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Rajaa Cherkaoui El Moursli was part of the research team that made the groundbreaking discovery of the Higgs Boson particle.
Moroccan prominent nuclear physicist Rajaa Cherkaoui El Moursli was featured this year on the list of Forbes 50 Over 50 for the Middle East and Africa (MENA) in recognition of her outstanding scientific contributions.
El Moursli’s research has helped prove the existence of the Higgs Boson, which is the particle responsible for the creation of mass.
“While her almost 30-year-long career in science has been filled with achievements, it’s a career that would not have existed had she not convinced her father to let her seek out a graduate degree in France in the early 1980s,” Forbes wrote. This was a time when Moroccan women were “expected to leave home to marry and not pursue a vocation.”
After earning her Ph.D in Nuclear Physics from the University of Joseph Fourier in Grenoble, France, El Moursli returned to Morocco in 1982. There, she joined the Faculty of Sciences at the University Mohammed V in Rabat.
Early in her career, she took the helm as the head of the Laboratory of Nuclear Physics in Rabat. El Moursli’s research focuses on the applications of nuclear physics, medical physics, and high-energy physics.
A pivotal moment in her career occurred in 1996 when she became an integral part of Morocco’s participation in the international ATLAS collaboration at the European Organization for Nuclear Research (CERN). The event marked her entry into one of the world’s most prestigious scientific research centers, located in Geneva.
El Moursli’s contributions have extended beyond the laboratory giving her membership with international organizations such ATLAS, KM3NET, and ANTARES.
Within these roles, she has been vital in creating and implementing master’s degree programs at her university, notably creating Morocco’s first master’s program in medical physics. Currently, over thirty graduates from her program hold crucial positions as radio physicists in Moroccan hospitals.
Throughout her career, she has supervised numerous doctoral and master’s students and has played a crucial role in building and strengthening academic programs.
In 2015, she became the first Moroccan to receive the L’Oreal-UNESCO award for Women in Science, representing Africa and the Arab States.
El Moursli served as VP of Research, Innovation, Cooperation, and Partnership at Mohammed V University. She also chaired the competition program “My Thesis in 180 Seconds.”
Her accolades include being a fellow of the World Academy of Sciences (TWAS) and serving on the “For Women in Science” international jury.
In 2017, she was honored by the Organization of Islamic Cooperation for her outstanding contributions to science and technology in the Islamic world.
Now in 2024, El Moursli continues to play a pivotal role in shaping the global scientific landscape and showcasing Moroccan achievements to the world.
Event will cement the Kingdom’s efforts to promote cultural communication and exchange, scientific and social development.
Saudi Arabia, represented by its National Commission for Education, Culture and Science, is hosting the 44th session of the executive council of the Islamic World Educational, Scientific and Cultural Organization in Jeddah from Jan. 16 to Jan. 18.
ICESCO media department told Arab News: “The proceedings of the executive council of the 44th Islamic Educational, Scientific and Cultural Organization will kick off in Jeddah, Saudi Arabia on Tuesday (Jan. 16, 2024) with the participation of 54 member states. The event will run until Thursday.”
As the representative of the Kingdom, the NCECS said that hosting the event comes as part of the support provided to the education, culture and science sectors. It is also indicated the Kingdom’s role in driving forward educational, cultural and scientific development, both regionally and globally, it said.
Among the items on the executive council agenda are future strategies and action plans. The organization’s budget will also be discussed.
The council’s final recommendations will be handed over and included in a report to be endorsed by the ICESCO’s biannual general conference, the organization’s policy governing body event.
Prince Badr bin Abdullah bin Farhan, minister of culture and chairman of the NCECS, said: “The event will cement the Kingdom’s efforts aiming at creating spheres of cultural communication and exchange as well as scientific and social development. These sectors are considered to be cornerstones for developed human societies.”
As a prominent member of ICESCO, it is the strategy of the Kingdom to pursue all avenues supporting the organization’s goals in the best interests of the Muslim world.
Operating under the Organization of Islamic Cooperation, ICESCO is an intergovernmental organization specializing in the development of education, science and culture. Established in 1982 with its headquarters in Rabat, Morocco, ISESCO acts in line with the OIC’s general strategy aimed at achieving sustainable development in these sectors across all Muslim states.
Under the patronage of H.H. Dr. Sheikh Sultan bin Muhammad Al Qasimi, Supreme Council Member and Ruler of Sharjah, Sharjah Centre for Islamic Economics (SCIE) at the university organised a ceremony to honour the winners of the Al Qasimia University Award for Islamic Economics Research, held in the university theatre, in the presence of the President of the University, members of the Board of Trustees, the University Rector, deans of colleges, and members of the Academic, and administrative bodies and students.
Professor Jamal Salem Al Tarifi, President of Al Qasimia University, honoured the award winners and congratulated them on the quality of research presented in Islamic economics studies.
Professor Dr. Awad Al Khalaf, Acting Chancellor of the University, expressed his highest thanks and gratitude to the Ruler of Sharjah, and founder of the University, for His Highness’s generous patronage of the award, as this sponsorship adds value to one of the most important scientific activities that contribute to the renaissance of the economic sector, and the dissemination of the principles and values of Islamic economics, according to scientific foundations, and qualitative scientific research taking into consideration the real need of building a solid economy that achieves UAE development.
The list of researchers included honouring Dr. Badr Al Zaman Khamqani, from the Republic of Algeria, winner in the field of economics, in his research entitled: “A proposed strategy to accelerate the pace of digital transformation in Islamic banks.” Dr. Ahmed Abdel Rahman Ahmed Al Majali, from the Hashemite Kingdom of Jordan, won in the field of law, in his research entitled: “blockchain technology compatibility with Islamic financial transactions.” Professor Dr. Aisha Muniza, from the Maldives, won in the field of economics, in her research entitled: “Development of a digital Islamic social stock exchange”.
Dr. Yasser Al Hosani, SCIE Director, announced the launch of the fourth edition of the award under the title “Smart Islamic Financial Engineering”.
The Egyptian architect turned photographer walks us through his award-winning photographs in Dubai.
Renowned Egyptian architectural photographer Nour El Refai was announced as the winner of Architecture Masterprize 2023 Photography Award in the ‘Healthcare-Exterior’ category for his work on Thukher Club, a seniors social club in Al Wasl, Dubai which was designed by Naga Architects. This is the second year in a row that El Refai wins the prestigious award, after his shots of Museum of the Future won the ‘Cultural-Interior’ category in 2022.
Capturing the organic architecture and layout of Thukher Club, the brilliance of El Refai’s photographs rest in their nuanced approaches. From meticulous compositions and dramatic perspectives to calm lighting and consistent tones, his work helped translate Naga Architects’s design and concept.
Over the past decade, El Refai has steadily grown into a benchmark in architectural photography within the MENA region. Whether it’s stunning summer houses or cultural centres, his work is helping document the design upheaval taking over the region. In Al Wasl, he delivers a masterclass in the relationship between architecture and lighting.
Light rain set the tone to the first day of photographing Thukher Club. “Clouds felt dramatic. For Naga Architects, it made sense to opt for a clear sky to define the architecture,” El Refai tells SceneHome. “I adjusted the composition based on the natural sky and clouds to balance the architecture without overshadowing it.”
A key parameter of El Refai’s work on Thukher Club was our yellow dwarf star. “The sun’s movement helped define the masses. I visited early in the day and imagined the shape of shadows against them,” he recalls. After almost completing his work, El Refai revisited Thukher Club at noon, which required a new set of permissions since it was during a peak time, when crowds of people would pass through. “When the sun’s perpendicular there’s contrast between the masses and the foreground. Human elements add a sense of scale. It shows you how the masses overlap, that’s why I needed the sun to be high. Had it been low, both surfaces would’ve been white and lacked shade.”
The exterior masses of Thukher Club featured irregular and organic forms. Its main entrance, covered by undulating architecture, was photographed from two different angles; one emphasises its curves before sunset and the other has a wider view that establishes context. “Lines guide me in terms of where to stand and look, and lenses provide the freedom to shift in direction,” El Refai says. Both perspectives guided him and how shifts were illustrated in the former entrance image.
“I exaggerated the curve by getting closer to the building with an acute angle. I wasn’t photographing elevations but accentuating them,” he says, referring to the dramatic perspective where the building appears in motion towards its vanishing point. On the far right side of the same image, Thukher Club’s logo (which is the abstracted layout of the buildings) appears from within the club. To get this shot, El Refai kept adjusting the frame until it felt right.
Every architectural project presents unique challenges to photographers. Once they’ve become confident in their process and tools, only then will they be able to showcase it in the best light possible. That’s something El Refai learned from practice. “Practice makes you understand that you don’t have to be perfect,” he says. “You understand the parameters of perfection but more importantly you’re able to tell when it’s enough, how to have vision and imagine situations in advance.”
In Al Wasl, El Refai predicted that night shots would be challenging because lamp posts close to the building switched between too many colours. A full day was spent solving the issue and as a result, instead of having 10 colours switching during twilight, there were only three. This was an example of the importance of preparing in advance and understanding the project.
From inside, Thukher Club was composed of three main spaces with skylights providing natural light. An all-white interior provoked nuanced approaches by El Refai, which conveyed the desired level of brightness intended by the design, highlighted the importance of toning and how subtle changes in composition make all the difference. In one of the shots, El Refai pictures a space flanked by a corridor, followed up by a closer shot that places viewers within the seating area.
“I tried to show different levels without appearing too overlapped,” El Refai says. “The oddity of photographing a 3D space into a 2D plane is that people don’t experience space in 2D, so when you add it on a page the masses blend together, and you have to figure out the point from which you’re photographing and the lens you’re using in order to ease the composition.”
Once the composition is settled, the rest of the process includes lighting, editing and adjusting the layers and tones. “Consistency of tones is crucial. Depending on camera measuring, sunlight and timings, tones are always changing but they need to remain consistent,” El Refai adds. Between day and night, there are naturally changes in tones but in both sets of images the tones of each need to remain consistent.
“Most of the work is in the composition and the rest is timing,” El Refai continues. “It’s all about enjoying the process. I roam around the project to get a feel for the spaces and the relationships between them.” To be able to get these shots, El Refai schedules the entire day and determines how much time each perspective will have, the window of opportunity so to speak.
presentation. “Transitioning from day to night needs to be seamless, unless designers request to emphasise different moods of the same space,” he says. “I prefer telling the story of the project as an experience, walking from one space to another. Visual storytelling is of paramount importance, I don’t deliver an album without ordering it. It may not be the same order of photography because that depends on context, presenting the images is a different story. The order depends on the story that I want people to feel.”
When asked for advice for upcoming photographers, El Refai says, “Research the designer and the design to understand the project. If you receive plans or renders, use them to envision the space. On the ground, there will be some changes but when you imagine the project’s architecture you can interpret it properly through images.”
If El Refai’s insights are an indication of anything, it’s that preparing for a shoot is equally as important as the shoot itself. Whether it’s the scheduling or communication, proper briefing and communication, when a photographer understands the context, they find the freedom to explore nuanced angles. With time, as demonstrated by El Refai’s serial award-winning approach, there will be less photos and more keepers.
Morocco’s King Mohammed VI presides at the Royal Palace in Rabat the presentation ceremony of the model of the first Moroccan car manufacturer “Neo Motors” and the prototype of a hydrogen vehicle “NamX” developed by a Moroccan.
Morocco’s King Mohammed VI presided, on Monday at the Royal Palace in Rabat the presentation ceremony of the model of the first Moroccan car manufacturer and the prototype of a hydrogen vehicle developed by a Moroccan, two innovative projects that will strengthen the promotion of the “Made In Morocco” label and consolidate the Kingdom’s position as a competitive automotive production platform.
The presentation to the King of the car of “Neo Motors”, a company owned by Moroccan capital, and of the prototype of a hydrogen vehicle of the company NamX, named HUV (Hydrogen Utility Vehicle), underlines the Sovereign’s willingness to encourage and promote the pioneering national entrepreneurial initiatives and the creative capacities, particularly of the Moroccan youth, that these projects embody.
These two industrial initiatives are in line with the High Royal Directions aiming at directing the private sector towards productive investment, in particular in the advanced and future sectors and at stimulating the emergence of a new generation of companies in the Kingdom.
They also confirm the King’s far-sighted vision in terms of sustainable development and the promotion of renewable energies, particularly the emerging field of green hydrogen.
Neo Motors company has set up an industrial unit in Ain Aouda (Rabat-Salé-Kenitra Region), to manufacture motor vehicles for the local market and for export, with a projected annual capacity of 27,000 units and a local integration rate of 65%.
The total projected investment for this project amounts to 156 million dirhams ($15.6 million) and will eventually create 580 jobs.
The final approval of the first vehicle was issued by the National Agency for Road Safety in February 2023. The company has launched the pre-production and plans to inaugurate the industrial unit during the month of June 2023 and to launch the marketing.
This project, which gives birth to the first Moroccan consumer car brand, is carried by national skills. It relies mainly on the ecosystem of local automotive suppliers developed by the Kingdom.
As for the prototype of the hydrogen vehicle of NamX, it was designed in collaboration with the Italian design office and coachbuilder of reference Pininfarina. The interior design of the vehicle has been realized by Moroccan talents.
Indeed, the HUV model will be supplied with hydrogen by a central tank that will be completed by six removable capsules, guaranteeing a significant autonomy and facilitating the hydrogen recharge in a few minutes.
This pilot project places Morocco firmly in the ongoing worldwide momentum to develop new forms of transport that combine efficiency and respect for the environment.
The monarch awarded the Wissam Al Kafaa Al Fikria to Nassim Belkhayat, founder and CEO of Neo Motors company, and Faouzi Annajah, President and founder of NamX company.
Dr Hamada Elkady, executive director of Delta Farm, believes that the Egyptian desert has the potential to be a successful shrimp producing region.
Dr Elkady has been the executive director of Delta Farm – a tilapia and shrimp farm in Wadi El Natrun – since 2019.
Can you briefly describe your aquaculture career?
I obtained a doctorate and a master’s degree in aquaculture, but upon graduation, I worked as the production manager of the Al-Amana Feed Factory until 2013. Then I worked in tilapia farms for my family in Kafr El-Sheikh. I have been the director of Delta tilapia and shrimp farm in Wadi El Natrun since 2019.
What inspired you to become a shrimp farmer?
We were looking for an alternative to tilapia culture, and shrimp was the ideal solution. What helped us were the factors available at our Wadi El Natrun farm, such as the salinity of the water and the appropriate climate for vannamei shrimp culture.
What were the main challenges to overcome when you set the farm up?
The first aquaculture season there in 2019 was dedicated to Nile tilapia culture. We started trialling vannamei shrimp farming in 2021 in two ponds and the success of the trial was an incentive for us to convert more of the farm to shrimp production, and perhaps move purely to shrimp in the future.
A key challenge was to search for a place with a water source with a suitable salinity for aquaculture, which was also close to the markets. After that, the design of the farm itself, in order to save energy, adjust production intensity, improve feed conversion ratios and ensure the best waste disposal methods.
Can you provide as many details as possible about the scale, design and operation of the farm?
The total land area is 70 acres and includes nine 70 by 70 metre ponds lined with polyethylene, in addition to four 40 by 40 metre ponds used for rearing and nursery. The ponds are fed by groundwater from wells and we use the waste water in a hydroponic component, which produces crops that tolerate salt, such as alfalfa (Medicago sativa) and the Barhi date palm (Phoenix dactylifera ‘Barhi’) in the parts of the farm with no ponds.
How many tonnes does the farm currently produce per year?
Our production is mixed between tilapia and shrimp. There are three shrimp ponds with a production average of 2.6 tonnes of shrimp, with production sizes ranging from 30 to 40 shrimp per kilogram. There are also four nursery tanks each holding 100,000 shrimp larvae. The current year’s production consisted of one cycle of shrimp because we are still developing a plan to produce more than one cycle.
Meanwhile, we produce around 135 tonnes of tilapia from six ponds, selling them at sizes ranging from 250 to 350 grams.
What does a typical day’s work consist of on the farm?
Most of the day is split between the disposal of organic waste from the ponds, which we do three times, and feeding, which takes place four times. We also take samples to ensure that the water conditions are good.
Dr Elkady next to one of the shrimp ponds at Delta Farm
The farm has three shrimp ponds with a production average of 2.6 tonnes of shrimp, while six additional ponds produce around 135 tonnes of tilapia
What was the project’s original goal and what has been achieved so far?
The original goal was to produce high-quality fish in an area far from all sources of pollution and with the highest production rates. Next season, we aim to produce 10 tonnes of shrimp per acre, and then ramp this up until we reach optimal global production rates.
What are the most important factors for ensuring efficient shrimp production in a desert environment?
The salinity level of the water source needs to be reasonable for shrimp culture, and the level of 20-30 ppt has the advantage of high feed conversion rates and low disease incidence.
A sandy loam soil which retains water can save the cost of lining the ponds with polyethylene
A reliable source of electricity to operate the aerators and pumps from the wells – solar energy can reduce costs.
Trained workers and experience are required because aquaculture in the desert differs greatly from other climates.
What impact has the rising costs of inputs such as feeds had on you?
The rise in feed prices represents a major challenge but the price of shrimp is still high enough to make profits. However, it is harder to make profits from tilapia.
What regions and production systems have the most scope for shrimp farming growth in the coming years?
Promising production systems depend mainly on the type of surrounding environment and the availability of water, but in desert lands, intensive and semi-intensive systems – including biofloc and recirculation aquaculture systems (RAS) – are among the best options.
One of the most promising areas for aquaculture in Egypt is the Al Maghrah area in Matrouh Governorate, which is characterised by good soil, a suitable climate and a water source with suitable salinity.
How would you like your farm to develop in the coming years?
The most important part of our development plan is installing alternative energy sources, such as solar panels, and developing the nursery unit so that we can do more than one cycle of shrimp per season. We are also looking to cover the ponds with polytunnels.
The Banker highlighted Jouahri’s strategies to safeguard Morocco’s economic stability in 2023, as well as his dedication to social causes.
International financial affairs magazine The Banker has named the Governor of Morocco’s Bank Al-Maghrib (BAM) Abdellatif Jouahri Africa’s Central Bank of the Year 2024.
Earning the top spot for Africa in the Financial Times-owned outlet’s ranking highlightedJouahri’s leadership in the African banking sector, as well as his contributions during a period of remarkable growth and resilience.
Jouahri’s tenure spans two decades, marked by his adept steering of Morocco’s banking sector and the broader economy.
The Banker acknowledged Jouahri’s role in the relief efforts following the devastating Al Haouz earthquake that hit central Morocco in September of 2023.
The magazine noted that Bank Al-Maghrib, Morocco’s central bank, donated MAD 1 billion to the country’s relief fund for the earthquake, and “was quick to offer support for sectors of the economy most impacted by the tragedy.”
In addition, the Banker lauded Jouahri’s decisions, including BAM’s “relative success” in tackling inflation. The Moroccan central bank was one of the first African central banks to hold interest rates in 2023, after lifting them to 3% in March, allowing the economy to absorb the impact of rate rises.
“After a slight uptick in August, the bank continued to hold its nerve, a move that was vindicated by inflation falling back down to 4.3% in October from a high of 10.1% in February,” the magazine explained.
The Banker also highlighted the launch of Morocco’s instant payment system (IPS) in June, which aimed to advance the country’s financial infrastructure.
Commenting on the recognition, Jouahri expressed “considerable satisfaction” for receiving the top spot in the ranking, emphasizing the key role of central banks in overcoming global challenges.
“I am convinced of central banks’ pivotal role in overcoming the major challenges that beset the world. Foremost among these is climate change: the consequences of which are steadily worsening,” he said.
In light of escalating political tensions and the prolonged inflationary trends, Jouahri underlined the heightened challenges that central banks face.
He called on these financial institutions to “optimise their monetary policy decisions to safeguard the purchasing power of citizens, especially the most underprivileged among them, and improve investor confidence in the future of their companies.”
Yasmine Idriss hopes her ‘heroine’s journey’ will inspire others to take the road less traveled.
Earlier this year, Yasmine Idriss sat down with Arab News just before setting off to Iceland to cycle the country’s Ring Road on the journey of a lifetime. Now, she has become the first Arab woman to complete the grueling trip.
Initially, she thought her time on the road — which runs for almost 1,400 km — would give her the chance to plan her next career move. Little did she know she would pedal her way to much deeper enlightenment.
Her entire journey, from raging winds to sweet serenity, is captured in a documentary film titled “Threshold,” due out in 2024.
“I open up quite a bit (in the film) about what this was for me and what the ‘heroine’s journey’ is. The heroine’s journey isn’t just a woman going through the hero’s journey. (It) has a lot more surrender embedded in it, and that’s a huge theme of what Iceland was for me,” she told Arab News.
While Idriss knew there was no way to replicate the effects of Iceland’s biting winds during her training period, she hadn’t expected them to be quite as fierce as they were — she faced the highest winds of the entire season and was blown off track in all directions. With oncoming traffic on one side and sharp rocks on the other, she prayed for stability.
HIGHLIGHTS
• Yasmine Idriss’s entire journey is captured in a documentary film titled ‘Threshold’ due out in 2024.
• Kathi Hendrick helped create the narrative for the documentary while Madison Hoffmann is the lead filmmaker.
“It was a very brutal welcoming to what this Ring Road journey was going to be about,” she said.
With the exception of just two days in her three-week trip, the wind was constant — not stopping “even for a second,” she said. While most life challenges come in waves, ebbing and flowing, the continuous assault brewed frustration.
“Why? What is the purpose? What can I be learning from this? Why is this so hard?” Idriss says she wondered.
Her close friend — and one of her two companions on the road — Kathi Hendrick, said to her: “Wind stops inertia, wind forces you to move, it forces you to be awake, otherwise you would fall.”
The physical challenges paralleled the emotional. Realizing that she was exerting more strength than needed, she surrendered.
“The muscles that needed to be working were working, and the muscles that didn’t need to be working were relaxed. Psychologically, how that translated was: I just let anything that needed to happen, happen,” she explained.
I feel proud to be able to represent Saudi women. I don’t feel like I’m the first. There are so many amazing Saudi women who have paved the way for me, (who have) done amazing things (and) are doing amazing things.
Yasmine Idriss, Cyclist
Hendrick supported the cyclist on the trip and helped create the narrative for the upcoming documentary, while Madison Hoffmann, also a good friend, was the lead filmmaker.
Idriss said: “Somehow the three of us were mirroring each other’s experiences. Each of us was going through something very similar; even though I was on a bike and they were in the van, there was a sort of synchronicity that was happening. It was just really beautiful to see the magic that can happen when women come together in a supportive way.”
The trip was meant to help clarify what the next chapter of her life would look like. Idriss had just left her position as the head of a sustainable footwear company, which she thought was her dream job.
Removing herself from the responsibilities of daily life, and being disconnected from family and friends, ignited a deep transformation, as trips of this nature tend to do. “Over 20 days on the bike, it was an inward journey,” she said.
While there was no hiding from the elements, there was no avoiding the self either. From ending a close relationship to facing difficult questions, “everything was brought to light,” Idriss said, adding that that was exactly what she needed.
Idriss is now advocating for time away to recharge and innovate in a hyper-productive society, packed with intense working hours and social commitments.
She explained: “For Vision 2030, we’re developing like crazy. We’re one of the fastest developing countries in the world, and it’s happening with such beautiful leadership. We also need rest, and we need space, and we need to take care of ourselves in order to be as productive as our communities need us to be right now.”
While she primarily embarked on the journey for her own self-exploration, she humbly hopes to drive others to do the same.
“I feel proud to be able to represent Saudi women. I don’t feel like I’m the first. There are so many amazing Saudi women who have paved the way for me, (who have) done amazing things (and) are doing amazing things,” she said. “If I can be a mirror for the world to look at what women are doing in Saudi Arabia, then that would be a huge privilege. And if I can inspire others to go on their own road, whether that’s a walk in the neighborhood, or climbing Mount Everest like Raha Moharrak, then I have accomplished my mission.”
Immersing herself in the landscapes of Iceland, with all the challenges and revelations that it brought, inspired her to “(bring) this work to others and invite others into similar journeys of transformation in a very different form. This is what I’m working on next.”
source/content: arabnews.com (headline edited)
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Yasmine Idriss has made history as the first Arab woman to complete the grueling 1,400 km cycling trip along the Nordic Ring Road. (Supplied)
It is now recognized as the largest falconry competition in the world, with 2,654 falcons participating.
The King Abdulaziz Falconry Festival 2023 has set a new world record by entering in the Guinness World Records for the third time in its history, the Saudi Press Agency reported on Saturday.
It is now recognized as the largest falconry competition in the world, with 2,654 falcons participating.
The festival was held between Nov. 28 and Dec. 14 and was organized by the Saudi Falcons Club at its headquarters in Malham, north of Riyadh.
The accomplishment stands as a testament to the backing of the Saudi leadership in safeguarding the Kingdom’s cultural heritage.
In its inaugural year, the festival secured a Guinness World Record with 1,723 falcons, and in the following year in 2019, it repeated this feat by including 2,350 falcons.
The event drew falconers from the Kingdom, Gulf countries and across the world, who competed for the festival’s awards over 17 days. Falconers vied for places in the Al-Mazayen and Al-Milwah competitions, with prizes exceeding SR33.6 million ($8.91 million).
As part of efforts to enhance the ancient falconry heritage of the Kingdom, the Saudi Falcons Club is partnering with the Royal Commission for AlUla governorate to organize the first AlUla Falconry Cup 2023.
The competition will be held in AlUla governorate from Dec. 28 to Jan. 5, with prizes worth up to SR60 million in the Al-Milwah and Al-Mazayen competitions. These represent the largest financial prizes in the history of falconry competitions in the world.
source/content: arabnews.com (headline edited)
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The festival was held between Nov. 28 and Dec. 14 and was organized by the Saudi Falcons Club at its headquarters in Malham, north of Riyadh. (SPA)
The London-born aspiring actress has a deep appreciation for her Moroccan heritage – which may explain why migration is an issue so close to her heart.
Nora Attal has the index finger of one manicured hand extended across the bridge of her nose, and the straightest face she can muster in the circumstances.
It started as an attempt to brush aside the fuss made about her eyebrows, which are, according to various beholders, glorious, serious, stunning, bold, thick, enviable and — somewhat at odds — natural and well groomed.
But now the British-Moroccan fashion model is mulling over a new signature look. “Oh, no! They’re just hair on my face,” Attal tells The National, embarrassed and amused by the attention. “I get them from my Dad — he has very bushy eyebrows.
“If I didn’t groom them, they would be a monobrow. Actually, I saw the film Frida yesterday. It was incredible. I think,” she pauses to regard the mocked-up effect in the zoom camera, “I might just do that … grow a monobrow.”
Perhaps such thinking is to be expected after a 48-hour infusion of cultural rebellion. The day before watching the biopic on the hirsute and indomitable Mexican artist Frida Kahlo, Attal was celebrating turning 23 at her first ever music festival near her home in Spain.
There, she was among the crowd asked by flamboyant American rapper and actress Megan Thee Stallion to make a particular gesture of protest to the US Supreme Court for overturning Roe v. Wade.
“Megan Thee Stallion’s my new icon,” Attal, an enthusiastic gesticulator in daily life, says, “but who I look up to evolves all the time.”
She favours strong, not-so-silent types. Michelle Obama, the former first lady of the US, was top for a while for always telling it as it is — “I still respect her a lot” — along with actor, musician and serial disrupter Riz Ahmed and the Arab writer and women’s rights champion Leila Slimani.
“People like this, I love. I really try to take in their energy,” she says.
It’s a fighting spirit that Attal herself embodied recently when Maria Grazia Chiuri, the creative director of the French fashion house Dior, reportedly said that “models don’t represent women … the model is only a girl who passes in front of you”.
Having walked the runway for Dior 20 times since Chiuri took over, an indignant Attal vented on her Instagram stories, posting: ‘And to hear that I’m not a woman … she is very vocal about her feminism narrative, yet so archaic in thinking that models should only be hangers”.
“Coming into adulthood has been quite nice,” she tells The National. “I understand myself more and, because of modelling, I’ve travelled such a long time alone, experienced a lot, and I’ve maybe grown up quicker.
“I’m definitely more confident, like the way I speak to adults in the industry.”
She recalls being a shy, studious little girl, born in London to two Moroccan parents, Charhabil (Charlie) and Bouchra, and growing up on a council estate in Battersea until the family moved to Surrey.
Sport was an outlet, sometimes whether she liked it or not because of her talent for everything from gymnastics, basketball and tennis to golf and representing her county in long-jump.
Saturday mornings in the house were full of music, regularly featuring Michael Jackson, Prince, Stevie Wonder, and Diana Ross, to whose live performance Attal would dance the night away at a star-studded after party in Marrakech a decade later.
The walls of her childhood bedroom were plastered with magazine covers and fashion campaigns, America’s Next Top Model was the programme of choice, and she would doodle clothes on mannequins in English class instead of writing, say, the set essay on Thomas Hardy.
Yet the industry wasn’t one that young Nora easily identified with or conceived of entering, not least because “there weren’t many people who looked like me”.
“I don’t think she would have ever imagined anything like this,” Attal says, her hands making an all-compassing vertical circle in the air. “Ever, ever, ever.”
It wasn’t long, though, before the striking 12-year-old in blue Converse trainers and a hoodie was first spotted while out in a shopping mall.
“My Dad said ‘yeah, no’ when I went to see the agency,” she remembers with a smile, “and I really appreciate that now …
“It’s tough. I don’t think that young girls should be working in such an adult industry, which doesn’t have a union or HR department that you can go to.”
Modelling, it seems, wasn’t going to take no for an answer. Two years later, the British fashion and documentary photographer Jamie Hawkesworth turned up at her high school, casting for a JW Anderson campaign.
Attal subsequently debuted as Anderson’s muse, dubbed “the mystery girl”, and spent the next few years fitting fashion shows and shoots around education, poring over textbooks while waiting at castings or back stage after hair and make-up.
A fortnight before receiving her A-Level results in History, Psychology and Art at Ewell Castle School, the September issue of British Vogue landed in newsagents with Attal on the cover beside Kate Moss, Edie Campbell, Stella Tennant and Jean Campbell.
The avid true-crime fan was offered a place at Greenwich to study criminology but “took a gap year, deferred it and then dropped it”.
“Working in this industry, I can see that almost anything is possible if you put your mind to it,” she says. “I think everyone should know that.
“My family, being Moroccan, would have loved it if I became a doctor or a lawyer or a pharmacist, and had a normal life but you should do what makes you happy — and you will be successful.”
Represented by Viva Model Management, her own success can be measured by the fact that it would be faster to name the exclusive brands, designers, magazines and celebrity photographers that she hasn’t collaborated with than those she has.
Her brown doe-like eyes, long dark hair and slender 5ft 10in figure quickly became a mainstay on the global circuit in an ascent likened to that of Gigi Hadid.
As with Hadid, she has come to treasure her Mena heritage, and an appreciation has deepened over the years for the hardships that her parents overcame as immigrants “for me to get where I am”.
“It is really important for me to remind myself of that,” she says.
It makes her all the more sensitive to the migration issues prevalent in the UK, particularly the controversial policy of deporting asylum seekers to Rwanda. She has just sent an email opposing the plan to her local MP in England, and urged her 71,000 Instagram followers to do the same.
“I think it’s terrible, I really do. My mum has friends from Syria and Iraq. It could be anyone. Even if you don’t have Syrian friends or Iraqi friends, it’s just a basic human right.”
She talks about what it has meant to have been able to incorporate her North African roots into modelling work many times during a vibrant career.
The editor of Vogue Arabia, Manuel Arnaut, described her as “cool, contemporary and a great ambassador of the Arab world” when she graced the December 2017 cover in a Berber ceremonial headpiece.
Among several shoots with the noted American photographer Steven Meisel was one set against the dunes of the Sahara, and she has traversed a catwalk at El Badi Palace in Marrakech.
But perhaps her favourite fashion “story” ever was for a Vogue Italia issue devoted to DNA. The editorial team descended on Attal’s ancestral home in Larache, near Tangier, where she has spent two months every year since she was a toddler.
Her abiding memories of those visits are the aromas of tagine and couscous emanating from the kitchen of her grandmother, Fatna, and forays to the picturesque old town of Chefchaouen in the surrounding hills or along the coastline in search of quiet bays.
This time, though, Fatna lined up in the family living room next to Attal, her brother, Adam, sister, Yesmin, and parents, all dressed top to toe in Chanel for a black and white photo shoot.
“My grandma had never seen anything like it in her life,” she says, fondly. “She thought it was quite strange but was excited. She really loved it.”
More recently, her extended family fronted Ralph Lauren’s holiday campaign for Eid in a video clip that also included Attal’s then fiance, Victor Bastidas, a director and cinematographer 10 years her senior.
The couple met on location at the 16th-century Samode Palace nestled in the ancient Aravalli hills outside Jaipur, but it is all a bit of a blur to Attal now.
What stands out most is being photographed aged 17 by Mario Testino alongside an elephant painted with orange and pink food dye, and embellished in heavy jewellery.
“Arrrgh!,” she says, reliving the excitement and leaning back to show the proximity with her hands. “I shot with an elephant in real life that had to be just here.”
Happily, Bastidas and Attal bonded years later in London over their mutual love for the music written and performed by Thom Yorke for Luca Guadagnino’s supernatural horror film Suspiria, and began dating just before the coronavirus tightened its grip on the world.
Their fairy-tale wedding was held a few months ago at Cortijo San Francisco, a 1,900-square-metre “farmhouse” in Estepona, near Marbella, built as a refuge by the Hollywood actor Stewart Granger who starred in King Solomon’s Mines with Deborah Kerr.
There is a picture from the day of an ornate Mexican fireplace that would have dominated the room until Attal, in strappy skyscraper heels and a breathtaking Lanvin gown, stepped down a narrow passageway into the scene.
The pandemic has marked many other new beginnings for Attal. She did a Run for Heroes in support of the NHS, painted and made lino prints, learnt to cook (pizza, ramen noodles from scratch, a mean carrot cake), and moved to Barcelona for the fresh air and to be closer to nature.
At such a time, it is unsurprising that someone whose favourite poem is William Blake’s Auguries of Innocence — “To see a World in a Grain of Sand. And Heaven in a Wild Flower …” — began to consider the wider picture.
“It was a very big reset. It made me sit down and think about what I wanted to do with my life,” Attal says.
The answer was to act, and she has just graduated from the prestigious Baron Brown Studio in California after two years of studying the Meisner technique over the internet.
Asked if she’s thought much about who she would like to work with, Attal whips out her phone. “Yes, I have lists for everything. A list of directors, of actors, films that I like, references of things.”
For the record, Guadagnino is director number one, leading, in no particular order, Todd Phillips, Pedro Almodovar, Tim Burton, Wes Anderson and the Iranian Asghar Farhadi, “though I don’t speak Farsi, but…,” she says, trailing off hopefully.
Whether theatre or independent film, Attal doesn’t mind. Just having undertaken the training is, she believes, her biggest triumph, which is saying something.
“I’m actually very proud of myself for going back to school, even though it’s on Zoom or it’s not necessarily as heavy as being a doctor.
“I’m doing things that maybe I wouldn’t have done before. I’ve taken the step to tell agents and brands that ‘No, I can’t do that job because I’m studying acting’, and I’m putting my foot down. I think, before, I doubted my abilities, and now I’m like: ‘Yeah, just do it, why not?’”
It is hard not to wonder where Attal’s forthright tendency, fervour and self-determination, so unusual in a young woman in her early 20s, come from.
A clue may lie in a single line buried among the Moroccan press coverage that describes her paternal great-grandfather as a revolutionary, poet and director. The snippet is, it has to be said, uncorroborated, but sounds just about right.
