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The International Monetary Fund has opened its first office the Middle East and North Africa region in Riyadh.
The office was launched during the Joint Regional Conference on Industrial Policy for Diversification, jointly organized by the IMF and the Ministry of Finance, on April 24.
The new office aims to strengthen capacity building, regional surveillance, and outreach to foster stability, growth, and regional integration, thereby promoting partnerships in the Middle East and beyond, according to the Saudi Press Agency.
Additionally, the office will facilitate closer collaboration between the IMF and regional institutions, governments, and other stakeholders, the SPA report noted, adding that the IMF expressed its appreciation to Saudi Arabia for its financial contribution aimed at enhancing capacity development in its member countries, including fragile states.
Abdoul Aziz Wane, a seasoned IMF director with an extensive understanding of the institution and a broad network of policymakers and academics worldwide, will serve as the first director of the Riyadh office.
source/content: arabnews.com (headline edited)
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The office will facilitate closer collaboration between the IMF and regional institutions. Shutterstock
Moroccan reciters performed well at the competition and demonstrated exceptional talent and proficiency in Quranic recitation.
Moroccan Ilyas Hajri has clinched the title of World Quran Reader in the Hafiz category at the fourth edition of the Bahrain Online Quran Recitation Competition.
The Moroccan Quran reciter won the prize for his exceptional proficiency in reciting the Holy Quran.
This win adds to a string of previous successes, as Hajri has consistently shown excellence in Quranic recitation competitions. Last year, he won first place in the International Quran memorization competition in Astana, Kazakhstan.
In addition to Hajri, Moroccan Yassine El Kazzini secured the second position in the same category.
Meanwhile, Moroccans Abdelbasset Ourach and Mustapha Zahid claimed third places in the categories of memorized recitation (Tajweed) and melodious recitation (Murattal) respectively.
The finals of the competition were conducted in-person in Bahrain’s capital city Manama, where the top performers competed to secure their positions in various categories of Quranic recitation.
The competition brought together over 5,000 participants from 74 countries.
Meanwhile, Mohamed Sameer Mohamed Mujahid from Bahrain was crowned the World Quran Reciter in the Tajweed category, while Ahmed Mohamed Saleh Ahmed from Yemen secured the same title in the category of junior reciters.
Organizers of the competition highlighted its mission to promote and celebrate the recitation and memorization of the Holy Quran.
It also aims to serve the Quranic tradition by providing a platform for individuals of all ages and nationalities to showcase their skills and proficiency in reciting the Quran.
Moroccans have built a strong reputation for their excellence in Quran recitation competitions, consistently shining on the global stage.
Last month, Moroccan Elias Al-Mahiawi won first place at the 20th International Quran Competition in Tanzania.
Somali-origin players Afif and Abdirisaq play pivotal roles in leading Qatar to victory in the AFC Asian Cup.
On Saturday, February 11, 2024, the football world turned its eyes towards a historic clash that would etch the names of Akram Hassan Afif and Yusuf Abdirisaq into the records of the AFC Asian Cup lore.
In a match that was anything but ordinary, Qatar’s national team, buoyed by the exceptional talent of its Somali-origin stars clinched their second successive victory in the tournament by overcoming Jordan with a decisive 3-1 win.
Qatar’s triumph was heralded by the remarkable performances of Akram Afif and Yusuf Abdirisaq, whose origins trace back to Somalia, showcasing the diverse and rich talent pool contributing to Qatar’s footballing success.
Akram Hassan Afif emerged as the tournament’s top scorer, remarkably netting three penalty goals in the final match.
His prowess on the field and his unique celebration, holding up a letter ‘S’ in honor of his Kuwaiti wife watching from the stands, captured the hearts of fans and ignited discussions across social media platforms.
Afif’s journey from the streets of Doha to becoming a footballing icon is a narrative of determination, skill, and the love for the game.
Yusuf Abdirisaq, on the other hand, fortified Qatar’s defense with his agility and keen sense of play.
Born in Hargeisa, Yusuf’s path to footballing stardom is a tale of resilience and adaptation. Representing Qatar on the international stage, Yusuf’s performance in the Asian Cup final was a clear demonstration of his defensive prowess and his significant role in the team’s success.
The match itself was a rollercoaster of emotions as three penalties were awarded, leading Qatar to victory.
Despite the debates, the focus remained on the skillful play and strategic acumen displayed by the Qatari team, particularly its Somali stars.
The Arab media and international press were lavish in their praise for Qatar’s achievement, with special emphasis on Afif’s scoring feat and Abdirisaq’s defensive mastery.
Their stories of personal and professional triumph resonated well beyond the football pitch, inspiring many young athletes around the world.
Off the field, both players have faced their share of challenges and controversies, such as Abdirisaq’s alleged racial abuse incident, which he and the Qatar Football Association strongly refuted.
Akram Afif, the son of a former Somali national team player, has football in his blood. His journey from Qatar’s youth leagues to becoming a key player for Al Sadd, and on loan from Villarreal, is a beacon of hope and inspiration for many aspiring footballers in the Arab world and beyond.
Yusuf Abdirisaq’s story is equally compelling, showcasing the potential for football to change lives and transcend borders. From his early days at Al Sadd SC to his loan at Al-Arabi SC and back, Yusuf’s career trajectory highlights the opportunities and challenges faced by players of diverse backgrounds in the world of professional football.
As Qatar celebrates its second consecutive AFC Asian Cup victory, the contributions of Akram Afif and Yusuf Abdirisaq will be remembered as pivotal to this historic achievement.
Their talent, perseverance, and dedication have not only led their team to glory but have also served as a powerful reminder of the unifying power of sport.
The third annual Hollywood Arab Film Festival began this week, bringing the best of 2024’s Arab cinema to Los Angeles and giving fans a chance to see the films in theaters as well as introducing a new audience to the Arab world’s top talent.
The event, which runs until April 21, was attended by a number of celebrity guests including Egyptian producer and screenwriter Mohamed Hefzy, Tunisian actor Dhaffer L’Abidine, renowned Egyptian star Elham Shahin and Egyptian producer Tarek El-Ganainy.
At the event, Hefty said: “Arab cinema really needs a platform to tell our stories and to show who we are, our identity, our hopes and dreams, our pains, and all the different social topics that are tackled in some of the films that are being presented are maybe more relevant today than ever. So I think it’s a great opportunity to have this dialogue.”
Hefzy’s film “Hajjan” was showing at the event. It is a Saudi Arabia-based film directed by Egyptian filmmaker Abu Bakr Shawky.
“Hajjan is a film about a young boy who got a very special connection to his camel, who has a brother who was a camel jockey and races,” Hefzy said. “And, one day when something really unexpected happens to his brother, and shatters his world, it forces him to step into his brother’s shoes and become a camel jockey, and so starts racing himself.”
The movie is a co-production between the Kingdom’s King Abdulaziz Center for World Culture, or Ithra, and Hefzy’s Film Clinic.
“It was a film made in Saudi Arabia with Saudi talents and actors with an Egyptian director, but with the Saudi co-writer and Saudi actors and shot mostly in Saudi Arabia,” Hefzy said. “So I think it’s, it was a great experience, and learned a lot about Saudi Arabia, learned a lot about the culture.”
The festival featured cinema from various Arab countries, presenting films from 16 different nations. Marlin Soliman, strategic planning director of HAFF, highlighted the inclusion of six feature films, ten short films and six student films.
Spanning five days, HAFF offered its audience a vibrant experience, including a red-carpet affair, panel discussions on filmmaking and diversity in Hollywood, and, of course, screenings of high-profile films.
The festival also saw several filmmakers singing the praises of Saudi Arabia’s expanding film industry.
L’Abidine, the writer and director of “To My Son,” said: “I’m thrilled to be back again with my second feature film ‘To My Son,’ a Saudi film… I think there is a great evolution of Saudi cinema that’s been happening in the last few years.”
The ‘Limbo’ star will be acting alongside Pierce Brosnan as they follow the story of famed boxer Prince Naseem.
Egyptian actor Amir El Masry is set to star in a biopic of legendary British Yemeni boxer Naseem Hamed, titled ‘Giant’. The movie will tell the story of Hamed’s humble beginnings in the English city of Sheffield, and his meteoric rise to becoming a world champion. Throughout his career, he is coached by former steel worker Brendan Ingle, who is played by Irish actor and ‘James Bond’ star Pierce Brosnan.
Also known as Prince Naseem or ‘Naz’, Hamed also became an icon of showmanship, with his inimitable southpaw boxing style and quick feet, his high rate of knock-out victories, and his elaborate ring entries, arriving on a ‘flying carpet’ suspended from the ceiling and often somersaulting over the ropes.
The casting of El Masry to play Hamed marks his first starring role in a major film production, though he has already landed several major parts in acclaimed series such as ‘The Night Manager’, BAFTA-nominated ‘The State’, and the fifth season of ‘The Crown’, in which he played a young Mohamed Al Fayed. He is also known for his award-winning role in ‘Limbo’, as well as his appearances in ‘Star Wars: The Rise of Skywalker’ and Egyptian series ‘El-Brinseesa Beesa’.
The activities of the seventh session of the International Festival of Arabic Language and Culture were concluded in the Italian city of Milan, which was held under the auspices of the Sharjah Book Authority and organized by the College of Linguistic Sciences and Foreign Literatures and the Arabic Language Research Center at the Catholic University, under the title “Language and Artificial Intelligence: A Limit to the Past or a Horizon for the Future.”
“In a step that reflects the spirit of the global cultural mission of the Emirate of Sharjah and confirms the vision of His Highness Sheikh Dr. Sultan bin Muhammad Al Qasimi, Member of the Supreme Council and Ruler of Sharjah, in highlighting the role of the Arabic language as a bridge for civilizational and cultural communication between peoples.
The events were attended by His Excellency Ahmed bin Rakad Al Ameri, CEO of the Sharjah Book Authority, Mario Cristina Gatti, Director of the Arabic Language Research Center at the University, His Excellency Muhammad Hassan Khalaf, Director General of the Sharjah Radio and Television Authority, and Dr. Amhamed Safi Al Mosteghanemi, Secretary General of the Arabic Language Academy in Sharjah, while participating in The festival sessions included 35 researchers from 18 countries, including 9 Arab countries: the United Arab Emirates, Egypt, Iraq, Morocco, Lebanon, Syria, Algeria, Yemen and Palestine, in addition to Turkey’s presence for the first time. The festival also hosted 12 academics and university professors from the Catholic University in Italy.
The seventh session of the festival sought to explore the intersections of artificial intelligence with Arabic language and culture, highlighting key topics that include “ethics and legislation of artificial intelligence” and its role as a translator who crosses linguistic borders, as a poet who organizes poems, and as a novelist who weaves stories.
The festival also focused on the impact of artificial intelligence on language teaching and its applications in the language of social communication. It discussed “the role of artificial intelligence in the scientific research and philosophy sector” and its potential in “restructuring the Arab heritage” with a focus on “its impact on language and the arts” in a way that enhances the status of Arabic as a living language. Interact with modern technologies.
His Excellency Ahmed bin Rakkad Al Ameri had stressed in a keynote speech at the opening ceremony of the festival that pride in one’s own language is pride in all languages, as the diversity of languages is a necessity for the diversity of cultures, and it is not possible to imagine the world in one language because this means that cultures lose much of the beauty and incentives for learning and discovery, highlighting Shedding light on the major project led by His Highness Sheikh Dr. Sultan bin Muhammad Al Qasimi, Member of the Supreme Council and Ruler of Sharjah, which is the historical dictionary of the Arabic language, of which 67 volumes have been published to date covering 15 of the 28 letters of the Arabic language.
For his part, Dr. Wael Farouk, director of the festival, said: “The participants in this year’s session presented ideas on the topic of ‘Language and artificial intelligence: a limitation of the past or a horizon for the future.’
The opening session presented by Mario Cristina Gatti, director of the Arabic Language Research Center at the university, also witnessed the launch of The first Italian translation of the poetry of Al-Mu’allaqat, which is considered one of the most famous classical texts in the history of Arabic poetry. It is a translation presented by Jolanda Guardi, and it presents a poetic reading by the Iraqi poet and translator Kazem Jihad on the occasion of the publication of his collection of poems in the Italian language.
The festival devoted sessions on the digitization of the Arabic language, artificial intelligence, imagination, artificial intelligence, and translation, with the participation of Dr. Emhamed Safi Mosteghanemi, Secretary General of the Arabic Language Academy in Sharjah, who reviewed the emirate’s experience in collecting and publishing the largest historical dictionary of the Arabic language as a successful example of digitization.
The translators, Muhammad Haqqi Sushin, Samir Greiss, and Naglaa Wali, raised questions about the capabilities of artificial intelligence as a translator of literary texts, the role of literary translators in the era of artificial intelligence, and the ways in which literary translation can benefit from artificial intelligence.
In a touching tribute to her late husband, Saudi businesswoman Wajanat Muhammad Abdel Wahed has built the world’s first 3D Printed Mosque that was thrown open to worshippers ahead of the Holy Month of Ramadan likely to begin Monday March 11, 2024.
In a touching tribute to her late husband, Saudi businesswoman Wajanat Muhammad Abdel Wahed has built the world’s first 3D Printed Mosque that was thrown open to worshippers ahead of the Holy Month of Ramadan likely to begin Monday March 11, 2024.
The mosque is named after the late Saudi businessman Abdulaziz Abdullah Sharbatly.
“I dedicate the reward of building the first mosque in the world using 3D printing technology to my husband, Abdulaziz Abdullah Sharbatly. I ask God to grant him benefit to the Kingdom and enable him to become a leader in line with #Saudi_Vision_2030 (sic)” Wajanat wrote on social media platform X Thursday, March 7, 2024.
“The idea materialized into constructing a mosque dedicated to the memory of my late husband, subsequently becoming the world’s first mosque built with 3D printing technology”, Wajanat said.
3D Printing Technology
The 3D Printed Mosque, built at a cost of 20 million Saudi Riyals on an area of 5,600 square meters as part of the Jeddah Governorate’s Al-Jawhara Suburb Project, is located in Saudi port city.
The 3D Printing Technology creates tangible objects from 3D Digital Models obtained through scanners and computer programs, using successive layers to form the final shape.
The construction of the mosque was completed in just six months. As many as four giant printers manufacture by the Chinese company Guanli 3D printers, the world’s leading manufacturer of 3D printers, were deployed for the purpose.
The construction of the world’s first 3D Printed Mosque in the Kingdom demonstrates future construction and architectural innovation, promoting local content and diversification, aligning with Vision 2030’s ambitious goals of non-oil production.
Wajanat pointed out that the mosque’s construction received private sector stimulus support, promoting modern construction through advanced technologies and industrial development.
“As a Saudi businesswoman, I wanted to contribute to introducing this modern technology to the Kingdom, positioning it among the first countries to utilize it”, she said in a statement.
“The construction of the mosque using 3D printing technology marks a significant milestone in technology and contemporary construction, signalling a move towards architectural innovation and global sustainable building practices”, she added.
Winner of the Best Music Award (for the Under the Figs film) in the 2023 “Critic Awards” section (on the fringes of the 76th Cannes Film Feestival) , French-Tunisian film music composer Amine Bouhafa was chosen as a member of the “Competition Jury” for season 7 of the Cannes International Festival of Series (CANNESERIES), held on April 5-10.
The Competition Jury is also made up of Sophie Grabol, Olivier Abbou, Alice Braga, Macarena Gracia and Alix Poisson.
CANNESERIES has been celebrating series from all over the world for 7 years and brings together those who make and love them in the mythical setting of the city of Cannes and its magical Palais des Festivals. Carried by a team of enthusiasts, the festival acts as a platform, and is completely free and open to all.
Final event of bobsleigh competition at 2024 Youth Olympic Games (YOG) sees slider from North African nation pick up silver.
The smile on Jonathan Lourimi’s face said it all.
“It’s history, my friend,” the Tunisian said to Olympics.com after winning men’s monobob silver at the Gangwon 2024 Winter Youth Olympic Games (YOG) on Tuesday (23 January). It is his country’s first ever medal at the winter edition of the Youth Olympics.
“I never thought this was possible when I started with this sport one year ago. And now I’m here with a silver medal. It’s crazy. And yeah, I’m just going to enjoy the moment,” he added.
Tunisia had never sent athletes to a Winter Youth Olympics previously, and their small band of fans and officials in the Republic of Korea certainly seemed to be enjoying themselves when his second place finish was confirmed at the Alpensia Sliding Centre,
“It never happened before, so they are very happy. I’m very happy and yeah, just unbelievable.”
Lourimi finished 1.33 seconds behind winner So Kaehwan from the host nation, with Chi Xiangyu (People’s Republic of China) taking bronze.
“Today, just the race, I just didn’t focus on any medals or any times. I just wanted to enjoy the time, as I have been doing in training. Enjoy the runs,” Lourimi told us. “I’ve really had fun. Of course, I’ve been focusing a lot on this race, but meeting a lot of new people from different countries and [got the chance to] enjoy with them.”
The historic first medal for Tunisia came a day after Thailand also made history in the women’s race, with Agnese Campeol taking silver for the Asian nation.
For Tunisia’s Lourimi, the next step in his career is clear: “My goal is to be in the real Olympics, so I’m going to work hard for that, now just enjoy the moment, some weeks, and then keep on the hard work and yeah, hopefully I’m there in the real Olympics.”
source/content: olympics.com (headline edited)
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(Handout image supplied by OIS/IOC. Olympic Information Services OIS.)
After undergoing a meticulous five-year restoration, the Coptic Museum in Old Cairo has re-exhibited its most treasured artefact – the oldest complete Coptic Psalter ever discovered.
“This is the first time we possess a complete book of Psalms dating to late fourth century AD, making it the oldest complete Psalms book unearthed to date. We’ve never encountered such an early book in Egypt, and I’ve found no evidence of an earlier genuine book anywhere else,” said the late director of the Coptic Museum and Coptic studies expert Gawdat Gabra when he first saw the book days after its discovery in 1984.
The Book of Psalms (Psalter) by David is one of the most valuable artefacts in the Coptic Museum in Old Cairo, having been discovered in a tomb going back to the early Christian period.
It is the oldest Coptic Psalter ever translated from the Septuagint text. After almost four years of restoration, the museum has re-exhibited the Psalter in a special hall in the museum.
The book comprises 498 parchment sheets, encased within wooden bindings laced with leather. Rendered in a dialect of Coptic — a defunct language utilizing Old Greek characters augmented by seven hieroglyphs from ancient Egypt’s twilight era — the Psalms are meticulously inscribed by hand.
According to Gihan Atef, director of the museum, the manuscript harbours numerous Greek terms alongside some Coptic lexemes hitherto unrecorded. It is penned predominantly in brown ink derived from iron, though sporadic patches exhibit black carbon ink, ostensibly applied in efforts to rectify damage. Evident signs of wear manifest where fingers once turned the delicate parchment leaves.
Upon its discovery, the book’s pages were fused together, save for the final quintet, two of which remain blank. Affixed to the book via leather cords dangles a diminutive ankh — a symbol from ancient Egypt, seamlessly integrated into Christian iconography — crafted from bone. Hamdi Abdel-Moneim, head of the restoration section at the Museum of Islamic Art (MIA) said that a team of restorers from both the MIA and the Coptic Museum embarked on a long journey to restore the Psalter.
He pointed out that the manuscript suffered from various forms of damage, including the detachment of its pages due to sewing deterioration. Most of its pages were plead and dried, chemical decomposition was found, along with the loss of parts from the edges and traces of liquids. There was also degradation, deterioration, and erosion of the inks, as well as dryness of the leather cover and cords.
The restoration works included the complete dismantling of the manuscript and addressing all aspects of damage. UV and infrared digital imaging were conducted, along with photographic documentation. Throughout the restoration process, Abdel-Moneim continued, all pages were numbered before disassembly, and specialists in codicology and Coptic texts were consulted.
The Coptic Museum is comprised of two wings joined by a narrow hallway. Inside, approximately 16,000 collectibles are showcased, arranged by type across 12 distinct departments.
The departments encompass a wide range of subjects such as Stones and Plasterboard, Development of Coptic Writing and Manuscripts, Textiles, Ivory and Iconography, Wood, Metals, Pottery, and Glass. Visitors can also marvel at mesmerizing Coptic art and manuscripts of the Holy Bible, some dating back thousands of years.
