IRAQ lift the 25th ‘Arabian Gulf Cup 2023’ with Victory over Oman

Despite a crush that killed two people, the match went ahead and Iraq beat Oman 3-2 to win the 25th title.

At least two people died and more than 60 were injured after a crush at Iraq’s Basra International Stadium hours before the Gulf Cup final in which Iraq were crowned champions.

The match went ahead despite Iraq’s state news agency confirming one person had died and 60 were injured, while provincial health authorities said a young female doctor had also died.

Hamza Ahmed, 26, from Baghdad, died after being caught up in the incident, his brother Omar told The National. He had been in Basra since the start of the tournament. His brother, cousin and friend were injured.

The Arab Gulf Football Federation announced the match would go ahead as scheduled, and Iraq claimed the trophy after a close encounter.

Iraq opened the scoring through midfielder Ibrahim Bayesh after 24 minutes. Ten minutes into added time Omani midfielder Salaah Al Yahyaei levelled from a penalty, sending the match into extra time.

Midfielder Amjad Attwan put Iraq ahead after 116 minutes with another penalty, but three minutes later Omani striker Omar Al Malki levelled again with a header.

Iraqi defender Manaf Younis scored the winning goal two minutes into added time.

Thousands of fans had walked to the 65,000-capacity stadium on Thursday morning before the match, with many prevented from entering.

A video posted on social media, apparently from the scene, showed fans crying for help as others were pushed along by the moving crowd.

Authorities later opened the gates of the stadium to relieve the pressure, allowing ticket holders to enter. Later they closed all gates but one, which was kept open for Omani fans.

They also opened nearby Al Minaa Stadium, which has a 30,000-seat capacity, for fans to watch the game on screens.

Calm soon returned to the area.

“After consultations with concerned parties in sultanate of Oman and to ensure the safety of the Omani citizens, and as a support to the brothers in the Republic of Iraq to make the final match a success, it has been decided to bring back fans who are still at Basra International Airport,” the Oman Football Federation said earlier.

It urged Omani fans still outside the stadium not to enter, but later it allowed fans to head to the stadium after securing their seats.

Meanwhile, Oman Air cancelled at least one flight to Basra.

The deadly incident came hours after the Governor of Basra, Asaad Al Eidani, called on fans not to gather outside the stadium, especially those without tickets.

“This could lead to a stampede and [the] perfect image of our country, hosting this event, could be tarnished only a few hours before the final ceremony,” Mr Al Eidani said late on Wednesday.

“We call upon you to abide to security forces guidelines to ensure the safety of the citizens,” he said, adding that dozens of big screens had been set up around the city for those without tickets.

Iraqi Prime Minister Mohammed Shia Al Sudani has travelled to Basra and met organisers to discuss the incident.

Mr Al Eidani warned fans that the Arab Gulf Cup Football Federation may be forced to move the match to another venue outside Iraq if measures were not taken to stop such incidents, prompting many of them to withdraw.

At the end of the match, Iraqi players hugged each other as they cried.

The fans shouted: “Long live Iraq” and “Oh Iraq, we are ready to sacrifice ourselves for you.”

Outside the stadium and in Baghdad, fireworks lit up the sky while some shot into the air live ammunition despite warning from Iraqi Interior Ministry.

Thousands of fans poured on to the streets after the match, waiving Iraqi flag and dancing. Cars were honking in rhythmic succession as fans cheered: “Go, go the Lions of Mesopotamia.”

“That’s not only a precious triumph, but a precious joy that we need so much and waited for a long time,” Abbas Mohammed said, driving his car in a Baghdad street while hoisting the Iraqi flag.

“It’s a bittersweet achievement,” said Ali Yassir, standing near by.

“Unfortunately, the day started with a tragedy that made all of us sad. That trophy is for those who lost their lives or were wounded while trying to attend the match.

Mr Al Sudani congratulated the Iraq team.

“The cup is Iraqi,” he said. “We are proud of our lions.”

He also thanked those who were behind making the tournament a success.

The eight-team tournament kicked off on January 6, bringing together teams from Iraq, Yemen and the six Gulf Co-operation Council states — the UAE, Saudi Arabia, Kuwait, Bahrain, Oman and Qatar.

Iraq is hosting the biennial regional competition for the first time in more than four decades, after enduring wars, diplomatic isolation and instability after the 2003 US-led invasion that toppled Saddam Hussein.

Iraqis have celebrated the event as a triumph of sports diplomacy, part of continuing efforts to heal a political rift between their country and its Gulf neighbours, and recovery as a footballing nation.

They hoped hosting the event would turn a new page in the country’s troubled history and represent a crucial step towards full national recovery, mainly by attracting sorely needed foreign investment.

Fifa banned Iraq from hosting international matches between 2003 and 2018, because of the poor security situation. It lifted the ban early last year.

Since late Wednesday, fans have flocked to Basra from other parts of Iraq, snarling traffic.

The local government in Basra announced an official holiday on Thursday in an attempt to clear the roads.

The Iraqi Interior Ministry is asking the public to celebrate in a “civilised way” and avoid celebratory gunfire. It has said it will arrest those who shoot into the air.

On Monday, Iraq beat Qatar 2-1 and hours later Oman beat Bahrain 1-0 to set up the final match of the tournament.

source/content: thenationalnews.com (headline edited)

___________

Iraqi national football team players lift the trophy as they celebrate at the stadium in Basra. AP

_____________________________________

IRAQ / 25th Arabian Gulf Cup 2023

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)

___________

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 

___________________

BRITISH / IRAQI

IRAQI Calligrapher Wissam Shawkat’s love letters blend tradition and modernity in new show

The artist’s latest exhibition of 50 works is the culmination of a lifetime spent studying ancient script.

One day in 1984, in Basra, Iraq, an art teacher taught his students calligraphy. He drew four letters on the blackboard in Ruqʿah script, a plain style often used for signage.

As the teacher drew the letters alif, bah, jim, dal, Wissam Shawkat, then aged 10, watched absolutely entranced.

“Seeing that Arabic letters can take that form was fascinating for me,” Shawkat tells The National at the Mestaria Gallery in Alserkal Avenue — where his latest calligraphy exhibition, Letters of Love II, is running until November 30. “I was really intrigued by this.”

Today, Shawkat is an international leading authority on calligraphy, a self-taught master who pioneered his own technique known as “calligraforms.”

On the eve of his solo exhibition, Shawkat is surrounded by 50 original artworks all centred on the theme of love. He stands in the middle, surrounded by a landscape of letters, composed and morphed by a myriad styles that push the boundaries of traditional calligraphy practices. The result is a delicate balance of ancient forms and modern sensibilities.

“Letters by themselves are like an abstract shape,” he says.

“If you take any letter in Arabic or in English, any part of that letter, you will end up with an abstraction. We give it sound or when it’s merged with another letter, we give it meaning. But in reality, it’s a form, a beautiful form.”

As a teenager, due to the sanctions imposed on Iraq following the Gulf War, Shawkat’s resources were limited. Despite this stark reality, the artist took what summer courses were available, worked in sign-making shops and practised with different mediums and brushes. He drew comics, decorated skateboards, created sketches for friends, and took any chance available to practice mark-making and the art of calligraphy.

“If you spend years writing and perfecting this form, it’s definitely something you’ll fall in love with,” Shawkat says.

“After all these years, I arrived at this point where I love the abstract form of the letters and I think that’s why I’m still making it.”

Letters of Love II was launched on November 11, a significant date for Shawkat. Not only did he leave Iraq on the same date in 2002, but 11 years ago, his solo exhibition, Letters of Love, took place in New York to major critical success.

Shawkat’s new exhibition is an extension of the technical ideas he first experimented with in the New York show, an homage to his personal milestones and, of course, a celebration of love.

“For me, love is a universal concept,” Shawkat says.

“Plus, I wanted to take calligraphy away from always being associated with religion. Historians from the West call it Islamic calligraphy, but it’s not true. The art of calligraphy is about the language, it’s not the religion.”

Shawkat took the Arabic word for love, “hub”, and some of its variations such as “mahaba”, meaning to have love for something, “‘ishq”, to long for something, and “gharam”, meaning desire, and reconstructed them — experimenting with the inner and outer forms of the letters and the composition of the words; blocking parts of their shape, opening up others; extending and bending; changing their silhouettes.

The range of forms and shapes he created within each frame are meticulously composed. They exist in relation to the frames and the spaces they occupy, possessing a uniquely stylised sense of harmony fuelled by Shawkat’s departure from the traditional “rules” of calligraphy.

Even the notion of freedom is expressed uniquely within the works. Free of the cliche of words bursting out of their frame or paint spilling out on to the physical space, freedom is organic and planned in Shawkat’s work. It teases and pushes the idea of Arabic letter forms and calligraphy into new spaces.

“I want to show something aesthetically beautiful,” Shawkat says. “When I’m sketching or putting together the work, everything I do is first in black and white. Colour comes as a second thing, I work with it later.”

It’s this focus on form and composition that gives the varied works an overall sense of grounded weight, rooted and connected to each other through a slow gravitational force, as opposed to an intertwined sense of drama.

Shawkat achieves this thorough planning, like an architect of words, an engineer of letters.

“When I started planning for this show, I went back and opened my old files from the New York show,” Shawkat says.

“I found some ideas that were interesting but weren’t refined yet. I took some of them and made them work, and now they are pieces in this show. It’s always a process, it’s progress. Sometimes it fails and sometimes it works.”

Shawkat’s work reveals not only an artist who has a significant understanding of the forms and symbolism of letters and language, but one with technical knowledge and prowess.

All the paper in the show is handmade, the ink made from personalised pigment colours. Each piece is a juxtaposition of these traditional materials with Shawkat’s forward-thinking experimentation in calligraphy.

It’s also these part-conscious, part-instinctive decisions that make Shawkat’s work timeless and appealing to an international audience, many of whom don’t speak or can’t read Arabic.

“I think people who don’t know Arabic fall in love with calligraphy for the same reason I first did in class,” Shawkat says.

“It’s because they enjoy the form. They look at them as beautiful abstract shapes. As simple as that.”

Letters of Love II will be on show at the Mestaria Gallery in Alserkal Avenue

The exhibition revealing the evolution of Arabic script – in pictures

source/content: thenationalnews.com (headline edited)

_______________

Wissam Shawkat’s solo exhibition Letters of Love II is on show at Mestaria Gallery in Alserkal Avenue until November 30. All Photos: Antonie Robertson/The National

________

IRAQ

IRAQ: ‘Wadi Al-Salam’ a UNESCO World Heritage Site, the Largest Cemetry in the World

Dating back to the early middle ages, this Iraqi cemetery holds the remains of kings, dignitaries, scholars, and soldiers alike.

Wadi Al-Salam, which means ‘Valley of Peace’ in Arabic, is a necropolis in which every Shiite Muslim hopes to be buried some day, in the belief that it is these burial grounds that will hold eternal peace for them.

Located in the Iraqi city of Najaf, Wadi Al-Salam is a cemetery that dates back to the early middle ages, hosting the remains of kings, dignitaries, scholars, and soldiers alike.

Every year, an estimated 50,000 Shiite Muslims are buried in this hallowed ground. The cemetery stretches across 1500 acres, taking up almost 13% of the city, and allegedly holds over six million bodies.  The necropolis, however, isn’t just a morbidly beautiful burial ground. Rather, each tombstone contains a name and an engraving that paints a vivid timeline of Iraq’s (arguably tragic) history, with a hyperfocus on internal  disputes, natural disasters, and wars.

In 1981, Rahim Jabr, an Iraqi foot soldier, was martyred in the eight-year war with Iran. 25 years later, his brother, Naeem Jabr, was a casualty of the sectarian civil war that killed hundreds in Baghdad in 2006. The siblings are buried next to each other, united in the necropolis that holds many others whose stories are eternally intertwined with that of the bloody history of this country.

The 2003 invasion of Iraq by the United States and its subsequent conflicts alone led to the graveyard expanding by over 40% (7.5 square kilometres)  to contain the bodies of the martyred Shiites.

Wadi Al-Salam has been the responsibility of a single Shiite family for over three centuries, and the Abu Seiba’s stand testament to the cruelty of war, having carried hundreds of thousands of bodies belonging to their brethren into the ground.

Wadi Al-Salam is considered a UNESCO World Heritage site and has been since 2011, as the cemetery stands witness to thousands of years of history, religious tradition and dedication by Shiite Muslims.

source/content: cairoscene.com (headline edited) / Fadila Khalid

____________

__________

IRAQ

IRAQ: Chemistry Scientist and Researcher Dr.Suhad Yasin’s Work on Purifying Water Has Been a Journey of Perseverance

The Iraqi scholar Suhad Yasin has waged a long battle against financial and administrative obstacles to continue her work on purifying polluted water.

Her graduate studies started later than most and became a long journey over 13 years of dropping out and restarting, but she persevered. Two years ago, the University of Duhok awarded her a doctorate in polymer chemistry.

Now Yasin works from an independent laboratory she set up at the University of Duhok, where she and her students use cheap, available materials to treat polluted water.

Iraq, like many Arab countries,  suffers from water scarcity and stress. One study predicts  the Tigris and Euphrates rivers will dry up completely by 2040. 

Apart from the scarcity issue, some Iraqi waterways also face problems with contamination by heavy metals like aluminum, cadmium and chromium, adding urgency to research like Yasin’s.

An Interrupted Academic Journey

In an interview with Al-Fanar Media, Yasin described her career in industry and academe.

After obtaining her bachelor’s degree in chemistry at the University of Mosul in 1993, she joined a laboratory in a local pharmaceutical factory, eventually becoming production manager.

As violence increased in Mosul over the next decade, however, Yasin was forced to return to her family’s home city of Duhok in 2006. She got an administrative job at the Ministry of Industry of the Kurdistan Region of Iraq.

But she did not find administrative work satisfying, Yasin said, so she took a competitive exam to study for a master’s degree at the University of Duhok.

By then a wife and mother, Yasin faced challenges in studying at the University of Duhok, both with learning in English and in overcoming the skepticism of some academics. Her thesis supervisor questioned her ability to complete the work. “He told me, ‘I regret being involved in the supervision of your thesis. It will be difficult for you to complete your studies at your age because of your family responsibilities.’”

But Yasin said his words only increased her motivation. “I needed to prove to my supervisor and myself that I was not a problem, but an energetic researcher who had missed an opportunity,” she said.

Yasin got her master’s degree with excellence in 2009 with a thesis on removing chromium from water using modified pomegranate peel .

Starting from Scratch on a Ph.D.

She then applied to transfer from her job at the ministry to work as an assistant teacher in the chemistry department of the University of Duhok’s Faculty of Science.

She taught at the University of Duhok   for six years but was not given an opportunity to pursue a Ph.D. because the university lacked facilities and funds for research in her specialisation. Throughout this time, she continued her research on purifying polluted water.

In 2015, the university offered her an opportunity to pursue a doctorate and she took it. There was considerable opposition to her studying for a Ph.D. at the age of 50, but she managed to convince the head of the department.

Based on the advice of her master’s supervisor, who had changed his mind about her ability, she chose nanofiber technology as the subject of her doctorate. Her new supervisor initially opposed the idea, saying the university could not afford the materials required for research on this topic. But he finally relented when she persisted.

Yasin said she had nothing but the lab walls when she started her doctoral research: no equipment, devices, or “cofactors”, molecular compounds needed in certain chemical reactions. “The resources were almost zero,” she said. “I had to buy everything myself and start from scratch.” 

Lining up Support

Yasin contacted professors and scholars from various Arab countries to ask for help. By chance, she heard of a physics professor at the University of Basrah who had designed a device that would help her with her research. “I contacted the professor at the University of Basrah immediately and she agreed to help me,” Yasin said.

Yasin then had to convince her dean at the University of Duhok to manufacture a similar device so she could work. He agreed, but she still needed funding for her research.

She wrote to several international organisations asking for financial support and eventually received a three-year grant of about $207,000 from the National Academy of Sciences in the United States, in 2018. She used the money to establish an independent laboratory at the University of Duhok to conduct her research on using nanomaterials to treat water.

Yasin acknowledges that funding scientific research is a general problem in Arab countries, but she insists that scholars themselves have a duty to find funding for their research.

“We must not stand idly by. I work day and night to get new financial support,” she said. “With each refusal, I realise that I have to work more.”

source/content: al-fanarmedia.org (headline edited)

__________

Suhad Yasin, of the University of Duhok, overcame many obstacles during 13 years of interrupted graduate study to continue her research on purifying polluted water. (Photo courtesy of Suhad Yasin)

________

IRAQ

US-Iraqi TV Star Alia Shawkat Pushes for New Narratives

If you never realized that Alia Shawkat has Arab heritage, there’s a reason for that: The Iraqi-American actress — who has been stealing pretty much every scene she has appeared in since 1999, when she was 10 years old — rose to fame at a time when Hollywood was much less receptive to non-white identities.

Now, though, the 33-year-old star is entering the next phase of her career, one in which her heritage will be front and center.

“It’s interesting, because when I started acting, I always had to say I was half-whatever the role was. I would say I was half-Spanish, or half-French, just trying to blend in. I was always seen as ‘too ethnic’ when I was young,” Shawkat tells Arab News. “Now my ethnicity is a strength, because the conversation is shifting. It’s funny to watch actors actually talk about where they’re coming from, or playing roles that they’re actually connected to, when I grew up having to basically hide it.”

Not that it ever slowed Shawkat down. While she is perhaps still best-known for playing Maeby Fünke on the acclaimed cult comedy “Arrested Development,” which also reinvigorated or launched the careers of Jason Bateman, Will Arnett, Michael Cera and Tony Hale, she has been an inimitable presence across dozens of acclaimed independent films, before becoming the star and a key creative voice in the series “Search Party” (2016-2022), a pitch-black comedy and noir crime drama hybrid that defines Shawkat’s unique spirit better than anything has thus far.

She didn’t have to search too hard to find inspiration for the show. “My father is Middle Eastern, and he owns a club in Palm Springs. So that’s the show,” she deadpanned to the New Yorker last fall.

While “Desert People” will tackle that by putting Arab characters at its center, Shawkat took “The Old Man” in part because of the way that it, too, dives into righting some of the wrongs that were committed in the post-9/11 landscape.

source / content: arabnews.com (edited)

_________

Alia Shawkat in ‘The Old Man.’ (FX)

_____________________

AMERICAN / IRAQI

Obituary – Iraqi Poet Lamia Abbas Amara : June 18th, 2021

Lamai Abbas Amara. Arabic Poetess. Writer. Columnist. Cultural Ambassador.

Published her first poem when she was thirteen (13).

Popular Poems:

  • The Empty Corner – 1960
  • I Am Iraqi –
  • They Call Him Love – 1972
  • Had The Fortune Teller Told Me – 1980’s
  • etc..

Posts held:

  • Member, Board of Directors, Iraqi Writers Association – 1963-1975
  • Deputy to the Iraqi Representative for UNESCO in Paris – 1973-1975
  • Director of Culture, Arts – University of Technology, Baghdad – 1974

Laid to rest in California, US – June 18th, 2021

______________

pix: twitter/iraqesque

____________________

AMERICAN / IRAQI

Zeena Zaki – Haute couture Fashion Designer

Zeena Zaki. Haute couture Fashion Designer. Entrepreneur. Own label ‘Julea Domani’.

Launched her first fashion atelier in Dubai, UAE in 2003. Zaki launched her first collection at the Dubai World Trade Center in 2006.

Zeena Zaki’s fashion house operates under the label “Julea Domani”

Born in Copenhagen, Denmark to Iraqi parents. Currently Dubai, UAE based.

Awards:

  • 2009 Best Female Designer for Pret a Porter Award at Dubai Fashion Week

www.zeenazaki.com

__________

pix: zeenazaki.com

___________________________

DANISH / IRAQI-DANISH

Abdul Jerri – Mathematician

Dr. Abdul Jerri (aka) Dr. Abdul Jabbar Hassoon Jerri – Mathematician

Academician:

  • Last position held : Professor Emeritus – Department of Mathematics and Computer Science, Clarkson University, Potsdam, New York (1967-2002)

Editor:

  • Founding Editor – Sampling Theory in Signal and Image processing (STSIP- An International Journal)
  • Owner – Sampling Publishing

Books:

  • Introduction to Integral Equations with Applications (Pure & Applied Mathematics) – 1985
  • Integral and Discrete Transforms with Applications and Error Analysis (Chapman & Hall/ CRC Pure and Applied Mathematics) – 1992
  • Linear Difference Equation with Discrete Transform Methods (Mathematics and Its Applications) 363 – 1996
  • The Gibbs Phenomenon in Fourier Analysis, Splines and Wavelet Approximations (Mathematics and Its Applications ) 446 – 1998 ..
  • etc..

Education:

  • B.Sc – Physics – University of Baghdad (1955)
  • M.S. – Physics – Illinois Institute of Technology, Chicago (1960)
  • Ph.D – Mathematics, Oregon State University (1967)

____________

pix: en.wikpedia.org

____________________________________________________

AMERICAN / IRAQI AMERICAN / ARAB AMERICAN