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Medical pioneer was one of the first women from the country to study abroad.
The life of doctor Saniya Habboub is being celebrated by Google’s Doodle on Friday, commemorating her graduation from medical school on June 10, 1931.
Born in 1901 to a Lebanese leather merchant and Turkish mother, Habboub was one of the first female doctors from Lebanon to study medicine abroad, in the US.
When she returned to Beirut she opened her own practice, inspiring other Lebanese girls and women to get an education of their own, according to Google’s description.
In 1926, Habboub was one of the first three students to graduate from the American Junior College for Women in Beirut, going on to study at the American University of Beirut.
In 1931, she received her degree in gynaecology and obstetrics from the Women’s Medical College in Pennsylvania and, in gratitude, left future students with a scholarship in her name.
She started her own practice two years later, in Bab Idriss, and went on to co-found the Lebanese Red Cross Association, as well as served as a board member for the Muslim Orphan’s Home, the Young Women’s Muslim Association and Maqassed Hospital.
In 1982, in honour of her devotion to medical services, the Lebanese government awarded her with a Health Medal of Merit, and there’s even a street in Beirut named after her.
Habboub died aged 82 in September 1983.
“Dr Saniya was an inspiring figure who paved the way for future generations of women to come,” Google says.
Dr William Stoltzfus, former president of Beirut University College, described her life as a “get-started signal” for the professional lives of many Arab women, according to Al–Raida, the bi-annual journal published by the Arab Institute for Women.
The Doodle can be seen on devices across the Middle East and North Africa.
source/content: thenationalnews.com
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Dr Saniya Habboub died in 1983 aged 82. Photo: Public DomainGoogle Doodle of Dr Saniya Habboub. Photo: Google
Egypt has finished in first place at the 2022 Arab Open Robotics Championship held in Sharm El Sheikh on Monday.
Since 2008, the Arab Open Robotics Championship has been the largest regional robotics tournament held in the Arab world.
The tournament was organized by the Ministries of Youth and Sports, Communications and Information Technology, Bibliotheca Alexandrina, and the Egyptian Federation of Electronic Games.
The tournament included over 650 students ranging in age from four years to the end of the university stage.
The participants represented 136 teams from 12 Arab countries: Egypt, Kuwait, the UAE, Oman, Yemen, Qatar, Jordan, Tunisia, Morocco, Algeria, Iraq, and Libya.
The Arab Robotics Association accredited 100 juries to judge the tournament’s nine robot competitions.
Egypt came first, winning seven trophies. Jordan finished second with two trophies, followed by Iraq, Libya and Qatar in third place.
In addition, the tournament hosted a lively forum for Arab youth on the sidelines.
source/content: arabnews.com
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Egypt placed first in 2022 Arab Open Robotics Championship, winning seven trophies. (Source: Egypt State Information Service)
Saudi Aramco has been named one of the top 100 global innovators by American analytics company Clarivate.
In its report titled “Top 100 Global Innovators 2022,” Clarivate revealed that Saudi Aramco is the first-ever company from the Middle East and North Africa region to be placed in the list.
“The regional diversity continues to increase, with the first-ever Middle Eastern list entry via energy firm Saudi Aramco,” wrote Clarivate in the report.
Apart from Saudi Aramco, other new entrants to the list are China’s Alibaba, Germany’s Continental, US’ General Motors, South Korea’s Hyundai Motors and Kia Motors, US’s Philip Morris International, and UK’s Rolls-Royce.
Clarivate added that companies have been included in the list based on factors like influence, success, globalization, and technical distinctiveness.
source/content: arabnews.com (headline edited0
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Apart from Saudi Aramco, other new entrants to the list are China’s Alibaba, Germany’s Continental, US’ General Motors, South Korea’s Hyundai Motors and Kia Motors, US’s Philip Morris International, and UK’s Rolls-Royce.
The structure could remain airborne for years at a time.
Yemeni engineer Hashem Al-Ghaili has unveiled his vision for the future of travel, and it wouldn’t look out of place in a film about the apocalypse.
Al-Ghaili posted a video on YouTube proposing a giant nuclear-powered sky hotel named Sky Cruise, which could accommodate 5,000 passengers. Like an enormous, winged, futuristic-looking cruise liner, it would be fuelled by 20 electric engines, with a small nuclear reactor using “highly controlled fusion reaction to provide the sky hotel with unlimited energy”.
As such, the hotel would never run out of power and could remain suspended in the air for several years, “without ever touching the ground”. Both supplies and passengers would be delivered to the hotel via traditional commercial jets. All maintenance and repairs would also be conducted mid-air.
Suspended high above the clouds, the sky hotel would feature a large “panoramic hall”, offering 360-degree views of the skies. A lift would connect this space to the main entertainment deck, which would be home to shopping malls, sports centres, swimming pools, restaurants, bars, children’s playgrounds, theatres and cinemas. A separate section of the airborne hotel would be dedicated to events and business meetings, as well as wedding halls.
Incorporated into the design are balconies and viewing domes attached to each side of the structure, where guests could indulge in some high-level stargazing. “Its sleek design combines the features of a commercial plane, while offering the epitome of luxury,” Al-Ghaili’s video explains.
Sky Cruise would also eliminate disturbance from turbulence, with its navigation systems featuring a state-of-the-art command deck that uses artificial intelligence to predict turbulence minutes before it happens. The system would respond by creating anti-vibrations.
The hotel would also be home to an advanced medical facility to keep guests “safe, healthy and fit”.
The concept was originally created by Tony Holmsten and then reimagined and animated by Al-Ghaili. But it has been greeted with scepticism by commentators: “If physics and aerodynamics didn’t exist, then this vessel might actually be able to take off,” wrote one YouTube user.“
Hashem Al-Ghaili is a Yemeni molecular biotechnologist, science communicator, director and producer. He is best known for his infographics and videos about scientific breakthroughs.
Nearly 10 years ago, Egyptian filmmaker Ali El-Arabi, the award-winning documentarian behind “Captains of Zaatari,” which hits Netflix this month, made a promise. He was in the Zaatari refugee camp in Jordan, the largest temporary settlement of displaced Syrians in the world, and a teenaged boy he had just met named Fawzi Qatleesh asked if he could speak his truth to the camera.
“On the first day I arrived, he asked me, ‘Ali, can you film me? I want to say something to the people outside of this camp.’ The second he started to talk, I said to myself, ‘This boy is my hero,’” El-Arabi tells Arab News.
As the film hits Netflix this month in the Middle East, El-Arabi is overjoyed. Finally, after seven years of filming and a years-long global festival tour, his promise is fulfilled.
El-Arabi knew what it felt like to have a message that people needed to hear. He was himself once an athlete, a dedicated and successful martial artist, even winning Egypt’s national kickboxing championship. During the Egyptian revolution, however, El-Arabi abandoned any future he might have in sport, instead turning towards filmmaking.
“I started to feel I had something to say, but I couldn’t say it with my voice,” he says. “I realized filmmaking was the way I could say it. I started making small documentaries about what was happening and screening them in the street. One day, the police came and I took my film and I ran. That made me realize the power of what I could say with a camera.”
El-Arabi left Egypt, partnering with the ZDF TV channel to film documentaries in war zones including Iraq, Syria, Kurdistan and Afghanistan. War reporting, however, was unfulfilling, as it so often stripped away the humanity of those caught in its horrors.
After meeting Qatleesh and his friend Mahmoud Dagher — the two boys he would ultimately follow from the refugee camp in Jordan all the way to an elite soccer program in the Gulf — El-Arabi filmed them for seven years before whittling their story down to a scant 75 minutes, resulting in a story that showed their incredible journey while also refusing to gloss over the realities of refugee life.
Since its limited release in 2021, the film has already transformed the lives of both young men whose story it follows.
While he may be done telling their story, El-Arabi has been hard at work over the last few years on another — “Ashish’s Journey” — about the upcoming FIFA World Cup. It is inspired by a man who approached him in Qatar as he filmed “Captains of Zaatari.”
The more time El-Arabi spent with the man, the more his innocent aspirations intrigued him, leading him to not only film Ashish in Qatar, but to follow him and his family back to India, even adding fictional elements (with Ashish playing himself) inspired by the classic French satirical novella “Candide” to the docu-film.
“He’s actually a very good actor,” El-Arabi says.
While El-Arabi knows that he will finish filming later this year at the World Cup, chronicling Ashish’s adventures during the games, he does not plan to rush the film out in the immediate aftermath of the event.
El-Arabi has other projects in the works as well. He’s currently producing a film about Algeria and discussing producing an upcoming project with his best friend Mohamed Diab, the director of Marvel’s “Moon Knight.” Closest to his heart, though, is the fiction film he has in the works between Los Angeles and Egypt, inspired by both his own history in boxing and his relationship with his father.
While telling Arab stories will remain a key part of El-Arabi’s career moving forward, ultimately what drives him is not capturing his identity — it’s capturing his soul.
source/content: arabnews.com (edited)
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(From left) Mahmoud Dagher, Ali El-Arabi and Fawzi Qatleesh with the award for Best Arab Documentary Film at El Gouna Film Festival in 2021. (AFP)
With more than 20,000 students, the Islamic University of Madinah has become a meeting place for the world’s diverse cultures.
The Islamic University of Madinah has entered the Guinness World Records for the second time for having more than 170 nationalities in its student body.
Talal Omar, the MENA director of the records reference book, handed the framed certificate bearing the new world record to the president of the university, Prince Dr. Mamdouh bin Saud bin Thunayan Al-Saud, in Madinah this week.
Opened by royal decree in 1961, the university first broke the record in 2016, but has overcome its own standard with another expansion in nationalities.
With more than 20,000 students studying in nine faculties, the Islamic university has become a meeting place for the world’s diverse cultures.
The Saudi government offers students from around the world full scholarships that cover the entire cost of education, accommodation and transportation.
Notable alumni include Sheikh Abdul Latif Derian, the grand mufti of Lebanon; Sheikh Khaled Hafiz, former advisor to the Muslim minority in New Zealand; Dr. Abdullah Hakim Quick, Canadian scholar and historian; Prince Saud bin Abdul Rahman bin Nasser, deputy governor of the Northern Borders region; Sheikh Mishary Al-Afasy, famous Qur’an reciter who is a specialist in the 10 readings; and Dr. Mohamed Jallow, a Senegalese Islamic preacher and author.
source/content: arabnews.com (headline edited)
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Prince Dr. Mamdouh bin Saud bin Thunayan Al-Saud (right), president of the Islamic University of Madinah, receiving the award from Talal Omar, MENA director of Guinness World Records. (Supplied)
Women referees will officiate matches at the men’s World Cup for the first time in Qatar this year, the sport’s governing body FIFA announced on Thursday.
Three women referees and three women assistant referees will be part of the global showpiece event in Qatar, which will be held from Nov. 21 to Dec. 18.
Referees Stephanie Frappart from France, Salima Mukansanga from Rwanda and Japan’s Yoshimi Yamashita, as well as assistant referees Neuza Back from Brazil, Karen Diaz Medina from Mexico and American Kathryn Nesbitt have all been called up.
A total of 36 referees, 69 assistant referees and 24 video match officials have been chosen by FIFA for the tournament.
“This concludes a long process that began several years ago with the deployment of female referees at FIFA men’s junior and senior tournaments,” said Pierluigi Collina, FIFA Referees Committee chairman.
“They deserve to be at the FIFA World Cup because they constantly perform at a really high level, and that’s the important factor for us.
“As always, the criteria we have used is ‘quality first’ and the selected match officials represent the highest level of refereeing worldwide.”
Frappart became the first female official to be involved in European Championship matches after UEFA included her in the list of referees for the tournament last year.
Cairo witnessed the seventh edition of the Cairo International Biennale of the Arabic Calligraphy Art under the auspices of Minister of Culture Ines Abdel-Dayem at the premises of Cairo Opera House.
Under the slogan ‘Pioneers and Renovators in 100 years (1922/2022)’, the biennale included a three-day seminar that ran from 6 to 9 June at El-Hanager Cinema that highlighted the most prominent figures of Arabic Calligraphy in Egypt and the Arab world as well as an art exhibition showcasing artistic gems of this Art from 125 countries represented by 15 artists at the Art Palace in the Cairo Opera House Complex that is running from 7 to 20 June.
Furthermore, the event established a new tradition of honouring artists and researchers for their achievements, and a side competition was held in the name of renowned Egyptian calligrapher Khedr El-Portsaidy — the founder of the Arabic Calligraphy Museum as well as the one who accredits and certifies Arabic calligraphers in Egypt.
In the opening session, Mohamed El-Baghdady — the general commissioner of the biennale — noted that this year marks the centenary jubilee of the establishment of Egypt’s first calligraphy school during the reign of king Fouad in 1922.
The session also included the presentation of a research paper written by Nahla Imam — country representative of Egypt at the 2003 Convention of Safeguarding the Intangible Heritage of UNESCO — who shared her experience in adding Arabic calligraphy knowledge, skills, and practice on UNESCO’s representative list of intangible cultural heritage in December 2021.
Mohamed Hassan Abu El-Khair — the first to innovate the ‘mashq’
The second day of sessions showcased the pioneers and renovators of such enchanting art.
The first paper was presented by researcher and calligrapher Mohamed El-Shafaai on passing down the practice of such art in Egypt, taking the family of Mohamed and Abdel-Aziz Abu El-Khair as an example, as the two are renowned Egyptian calligraphers that this year’s round was dedicated to.
He started off by revealing that the concept of passing down this form of art dates back to the pre-Islamic era, explaining that the initial idea behind Arabic calligraphy was transcription, and then the artistic element came later.
“During the pre-Islamic era, except for a small circle, very little knew how to write Arabic, and according to Abdalla Ibn Abbas, the first person to begin writing in Arabic in the tribe of Qureish was Harb Ibn Umaya — one of the masters of the tribe and the father of Sufian Ibn Harb.
The other key person in calligraphy art was El-Wazir Ibn Noqla, who was famous during the Abbasid Caliphate and inherited the art from his father El-Ali Ibn Hassan, explained El-Shafaai.
Mohamed Hassan Abu El-Khair was born in Cairo in 1921, he studied in Al-Azhar and then joined The School of Improving Calligraphy when he was only 17, where he was the top of his class and was taught by calligraphy masters such as Sheikh Fakhr El-Din, Sheikh Ali Badawi, and Mohamed Hosni El-Baba — the father of iconic Egyptian actress Soad Hosni to name but a few.
He excelled in El-Sulus and Reqaa calligraphy and soon became a professor of the art of calligraphy at Oum El-Qoura University in Mecca for 20 years.
“He was the first to innovate in the mashq (an educational manual technique) of the solos of Arabic calligraphy that are taught to fourth graders, where he started teaching students to write whole sentences from the beginning instead of focusing on letters with no context,” El-Shafaai added.
Abdel-Qader Al-Shihabi — the calligrapher of the Palestinian government
The second paper focused on Abdel-Qader Al-Shihabi — a Palestinian calligrapher — that was written by Farag Hussieny. Al-Shihabi is a renowned Palestinian calligrapher whose fame reached its peak during the first half of the 20th century and was known as the ‘calligrapher of the Palestinian government.’
“Born and raised in Jerusalem, Abdel-Qader Al-Shihabi comes from a long line of calligraphers that started off this art between the 12th and 14th year of the Hijri calendar, however, Al-Shihabi learned calligraphy in Istanbul at the hand of Mohamed Ezzat, the biggest artist. He was known for his suluth calligraphy, which decorates the walls of Al-Aqsa Mosque to date. He also spent all his life teaching calligraphy in Jerusalem and encouraging young artists to follow his passion,” explained Hussieny.
Abdalla Al Zohdi: the calligrapher of Al-Haramein Al-Sharifine
The third paper covered the ‘calligrapher of Al-Haramein Al-Sharifine(The Two Holy Mosques) Abdalla Al-Zohdi and was written by Sami Saleh Abdel-Malak.
“Born in Nablus, Abdalla Al-Zohdi was born around 1251. His family moved to Istanbul, where he studied and excelled in calligraphy at a very early age. His artistic fame made him the official calligrapher of the Prophet’s Mosque in Medina, where his calligraphy adorns the walls and ceilings of the mosque till now,” the paper explained,
“During the reign of khedive Ismail, he was commissioned to write the calligraphy of the Keswa of the Kaaba and Mahmal. His implacable calligraphy was quite visible and stood out in the design of the keswa from that day onwards. He was known by his highly complex and geometric Sulus calligraphy.”
Al Salam Veterinary Hospital’s main business will be breeding a new generation of humped superstars.
A version of this article was first published in September 2020
Saudi Arabia is already known as a destination for camel beauty pageants. Now, it wants to be known for camel healthcare, too.
The country opened the world’s largest camel hospital in July 2020 and photographs show what daily life is like inside.
At 70,000 square metres, Al Salam Veterinary Hospital is about the size of Buckingham Palace and a little smaller than the island of Alcatraz.
The centre cost more than Dh134 million but camel racing and pageantry are sports for princes and sheikhs in which a single camel can fetch Dh10 million at the height of pageantry season.
The hospital lies in the interior Qassim region between Madinah and Riyadh, at the site of one of the world’s largest camel markets, and will serve camel owners in Kuwait and northern Saudi Arabia.
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The nearest comparable clinics are about 1,000 kilometres away in other Gulf states. Travelling hundreds of kilometres and crossing borders is part of the racing and pageantry lifestyle but the coronavirus pandemic has made this impossible, even as local competitions continue.
Al Salam Veterinary Hospital can treat 144 camels, has stables for 400 racing camels and will employ up to 300 staff ready to meet a camel’s every need, from surgery to accommodation and blood testing.
Camels can be treated for infectious disease, injuries and chronic illness at the hospital, but its main business will be fertilisation.
The hospital has already conducted more than 500 embryo transfers, resulting in 350 successful pregnancies.
Vets plan to transfer 2,500 embryos next season, an ambitious amount by camel-breeding standards.
Embryo transfer has led to some of the biggest names in the world of camel racing.
A camel pregnancy lasts two years, which previously meant female racers could produce a few offspring only after retiring from the racetrack.
The advancement of camel surrogacy has meant prized female racers can now pass winning genes on to dozens of calves in one year.
This has transformed the world of racing and made some she-camels as renowned as studs.
Al Samha, from Abu Dhabi, is one such cow known for her prolific progeny.
The best-known breeding centres, such as the Advanced Scientific Group in Abu Dhabi, attract pedigree champs from around the Gulf.
Scientific advances continue to be made in camel fertilisation and breeding programmes.
The camel’s adaptation to the desert has led to a unique set of challenges in artificial insemination .
The animal is so good at conserving water that it produces only 3ml to 8ml of gel-like semen, a fraction compared with that of similarly sized animals such as horses. It freezes poorly.
It was only in 2018 that the first calves were born to females fertilised by frozen semen at Dubai Camel Breeding Centre.
Similar scientific breakthroughs at the Saudi hospital could change the very shape and size of future camels.
The UAE won the Grand Prix of the Canton of Aargau, Switzerland, yesterday June 10th.
The Emirati squad had strength in numbers in the final with Diego Ulissi and Matteo Trentin covering moves before Marc Hirschi infiltrated the winning break which slipped away at 7km to go.
The 23-year old hit out early from the four man group to open up the sprint at 250m to go to hold off Max Schachmann (Bora-Hansgrohe) and Andreas Kron (Lotto-Soudal) who finished on the podium.
“It was really very difficult”, said Marc Hirsch. “The final was very eventful, because a rider from AG2R Citroën has long been in the lead. In the last climb, it went very quickly behind him, but I was able to accompany in force. Then I was able to close the gap with three guys who had escaped. It was very hard”. In the end, it was a group of 7 which formed 6 terminals from the line, and the winner of the Fleche Wallonne 2020 maneuvered well to finish in the sprint.
In raising the trophy he becomes the first home winner of the race since 2013.
This result marks Hirschi’s second win of the season after storming to victory at the Per Sempre Alfredo classic in April.
