added.
Kabonga, who is the president of the Egyptian Federation for Professional Wrestlers, previously pulled a 15,730-kilogram truck with his teeth in 2021. In February 2024, he cracked and ate 30 raw eggs in 30 seconds in a feat that was also recognised by Guinness World Records.
Dawlet Elnakeb, an organiser of Thursday’s event in Cairo, said Kabonga had trained for just 20 days prior to the record breaking event.
source/content: newarab.com (headline edited)
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Ashraf Mahrous, known as Kabonga, is president of the Egyptian Federation for Professional Wrestlers [Getty]
Oscar-nominated and BAFTA award-winning Palestinian-British filmmaker Farah Nabulsi is calling for global empathy towards Palestinians through her debut feature film, The Teacher.
In an interview, Nabulsi emphasized that her film aims to challenge audiences to reflect on the harsh realities Palestinians face under occupation. “I want people to ask themselves: Is this a reality they would accept for themselves? And if it isn’t, why have Palestinians been expected to?” she stated.
Nabulsi, whose film premiered at the Toronto Film Festival in September 2023, expressed that The Teacher offers a deeper human context to the ongoing situation in Palestine, especially as “Israel”’s actions in Gaza intensify.
Born and raised in the UK, Nabulsi’s first visit to Palestine a decade ago profoundly impacted her perspective, as she witnessed firsthand the injustice and discrimination faced by Palestinians. This experience spurred her to use storytelling as a way to process and respond to the issues she encountered.
Filming in the occupied West Bank proved emotionally and logistically challenging. Nabulsi shared that the realities of filming in such a context, alongside a cast and crew deeply affected by these experiences, created an emotional toll.
The film addresses issues such as settler violence, home demolitions, and the mistreatment of children in military courts, with Nabulsi drawing inspiration from real-life conversations and her observations. Through The Teacher, Nabulsi hopes to inspire global empathy for Palestinians and garner support for their struggle for freedom.
Khadra Dahir Ige, one of the most famous and popular artists in the Somali music scene, died at age 65 in Hargeisa. Khadra died of pneumonia at Hargeisa International Hospital
According to fellow musician and artist Omar Serbiya, Khadra was born in 1957 in Hargeisa and joined Waberi band in 1974 at the age of 17.
During her nearly five decades-long career, Khadra is estimated to have recorded over 2,500 songs of love and sorrow which touched many Somalis.
However, she was very reserved in her private life and rarely was interviewed.
Several artists conveyed their condolences to Khadra, including Nimo Dareen, DJ Suber and Hassan Dhuhul Laabsalah.
Khadra Dahir most recently lived in Hargeisa. She leaves behind five children.
From 26 February next, Monia Ben Hamouda’s exhibition entitled ‘Ya’aburnee’, curated by Anissa Touati, will be open to the public at the Selma Feriani Gallery in Tunis in partnership with the Italian Embassy and the Italian Cultural Institute of Tunis.
The exhibition by the Italian-Tunisian artist, who won the prestigious MAXXI BVLGARI PRIZE 2024 last December, takes its name from the Arabic concept that translates as “you bury me”, reflecting the altruistic desire for a loved one to outlive himself.
Love and sacrifice, omnipresent in the exhibition, explore the complex ideas of language, history and understanding through an installation spanning three floors of the gallery, combining painting, sculpture and sound works, blurring our relationship with space.
Ben Hamouda aims to capture the distinctive soundscape of Arab countries, emphasising how these sounds shape cultural identity and perception.
Participants from more than 90 countries discuss development of comprehensive Islamic identity
1,800-page ‘Encyclopedia of Islamic Intellectual Harmony’ prepared by 60 scholars
The second “Building Bridges Between Islamic Schools of Thought” international conference concluded in Makkah early on Saturday, with participants from more than 90 countries adopting the “Encyclopedia of Islamic Intellectual Harmony.”
Held under the patronage of King Salman bin Abdulaziz, the two-day conference gathered senior muftis, scholars, and thinkers who also approved the strategic and executive plan for the document “Building Bridges between Islamic Sects,” a media statement said on Saturday.
The conference was organized by the Muslim World League and held under the theme “Towards an Effective Islamic Alliance.”
The high-level session dedicated to the recitation of the conference’s final statement, which was issued at dawn on Saturday, was attended by the Secretary-General of the Muslim World League, and Chairman of the Muslim Scholars Association, Sheikh Dr. Mohamed bin Abdul Karim Al-Issa; Member of the Council of Experts for Leadership in Iran, Sheikh Ahmed Mobalghi; Adviser at the Royal Court in Saudi Arabia, Imam and Preacher of the Grand Mosque, Sheikh Dr. Saleh bin Abdullah bin Hamid; Head of Religious Affairs at the Grand Mosque and the Prophet’s Mosque, Imam and Preacher of the Grand Mosque, Sheikh Dr. Abdulrahman Al-Sudais; Secretary-General of the International Islamic Fiqh Academy of the Organization of Islamic Cooperation, Dr. Mustafa Qutb Sano; Member of the Council of Senior Scholars in Saudi Arabia, Dr. Youssef bin Mohamed bin Saeed; and the Mufti of Sidon in Lebanon, Sheikh Mohamed Osseiran.
The attendees witnessed the launch of the “Encyclopedia of Islamic Intellectual Harmony,” which was supervised by the Intellectual Protection Center at the Saudi Ministry of Defense, and was prepared by 60 scholars over about 1,800 pages.
The encyclopedia was refereed by the General Secretariat of the Council of Senior Scholars in Saudi Arabia, the Islamic Fiqh Academy, and the Supreme Council of the Muslim World League to be a roadmap for relations between Muslim sects.
Participants also decided in the final statement to consider the “Document on Building Bridges between Islamic Schools of Thought” with its 28 articles as the basis and starting point for the path of joint Islamic action “scientifically” and “intellectually,” with a view to strengthening brotherhood and solidarity among the peoples of Muslim nations.
The attendees further extended their sincere thanks to the leadership of the Kingdom for the great services they are providing to Islam and Muslims.
They also affirmed their pride in the comprehensive Islamic identity, and their supportive stance toward the steadfastness of the Palestinian people on their land, and their rejection of displacement and destruction projects.
The conference witnessed several sessions addressing developments in Palestine, Sudan, and Syria, as well as issues concerning Muslim minorities around the world.
Performed on special occasions, the performance showcases the Kingdom’s heritage
It begins with the recital of a poem, followed by drummers setting the rhythm for the dancers
The Founding Day celebrations set a Guinness World Record for the largest Saudi Ardah performance in Riyadh, with 633 participants showcasing this traditional dance.
This achievement underscores the Ardah’s deep-rooted significance as a national tradition, reflecting pride in Saudi identity and a commitment to preserving and promoting cultural heritage globally, the Saudi Press Agency reported.
Organized by the Royal Commission for Riyadh City and the Principality of Riyadh Region from Feb. 20 to 23, the Founding Day event attracted hundreds of thousands of visitors from diverse backgrounds.
Performed on special occasions, the performance showcases the Kingdom’s heritage. It begins with the recital of a poem, followed by drummers setting the rhythm for the dancers.
The group leader then takes the stage, wielding a blade and demonstrating precise movements that mirror those of warriors in battle.
source/content: arabnews.com (headline edited)
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Founding Day celebrations set a Guinness World Record for the largest Saudi Ardah performance in Riyadh. (SPA)
Well-known Sudanese singer and percussionist Asia Madani, who lived in Cairo, passed away on Sunday, the Sudanese Artists Union in Egypt reported.
Madani was born in Wad Madani, the capital of the Gezira State in central Sudan.
She started her career in her early years, moving to Egypt in the early 2000s, and quickly found her place in the country’s music scene.
Her initial breakthrough was on the Cairo Opera House stage.
Later, she became best known for presenting Sudanese folk music mixed with modern musical rhythms.
Madani performed with her troupe and joined many ensembles that focused on traditional and folkloric music of the south, earning herself the title of Messenger of Sudanese Folklore.
The star often spoke about her deep love for Sudanese rhythms, explaining that her journey in music began at a young age.
She highlighted how she learned diverse musical and vocal rhythms from different regions of Sudan — from the south to the north and the central areas — which greatly influenced her artistic style.
The singer was deeply influenced by the works of iconic Egyptian singers like Mohamed Abdel-Wahab and Abdel-Halim Hafez and even reinterpreted some of Sayed Darwish’s songs in her unique voice.
Moreover, Madani participated in the Nile Project, which she co-founded and which brought together African musicians from the Nile basin countries.
She was also featured in the documentary Far From the Nile presenting the project. The film was screened in the main competition of the Cairo International Film Festival (2022), winning awards.
Among her best-known songs were Jibal Al-Nuba (Mountains of Nubia), Al-Qamar Badawi (The Moon Shines), and Al-Zul (The Man).
Additionally, Madani participated in many international festivals and founded a children’s choir for Sudanese children in Egypt.
Numerous artists have expressed their sorrow after Madani’s sudden death.
“May God have mercy on you, forgive you, and grant you eternal rest. You were a true artist who loved her country and lived in her second country, Egypt. You were a strong person, never afraid to speak the truth, kind, pure-hearted, and a true artist who sang for the people everything she felt in a genuine way. Goodbye,” singer and songwriter Hani Adel wrote on Facebook.
Sudanese director Amjad Abu Al-Alaa wrote on his Facebook account: “A great loss, Asia.”
“To be an artist with a beautiful voice and a following is a normal thing, but what is extraordinary is to have a message in what you present, to have your own artistic project based on Sudanese identity, the unity of the Sudanese people, its uniqueness, enriching and renewing its heritage, presenting it in an attractive way, and touring the world proudly and persistently,” Sudanese media personality Dalia Al-Tahir wrote on her X account.
“This is what the true artist, the revolutionary soul from the heart of the country, Asia Madani, excelled in,” she expressed.
The activities of the International Eazees International Women’s Theatre Festival have kicked off in the Egyptian capital, Cairo, with Arab and international participation. ‘The festival organizers announced the honoring of the esteemed Iraqi artist Awatef Naeem, within its second edition, which is being held from May 16 to 22 in Cairo, as reported by the Iraqi News Agency-INA. “Actress Awatif Naim is one of the most prominent stars in the Arab world,” festival chairwoman Abeer Lotfi told the Iraqi News Agency (INA), noting that “Naim’s talent did not limit her to a specific role, but unleashed her to fly in the sky of art through acting, writing, directing and scientific research, which reflects the ability of women and their ability to prove themselves in difficult fields that require great effort.” She pointed out that “the artist is scheduled to be honored for the play “I am my face”, which was written and directed by her, and co-starring artists and artists (Shatha Salem, Samar Mohammed, Shaima Jaafar and Ali Al-Sudani),” explaining that “the events of the play revolve around three women who embody the suffering that women endure in family, social and political life, to reach their essence and their true face.” It’s to be mentioned, Awatif Naim, an Iraqi actress, director and academic researcher, was born in 1949. She obtained a doctorate in theater directing, and began her artistic career by writing and directing many programs and series for Iraqi radio and television, in parallel with her work in the field of criticism and academic research in theater, and she is a founding member of the Theater Critics Association in Iraq.
She was awarded the French Order of Arts and Letters in 2022 by the French Ministry of Culture. She founded the Children’s Theater Department at the Department of Cinema and Theater in 1996 and held its first festival in 2002.
In medieval times, Arab craftsmen led the world with their sublime, sophisticated building skills. As Paris’s Notre-Dame prepares to reopen, that tradition continues.
Only once in a century does one host Olympic and Paralympic Games, only once in a millennium does one rebuild a cathedral,” declared French President Emmanuel Macron in his 2024 New Year speech.
On 8 December, all eyes will turn once more to France’s iconic landmark Notre-Dame de Paris as it officially reopens to the public following the fire of April 2019 that nearly destroyed it.
How have the French succeeded in completing what had seemed like mission impossible, this gargantuan task, on time and on budget within the five years that Macron first promised on that fateful night of 15 April?
The answer is the same as throughout history. Money and leadership are essential, but the most important thing of all in any prestige building project is the quality of the labour. Top people work fast and produce top results. Mediocre craftsmen, no matter how much time they are given, can only ever produce mediocre results.
At the Notre-Dame rebuilding, great care was taken by the leadership to cast far and wide for the absolute creme de la creme of craftsmen, wherever they were to be found.
As a result, among the 250 companies and hundreds of engineers, masons, carpenters, stained glass specialists and other professionals enlisted to work on the rebuilding, there were people from all over the world.
The master carpenters, for example, working to recreate the wooden beams of the cathedral’s roof trusses, were from the United States, the UK, Spain, Denmark, Bosnia and India, as well as France.
They included Christians, Jews, Hindus and Muslims, all chosen because of their high level of skill in using the traditional medieval methods of craftsmanship, skills now in retreat under the onslaught of computer precision, mass production and the relentless advance of industrial technology.
Deep understanding of geometry
When Europe’s great cathedrals were built over a thousand years ago, they, too, were at the forefront of science. Their size, their height and their sheer complexity were the very embodiment of the latest engineering technology.
Nothing comparable had been seen on the European continent before except in modern Spain and Portugal, where Arab Muslims, originally from Syria, had been ruling for nearly 800 years, and in Sicily, where Arab Muslims originally from Egypt and North Africa, had been ruling for over 250 years.
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These men had a deep understanding of geometry, building stresses and vaulting techniques, knowledge that had been widespread across the Islamic world since the eighth and ninth centuries
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In both the caliphate of Cordoba and the emirate of Sicily, the construction world was dominated by Arab Muslim structural engineers and craftsmen, men who were both literate and numerate, unlike their European Christian counterparts.
These men had a deep understanding of geometry, building stresses and vaulting techniques, knowledge that had been widespread across the Islamic world since the eighth and ninth centuries when the great Bayt al-Hikma (House of Wisdom) centre of learning in Baghdad was at its peak.
It is no accident that the first stone vaulted structures appeared in Latin Christendom just 10 years after the fall of Toledo, where the 10th-century ribbed vaulted mosque dome of Bab al-Mardum – today the church of Cristo de la Luz – is still extant and visitable.
Likewise, in Pisa, where there was no pre-existing local building tradition or school of architecture, Pisa Cathedral (1064) and then the Leaning Tower appeared suddenly on Italian soil soon after the Pisans’ successful military campaigns against the Arab rulers in Sicily.
People walk past the leaning tower of Pisa and the cathedral at night on March 16, 2014 in Pisa. AFP PHOTO / FABIO MUZZI (Photo by FABIO MUZZI / AFP)
Pisa’s original cathedral dome was supported on Islamic-style squinches and slender pointed-arch windows, while the engineering challenges of the tower would have required advanced geometrical knowledge – the famous lean is the result of subsidence, not faulty construction.
Advanced geometrical knowledge
More proof of Arab involvement in churchbuilding comes in the Arabic numerals, with their distinctive cursive shapes, carved as assembly marks, found by chance in the roof timbers at Salisbury Cathedral (1220s) during a dendrochronology study sponsored by English Heritage. They were also an accidental find, carved as position markers on the stone sculptures, on the famous Wells Cathedral West Front (1175).
Since English craftsmen at that time could only manage the simple straight lines of Roman numerals, and Arabic numerals did not enter general use in Britain till several centuries later in the 1500s, the carpenters and masons employing them as early as the 12th and 13th centuries were clearly highly educated foreigners, brought in by wealthy bishops and abbots keen to sponsor the absolute top level of construction money could buy.
Cursive freehand Arabic numerals (4 and 5) carved by the original carpenters in the roof timbers of West Court Farm in Wiltshire, England dated to 1316. [photo by Diana Darke taken 6 June 2019
At Wells Cathedral, construction was halted when the funds allocated for the building were diverted, following the death of the bishop, to pay the huge litigation costs between rival claimants to his bishopric of a court case in Rome at the papal curia.
The masons, no longer being paid, simply marked up their final sculptures with Arabic numbers to indicate their correct niches on the West Front, then moved on to their next commission.
When the dispute was finally resolved 15 years later, local masons were the only ones on the scene to erect the sculptures.
To them, the Arabic symbols were just incomprehensible hieroglyphs, so they put them in the wrong niches, even adjusting the niches to make them fit.
Researchers in the most recent restoration have now established that, had the sculptures been put back in accordance with their original Arabic sequencing, they would have fitted perfectly.
Sophisticated society
The masons’ marks on display on the back wall of the Cordoba Mezquita are overwhelmingly Arab names written in Arabic script, showing how the 10th-century craftsmen were literate centuries ahead of their European Christian counterparts.
They were the products of a sophisticated society where learning was encouraged by the ruler and enjoyed by all, thanks to free education offered by mosque schools. In Christian Europe, only the clergy and a handful of the upper classes could read and write.
Cursive masons’ marks from the 10th century extension of the Cordoba Mezquita, found during restoration, now on display near the mihrab. [photo by Diana Darke taken October 2022]
Names in themselves can be misleading. In the town of Corleone, for example, inland from Palermo, there were Christians called Muhammad, Abdullah, Ahmad and Ali, living alongside Muslims with Greek names, who could pass for Sicilian Christians.
Donation records in Greek during the Norman period in Sicily use phrases like “Roger who was once called Ahmad”, showing how local Muslims adapted their names to fit in better to the new environment and new masters, just as foreign workers arriving in Britain today might adapt their names or be given nicknames that are easier to remember and pronounce. Jews have done the same thing across Europe and America for centuries.
When the names of craftsmen first started to appear in the Latin chronicles, like William of Sens, thought to have worked on Notre-Dame, and much vaunted for introducing six-part rib vaulting to England at Canterbury Cathedral in 1174-77, we cannot assume he was Christian. He might have been Muslim, or Mozarab (an Arabised Christian).
Either way, in order to have had the requisite mathematical and geometrical knowledge for rib vaulting at that time, he must have been schooled in the Islamic tradition.
Great pride
At the recent Notre-Dame rebuilding, a traditional carpentry company called Atelier de la Grande Oye, founded by French Muslim Paul Zahnd, was among those chosen to build the wooden frames supporting the new roof.
In an email to me, he expressed great pride at this honour, a pride likely to have been felt in equal measure by the top Muslim craftsmen working on Christian buildings in medieval times.
“As French Muslims,” he wrote, “we are very proud and happy … to communicate our beautiful crafts and our faith, which are of course perfectly compatible, feeding one another … we prayed all along the work, to bless the trees, our craft, our friendship, the Almighty who allowed us to be part of the project, to bless all the people who work with us, to celebrate the beauty and majesty of our creator … some of us are affirmed Muslims claiming our faith and our joy to rebuild a cathedral.”
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What an irony that across Europe, at the time of writing, there are increasingly loud calls from far-right parties to rid their country of immigrants, especially Muslims, in order to save the “purity” of their own race and culture, evidently unaware that their very civilisation was built on the superior skill of immigrants.
All the evidence has shown that it is not necessary to be a Christian in order to create Christian art, just as people of all faiths and none can enjoy and appreciate church music, church architecture, Islamic decorative styles and mosque architecture.
Muslims could put their expertise to use in churches, just as Christians could build mosques, and indeed have done, throughout history.
The important consideration was not their religion but their skill.
Diana Darke’s new book Islamesque: The Forgotten Craftsmen Who Built Europe’s Medieval Monuments, was published on 21 November 2024, as a sister volume to her earlier Stealing from the Saracens (2020).
The views expressed in this article belong to the author and do not necessarily reflect the editorial policy of Middle East Eye.
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Diana Darke is a Middle East cultural expert with special focus on Syria. A graduate in Arabic from Oxford University, she has spent over 30 years specialising in the Middle East and Turkey, working for both government and commercial sectors. She is the author of several books on Turkey, including Eastern Turkey (2014) and The Ottomans (2022) as well as on Middle East society, including My House in Damascus: An Inside View of the Syrian Crisis (2016), The Merchant of Syria (2018), a socio-economic history and “Stealing from the Saracens: How Islamic Architecture Shaped Europe” (2020).
As part of its efforts to build bridges of communication and dialogue with countries and cultures of the world, the Emirate of Sharjah showcased an aspect of its cultural history throughout ancient times in the Italian capital, Rome.
The emirate revealed evidence proving its historical presence as a major commercial and cultural centre on the Spice Route, as well as even older remnants such as Acheulean stone tools from 500,000 years ago and evidence of human migration dating back 210,000 years.
On the sidelines of the exhibition titled ‘From Sharjah to Rome: Along the Spice Route’, organised by Sharjah Archaeology Authority at Rome’s iconic Colosseum, the Department of Government Relations (DGR) in Sharjah hosted a Gala dinner in the presence of Sheikha Bodour bint Sultan Al Qasimi, Chairperson of the Sharjah Investment and Development Authority (Shurooq), and Sheikh Fahim Al Qasimi, Chairman of DGR, alongside prominent diplomatic figures and representatives from Italian and Emirati cultural and academic institutions.
Sheikha Bodour Al Qasimi stressed that the exhibition was a celebration of Sharjah’s historical and cultural heritage.
She said, “Sharjah’s story is one of human connection—of cultures, ideas, and histories interwoven through centuries of trade and exchange. Nowhere is this more apparent than in Al Faya, a site so historically important it’s on the UNESCO World Heritage Tentative List. But beyond the stunning artefacts, this exhibition is an invitation to understand the depth of our shared heritage. By surfacing Sharjah’s role as a vital waypoint on the Spice Route, we reaffirm the value of protecting our cultural legacy while strengthening the ties that bind us over geography and time.”
Sheikh Fahim Al Qasimi, in his welcome address, highlighted the exhibition’s role in enhancing cultural and diplomatic ties between Sharjah and Rome. He said, “The exhibition ‘From Sharjah to Rome: Along the Spice Route’ is more than a retrospective of historical milestones. It is a testament to the power of shared heritage in connecting civilisations. By hosting this event in the heart of Rome, we bring Sharjah’s vision to life by preserving human heritage and presenting it in a contemporary context that strengthens cross-cultural understanding.”
The DGR Chairman added, “Culture is not only a reflection of the past but a foundation for shaping the future. Today, we showcase a tangible example of how heritage can be leveraged to foster dialogue and strengthen cultural and diplomatic relationships.”
As part of the cultural seminar, Issa Yousif, Director General of the Sharjah Archaeology Authority, delivered a lecture titled “Unearthing a shared archaeological heritage,” where he explored Sharjah’s historical role as a major trade and cultural centre in ancient times.
He detailed the emirate’s strategic position along the Spice Route, where caravans and merchant ships transported valuable goods from the Arabian Peninsula to Roman ports in the Mediterranean. Yousif also reaffirmed the Authority’s commitment to preserving Sharjah’s historical legacy through research and studies that promote mutual cultural understanding.
Sharjah’s deep-rooted history took centre stage in Rome through a presentation by Kholoud Al Hooli Al Suwaidi, Director of the Tangible Cultural Heritage Department at the Sharjah Archaeology Authority. In her talk, ‘Sharjah’s Cultural Legacy,’ she explored the emirate’s rich archaeological heritage, particularly discoveries from its central region.
She highlighted key sites, including the Suhaila Archaeological Site, where Acheulean stone tools dating back 500,000 years were uncovered, and Al Faya, a site containing evidence of human migration from 210,000 years ago that is currently considered for UNESCO World Heritage status.
She stressed that Sharjah’s commitment to cultural preservation is evident in the six archaeological sites on UNESCO’s Tentative List. These include rock art sites in Khatm Al Melaha and Khorfakkan, dating back 7,000 years, Wadi Al Helo, a significant centre for copper production during the Bronze Age, and Mleiha, a major pre-Islamic trade hub.
Meanwhile, the exhibition provided attendees with a rare opportunity to explore Sharjah’s historical significance as a key centre of trade and culture along the ancient Spice Route. Through artefacts, interactive digital media, and visual presentations, visitors gained deeper insight into the emirate’s strategic geographical and cultural role throughout history.
