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He replaces his countryman Nayef Al Hajraf, whose term is coming to an end.
Jasem Al Budaiwi, Kuwait’s ambassador to the US, has been appointed as the new Secretary General of the Gulf Co-operation Council, succeeding Nayef Al Hajrafwhose term ends on Tuesday.
The GCC said Mr Al Hajraf welcomed the new secretary general and “wished him success”.
Mr Al Hajraf, who took office on February 1, 2020, was previously Kuwait’s minister of finance.
Mr Al Budaiwi, who will take up his new post on Wednesday, began his diplomatic career with Kuwait’s Ministry of Foreign Affairs in 1992 as diplomatic attache in the office of the deputy prime minister and minister of foreign affairs.
He was posted to Kuwait’s US embassy in June 2001, where he was promoted to first secretary in 2004, counsellor in 2007 and deputy chief of mission in October 2011.
He was appointed ambassador to Korea in 2013 and served in the post until 2016.
He then served as Kuwait’s ambassador to Belgium and head of mission to Nato until last year, when he was appointed ambassador to the US.
In December, leaders of the GCC agreed that Kuwait should retain the position of secretary general of the council for a second consecutive term during their annual summit in Riyadh.
Mr Al Budaiwi will be the GCC’s third secretary general from Kuwait after Mr Al Hajraf and Abdullah Yaqoub Bishara, who was the first person to hold the post after the council was established. Mr Bishara’s tenure was to last 11 years, making him the longest-serving chief among the six to have held the position.
Mr Al Hajraf has been making farewell visits to GCC states in recent weeks and meeting their leaders and foreign ministers.
The GCC was established in 1981 to promote economic, security, cultural and social co-operation between its six member states, Saudi Arabia, Bahrain, Kuwait, Oman, Qatar, Saudi Arabia and the UAE. The countries hold a summit every year.
The GCC’s Supreme Council is made up of the heads of the member states.
UAE Founding Father, the late Sheikh Zayed bin Sultan Al Nahyan, hosted the council’s first meeting in Abu Dhabi on May 25 and 26, 1981.
Saudi Arabia Football Federation president will be part of powerful arm of world football’s governing body.
Saudi Arabia on Wednesday returned to the powerful Fifa Council with their federation head Yasser Al Misehal getting elected at the AFC Congress held in Bahrain.
Who is Yasser Al Misehal?
Al Misehal is the president of the Saudi Arabian Football Federation (SAFF), and has presided over a period of unprecedented change and progress in Saudi football, under the patronage of Saudi Crown Prince Mohammed bin Salman.
The men’s national team pulled off one of the biggest shocks in tournament history when they beat tournament favourites Argentina at the World Cup in Qatar late last year, a feat Al Misehal described in a December interview with The National as “one of the most historical moments for the Saudi nation “.
A member of both Fifa’s and the Asian Football Confederation’s Disciplinary Committees, Al Misehal also served as chairman of the Saudi Pro League from June 2016 to October 2017.
According to his LinkedIn page, Al Misehal studied Sport Management at Sorbonne University Abu Dhabi from 2014 to 2015 and has a Bachelor’s degree in finance from King Fahad University of Petroleum and Minerals.
An avid sports fan since childhood, Al Misehal is an honorary member of Al Ettifaq Football Club.
How has he changed Saudi football?
Under Al Misehal’s patronage Saudi football has undergone major changes. Saudi age-group sides have enjoyed recent success, with the Under-23s clinching the Asian Cup in Uzbekistan in June, and the U20s triumphing at the Arab Cup on home soil in August.
According to the SAFF, the organisation is responsible for the development and up-skilling of more than 3,000 national coaches – more than at any time in the country’s history – and 1,700 referees across the kingdom.
In the past three years, Saudi Arabia has invested heavily in women’s football as both grass-roots player development and the establishment in 2021 of a first women’s national team. The kingdom has also introduced an inaugural women’s football league and girls’ school league.
Latest figures show there are now 520 registered players across 25 clubs in the league, and almost 50,000 girls in the inaugural schools’ league.
Meanwhile, the Saudi Pro League is able to attract superstars like Cristiano Ronaldo, who in December joined Riyadh-based Al Nassr on what is believed to be the most lucrative contract in world football.
What is the Fifa Council?
The Fifa Council is the main decision-making body of the organisation, outside the Fifa Congress. The council is a supervisory body that sets the vision for the organisation and for global football.
It has members from six confederations, with the AFC getting seven spots in the 37-member council.
Al Misehal’s elevation to the Fifa Council restores Saudi Arabia’s presence in the decision-making position at world football’s governing body after an absence of 21 years. Al Misehal will automatically become a member of the Asian Executive Office, too.
What next for Saudi Arabia?
Saudi Arabia has grand plans for football. On Wednesday, the country won the hosting rights for the 2027 AFC Asian Cup. Saudi Arabia was the only country left in the race after India withdrew their candidature as potential hosts .
The 2023 Asian Cup will be hosted by Qatar. It was previously set to be held in China but the country withdrew because of its Covid-19 guidelines. Qatar won the tournament’s last edition, in 2019, which was hosted by the UAE.
Saudi Arabia is also looking host the 2026 women’s Asian Cup, which will be another milestone in the journey of women’s sports in the kingdom.
However, the biggest target is said to be a bid for the hosting rights of the 2030 Fifa World Cup, with Saudi Arabia reported to be considering a joint proposal with Egypt and Greece.
Yasser Al Misehal, right, president of the Saudi Arabian Football Federation, with national team coach Herve Renard during a training session ahead of the 2022 Fifa World Cup in Qatar. EPA
Jeddah’s inaugural Islamic Arts Biennale celebrates the legacy of Islamic art in a place close to Makkah, the fountainhead and cradle of Islam.
Saudi Arabia witnessed a historic moment with the opening of the inaugural Islamic Arts Biennale, which presented historic and contemporary works of Islamic art from around the world.
On the evening of Jan. 22, the Western Hajj Terminal at King Abdulaziz International Airport in Jeddah was filled with crowds of people waiting in eager anticipation. This was not the usual throng of pilgrims that use the terminal each year to travel to Makkah for the annual Hajj pilgrimage, but one awaiting the beginning of another voyage — a metaphorical one into the realm of Islamic art through the first-ever Islamic Arts Biennale hosted by the Kingdom.
The crowd gathered under the impressive canopies of the Hajj Terminal, designed by Skidmore, Owings & Merrill, which won the 1983 Aga Khan Award for Architecture.
The biennial event, which includes many newly-commissioned and never-before-seen works of art, marked a historic moment not just for Saudi Arabia and the Diriyah Biennale Foundation that staged the event, but for the legacy of Islamic art, which has witnessed hardly any large-scale international exhibitions since the 1976 World of Islam Festival in London.
Jeddah’s inaugural Islamic Arts Biennale celebrates the legacy of Islamic art in a place close to Makkah, the fountainhead and cradle of Islam, while forging a dialogue between the past, present and future through contemporary artworks by 60 established and emerging artists from Saudi Arabia and around the world, and with over 60 new commissions and 280 historical artifacts.
The effect is illuminating, mystical and enlightening in that this biennial, like its theme “Awwal Bait” which means “First House” in Arabic, celebrates the beauty and heritage of Islamic art in the birthplace of Islam.
“The Islamic Biennale, staged in this location at the Western Hajj Terminal, has meaning and anticipation for the future,” Saad Alrashid, a leading Saudi scholar, archaeologist and one of the curators of the event, told Arab News.
“Jeddah is the gate of the Haramain and has a deep history. There is an accumulation of strata of civilization in Saudi Arabia and throughout the ages this area was the crossroads of civilization between East and West and up to the North. Staging the Islamic Biennale here presents to the world the idea of connection between all Muslims and everybody that comes and goes from Saudi Arabia geographically, historically and politically.”
In the same vein, the theme “Awwal Bait” explores how the Holy Kaaba in Makkah and the Prophet’s Mosque in Madinah aim to inspire Muslims both culturally and metaphysically to explore their sense of belonging and ponder the definition of home.
“At its core, the Biennale is about giving contemporary objects a home by giving them a lineage and giving historic objects a home by giving them a future,” Sumayya Vally, artistic director of the Biennale, told Arab News.
“Seeing the Biennale come to life through the voices and perspectives of our artists has been profound,” she added. “Each of them has boldly and sensitively taken on the opportunity of this platform to contribute to an emerging discourse on Islamic arts that we hope will continue.”
Staging the Islamic Arts Biennale was the result of a global effort. More than 18 local and international institutions, including the General Presidency for the Affairs of the Two Holy Mosques, alongside artifacts loaned by other prestigious international institutions with an interest in Islamic Arts, such as Benaki Museum in Athens, the History of Science Museum at the University of Oxford, the Louvre in Paris and the Victoria and Albert Museum in London.
The Biennale was curated by a multi-disciplinary group of specialists, including Omniya Abdel Barr, an Egyptian architect and Barakat Trust Fellow at the V&A, and Julian Raby, director emeritus of the National Museum of Asian Art at the Smithsonian Institution in Washington, DC.
“It was challenging to find objects that have survived that were made in Makkah and Madinah,” said Abdel Barr to Arab News. “We searched within collections to see how we could create a conversation between historic objects while also keeping in mind the contemporary context and this was the most interesting part.”
Regionally, the Diriyah Biennale Foundation has secured loans for the exhibition from institutions such as the King Abdulaziz Library, the National Museum, King Faisal Center for Research and Islamic Studies and King Saud University — all in Riyadh — and Makkah’s Museum of Antiquities and Heritage, the General Presidency for the Affairs of the Two Holy Mosques and Umm Al-Qura University. From the wider region, works have been loaned from the Al-Sabah Collection and Dar Al-Athar Al-Islamiyyah in Kuwait, the Museum of Islamic Art, Cairo, and the Museum of Islamic Art, Doha, among others.
The viewing experience is mystical, like a pilgrimage in itself. It begins in darkness with American Lebanese artist Joseph Namy’s commission “Cosmic Breath” presenting recorded calls to prayer from countries around the world played together, working as if in unison with the installation across the room by Saudi artist Nora Alissa, titled “Epiphamania: The First Light,” which depicts various black and white shots of pilgrims around the Kaaba shot impressively from beneath her abaya. Nearby is an Islamic astrolabe that is positioned towards Makkah. The trio of works mark the first example in the carefully curated show, demonstrating the dialogue generated from historic and contemporary Islamic works of art.
The structure of the Biennale is divided into four galleries and two pavilions that house artworks regarding daily Islamic rituals and Hajj. These sections intend to evoke both personal and collective emotions about the spiritual life of Muslims around the world.
Large-scale, newly-commissioned works are found outside around the terminal’s expansive and evocative canopies, amid rays of sunlight and views of Jeddah that periodically include airplanes taking off high into the sky. The works outside communicate with nature and the Aga Khan award-winning architecture of the terminal itself.
Outside are also the pavilions of Makkah and Madinah, which present material from the Two Holy Mosques, Masjid Al-Haram and from the Hujra Al-Sharifa in Madinah. The focus here is on the initial journey that the Prophet Mohammad and his followers took from Makkah to Madinah to escape persecution. The objects on display, once again a mixture of historic and contemporary, shed light on the sense of universal belonging that ensues from the Muslim pilgrimage and journey home afterward.
Surrounding the pavilions are works by artists including Dima Srouji, Shahpour Pouyan, Moath Alofi, Reem Al-Faisal, Alia Farid, and Leen Ajlan.
Of note is Bricklab’s architectural installation “Air Pilgrims Accommodation 1958” inspired by Jeddah’s historic Hajj housing, which Vally describes as a site that “gathered people from all over the world to stay in one place — a place for cultural production and trade.”
“The idea emanating from the works outside is for them to generate invitations for gathering, for discussion and exchange,” Vally told Arab News.
This is reflected in Tanzanian artist Lubna Chowdhary’s “The Endless Iftar” which is a 40-meter-long table inspired by rituals of eating and gathering from around the world during Ramadan.
Also positioned outside is “My Place is the Placeless” by Iranian London-based artist Shahpour Pouyan, presenting three large-scale differently colored architectural domes that represent the three major traces in the artist’s DNA after he took a test that revealed his origins go beyond his native Iran to include Scandinavia, Central and South Asia, and the Middle East.
“It’s about human interconnectedness in an effort to break down ethnic labels and identities,” Pouyan explained to Arab News.
Like the other works on show, Pouyan’s work reflects not just on Islamic culture but on its universality, its ability to connect beyond the Middle East and offer a unifying force that goes beyond religion, nationality and culture.
As Alrashid states: “Islam is a communication of knowledge and culture.”
He added: “Since the 2030 Vision we sense that we are more welcoming just like the Makkans in the past welcomed visitors during Hajj.
“We are showing the whole world how they can enjoy Islamic art,” he said. “The Biennale is not just an exhibition or something from the past — it continues through culture, through integration with the multiculturalism of Muslims.”
Perhaps the most powerful theme of the exhibition is the idea of Islam and its art across the ages as a physical and metaphorical unifying element that continues to connect diverse cultures and people throughout the world. It is also a way, as Vally stressed to Arab News, “to define what it means to be Muslim from our own perspective, through our own art and culture to the rest of the world and to show how Islam has the power to unite us all, even non-Muslims, through its history, traditions and spiritual practices.”
source/content: arabnews.com (headline edited)
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Ka’bah Door made by Shaikh Mahmoud Yousuf Badr for King Abdulaziz bin Abdulrahman Al Saud in 1947. (AN Photo by Ali Khamaj)
Unanimous vote ‘opens new chapter in Kingdom’s evolving history’.
Saudi Arabia will chair UNESCO’s World Heritage Committee following a unanimous decision at the organization’s headquarters in Paris.
The committee will be chaired by Princess Haifa bint Abdulaziz Al-Mogrin, the Kingdom’s permanent representative to UNESCO, and chairperson of the organization’s programs and external relations committee.
The Paris meeting also agreed that Saudi Arabia will host the committee’s 45th session, which will be held in Riyadh from Sept. 10-25.
The selection was approved during the 18th session of the World Heritage Committee, which was held in the presence of all member states of the committee.
Princess Haifa tweeted: “In completion of the Kingdom’s prominent role in supporting and preserving human heritage, I am proud today of accrediting Saudi Arabia as chairman of the UNESCO World Heritage Committee, and for hosting of the 45th session of the World Heritage Committee for the first time in September.”
The permanent delegation of the Kingdom to UNESCO tweeted: “Saudi Arabia is home to 6 millennial world heritage sites and 11 intangible heritage elements, Saudi Arabia will proudly host the 45th session of UNESCO’s World Heritage Committee in September— it’s a new chapter in our evolving history.”
The decision is the culmination of efforts led by the Kingdom in UNESCO, in light of unlimited support to the cultural sector by King Salman and Crown Prince Mohammed bin Salman, as well as the support and directives of Culture Minister Prince Badr bin Abdullah bin Farhan.
Princess Haifa praised the decision and said that it is simply the result of the Kingdom’s prominent role in supporting heritage, and its extended endeavors toward documenting human heritage alongside the member states of the committee, as well as achieving the goals of UNESCO in general, and the goals of the World Heritage Committee in particular.
The UNESCO World Heritage Committee, composed of representatives of 21 states elected by the General Assembly, examines the proposals of states wishing to place their sites on the World Heritage List, assists experts to report on the sites, and provides the final assessment of the decision of the proposed sites on the list.
The Kingdom has two other members of UNESCO’s main committees, as well as its membership in the World Heritage Committee: membership of the Executive Council and membership of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, which highlights the Kingdom’s role as a pivotal and international center of action in the organization’s decision-making.
source/content: arabnews.com (headline edited)
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Madain Saleh became Saudi Arabia’s first UNESCO World Heritage Site in 2008. (SPA)
Michigan State University (MSU) faculty member Dr. Yasser Aldhamen created a pioneering cancer immunotherapy strategy that can shrink tumors and increase therapeutic resistance against some types of cancer.
This came during a research he recently published in “Molecular Therapy” Journal, which is classified as one of the best scientific journals specialized in genetic and cellular therapy in the world.
Professor Aldhamen’s research project took about two years, completing 41 scientific papers published in prestigious international journals, as well as 3 previous patents registered with the US Food and Drug Administration.
In a statement to the Saudi Press Agency (SPA), Dr. Aldhamen said, “The whole idea is to treat patients without drugs to eliminate cancer.”
“Based on my previous work, a method was devised to harness the naturally active immune system to control tumor growth by activating the action of specific immune system cells, such as NK cells, and innate immune cells, such as macrophages and dendritic cells, within tumors.”
Dr. Aldhamen occupies, in addition to his duties, the position of Deputy Director of Research in the Faculty of Medicine at Michigan State University, and has supervised 5 students in the doctoral stage, two students in the master’s stage, and more than 15 students in the bachelor’s stage.
He also receives some trainees for 8 weeks from the secondary stage, by virtue of his interest in training future researchers in the laboratory, motivating them that making the world takes a long time.
He also participated in 15 conferences around the world, and membership in a number of advisory committees at the university working on developing research and exchanging experiences with researchers in countries such as Egypt and Peru. — SPA
Owner Dona Murad says the motto is Bahraini hospitality, Copenhagen technique and New York energy.
If you ever find yourself in Cooper Square, in the Lower East Side of Manhattan, you might find a queue forming outside a cosy-looking bakery.
That would be Librae, New York’s — and possibly the whole of America’s — first Bahrain-owned-owned bakery. It’s the brainchild of Dona Murad, a Bahraini entrepreneur married to a New Yorker.
“We always wanted to have something in his hometown to represent the both of us,” Murad says on the phone from Dubai, where she lives when she’s not in the Big Apple.
“We wanted a space that brought together different cultures, religions and diversity.”
One quick look at the menu confirms they have achieved exactly that. Highlights include the rose pistachio croissant, a feta and dill scone and a lumee babka bun.
Lumee, or black lime, is liberally used in Bahraini cuisine.
“It’s used in tikka and stews and we wanted to create a pastry that was Bahrain and New York,” Murad says.
“So we took black lime, crushed it up, made it sweet in a lemon curd and put it into a babka, that’s classic New York.
“We gave it oomph and our own identity.”
Murad arrived in New York before the opening with black lime in her suitcase, knowing it was always going to be on the menu.
Another unique dish is the Marmite cheddar and scallion escargot, which is also on the menu at Hopscotch, Murad’s first cafe in Bahrain.
“Marmite is so hard to find in New York. We were buying it on Amazon in tiny little bottles, scraping every morsel out of the corners,” Murad says with a laugh.
“But we took that and put it in our morning bun and get the occasional English or Australian person who gets excited to see it on the menu.
“We love using flavours familiar to us, experimenting with them, putting them together in things that become delicious, like a disco in your mouth.”
Murad describes Librae as a “third culture cafe”, where they use “a little bit of this, a little bit of that”, with flavours and design influences from all over the world, from Bahrain to Bali and Morocco to India.
They also create new desserts for religious occasions, whether it’s for Eid and Ramadan, Christmas or Hanukkah.
It’s not just the flavours that stand out, either, but the technique used in the baking.
Murad and her husband, Andre, love the food scene in Copenhagen and so they were inspired by the Denmark capital’s unique fermentation process, which uses more salt and fat than usual with sourdough.
“Their approach to fermentation is quite a scientific one so giving examples might be a bit tedious, but if I had to explain it in two words it comes down to ‘no shortcuts’,” Murad says.
“Our croissant for example takes over 72 hours to get just the first step.”
Murad says their motto is “Bahraini hospitality, Copenhagen technique and New York energy”.
They were also really inspired by Denmark’s bakery culture, which, she says, is “small, warm and they have really good coffee”.
The combination of great pastries and delicious coffee was important to her when setting up.
“You don’t get two great products in one space. Usually people ignore one or the other,” Murad says.
“It might be a great bakery but they don’t care about coffee, so we wanted to do both.”
This is a similar premise she used in creating Hopscotch and Grind, a roastery she also owns in Bahrain.
Hopscotch opened six years ago and remains a go-to spot for food and coffee lovers on the island.
Nowadays, her brother and mother run the business in Bahrain, while she hops between the US and UAE.
Other dishes on Librae’s menu also hail from Hopscotch. The labneh zaatar morning bun customers find in New York, for example, is inspired by the zaatar labneh twist in Bahrain.
“It’s the evolution of the brand,” says Murad. “Librae is like the cooler, younger sister.”
As someone with no experience of running a business in New York, Murad was nervous about opening Librae.
But what made it even more risky was that they were doing it when there was still a mask mandate in the city because of the pandemic.
“It was scary, it was so polarised there,” she says. “You had people who would not walk into some places for certain reasons, so we were scared at the beginning. We didn’t have our foot in the door.
“Before opening, we were making almost 400 croissants a day. We refused to open until we had a croissant I would stand in line for … so I was standing outside the door, handing out croissants to people on the street.”
People would nudge away from Murad, looking at her as if she was “crazy”, she says, but every third person would respond.
“We would form a connection, tell our story and that got people talking to us and interested. Those people came back and stood in line to support us.”
They finally opened in May last year and the community has responded well.
“It’s so surreal,” Murad says. “I go outside and I look at the line forming and get goosebumps.
“Our communities responded here, in Bahrain, Saudi Arabia, all over the Gulf and a lot of people in New York. We have regulars now.”
Another aspect she brought from the Gulf was the idea of relaxing in a cafe.
“Coffee culture in New York is very different to Dubai or Bahrain,” she says. “We wanted to create a bakery where people would sit down and dwell and enjoy, somewhere to have a good cup of coffee and pastries.
“There are a lot of coffee shops that are beautiful and New York runs on caffeine because it’s such a fast-paced society. This is a space that brings the way we enjoy coffee to the centre of Manhattan.”
Murad hasn’t had much time to think about her next step, but she hasn’t ruled out opening something new in the UAE.
“If the right opportunity comes along, it’s my second home, so why not? Dubai has so many great options, but there is always room.”
As for Librae, which is simply named after her star sign (“You know how when you don’t know how to pronounce something it automatically becomes cooler,” she says with a laugh), she’s focused now on growing the brand.
“I want to continuously learn in the industry. I enjoy what I do. Whatever opportunity comes my way, I want to be able to take it. I want to expand Librae’s horizons and see where it takes me.”
Saudi Arabia’s Crown Prince Mohammed bin Salman has been named the most influential Arab Leader of 2022 according to a poll conducted by Russia Today.
The Kingdom’s Crown Prince and Prime Minister won the online vote by a landslide with 62.3 percent voting in favor of the revolutionary leader. He earned 7,399,451 of the total 11,877,546 million votes, the international TV news network’s website said on Tuesday.
The percentage of votes received by Mohammed bin Salman reportedly breaks all previous records. It also makes it the second time in a row that the Saudi Crown Prince has won the RT vote-based title.
UAE President Sheikh Mohamed bin Zayed Al Nahyan came second on the list with 2,950,543 million votes, accounting for 24.8 percent of the total votes.
Egypt’s President Abdel Fattah el-Sisi came in third place with 1,387,497 million votes.
The Saudi leader has earned international reputation for spearheading a liberalization movement in the country while taking steps to attract diverse investment to reshape the oil-dependent economy.
He has been brandished as a women’s rights champion for various empowerment efforts including lifting a decades-old ban on women driving and easing guardianship rules.
All these changes tie into the passion project of the Saudi leader called Vision 2030, a multitude of reforms established by the Crown Prince to elevate the Kingdom past the 21st century.
source/content: english.alarabiya.net / Al-Arabiya English
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Saudi Arabia’s Crown Prince and Prime Minister Mohammed bin Salman. (Twitter)
Iraq is hosting the eight-nation football tournament for the first time in more than 40 years.
The Gulf Cup began with fanfare on Friday in Iraq’s southern city of Basra, sparking hopes of a bright future for the country’s embattled football prospects.
For Iraqis, hosting the biennial event will turn a new page in the troubled history of their country, boost relations with Gulf neighbours and represent a crucial move towards full national recovery.
Iraqi Prime Minister Mohammed Shia Al Sudani formally kicked off the tournament, hailing it as a “historic moment” which demonstrates “brotherhood among the Arab brothers in the Gulf”.
“Dear sport fans, thanks for your presence,” he said. “On your behalf and in the name of Iraq, we welcome the brothers, the visitors, the teams and the fans in the land in Iraq, the land of Mesopotamia and Basra.
“We wish all teams success and enjoyment to the fans.”
Mr Al Sudani was joined by Fifa President Gianni Infantino, Iraq’s Speaker of Parliament Muhammad Al Halbousi and the heads of the Gulf football federations.
As the sun set over the port city, the mood in and around Basra International Stadium was festive and electric with anticipation.
By the afternoon, more than 10,000 foreign fans had arrived in the city, located a short distance from Iraq’s borders with Kuwait and Iran, an official from Basra’s provincial government said.
Thousands of people gathered at the stadium, known as the Trunk of the Palm, its design inspired by the southern city’s palm trees. It was filled to its 65,000-person capacity with more soaking up the atmosphere outside.
Some fans pushed the guards back at one gate, breaking into the stadium perimeter, but no large disruption was caused.
As the ceremony began, poet Hazim Jabir, actress Enas Talib, actor Jawad Al Shakarchi and singer Hussam Alrassam took to the field, dressed in elaborate costumes in a performance that told the story of the city’s rich history and culture.
Once the ceremony wrapped up, the tone in the stadium shifted from excitement to intense focus as Iraq and Oman faced off in the first game of the tournament.
Travel to the stadium before the ceremony and opening matches snarled up traffic in the city. Others walked to the stadium, waving the Iraqi flag or wrapping it around their shoulders. Songs welcoming the participating teams blared from cars.
Those who couldn’t secure tickets packed the public square to see the opening ceremony on a big screen.
“Thank God the opening ceremony was very beautiful and well organised; I didn’t expect that, to be honest,” Ali Ibrahim told The National as he joined hundreds of fans in the city’s Tayaran Square.
Mr Ibrahim, 23, and his cousin were draped in the Iraqi flag.
“We are very proud of our Basra, which has become an international city now,” he said.
“It is really amazing to see the tournament eventually kicked off after waiting so many years,” Dhirgham Amir told The National.
Mr Amir, 20, came with his brother and sister to Al Tayaran Square.
“This will definitely change how Iraq looks like to the whole world as a dangerous place ravaged with terrorism,” he said, putting his nine-year old sister on his shoulders.
“A bright future mainly in sport is waiting Iraq,” he added.
The biennial Arabian Gulf Cup first took place in 1970. The last time it was held in Iraq was in 1979, when the hosts were crowned champions. Iraq also won in 1984 and 1988.
The event features teams from the Gulf Co-operation Council countries — Kuwait, Saudi Arabia, Bahrain, Oman, Qatar and UAE — as well as Iraq and Yemen.
The most recent event was held in 2019 in Qatar and was won by Bahrain.
A bright future
“It is a step forward to retain Iraq’s normal position in the fields of sport, culture and society,” Basra Governor Asaad Al Eidani said before the start of the tournament. “It is a message to the whole world that we are capable.”
The UN Assistance Mission for Iraq echoed those sentiments.
“By hosting the cup, Iraq showcases the unifying power of sports and its ability to harbour peaceful and respectful competition. We wish Iraq and its people a successful tournament,” the agency wrote on Twitter.
The eight teams playing in the tournament are divided into two groups.
Group A consists of Iraq, Saudi Arabia, Oman and Yemen, while Group B features the UAE, Bahrain, Kuwait and Qatar.
The winners and runners-up of each group proceed to the semi-finals on January 16 — where the winners of Group A play the runners-up of Group B, and the Group B winners take on the runners-up from Group A.
On January 19, the winners of the semi-finals meet in the Gulf Cup final.
Fireworks light up the sky over the Basra International Stadium during the opening ceremony of the 25th Arabian Gulf Cup in Basra, southern Iraq, on Friday, January 6. Getty
A team from the King Abdullah University of Science and Technology and Al-Hasa-based Palms and Dates Center has been awarded the 2022 International Date Palm Innovative Technology Excellence Prize.
Presented by the National Center for Palm and Dates, the award was made in recognition of the team’s fiber-optic distributed acoustic sensor, which is used in the early detection of red palm weevils in date palm trees.
Tackling infestations of red palm weevils has been a long-standing problem across the Middle East, Southeast Asia, Europe and other parts of the world.
The winning team comprised Dr. Islam Ashry, Dr. Chun Hong Kang and Prof. Boon S. Ooi from the KAUST Photonics Laboratory and Dr. Yousef Alfehaid and Eng. Abdulmonem Alshawaf from the PDC, which operates under the Ministry of Environment, Water and Agriculture.
HIGHLIGHTS
• Infestations of red palm weevils a major problem across the Middle East.
• Researchers from KAUST-PDC collect $53,000 in prize money.
As well as the prestige, the team collected SR200,000 ($53,000) in prize money. The award was announced at the 3rd International Dates Conference and Exhibition, which ran from Dec. 7-10 in Riyadh. Their design beat off the challenge of 65 other submissions for the prize.
Ashry said the team was honored to have won such a prestigious award and paid tribute to his colleagues at the Photonics Laboratory and the PDC who helped in the development, testing and deployment of the technology.
“This recognition motivates us to continue improving, optimizing and advancing this technology to a new level,” he said.
According to the NCPD, the event provided “a unique combination of scientific research and commercial strategy to exchange scientific knowledge and innovative technologies to enhance the safe production and commercialization of these extraordinary super-fruits.”
The Kingdom is home to some 33 million date palm trees, producing about 1 million tons of dates a year, or 20 percent of global production. In the Middle East region alone about $8 million is spent every year fighting infestations of weevils.
“Our RPW-detecting technology uses a fiber-optic distributed acoustic sensor,” Ashry said. “It is the first of its kind and offers a more scalable approach (than) other detection methods, such as microphone probe, computer-based tomography and visual inspection.”
Kang said the team’s system used fiber-optic cables wound around individual tree trunks.
“Acoustic signals generated by the weevil larvae inside a trunk can be picked up by the cable and transmitted back to an interrogator system,” he said.
“The collected signals are then analyzed and processed through a machine learning algorithm to identify each tree’s infestation status.”
Ashry and Kang are now working with various organizations within the Kingdom, including the PDC, MEWA, NEOM, the Royal Commission for AlUla and the Tabuk Agricultural Development Co., on the deployment of their technology.
These test applications will help to improve the sensitivity of the sensor systems so they can be used on large-scale farms.
“Our research efforts align well with … Saudi Vision 2030 in terms of diversifying the economy, especially for the date palm sector,” Ashry said.
Ooi said: “Our technology offers a unique and low-cost solution to protect the large number of date palm trees in the country through early infestation detection.”
source/content: arabnews.com (headline edited)
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(L to R): KAUST Research Scientist Dr. Islam Ashry and Prof. Boon S. Ooi receive the 2022 International Date Palm Innovative Technology Excellence Prize from the NCPD on behalf of their team. (Supplied)
Mawadah Muhtasib, an emerging Saudi artist who reversed the typeface of the Arabic language, is well on her way to becoming a prominent name in the global art scene.
From learning her mother’s technique of writing backward at age 13 to exhibiting in London and New York City, Muhtasib has generated international intrigue in the art of Arabic by creating the first reversed Arabic calligraphy, or calligraffiti, typeface.
Her messages are not only meant to be read, but are also designed to be deciphered. Engaging her audience with the challenge of decoding letters is a large part of experiencing the artwork itself.
“It’s about expanding your human capabilities into creating the impossible. And this is exactly what I have been trying to do,” she told Arab News in an exclusive interview.
FASTFACT
The Arabic language is one of the richest art forms, the artist says, but in modernity, it is difficult to appreciate the depths of something that has become so ordinary.
Born out of a quest to layer the heritage of Arabic letters with innovative graffiti art methods, her work dares to be the first of its kind, granting her Dubai’s Art Bus competition award and a chance to show her work at exclusive showcases.
As graffiti art surged in popularity in 2013, Muhtasib experimented with mural painting alongside a novel group, hoping to develop a boundaryless form of art.
With a vision to modernize the traditional, she created a decorative typeface that mixed Arabic and Latin, written from left to right.
It’s about expanding your human capabilities into creating the impossible.
Mawadah Muhtasib
Muhtasib said: “We are so used to Arabic calligraphy when it comes to Thuluth calligraphy, Al-Kufi, Al-Naskh, and so on, and we just read that way and pass it on.
“When I’m doing my Arabic calligraphy, people sit and stare at my work for hours trying to figure out what these letters are, and the moment they realize it’s Arabic, they start to analyze and see all these letters in a different form that we as Arabic speakers are not used to.”
The Arabic language is one of the richest art forms, the artist says, but in modernity, it is difficult to appreciate the depths of something that has become so ordinary.
The goal is not only to get the viewer to read but to actively reflect on the beauty and form of each stroke and letter within the alphabet.
Muhtasib now passes on her craft through community workshops exclusively for women, most recently at Saudi’s largest light-based festival, Noor Riyadh.
“In my workshops, I do not teach people to write in reverse … I’m basically giving you the key of how to use the tools of starting to practice in the form of Latin calligraphy,” she said.
As soon as students understand the anatomy of the font family, Muhtasib introduces slanted brushes, layering techniques and stroke pressure. From the first session, students are sent home with a new creative form of expression. “The soul of a person is laid out on a page,” she said.
Writing in reverse is not new; the artist’s mother passed down the habit after having to write backward to maintain privacy at work. Alongside that, she passed down her passion for creative innovation.
While most calligraphers in the Kingdom were mimicking Western methods, Muhtasib, at 16 years old, was inspired and encouraged by Tunisian artist eL Seed and Saudi Moroccan artist Shaker Kashgari.
“I took that trick that my mom taught me years ago on how to write and then I changed it into a decorative typeface,” she said.
The concept was designed to preserve the rich heritage of the Arabic language. For foreigners, it offers a chance to engage in the language and learn its history.
“This is Arabic calligraphy in reverse that I took, improved, adjusted and made into a different form. But viewers will also wonder how it actually looked like (originally) and this will make a lot of people go in-depth and learn more about Arabic calligraphy,” Muhtasib said.
The philosophy behind the Typeform has gained interest from international luxury brands such as Louis Vuitton, Carolina Herrera, Montblanc, Sephora and more, resulting in several collaborations.
Muhtasib urges creators to push the boundaries of art and culture.
With calligraphy, “your sky’s the limit,” she said.
source/content: arabnews.com (headline edited)
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Mawadah Muhtasib now passes on her craft through community workshops exclusively for women. (Supplied)
