IRAQ: ‘Arabian Gulf Cup’ Kicks off in Basra,Iraq with Elaborate Opening Ceremony

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.

source/content: thenationalnews.com (headline edited)

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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

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IRAQ

IRAQI-BRITISH: Inside Architect Zaha Hadid’s Final Masterpiece Built for Sustainability

Sharjah HQ of waste management operator Beeah aims to lay foundations for a greener future.

A striking Sharjah building in the shape of a sand dune is primed to be a beacon of sustainability and serve as a fitting legacy for renowned architect Zaha Hadid.

The headquarters of waste management operator Beeah was the last project designed by Zaha Hadid before her death in 2016.

Her team constructed a modern masterpiece across 9,000 square metres, using sustainable materials to create a building with 40 per cent of its power provided by the sun.

Illuminated, sweeping staircases take visitors up to an art gallery on the first floor, with screens showing a time-lapse video to explain the building’s five year construction.

Now open to full capacity of 500 workers, the building is breaking new ground in how to provide a sustainable working environment.

Green vision

“We aim to operate as sustainably as possible, and used recycled materials in the construction of the building,” said Nada Taryam, managing director of Beeah HQ, which manages waste management across the country.

“Native plants have been used in the landscaping and reduced the amount of water consumption.

“A power pack stores excess energy from the photovoltaic panels, so we have a holistic strategy to achieve sustainability.

“Every project has its own specific requirements when energy comes into play, but the basis on which we have built this design can be learnt from.

“All of these sustainability measures can be taken and applied to other projects.”

The building’s high thermal mass allows heat to be absorbed during the day and dissipated at night to encourage cooling, while its curved structure allows the flow of natural sunlight to reduce the energy required for lighting.

An artificial intelligence system enables the building near the Alsajaa industrial area to learn to become more efficient as more people use it.

Its developers say it conforms to the highest standards of energy efficiency in the world.

Windows are positioned to reduce solar glare, while special glass cuts radiant thermal energy to keep the building cooler during summer.

While the glass limits the entry of infrared and ultraviolet light, solar panels supported by Tesla-made battery packs capture the power of the sun and store it to run the building’s air conditioning system.

The building’s components and management systems are integrated to maintain and improve its efficiencies.

Conference rooms are equipped with technology to automatically transcribe meeting minutes and email them to participants.

The building is the third in the UAE to be designed by Zaha Hadid architects, following the Sheikh Zayed Bridge, opened in Abu Dhabi in 2010, and The Opus hotel and apartments complex opened in Business Bay, Dubai, in 2018.

“As it learns from its occupancy, this building could potentially become one of the most sustainable buildings in the UAE,” said Ms Taryam.

“Certain decisions were taken, such as using glass reinforced panels on the ceiling which refract the sunlight so contribute to its efficiency and temperature control.

Defying convention

“There is a misconception about what these kind of buildings should look like, and we have defied that.

“There isn’t a rule book to say green buildings should be lined with solar panels. We have proved we can integrate architecture as well as sustainability to create something iconic.

“Zaha Hadid has something that distinguishes her from any other architect of her time. Every project of hers has its own context, but her ideas are adapted for each specific project.”

source/content: thenationalnews.com (headline edited)

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The headquarters of Sharjah waste management operator Beeah was the last project designed by Iraqi architect Zaha Hadid before her death in 2016. All photos: Andrew Scott / The National

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IRAQI / BRITISH/ SHARJAH, UAE

EGYPT & ARAB: Heritage of 12 Arab countries on show at the 1st Bayt Al-Arab Fair (House of the Arabs) 2023 in Cairo

The first Arab exhibition for productive families, Bayt Al-Arab (House of the Arabs) opened in Cairo in the presence of Ahmed Aboul Gheit, the Arab League secretary-general, and several Egyptian and Arab officials, including a high-ranking Saudi delegation.

The products at the exhibition reflect the identity of the 12 participating Arab countries.

It offers an important opportunity to learn about the richness of the cultures of these countries in craftwork and handicrafts in order to protect these industries from extinction.

The number of participants featuring at the exhibition is about 150, of which 70 are Egyptian and 80 from other Arab countries.

The exhibition, which continues until Jan. 11, opens areas for the exchange of expertise between craftsmen, producers and exhibitors. 

Saeed Al-Zahrani, head of the Saudi delegation, shared with the audience at the opening ceremony a number of success stories, and said the participation of the Social Development Bank aimed at supporting and empowering micro-enterprises for family businesses, which are considered a fundamental pillar of the Kingdom’s Vision 2030.

At the Saudi pavilion, visitors were drawn to the heritage products of various regions of the Kingdom, such as Al-Sadu weaving, Al-Qat Al-Asiri, and the manufacture of Al-Masleh, in addition to the products of many Saudi family businesses displayed within the Tagseed (incarnation) initiative, which is marketed for home projects in all international and local exhibitions. 

Nevin Al-Kilani, Egypt’s culture minister, said that the participation of dozens of families from Egypt and the Arab world was “the best evidence of Egypt’s keenness to support heritage both locally and regionally.”

Raef Al-Khouli, an official involved in the organization of the exhibition, told Arab News: “The Arab House exhibition in the Dome Palace is a wonderful opportunity to visit because there are many handicrafts from all Arab countries, which are sold at very reasonable prices, because all who are present are the owners of the profession or craft, and are not merchants.” 

At the entrance, Al-Khouli said, visitors can register their names and phone numbers, and will receive entry for free, taking a dedicated bus to the exhibition venue.

Al-Khouli added: “At the Saudi pavilion there is a wonderful medal that the visitors can buy. It is a commemorative medal for the door of the Kaaba and the door of the Prophet’s Mosque.

“On the sidelines, there is a large theater and artistic performances are held in it throughout the day,” Al-Khouli said, adding that visiting families could bring children as well, because there is a play area and many drawing and coloring activities.

source/content: arabnews.com (headline edited)

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The first Arab exhibition for productive families, which continues in Egyptian capital Cairo until Jan. 11, opens areas for the exchange of expertise between craftsmen, producers and exhibitors. (Supplied)

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EGYPT & ARAB NATIONS

EGYPT: Suez Canal Authority (SCA) Named Best Arab Government Institution by 2nd Arab Government Excellence Award 2023

Egypt’s Suez Canal Authority (SCA) was named as the best Arab government institution in the second edition of the Arab Government Excellence Award.

SCA Chairman Osama Rabie received the award on Thursday during a ceremony held at the Arab League (AL) premises in Cairo to announce the winners of Arab Government Excellence Awards.

This Arab competition is organised under the auspices of Sheikh Mohammed bin Rashid, the ruler of Dubai and Prime Minister of the UAE.

The 72-kilometre-long Suez Canal – which connects the Mediterranean and the Red Seas – is the shortest maritime route between Asia and Europe and is the fastest crossing from the Atlantic Ocean to the Indian Ocean.

Around 12 percent of the world’s trade passes through the canal.

The world’s longest man-made canal without locks is one of Egypt’s main sources of foreign currency.

In 2022, the Suez Canal’s revenue hit a record $7.9 billion, up from $6.3 billion in the previous year.

The total number of vessels that crossed the canal this year reached 23,400, up from 21,700 in 2021.

Meanwhile, total cargoes that crossed the canal this year hit a record high of 1,420 billion tons, up from 1,220 billion tons in 2021.

The Egyptian Ministry of Communications and Information Technology was also picked as the best Arab ministry

source/content: english.ahram.org.eg (headline edited)

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File photo: Egypt s Suez Canal

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EGYPT

IRAQ-BRITISH: If Memory Serves: Lamees Ibrahim’s Quest to Dish up the Iraq of her Past

In our continuing series on inspiring life stories across continents, we learn what made her leave a career in medical science for a ‘cuisine lab called the kitchen’.

When Lamees Ibrahim left Baghdad in the 1970s, certain parts of the city, not least the riverside strip of fish restaurants along Abu Nawas, became a fixed ideal in her memory.

After an interval of three decades, a return to the flat bank of the Tigris in 2004 was an unexpected low point in a thoroughly disturbing homecoming.

The street once the “pomegranate of Baghdad” was no longer filled with diners being entertained by poets and musicians, engulfed in the aroma of arguably Iraq’s national dish, masgouf.

Instead, Dr Ibrahim stood shaken as she took in a rubble-strewn wasteland populated by a handful of struggling fish sellers.

Yet one sense was still powerfully triggered by the fresh carp grilling over the charred wood.

“It was not in very good shape,” she tells The National. “There were only bits of its old self left, but the smell was still amazing. There are certain scents that you smell and you think, ‘Wow, this is Baghdad.’ It is very, very specific. If you enjoy samak masgouf once, you will never forget it.”

Dr Ibrahim had made a long, hazardous journey from her home in London, where she moved decades earlier: marrying, earning a PhD in Pathology, raising four children.

Her husband was with her as she set out from Jordan in a car just after Fajr prayers that day, to “feel” her land, see her extended family, and show her eldest child, Maysa, her ancestral roots.

But the Baghdad conjured up by the smell of the barbecued fish was gone; the deserted, bombed-out streets were not at all familiar to her. They did, however, bring back one particularly strong recollection from childhood.

Sometimes in the summer months, the young Lamees would gather with her three siblings around their father to be regaled by stories about Iraq.

“I remember one day when he said: ‘Look, we built this country, the Iraqis, and we have to keep doing that. If every one of us contributed their own brick then the wall would go up and up, and we should keep on building.’ I never forgot that,” Dr Ibrahim said, “and I felt that we had to add our little brick to the wall. We had to make Iraq keep going.”

She returned to London on a mission to help rebuild Iraq in some way for the younger generations that would never have a chance to experience what it had been in the golden years.

The need to describe the country’s rich history and accomplishments was urgent, but whatever she put down on paper seemed inextricably tied to cooking. So it was that she came to realise it would be through food that she could preserve connections to things past.

“I wanted to write something, I needed to write, I had to write,” she says. “So I started. Eventually, it became a cookbook with a bit of history and anecdotes about culture, about civilisation.

“My background has nothing to do with cooking. It’s not cuisines of any kind, but I have a passion for Iraq. It’s my motherland, my country.”

When the 21-year-old Lamees had come to London in the early 1970s, it was to pursue a postgraduate medical degree at King’s College and then head back to her beloved Baghdad. Soon after arriving, she married and her life, she says, became busy but limited as she immersed herself in studying and research projects.

“You go to college, you study, you attend lectures, you come home, you open the books, read, read, read, have some dinner, and go back to college,” she says.

“I didn’t know that I was homesick until one day during Ramadan I saw an elderly woman going into King’s College Hospital with her black abaya and veil. I said to her ‘marhaba hajji’ and she was shocked. She hugged me, and I went home, crying all the way.

“I cried because I had a goal. I wanted to get a degree, and the sooner I got it, the sooner I could go back home. Unfortunately, that didn’t happen.”

She was haunted by her homeland, by such memories as the heady perfume of jasmine and the days in her youth when the children would pick the flowers and turn them into long necklaces.

But the months turned into years, and years into decades. At first, returning to Baghdad was difficult as the academic successes mounted and her family grew. It became impossible when Saddam Hussein came to power, with Dr Ibrahim fearing that she would be detained were she to attempt a visit, and never see her three daughters and son again.

Her father died and then, on news of the death of her mother, Dr Ibrahim made the fateful trip when she found a country that was “not what I was expecting, of course. It was demolished, devastated.”

The resulting homage, The Iraqi Cookbook, was published in 2009, a labour of love with the name of each dish painstakingly recorded in Arabic. Samak masgouf, of course, features, and Dr Ibrahim advises in the foreword that all visitors to Iraq should try it in one of the cafes and restaurants on the bank of the Tigris.

“I came back to London with one idea in mind, which is something that as a girl I grew up to learn,” she says. “I must do something for my country. I need to tell my children what my country is like, our history, our culture, our ability to do what we did in the old days.”

She is speaking by Zoom from her home in Richmond-Upon-Thames, her voice at times faltering and cracking with emotion as she talks about dedicating herself to bringing Iraq to the diaspora.

“Iraq to me is very important, very important,” Dr Ibrahim says. “It is in my blood. It’s in my genes. It’s my history.”

The book sold out in the UK and the US, and was reprinted by popular demand. Bit by bit, the time-consuming process of writing and re-writing, working with publishers and photographers, the press interviews had taken Dr Ibrahim away from her career in pathology.

“And I never went back,” she says. “I’m still very interested. I read a lot about Covid. I follow the research, but I’m not going back to that lab. I have a cuisine lab called the kitchen.”

With the emergence of the pandemic, Dr Ibrahim revisited experiments that she had begun as a teenager when she would try to make her mother’s recipes without meat. Sometimes it was successful, she acknowledges, sometimes not.

As a child, though, she had never been as fond of lamb as her siblings were. The family cat adored her, loitering under the table at lunchtimes for the morsels of the daily stew that Lamees would sneak down to her.

During lockdown, her own children became “guinea pigs” for her avant-garde creations as Dr Ibrahim collected together an array of vegan offerings that would appeal to a young audience interested in preserving the planet.

“Dishes don’t need to have meat to have the taste and flavour, for it to smell like an Iraqi dish,” she says. “Iraqi cooking can be vegan, as well as meat and fish-centric.

“If you can preserve the taste of the flavour of the dish, go for it. Many Iraqi dishes are, in fact, vegan but we ate them before ever knowing the word ‘vegan’.”

When one of Dr Ibrahim’s friends called to see how she was faring with the tight coronavirus restrictions in the capital, she told him she had been busily cooking all the recipes to be photographed for The Iraqi Vegan Cookbook. Curious, he wanted to know whether she was including any kubba, knowing that Dr Ibrahim had devoted an entire chapter to its many meaty variants in her first book.

On learning that the new book would contain Kubbet Jeriesh, Kubbet Halab and another recipe that Dr Ibrahim made from lentils, he answered: “Only three?”

His grandmother, he said, had never enjoyed meat in her kubba so the family reinvented the dish to suit her preferences, stuffing the shells with pine nuts, onion, spices and parsley.

“If all these years ago we had vegan Iraqis, we have plenty today,” Dr Ibrahim says, smiling.

The Iraqi Vegan Cookbook had been due out on December 31, but the release has been delayed not least because of the queues of hauliers that built up in Calais and Dover as a result of Brexit and the French shutdown of the border when the new strain of the coronavirus emerged in the UK.

Rescheduled for release at the end of January, Dr Ibrahim hopes that sharing more of the oldest cuisine in the world will counter some of the negative perceptions that persist about Iraq today.

“Iraq is positive,” she says. “Iraq is full of history, full of culture. This is the cradle of civilisation. I don’t like to talk about what’s going on now. I would like to talk about the positivity of all of our achievements.

“I feel nowadays, if I add that little brick, then I have added something which I would be proud of as an Iraqi living in the West. Living in Iraq, we can build from within. We are living in the West – all my children are also living in the West, but we add our bricks from our side, from outside the country.”

Dr Ibrahim is modest about her contribution to the wall that her father told her about all those years ago, hesitating to use the word achievement. If her writing can be described as such, she says, she wants to make clear that it was never about her. It was always for Iraq.

source/content: thenationalnews.com (headline edited)

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Dr Lamees Ibrahim has dedicated herself to bringing the country of her birth to the diaspora: ‘Iraq is very important to me. It is in my blood. It is in my genes. It is my history,’ she says. Courtesy of The Mosaic Rooms
The homage to Dr Ibrahim’s homeland, ‘The Iraqi Cookbook’, was published in 2009, a labour of love with the name of each dish painstakingly recorded in Arabic. Courtesy Lamees Ibrahim 

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BRITISH / IRAQI

SAUDI ARABIA: Meet Mawadah Muhtasib, the Saudi Woman Artist behind ‘1st Reversed Arabic Calligraphy Typeface’

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)

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SAUDI ARABIA

UNITED ARAB EMIRATES, ABU DHABI: Sheikh Zayed Festival Breaks 4 Guinness World Records Welcoming the New Year 2023

The Sheikh Zayed Festival witnessed an intense public turnout that exceeded the barrier of one million visitors, followers and viewers of the festival, who gathered in the Al Wathba area, coming from inside and outside the country, to celebrate the welcome of the New Year 2023.

The various events attracted visitors, especially the huge fireworks and drone shows, where 4 records were broken in the Guinness Book of Records.

The festival squares were crowded with crowds, and the Al Wathba area was filled with followers and viewers of the drone shows and fireworks, which lasted for about 60 minutes for the first time, for the Guinness Book of Records to record this great achievement.

Amid feelings of happiness and joy, the largest fireworks display and the largest drone show lit up the sky of Al Wathba. The largest fireworks display, which lasted for more than 40 continuous minutes and broke three records in the Guinness Book of Records in terms of quantity, time and shape, won the admiration of visitors. In addition to the largest display of “Drones”, using more than 3,000 drones, a message was drawn in the sky of Al Wathba, welcoming the New Year at the end of its interesting show.

Al-Waleed Othman, an arbitrator of the Guinness Book of Records, confirmed that the Sheikh Zayed Festival was able to break 4 records at the same time, 3 of which are related to fireworks and a new record related to “Drones”, explaining that the most number of helicopter fireworks thrown in 30 seconds or more was recorded. The number of fireworks launched in 30 seconds (wheels), the most repeated fireworks in 30 seconds, in addition to the largest formation of a quick response code by drones.

Othman said: We are pleased to be present at the Sheikh Zayed Festival in the New Year’s celebrations, and we extend our congratulations to the organizers of the festival, who used to break records annually in order to please the audience.

The festival’s audience was keen to document the wonderful moments of the various shows on their mobile phones and share them on social media. The impressive performances were also broadcasted on the festival’s social media.

The Emirates Fountain and laser performances won the admiration of the festival-goers, young and old, with their dazzling musical and laser shows.

The Pavilions of World Civilizations also allocated a lot of international artistic and folklore shows, turning the festival into a global artistic carnival in celebration of New Year’s Eve, whether by holding concerts on the stages of the Pavilions of Civilizations or by participating in the march of world civilizations that roamed all parts of the festival, presenting popular performances in traditional clothes of countries. participation.

Visitors to the Sheikh Zayed Festival expressed their happiness with the international and diverse folklore and artistic events and performances, including the activities of the Heritage Village, the city of recreational games, the children’s city, the arts area, go-karting competitions, Crazy Cars, the Garden of Lights and Flowers, in addition to the Selfie Street area, the Museum of Sweets and many others.

source/content: wam.ae (headline edited)

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ABU DHABI, UNITED ARAB EMIRATES (U.A.E)

ARAB FILMS 2022: Year in Review: The Best Arab Films of 2022

William Mullally picks the best movies by Arab filmmakers over the past year.

‘Perfect Strangers’

Director: Wissam Smayra

Starring: Mona Zaki, Nadine Labaki, Georges Khabbaz

The original Italian version of “Perfect Strangers” had already been remade across the world before its Arabic-language iteration was released on Netflix. But nowhere else has it caused the stir that it did in the Middle East. The conceit is simple: Seven friends at a dinner party decide to play a game, placing their phones in the center of the table to make their calls and messages known to all. As the night goes on, their secrets are revealed, upending everything they thought they knew about each other. Not only was this the best version of the film so far, with pitch-perfect casting and memorable performances, it was also the bravest: each of its stars pushed themselves in ways they had never been able to in regional film previously, shattering taboos, capturing the world’s attention and changing Arab cinema forever.

‘Kira & El Gin’

Director: Marwan Hamed

Starring: Karim Abdel Aziz, Hend Sabri, Razane Jammal

The highest grossing film in the history of Egyptian cinema, “Kira & El Gin” is Marwan Hamed at his best. This is a crowd-pleasing historical epic that not only captures the spirit of Egypt past and present, but sets a course for a new future for the country’s film industry. Following two men fighting the British occupation in Egypt during the 1919 revolution, Hamed’s film rarely sags despite its nearly three-hour run time and sprawling cast, structured more as a suspense thriller than a social studies lecture. As Hamed jumps from genre to genre across his films, proving equally adept at each, one wonders how he will top this, should he try. But it would be foolish to bet against him as he continues to notch up career high after career high.

‘Boy From Heaven’

Director: Tarik Saleh

Starring: Fares Fares, Tawfeek Barhom, Mohammad Bakri

Egyptian-Swedish filmmaker Tarik Saleh has a bone to pick. Growing up in Europe, he was always labeled as ‘other’ — an idea reinforced in the books in his school library describing Arabs as “stupid” and “uncivilized.” Now firmly entrenched as a filmmaker, Saleh refuses to make films tailored to the Western gaze, turning his camera deep into the inner workings of Egyptian society and forcing international viewers to accept that they are seeing things through eyes that are not their own. In “Boy from Heaven,” Saleh goes deep into a corruption scandal at the influential Al-Azhar Mosque, following a hero whose strong Muslim faith is unrattled as he uncovers the evils hiding from plain sight, with scenes and images you won’t soon forget.

‘The Alleys’

Director: Bassel Ghandour

Starring: Maisa Abd Elhadi, Nadia Omran, Munther Rayahna

In 2014’s “Theeb,” Jordanian writer Bassel Ghandour crafted perhaps the greatest example of the Bedouin Western in cinema history. With “The Alleys,” Ghandour steps into the director’s chair for the first time and turns the streets of Amman into the setting for a modern noir, in which the darkness hiding in the city’s back streets slowly boils to the surface. The film’s sprawling nature is both benefit and detriment, but it’s a stirring snapshot nonetheless, elevated by star-making performances from Maisa Abd Elhadi and Nadia Omran.

‘You Resemble Me’

Director: Dina Amer

Starring: Dina Amer, Mouna Soualem, Lorenza Grimaudo

Filmmaker Dina Amer is most familiar to global audiences for her fearless journalism in 2013’s “The Square” and various Vice News stories she produced as their foreign correspondent from the front lines of regional conflicts. “You Resemble Me” cements her as a filmmaker to watch, as her harrowing experimental recounting of the life of Hasna Ait Boulahcen, the woman miscredited as Europe’s first suicide bomber, is a deeply affecting dissection of the roots of terrorism and the racism that Arab women face in Europe. One of the most original films released this year.

‘The Swimmers’

Director: Sally El-Hosaini

Starring: Nathalie Issa, Manal Issa, Kinda Alloush

The story of Yusra and Sara Mardini, two sisters from Syria who risked their lives to escape conflict for a better future only for one of them to become an Olympian, is so powerful that a film capturing their story could not help but be inspirational. El-Hosaini, the Welsh-Egyptian filmmaker behind 2012’s excellent “My Brother the Devil,” made it into something more — a thought-provoking reframing of the refugee experience at a time when Syrians and many others still suffer from that stigma, as well as a chronicle of women’s empowerment as the structures that held them back crumble, all told with a light touch that never alienates the huge global viewership the Netflix film has enjoyed.

‘Mediterranean Fever’

Director: Maha Haj

Starring: Amer Hlehel, Ashraf Farha, Anat Hadid

Palestinian cinema is often, understandably, a no-holds-barred dissection of the plight of its people. But that is by no means its only manifestation, as Maha Haj, a previous collaborator with renowned satirist Elia Suleiman, proves with her latest feature, “Mediterranean Fever,” the follow up to her acclaimed 2016 feature “Personal Affairs.” Haj focuses here on smaller human problems, following an aspiring writer who suffers from depression and befriends a small-time crook living next door. At times comedic, the film drifts into dark territory while always keeping its audience guessing. After winning best screenplay at Cannes in 2022, Haj has confirmed herself as one of the region’s most singular voices.

‘The Blue Caftan’

Director: Maryam Touzani

Starring: Saleh Bakri, Lubna Azabal, Ayoub Missioui

There is no more versatile actor working in Arab cinema today than Palestinian actor Saleh Bakri, who, with Touzani’s “The Blue Caftan,” has capped off a tremendous run of eight films in the last two years, including Farah Nabulsi’s Oscar-nominated “The Present” and Mohammed Diab’s “Amira.” This is perhaps his best performance yet. He plays Halim, a struggling master tailor in Morocco whose life is turned upside down when he and his wife take in a young apprentice. Stealing the strikingly-filmed show, however, is his co-star Lubna Azabal as his wife Mina, who is quietly enduring her own private battle with breast cancer as she and her husband struggle to communicate.  With this and 2019’s “Adam,” Touzani is already one of Morocco’s great chroniclers.   

‘Raven Song’

Director: Mohamed Al-Salman

Starring: Asem Alawad, Ibrahim Alkhairallah, Abdullah Aljafal

The singular contemporary Gulf filmmaker Mohamed Al-Salman is not making films so that the world may understand Saudi Arabia — he’s making them so that Saudi Arabia may understand itself. “Raven Song,” his debut feature after years of acclaimed shorts, is a stylish jump back to 2002 in the Kingdom, a formative time for both the filmmaker and his country, in which the fight between traditionalism and modernity was so heated that it manifested prominently even in the world of poetry. At times dream-like, “Raven Song” is a film that defies definition, with interpretations likely to roll in for years to come.

source/content: arabnews.com (headline edited)

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ARABIC FILMS

SAUDI ARABIA: World’s Largest Light Ball illuminates Riyadh Season 2022

A new modern landmark in the capital of the Kingdom, the Light Ball, has been named by Guinness World Records as the largest illuminated LED ball in the world, with an estimated height of 35 meters.

Located at Boulevard World, the exterior of the ball emanates bright lighting that flickers in different patterns, while the interior boasts a 220-seat theater equipped with state-of-the-art features.

Guests can recline in their seats facing a 360-degree circular screen. The short films presented in the theater are five minutes long, with varying genres suitable for families to enjoy. The shows run every 30 minutes daily from 3:30 p.m. to 10:30 p.m.

In addition to cultural experiences, Boulevard World includes the largest artificial lake in the world. Visitors can take part in boat and submarine rides in the lake — a first for Riyadh Season.

There are also distinctive entertainment options, such as Combat Village, Super Hero, the largest sphere in the world and cable car trips between Boulevard World and its neighboring zone, Boulevard Riyadh City.

The zone offers visitors other entertainment experiences as well, such as Boulevard Pier, Discovery, Realistic Monopoly, The Mountain, Area 15, Ninja Warriors and Fun Zone for children.

source/contents: arabnews.com (headline edited)

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Located at Boulevard World, the exterior of the ball emanates bright lighting that flickers in different patterns, while the interior boasts a 220-seat theater equipped with state-of-the-art features. (Supplied)

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SAUDI ARABIA

OMAN: The Mall of Oman opens ‘Snow Oman’ the Region’s Largest Snow Park

A multifunctional snow park was opened at the Mall of Oman. The project Snow Oman is the largest in the Middle East. The snow park was developed by Majid Al Futtaim, who has experience building indoor snow and ski amusements. In 2005 the company unveiled its first project in the flagship Mall Al Futtaim and later realized the mega project Ski Dubai in the Mall of the Emirates.

The total area of Snow Oman is 160 000 square feet. The complex combines a variety of winter attractions, the country’s first colony of penguins, and natural snow. The main decorations are an ice port town and a sunken ship with a lighthouse.

Rides include Mountain Thriller, Snow Bullet, Slide Winder, Cloud Climber, and Zorb Ball, unique attractions such as Cold Town Muscat, and a 5112-square feet ice rink. Admission to the park starts at 12.5 OMR, equivalent to $32.5.

Snow Oman caters to guests of all ages and offers activities for both kids and thrill-seekers. Outside the ski and skate slopes are cafes with hot winter drinks, warm seating, and a photo area.

Majid Al Futtaim is one of the largest mall, retail, and entertainment companies in the Middle East, Africa, and Asia. The company operates 29 malls, 13 hotels, and four mixed-use complexes in the UAE, as well as more than 600 cinemas and several entertainment centers.

source/content: malls.com (headline edited0

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OMAN