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The Moroccan Poets Festival concluded its sixth edition after three days of illustrious writing and celebrating the word.
The closing ceremony was held at the National School of Crafts and Arts in Tetouan, in the presence of Abdullah bin Mohammed Al Owais, Chairman of Sharjah Department of Culture; Professor Mohammed Ibrahim Al Qaseer, Director of the Cultural Affairs Department at the Department; Rachid Al Mustafa, Head of the Cooperation Department in the Culture Sector at the Moroccan Ministry of Youth, Culture, and Communication; Dr. Youssef Al Fahri, President of the Higher School of Teachers in Martil; Mukhlis Al Sagheer, Director of the House of Poetry in Tetouan; and a large number of writers, intellectuals, and university students.
Al Sagheer pointed out that the Moroccan Poets Festival strives to innovate with each new edition, and to grow in poetry and cultural resonance in the Arab world. He highlighted that the sixth edition enjoyed a prominent official presence, alongside a public audience with a passion for poetry and art.
He explained that the House of Poetry in Tetouan, founded in 2016, affirms its tireless efforts to organise a distinguished seventh edition next year, to celebrate its tenth anniversary.
Participants in the Moroccan Poets Festival agreed that Sharjah has become a pioneering model in supporting Arab culture and actively contributing to shaping a new generation of Arab intellectuals. They emphasised that Sharjah’s cultural, intellectual, and cultural achievements over the past decades were not a coincidence, but rather the result of the broad cultural vision of His Highness Sheikh Dr. Sultan bin Mohammed Al Qasimi, Supreme Council Member and Ruler of Sharjah. His Highness believes that culture is the cornerstone of human and societal development.
Participants believe that Sharjah’s experience represents a model to be emulated, as it has not only supported cultural production but has also strived to create an integrated knowledge environment that attracts new generations and instils in them a love of reading, thinking, and criticism. They explained that many young Arabs who have benefited from Sharjah’s cultural experiences have now become prominent voices in the fields of literature, thought, and the arts.
The second day of the festival featured a critical symposium titled “Poetry and the Performing Arts”. The speakers emphasised that when poetry is recited on stage, or combined with movement or music, it transforms into a performance art. This is where what is known as “the poetics of performance” emerges, where poetry emerges from the page and is embodied through the body, voice, gaze, and silence. They noted that at this moment, literature intersects with the live arts, providing the recipient with a multi-sensory artistic experience.
Speakers emphasised the intersection of poetry and performance, where word meets movement, voice meets silence. This is when a magic called the poetics of the performing arts is born; where the poem becomes a vibrant body, and the scene becomes a visual poem that is read by the eye and felt by the heart.
The Moroccan Poets Festival has an exceptional section, bringing the audience together with visually impaired poets at the Taha Hussein Institute in Tetouan, in a poetic and humane moment where poetry met with a number of visually impaired creatives who drew inspiration from life’s features and, from its details, wove their vast worlds.
The festival saw the participation of more than 40 poets, poetesses, intellectuals, and artists amidst a festive atmosphere of poetry and its creators. It honoured 83 students in a poetry writing workshop organised by the House of Poetry in Tetouan, in collaboration with the Faculty of Arabic Language at the Higher Teachers’ School in Martil.
Eighteen students were also honoured in the regional competition for Arabic Language Pioneers, organised by the House of Poetry in collaboration with more than 37 secondary and middle school educational institutions.
In collaboration with Google Cloud, Media City Qatar’s initiative, ‘Qatar ArtBeat,’ united the nation’s voices to create a groundbreaking AI-generated artwork.
Qatar National Day marks the unification of the nation in 1878—a defining moment in its history. Celebrated annually on December 18, it is a day to honour Qatar’s rich heritage and look ahead to its boundless aspirations for the future.
At Media City Qatar, we asked ourselves: How can we celebrate this cherished tradition while embracing the innovations that shape tomorrow? How can we bridge the past and the future, merging tradition with technology, to unite our people in a shared celebration?
The answer was ‘Qatar ArtBeat’.
A groundbreaking activation in partnership with Google Cloud, this initiative brought together the collective voices of the nation to generate an AI artwork co-created by the nation. This innovative project marked a historic milestone, merging culture and technology in an unprecedented way.
‘Qatar ArtBeat’ not only captured the collective spirit of Qatar but also set a Guinness World Records™ for the “Most People Contributing to an AI-Generated Image,” with over 15,000 contributions, more than 5.4 million people reached, and in excess of 68,000 engagements from across the country. This milestone showcases the potential of technology to unify communities and amplify their voices on a scale never seen before.
Celebrating innovation and tradition
‘Qatar ArtBeat’ invited citizens and residents to share their reflections on what Qatar means to them between December 9 and December 17 through Media City Qatar’s social media channels.
Additionally, public conversations on various platforms were analysed, with responses processed by Google Cloud’s advanced AI technology—such as Vertex AI platform, Gemini models, and BigQuery data platforms. This cutting-edge process transformed sentiments found in social media comments and posts into a cohesive and breathtaking artwork co-created by the nation, for the nation.
The final masterpiece, unveiled on December 18, became a visual narrative of Qatar’s collective aspirations and creativity. The initiative perfectly symbolised the harmony between the nation’s traditions and modern innovation, showcasing how technology can preserve and celebrate cultural identity in meaningful ways.
By engaging communities across Qatar, the activation demonstrated how digital platforms can foster inclusivity, accessibility, and collaboration. This activation ensured that every voice contributed to the nation’s story, transforming individual reflections into a collective celebration of shared values and unity.
Pioneering the future of digital media
As a catalyst for next-generation media and technology, Media City Qatar connects media companies, entrepreneurs, innovators, and creative talents to shape the future of the industry.
Our focus spans gaming, news, digital and social media, media technologies, content localization, animation, broadcasters, production and post-production, and publishing. We take particular pride in fostering initiatives that celebrate Arabic-language content, uniting tradition with modern innovation.
By encouraging enterprises that specialise in the Arabic language or seek to expand into Qatar and the Middle East, Media City Qatar continues to champion the region’s voice on a global stage.
‘Qatar ArtBeat’ exemplified this mission, setting a new benchmark as the first-of-its-kind initiative in Qatar—and possibly worldwide—that achieved a new world record.
The project also highlighted the transformative potential of generative AI in storytelling and community engagement. By leveraging Google Cloud’s advanced technology, reflections were seamlessly transformed into art, reinforcing the significance of human input in creating impactful digital experiences.
A legacy for Qatar and beyond
As we look to the future, we imagine the children of today—tomorrow’s dreamers and innovators—continuing to celebrate the heritage of this great nation.
‘Qatar ArtBeat’ is a promise that Qatar’s story will be told in new and imaginative ways for generations to come. At Media City Qatar, where next is made, we are proud to help shape that future, blending tradition and technology to inspire the Qatar of tomorrow.
The Kingdom of Bahrain’s Heatwave exhibition , curated by architect Andrea Faraguna has been announced as the winner of the Golden Lion for the Best National Participation at the 2025 Venice Architecture Biennale.
The winner has been selected by an international jury comprising of Swiss curator, critic, and art historian Hans Ulrich Obrist as jury chair, South African architect, lecturer, and curator Mpho Matsipa, and Italian curator Paola Antonelli .
The awards ceremony is broadcast live from the headquarters of the Biennale at Ca’Giustinian. The pavilion stands out for addressing the pressing issue of extreme heat through a site-specific installation that showcases passive cooling strategies rooted in Bahrain’s climatic realities and cultural context.
The design of the pavilion explores passive cooling using geothermal wells and solar chimneys connected via a thermo-hygrometric axis, which links underground conditions to outdoor air. In exhibition settings where excavation isn’t possible, mechanical ventilation mimics this system. The modular structure features a floor and cantilevered ceiling supported by a central column, adaptable for various urban environments. The project highlights low-impact, climate-responsive design for outdoor workspaces in hot climates, emphasizing environmental responsibility, social fairness, and innovative architectural solutions.
The Golden Lion for Lifetime Achievement and the Special Golden Lion for Lifetime Achievement in Memoriam have been previously announced to be awarded to American philosopher Donna Haraway and the late Italian architect and designer Italo Rota (1953–2024), respectively. Donna Haraway is participating via remote connection to highlight the wider implications of this edition’s biennale. “Intelligence is a word that bubbles with meaning of the power of discerning,” she declares. The Golden Lion in Memoriam is awarded in absentia to Italo Rota.
Two special mentions have been awarded to participants in the international exhibition. The first one goes to Alternative Urbanism: The Central Organized Markets of Lagos by Tosin Oshinowo, Oshinowo Studio. “This award is for the Global South,” Oshinowo declares in her acceptance speech. The second special mention for a project of a participant goes to Elephant Chapel by Boonserm Premthada.
For the national pavilions, a special mention is awarded to Opera Aperta, the Holy See’s Pavilion by Paul Tighe of the Department of Education and Culture of the Holy See. The project is a “construction site, an ongoing process, which everyone is invited to collaborate.” The pavilion is curated by Marina Otero Verzier, curator and researcher, and Giovanna Zabotti, artistic director of Fondaco Italia and former curator of the Venice Pavilion, in collaboration with the design studios Tatiana Bilbao Estudio of Mexico City and MAIO Architects of Barcelona.
The other special mention goes to the Pavilion of Great Britain: GBR: Geology of Britannic Repair, commissioned by Sevra Davis of the British Council and curated by Owen Hopkins, Kathryn Yusoff, Kabage Karanja, Stella Mutegi. The selected team of expositors comprises experts from the UK and Kenya, including Nairobi–based Cave _bureau, aiming to open up difficult conversations about interconnected relationships between the two countries, decolonization, and the embedded relationships to the ground.
Golden Lion for Best Participant in the exhibition Intelligens. Natural. Artificial. Collective
Golden Lion for Best Participant in the exhibition Intelligens. Natural. Artificial. Collective is awarded to Canal Café by Diller Scofidio + Renfro, Natural Systems Utilities, SODAI, Aaron Betsky, Davide Oldani. The installation is set up to use natural filtration systems to purify water from the city’s canals and make it info coffee that visitors of the Arsenale can enjoy.
In an interview with The New Arab, Nahil Bishara’s grandchildren speak about their grandmother’s artistic legacy and her role in preserving Palestinian identity.
History is full of remarkable yet forgotten women whose stories have yet to be told.
One such case is the late Palestinian artist and designer Nahil Bishara, an active and erudite woman who sought to preserve her Palestinian identity through endless creativity despite living through constant political instability in her homeland.
“Generally, artists at the time created art to sell, but she never created art to sell. She created art to anchor her Palestinianness”
Nearly three decades after Nahil Bishara’s passing, her grandchildren are ready to share her story with the world.
“She was always up to something artistic,” the artist’s UAE-based grandson, Assad Bishara, told The New Arab.
“She was somebody who wanted to master any kind of artistic medium she could get onto her hands. Whatever she got her hands on, she created something out of it,” Assad added.
Echoing this sentiment is his sister, Talia Bishara, a public relations specialist in culture, who fondly remembers her grandmother as a woman of taste of the Sixties era.
“She was an elegant woman, whose hair was styled in a chignon with a million pins,” recalled Talia.
“She wanted to project an image. Her persona in society was also very important. Generally, artists at the time created art to sell, but she never created art to sell. She created art to anchor her Palestinianness.”
From Ramallah to Jerusalem
Nahil was born in Ramallah in 1919, shortly after the end of the First World War, and spent most of her life in Jerusalem, where she nurtured her artistic talent.
In 1940, at the age of 21, the artist married Dr Assad Bishara, a renowned gynaecologist who, as Talia claimed, “a whole generation of Palestinians were born under his hands.”
According to Talia, Dr Assad was open-minded and supportive of his wife’s dreams.
As Talia puts it, “Whenever I speak about my grandmother, I have to speak about my grandfather too. He was a larger-than-life person. He wasn’t the type that restricted her to staying at home and raising a family. She did those things, but on top of that, she was exploring her artistic talent and supporting her community of Palestinian women.”
Beyond her personal achievements, Nahil also lived through important political events of the twentieth century, including the Nakba — the mass displacement of Palestinians — which led to the Israeli occupation in 1948.
‘A force and an avant-gardiste’
During this period, Nahil was offered a rare opportunity to study in England, but she refused, choosing instead to remain in her country as an act of defiance.
A woman who made history, she became the first Arab and Palestinian to study art at the Bezalel School of Arts and Crafts in Jerusalem, which had been founded as a Jewish art institution in the early 1900s.
Interestingly, at the time, Nahil was one of the few Palestinian artists to formally study art. But her education didn’t stop there.
Always striving to expand her mind and skill set, she undertook a design course by correspondence with an American university in Washington, DC. Then, in the 1960s, Nahil found herself in the Italian city of Perugia, where she studied classical painting and ceramics.
Known for always being on the move, Talia shared, “All her life, my grandmother loved art. She was a force and an avant-gardiste. She wanted to be ahead of everyone in her time.”
‘She wanted to constantly create’
To this day, Nahil is remembered as a Renaissance woman.
The educated artist spoke four languages (including Italian and French), tried her hand at stitching, woodworking, and glassblowing, hosted cultured dinners, volunteered at refugee camps, and mastered interior decoration.
Her most significant project was decorating the interior of the Young Men’s Christian Association (YMCA) building in Jerusalem, which was later converted by the Israelis into a hotel called Aelia Capitolina. Today, the hotel is known as the Legacy Hotel.
“People were visiting Jerusalem from all over the world. I think she felt a responsibility to show the world a different image of Palestine”
By using locally sourced materials, Nahil designed its chandelier (made with Palestinian refugees), crafted wooden tables, and donated around 30 of her paintings to the establishment.
“I think she saw that there was power in creation, rather than focusing on destruction. She wanted to constantly create,” explained Talia.
“People were visiting Jerusalem from all over the world. I think she felt a responsibility to show the world a different image of Palestine.”
Another momentous event in Nahil’s career occurred in 1964 when she was commissioned by the Kingdom of Jordan to create a bust of Pope Paul VI in honour of his pilgrimage to Palestine. Today, the bust sits in the Vatican.
‘Capturing everything she could to preserve Palestine’
Exploring Nahil’s artistic legacy, she was known for creating religious landscapes, depictions of Palestinian refugees, and floral arrangements, the latter of which her husband particularly enjoyed.
“She was concerned with the preservation of identity because it was being erased”
Her grandchildren believe that her art carries a strong message beneath the surface, with Assad sharing, “For her, it was about capturing everything she could to preserve Palestine. She was concerned with the preservation of identity because it was being erased.”
During The New Arab’s interview, Talia showed her grandmother’s artwork of female refugees, one of whom is holding a child, painted in 1948.
Talia explained that she was literally holding a piece of history in her hands, adding, “When I watch the news today, it’s like history is repeating itself,” referring to the ongoing bombardment in Gaza.
“A portion of our civil society has been cut off and turned into refugees who live in tents, and this was something that had to be captured,” commented Assad on the theme of displacement in Nahil’s art.
Celebrating a forgotten artist
In 1997, Nahil died of cancer, yet her memory remains alive in the hearts and minds of her family and friends.
Recently, the once-forgotten Nahil has slowly been re-entering the public sphere. Thanks to Talia, Nahil’s name now appears in Google searches, and some of her artworks have found homes in public cultural institutions, such as the Barjeel Art Foundation in the UAE and Dar El Nimer in Lebanon.
According to Talia, some museums have expressed interest in acquiring Nahil’s work since she became more vocal in sharing her grandmother’s story.
For Talia, this recognition has motivated her to one day publish a catalogue of Nahil’s artworks.
“My whole life I wanted to do something for her,” Talia said.
“I didn’t study art but I know its importance and can feel it. I started connecting with art people, but it wasn’t an easy journey. It fuelled me even more after the 7 October attacks,” she added.
“Everyone should be interested in championing these names and putting them on the stage because you need the past… The past is your present. It’s our role to preserve it.”
Iraq has taken a significant step towards preserving its cinematic heritage with the launch of the Cinémathèque Iraq project, a national initiative aimed at digitizing, restoring, and protecting Iraqi film archives. The project was officially announced during an event at the French Institute in Baghdad, attended by Iraqi filmmakers, artists, and cultural figures.
Under the supervision of the Iraqi Visual Memory Committee in the Prime Minister’s Office, the project is being developed in collaboration with the French Embassy in Iraq, with the goal of reviving Iraq’s film industry and ensuring that its rich cinematic history is accessible to future generations.
A mission to restore and preserve Iraqi cinema
Project director Warith Kweish emphasized the initiative’s importance, stating:
“Cinémathèque Iraq aims to restore and preserve more than 100 Iraqi films by training local experts in film archiving and preservation. The project also includes building specialized infrastructure in Iraq for film storage and restoration, ensuring that our visual history is safeguarded using advanced digitization techniques.”
Kweish highlighted that the project’s long-term vision is to make Iraq’s cinematic heritage available to a global audience, showcasing the country’s rich film history on both Arab and international platforms.
Classic Iraqi films undergo restoration
As part of the first phase of the project, two of Iraq’s most iconic films have been selected for restoration and digitization:
“Saeed Afandi” (1957) – One of the most influential films in Iraqi cinema, has arrived in Paris for restoration using modern digital techniques. The film is expected to be screened at the Cannes Film Festival, marking the first time an Iraqi film is featured at the prestigious event.
“Aliya and Issam” – A classic romantic drama is currently undergoing restoration to prepare it for cinematic screenings in Iraq and abroad.
French Ambassador Patrick Durel, who attended the launch, expressed his enthusiasm for the project, stating:
“We are proud to collaborate with Iraq on this cultural initiative. This project is a crucial step toward preserving Iraq’s cinematic legacy and sharing its stories with the world.”
Building a strong foundation for Iraq’s film industry
Beyond archiving and restoration, Cinémathèque Iraq is envisioned as a comprehensive initiative to develop the country’s film industry. Filmmaker Jamal Amin, who has been involved in the project, explained:
“This initiative aims to establish a strong cinematic foundation in Iraq by supporting filmmakers and enhancing industry infrastructure. Our goal is to create a sustainable film ecosystem that includes training, production, and international collaboration.”
The project seeks to attract local and international investment in Iraqi cinema, providing grants for film projects and facilitating the growth of Iraq’s independent film industry.
Future expansion and international cooperation
Filmmaker Falah al-Azzawi highlighted the project’s potential for international partnerships, stating that Cinémathèque Iraq will expand its reach by:
Collaborating with global film institutions to gain expertise in film preservation.
Encouraging private-sector participation to support Iraq’s film industry.
Establishing cultural exchange programs with international filmmakers.
According to Prime Ministerial Advisor Hassan al-Sudani, the government plans to expand the initiative beyond cinema, with upcoming projects focused on restoring Iraq’s television and radio archives.
The launch event was also attended by prominent cultural figures, including the head of the Iraqi Artists’ Syndicate, Jabbar Joudi, and the director of the Department of Cinema and Theater. They praised the project as a landmark effort to protect Iraq’s artistic and cinematic history.
A new era for Iraqi cinema
With the Cinémathèque Iraq initiative, Iraq is positioning itself as a key player in regional cinema, working towards preserving its cinematic past while building a future for Iraqi filmmakers. As the country embraces digital restoration and industry development, it is opening doors for global recognition and participation in international film festivals.
Through this initiative, Iraq is not only reclaiming its cinematic heritage but also laying the groundwork for a thriving film industry that can compete on the global stage.
Egyptian star Angham will perform at London’s Royal Albert Hall on 23 September, marking a significant cultural milestone as the first Egyptian female artist to grace the iconic stage.
Angham’s performance on this stage comes 58 years after the legendary Egyptian singer and musician Abdel Halim Hafez performed on it in 1967 and received one of the greatest ovations of his career.
The September performance will celebrate Angham’s extraordinary career, spanning over three decades.
Throughout her long artistic journey, Angham has become one of the most influential voices in the Arab world, captivating audiences across the Middle East and North Africa.
“With her powerful vocals, emotional depth, and rich discography, Angham continues to inspire generations and break new grounds in Arabic music as the true enduring voice of Egypt,” read a press release.
Her legacy
Angham was born in 1972 to a family of artists. Her father, Mohamed Ali Soliman, was a composer, violinist, and singer. Her mother was the renowned artist Magda Abdel-Haleem.
She started her career alongside her father in the late 1980s before graduating from the Cairo Conservatory and embarking on her independent path.
Angham has released over 25 albums, including Fil Rokn El Baeed El Hady (In The Far Distant Corner, 1987), Awal Gawab (First Letter, 1988), Shokran (Thank You, 1989), Shayfak (I See You, 1992), Betheb Meen (Who Do You Love?, 1997), Bahibbik Wahashteeny (Loving You, I Miss You, 2005), Mahaddesh Yehasebni (Do not Judge Me, 2010), Ahlam Bareaa (Innocent Dreams, 2015), Rah Tezkerny (You Will Remember Me, 2018), Hala Khassa Geddan (Very Special Case, 2019), and Mazh (What?, 2020).
The star performs extensively in Egypt and across the Arab world.
Royal Albert Hall
London’s Royal Albert Hall, one of the world’s most iconic concert venues, was opened in 1871 by Queen Victoria and named in memory of her husband, Prince Albert.
The hall is renowned for hosting a wide range of events, from classical concerts and opera to rock performances, sporting events, and the annual BBC Proms.
Among the top names that have graced the stage of this hall are Adele, The Beatles, Eric Clapton, Luciano Pavarotti, Diana Ross, cellist Yo-Yo Ma, pianists Lang Lang and Martha Argerich, and world-renowned orchestras conducted by Herbert von Karajan and Sir Simon Rattle.
The hall has also hosted high-profile events, such as Cirque du Soleil.
Its distinctive circular architecture and domed roof make it a landmark of Victorian design and a centrepiece of British cultural life.
Presale tickets for Angham’s concert will start from Wednesday, 30 April, followed by general sale on Friday, 2 May.
The New Arab sat down with Yemeni documentary photographer and storyteller Thana Faroq to discuss intentional photography, craft, and nurturing intimate narratives of displacement and resilience.
Thana Faroq is a Yemeni photographer and educator based in the Netherlands. Her photography projects, which have been supported by the Arab Documentary Fund and the Magnum Foundation among others, blend text, physicality, emotional density, and visual storytelling, to explore immigrant lives and the complexities of belonging and trauma.
The New Arab interviewed Thana Faroq on the occasion of her new book, How Shall We Greet the Sun, which follows a group of displaced young women including Faroq herself, as they negotiate their multilayered presence in the Netherlands.
“My work is mainly driven by current events and broader themes, such as intergenerational trauma and memory resilience in relation to migration and refugees”
The New Arab: You’ve completed several series and projects, including your new photo book, How Shall We Greet The Sun. How do your various projects communicate with one another?
Thana Faroq: At the core of all my work, including How Shall We Greet The Sun, lies an exploration of women’s resilience, adaptability, and the quest for belonging. These themes are the threads weaving my projects together, creating a continuous dialogue.
A consistent focus in my projects has been on the aftermath of pivotal events, particularly in migration. I’m drawn to understanding and portraying the lingering effects, the changes, and the adaptations that individuals and communities undergo in their post-disaster homes.
My projects often converse with each other, providing different facets of a broader narrative about migration, displacement, and the aftermath of these transformative events.
It is essential to explore these events not only in terms of their immediate impact but also in the ripples they create over time. How does our survival, resilience, loss, and search for identity and belonging look like? While my earlier works might have explored the immediacy of events, more recent ones, like How Shall We Greet The Sun, dive deeper into the lasting, often nuanced, emotions and memories that remain.
Do you feel that your work has evolved in terms of craft, technique, and vision? I saw that you have incorporated more poetry and written text recently.
Certainly. I spent my formative years in Yemen and from the age of seventeen, my educational journey took me across the globe, in Canada, the US, and the UK, which significantly broadened my perspectives.
It’s also crucial to acknowledge the life-altering events I’ve encountered: the war in Yemen, the subsequent move from my homeland, and the pursuit of asylum in the Netherlands. These profound experiences have shaped my life and continue to influence my understanding of the world.
This, in turn, has expanded my artistic vision. I’ve become more intentional about the themes I choose to explore and the stories I wish to tell.
Over the years, I’ve continually sought to refine my craft, exploring new techniques, tools, and mediums, especially sound and moving images. I love writing and it has become part of my creative journey and output.
I can’t label my written explorations as ‘poetry’ in the traditional sense, but I do have a deep affinity for playing with words, treating them as visual elements in their own right. I don’t view them merely as ‘texts’ but as visual companions to my images.
When paired with my visuals, these words offer an additional narrative layer, adding complexity and depth to the story I’m telling.
How do you approach storytelling in your work? Stories have a beginning, a middle, and an end, but using real-life subjects means that this linear, theoretical approach might prove restrictive.
I agree with you and I don’t personally stick to the classical structure of storytelling. All my stories are rooted in real-life experiences which means I will have to challenge this conventional approach of storytelling.
I ask myself very often: does a linear progression truly capture the essence of this experience, or is a non-linear narrative more authentic? And so my starting point might differ, I might start in the middle of a story with an emotional state that sets the tone for the narrative. My approach focuses on deep research and understanding. I immerse myself in the subject matter.
This helps me understand the nuances, the emotions, and the various perspectives that exist. Though all my projects exist in a final outlet (for example, a book) the creative process is never linear. I have a lot of responsibility to stay true to the essence of my subject’s experiences and sometimes this means breaking away from traditional structures or inventing new ones.
Also, storytelling isn’t just about the narrative; it extends beyond the mere sequence of events or plot points that make up a story. It’s about conveying experiences, emotions, and messages. For me, it’s about the use of texts, imagery, and symbolism to evoke feelings and provoke thought.
Though photography is my main medium, I include sensory elements, such as sounds and texts which can elevate the story and make it more immersive, especially in installation settings. This multilayer experience is powerful. I’m deeply intentional in my approach.
Before capturing or selecting an image, I reflect on its purpose: ‘What story am I conveying? How does this differentiate from the masses? What emotions or messages am I trying to evoke? This reflection ensures that my work carries depth and isn’t merely a fleeting visual in an endless scroll.
Are you looking for that person’s specific story in your photos or rather how they symbolise something bigger, larger than their own selves?
My work is mainly driven by current events and broader themes, such as intergenerationl trauma and memory resilience in relation to migration and refugees.
Every individual is a microcosm of the larger society they inhabit, and their stories, while personal, often resonate with universal themes. I work to make my images evoke shared experiences or emotions for a wider audience and, to a certain extent, the individual here becomes a symbol of something larger while ensuring that the individual’s story doesn’t get lost in symbolism.
Narratives that illustrate their character, resilience, culture, family ties, and personal history can help dismantle stereotypes and build a deeper understanding. This also means providing contextual cues within the composition. I write a lot during the process and these texts allow the viewers to draw connections between the personal and the universal.
“Photography, as I see it, is a shared endeavour from the research phase to execution. I prefer to refer to those I photograph as ‘collaborators’ involved every step of the way, valuing their insights and feedback. This often paves the way for deeper intimacy”
How do you nurture trust and intimacy with your subjects? Is there a story you chose not to tell?
My personal background plays a crucial role. As a woman refugee myself who has experienced the impacts of war and trauma first-hand, I share a common ground.
When I interact with my subjects, I approach them not just as a photographer, but as someone who has walked a mile in similar shoes. I don’t shy away from sharing my personal journey when appropriate, as I find that this openness can lead to mutual trust and safety.
Photography, as I see it, is a shared endeavour from the research phase to execution. I prefer to refer to those I photograph as ‘collaborators’ involved every step of the way, valuing their insights and feedback.
This often paves the way for deeper intimacy. Open communication and transparency are also pivotal. I make it a priority to be clear about how the photographs will be utilised, whether as an exhibition, a book, or any other medium, which helps bolster trust and comfort.
I approach each shoot with sensitivity, recognising and respecting the emotions and vulnerabilities of my collaborators. This journey of empathy, trust, and intimacy is complex and requires time, honesty, and sincerity.
There have been instances where I’ve chosen not to share certain stories out of respect for the privacy of those photographed.
For instance, in my recent book How Shall We Greet the Sun, there are many emotional transitions that migrant women undergo as they settle in a new place. Discussing these transitions isn’t always easy. I only choose to reveal such narratives when my collaborators are ready and confident to share them with the world.
For the young generation of aspiring artists in Yemen and elsewhere, could you share what helped launch your career and any advice you may have for others who can’t rely on institutional support and backing?
In my journey as an artist and photographer, I’ve come to understand a few key truths that I believe have been instrumental in shaping my career, especially in places like Yemen where institutional support might be sparse.
While talent is a gift, discipline and hard work are choices. Talent might get you started, but discipline will carry you through. It’s crucial to stay true to your artistic vision.
Instead of creating what you think others might want to see, focus on what you passionately believe needs to exist in the world. Also, the art world and photography, like any other field, constantly evolve.
Stay open-minded and eager to learn from others, peers, mentors, friends, and family… every interaction can offer a fresh perspective that can enrich your work.
Farah Abdessamad is a New York City-based essayist/critic, from France and Tunisia / Follow her on Twitter:@farashstlouis
Born at the start of Somalia’s civil war, Maryan Ali Mohamed dreamt of one day performing live on stage.
She spent hours impersonating musicians on TV and always hoped to master an instrument.
In 2019, she picked up her first violin. Now, the 33-year-old is one of 40 musicians forming a Somali orchestra.
The East African country does not have an official national orchestra, but for the first time, an ensemble of musicians were brought together for a series of televised performances.
Men and women dressed in suits and satin were recorded harmoniously playing trumpets, drums and ouds – a traditional string instrument.
“I’ve never seen anything like it,” said Fadumo Hussien, a 70-year-old grandmother watching from her living room on the outskirts of the capital, Mogadishu.
“I remember bands playing growing up, but nothing like this,” she told the BBC.
The performances, organised by Mogadishu-based production company Astaan TV, aim to revive Somali music.
“We brought this orchestra together and gave them a space to rehearse,” said Mohamed Abdiwali, one of the event organisers.
“Now they can play classical Somali music,” he said.
The carefully crafted shows are then aired online and across local TV.
“The younger generation needs to start hearing our history,” he explained.
“Historically, we’ve had bands in Somalia, with a limited number of instruments,” explained Jama Musse Jama, director of the Hargeisa Cultural Centre.
Orchestras, with their larger size and classical focus, often have a greater emphasis on collaboration and synchronicity.
“You work together in harmony and build music in harmony,” said Dr Jama, noting the sounds of the Egyptian and Sudanese orchestras.
“It’s all about coming together,” he added.
Musicians were handpicked from across the country for this project, including both seasoned instrumentalists and emerging talents, like Ms Mohamed.
“I usually play on my own, or with just a few other people, but nothing on this scale,” she told the BBC.
The mother-of-two began violin lessons just a few years ago as part of a community programme in Mogadishu. She now practises using YouTube videos.
“I am so grateful to be here,” she said smiling.
Since the outbreak of civil war in 1991, Somalia has grappled with political instability and conflict. That’s had a knock-on effect on cultural institutions.
“Somali music hasn’t had a home for years,” said Dr Jama.
The National Theatre in Mogadishu, which opened its doors in 1967, was once a cultural melting pot for the city.
Spectators would gather inside the grand hall located in central Mogadishu to watch plays, musical performances and film festivals.
It quickly became the beating heart of the creative community.
“Beyond a physical building, musicians and artists must be encouraged to come together, share ideas and produce something tangible,” explained Dr Jama.
During the civil war it was fought over by rival militias and its roof even collapsed after being hit by mortars.
Across Somalia, cultural institutions and exports are now being revived, marked by the return of cinemas, art exhibitions and Somali TV shows.
The National Theatre reopened again in 2020 and now hosts a variety of events, including this year’s Mogadishu Book Fair.
In Somaliland’s capital Hargeisa, live music nights featuring traditional Somali music and food are on the rise, which Dr Jama says is vital for sharing the country’s rich culture through the generations.
“Somali music is not well archived,” he told the BBC.
“We don’t have musical notations, we perform and it dies there and remains only in the memory of the singer,” he said.
“That’s why a televised orchestra performance is so special,” he added.
“By documenting this, we’re creating something tangible that the next generation can see, understand and appreciate.
Dutch Moroccan DJ and record producer R3hab plans to return to Saudi Arabia before the end of the year, he told Arab News, hot on the heels of a busy six-month period during which he has hit the decks in Finland, China, Spain and beyond.
The DJ, who took to the stage at the E-Sports World Cup in Riyadh alongside Wiz Khalifa this summer, said in an interview with Arab News. “I’ve been to Riyadh many times, the energy of the city is unique. I really love performing in Saudi Arabia, the crowd energy is something else,” he said.
Asked if his Saudi fans will get to see him again soon, R3hab said: “All I can say is I’ll be back in Saudi before the end of the year and I can’t wait to play all the unreleased music I’ve been working on in the last months.”
R3hab’s love story with the Kingdom does not end there. He shot a music video for his track “Run Till Dark” at the historic city of AlUla.
“The ‘Run Till Dark’ shoot was exceptional. AlUla has so much history and we shot in some amazing locations. One that I won’t forget is Gharameel — this is a stunning desert reserve with beautiful natural stone pillars unlike anywhere else in the world. We were lucky to be the first film featuring this incredible site,” he said.
Last month, R3hab released two singles, each a collaborative effort.
On his track “Gozalo” with Deorro, he said: “It’s been 10 years since Deorro and I produced our hit ‘Flashlight.’ We thought it’s time to get in the studio together again and combine his Latin influence with my energetic vision.”
And on his more recent release, “All Night,” a collaboration with Sophie and the Giants, he praised the artist’s vocal talent and shed light on the track’s pop influences.
“Sophie’s voice stands out and I wanted to work with her on a record since I heard ‘Hypnotized.’ ‘All Night’ is a party anthem to keep us all dancing towards the end of the summer, it has a retro influence with a dance-pop touch.”
The second half of the year has been as busy as the first for the jet-setting producer with appearances at Dreambeach Festival (Spain), WKND Festival (Finland), Unseen Festival (Thailand), Smukfest (Denmark), Ministry of Sound (UK), Mysteryland (The Netherlands), EDC China and the Mega DJ Festival (South Korea).
“Touring can get very intense, so I take special care to recover, exercise and eat well on tour. The motivation is simple — the people. Connecting with the crowd every time I go on stage is a very rewarding feeling and my main drive,” he said.
source/content: arabnews.com (headline edited)
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R3hab is a Dutch Moroccan DJ and record producer. (Instagram)
The King Salman Global Academy for Arabic Language (KSGAAL), in collaboration with the Equestrian Authority, has launched an Arabic glossary of equestrian terms. This resource targets enthusiasts and individuals interested in equestrianism and horses from diverse backgrounds, aligning with the academy’s strategic goals to develop specialized glossaries that support the objectives of the Human Capability Development Program, a key component of Saudi Vision 2030.
KSGAAL Secretary-General Dr. Abdullah bin Saleh Al-Washmi emphasized the academy’s strategic role as Saudi Arabia’s primary Arabic language reference, highlighting their glossary development efforts in serving key sectors. He pointed out the significant cultural importance of equestrianism in the Kingdom, leading to the glossary’s development. It includes terms for competitions, participation, horse descriptions (physical, conformational, aesthetic), Arabian breed distinctions, colors, and ages.
By launching this glossary, the academy aims to support academic research in Arabic language and history through rich equestrian terminology, enrich Arabic content on horses and equestrianism, and strengthen its collaboration with the Equestrian Authority for continuous glossary updates that address new developments.
