Records of Algeria – Page 2 – Arabian Records (1st post : Eid Al Fitr – 01st Shawwal 1439 (AH) / 15th June 2018 ) / (BETA testing – Research

ALGERIA: From Militants to Student Activists: The Women who Fought for Algeria

Throughout history, Algerian women have fought injustice at work, in the home and on the battlefields, yet their contributions are relatively uncelebrated.

Throughout Algeria’s history under French colonialism, women played a vital role in the quest for self-determination, as well as in protecting and developing the country’s culture and traditions.

This was particularly apparent during the War of Independence (1954-1962), when Algerians fought to free the North African country from 132 years of French rule in a battle that would come to represent the epitome of fierce revolutionary resistance.

Driven by the resolve to liberate Algeria at all costs, women took to combat in an expansive range of roles including as paramilitary fighters, transporters, fundraisers, nurses, cooks and communicators.

One of the many tactics often adopted by female agents during the war was to act as communicators between the Algerian soldiers and the population as a whole, in order to raise funds and propagate news about the revolution. Ironically, by taking part in such high-risk operations, Algerian women strategically subverted the colonial stereotype of the tepid and submissive native woman afforded to them by the unsuspecting French army.

On 5 July 1962, the revolution ended in liberation for Algeria. But while one battle ended, others would soon begin for the country’s female population.

Algerian women would continue to actively engage in national politics in the years following independence, fighting patriarchy, misogyny and political alienation by ex-fellow combatants who were dismissive of their seat at the governing table of the new state.

Despite the many obstacles Algerian women have faced, they have remained socially and politically active. This can be seen by the return of women to the political forefront at the launch of the popular movement, known as Hirak, as well as the Revolution of Smiles.

The protests were triggered by former-president Abdelaziz Bouteflika’s announcement on 10 February 2019 that he would seek a fifth term in office. The Hirak succeeded in ousting Bouteflika, but the struggle to bring the structure of the entire regime down continues.

Despite their enormous historical contributions, Algeria’s iconic women remain somehow uncelebrated outside of the Grand Maghreb and the Arab world.

Here are eight revolutionary Algerian women whose defiance of social and gender norms has cemented their place in history.

Lalla Fadhma N’Soumer (1830-1863)

Lalla Fatma N’Soumer is renowned as an icon of female armed militancy (Wikicommons/ean Geiser/pd-us)

Born into a family of religious marabouts in 1830 (during the fall of Algeria to French colonisation) in a town called Soumer in the Kabylie region, Lalla Fadhma N’Soumer is renowned as an icon of female armed militancy and an Islamic religious authority of her time.

Known for her intellect and ferocity, she led the first wave of resistance (1850-1857) against the French after the death of Cherif Boubaghla in a battle on 26 December 1854.

While her enemies called her the Joan of Arc of the Djurdjura mountains for her military campaigns, she was also referred to as “lalla” or “lady” to signify her honour and sanctity.

In her article about Lalla N’Soumer, author Samia Touati recounts that on the day she was captured by the French army, Marshal Jacques Louis Cesar Alexandre Randon (1795- 1871) asked Lalla N’Soumer why her men violently resisted the French troops.

She replied: “God wanted it. It is neither your fault, nor mine. Your soldiers went out of their ranks to penetrate my village. Mine defended themselves. I’m now your captive. I have no reproach to you. You shouldn’t have any reproach to me. It was written this way!”

Zoulikha Oudai (1911-1957)

Zoulikha Oudai is known in Algeria as “mother of martyrs” (Creative commons/memoria)

Born Yamina Echaib in 1911 to an educated family in Hadjout, Zoulikha’s commitment to freedom fighting began as a mediator between the National Liberation Front (FLN) and the Algerian population.

A nationalist party formed in 1954 and which went on to rule Algeria after independence, the FLN initially resisted French colonialism through paramilitary guerrilla warfare.

The secrecy of Algerian independence operations warranted the need for mediators such as Oudai to contact Algerian families individually and confidentially to raise funds for the FLN.

In October 1957, the French army arrested Oudai and tortured her for ten days.

After refusing to divulge secret information, French soldiers pushed her from a helicopter, earning her the title of “mother of martyrs”.

Algerian writer Assia Djebar evokes the figure of Zoulikha Oudai in her 1977 film, La nouba des femmes du Mont Chenoua (The Nouba of the Women of Mount Chenoua) and her 2002 novel, La femme sans sepulture (The Woman Without a Tomb).

Djamila Bouhired (1935-present)

Djamila Bouhired was a militant during the war (AFP)

Born in 1935 in the historic neighbourhood of Al-Casbah in Algiers, militant Djamila Bouhired showed signs of political leadership in the early years of her childhood. As a pupil in a French school, Bouhired once rebelliously sang “Algeria is our mother” instead of “France is our mother.”

At the age of 20, Bouhired enthusiastically joined the FLN and later on the Fedayeen (armed militants) to take part in guerrilla warfare against the French colonists.

After she was arrested in 1957, Bouhired was tortured by being beaten, burnt and electrocuted at the Rheims prison where she was incarcerated.

Worldwide, activists marched to demand the release of Bouhired. Renowned Syrian poet Nizar Qabbani, Egyptian filmmaker Youssef Chahine, Soviet leader Nikita Khrushchev and Egyptian president Gamal Abdel Nasser all called for her release.

She was honoured by key personalities in the region: Nasser once received her in Egypt, Qabbani wrote a poem about her, the Lebanese musician Fairuz dedicated a song to her, and Chahine directed the 1958 film, Jamila, the Algerian, about her life. Bouhired was also featured in the 1966 Italian-Algerian production, The Battle of Algiers.

But after independence she was deliberately alienated from the political scene by fellow male FLN combatants. Bouhired decided to fight yet another battle against Bouteflika’s election when she marched alongside young student activists last year.

Exasperated by the injustice of patriarchy, Bouhired asserted women’s role in liberating Algeria by announcing during protests last year: “Our blood is the same as men’s. Our blood is not water. Our blood is blood.”

Louisette Ighilahriz

Louisette Ighilahriz’s memoire released in 2000 ignited a conversation in France on torture (AFP)

Born in 1936, militant and author Louisette Ighilahriz devoted her youth to helping the Algerian revolution by working as a courier to transport the FLN’s documents and weapons.

Ighlahriz documented her incarceration and torment at the hands of the French army in her autobiography, Algerienne. This account not only testifies to women’s active engagement during the Algerian war, but it also highlights the widespread use of torture committed by the French, which was finally acknowledged in 2018.

It was decades before Ighilahriz was finally ready to speak about the horrors she faced. In her book she gives a painful account of the dehumanising treatment, the beating and rape at the hands of French army captain Jean Graziani, while in prison.

In addition to the physical torment, Ighilahriz was forced to live in her own excrement: “My urine leaked through the sheet covering the bed, my excrement mixed with my menstrual blood and formed a stinking crust” which pushed her to the edge of insanity.

This account of torture is similar to other narratives on the experiences of other activists, including the biography, Pour Djamila Bouhired, by Jacques Verges (1957) La question by Henri Alleg (1961) and Djamila Boupacha (1962) by Gisele Halimi. Ighilahriz was, however, the first Algerian woman to speak out about rape in a personal autobiography.

Today, the 83-year-old remains active, talking about the betrayal of the revolution by its own militants after independence and participating in today’s revolution.

Zohra Drif (1934-present)

Born into an upper-class family in 1934, it was retired lawyer and politician Zohra Drif’s education that led her to develop staunch feminist and anti-colonial positions that propelled her active engagement with the FLN.

In her memoir, Inside the Battle of Algiers, Drif recounts the joys of having access to information on resistance while at university:

“We finally had access to the publications of the many parties and associations comprising our national movement: the UDMA’s La Republique Algerienne, the PPA-MTLD’s L’Algerie Libre; and El Bassair, published by the oulema. The press brought us information, opinion pieces, and analyses from various perspectives, while lectures by the very individuals engaged in the early struggle gave us the means to separate the wheat from the chaff.”

After independence, Drif continued her political engagement both as a lawyer and as a member of the Algerian Council of the Nation. Her autobiography Memoirs of a combattant of the ALN: Autonomous zone of Algiers is a testimony of her struggle during the Algerian revolution. Her feminist activism continued after independence as a critic of some of the government’s policies.

When a new Islamic family code was proposed in 1981 that would ultimately limit women’s rights within the household, Drif joined fellow feminists as they swarmed the streets of Algiers calling it “the infamy code”.

Drif also joined the masses that marched against former president Abdelaziz Bouteflika’s bid for a fifth term in Algeria last year, calling for the president’s resignation and opposing having a military state.

Salima Ghezali (1958-present)

Salima Ghezali fought against fundamentalism during the 1990’s civil war in Algeria (Creative Commons/Claude TRUONG-NGOC)

A founding member of the group Women in Europe and the Maghreb and president of the Association for the Advancement of Women, in Algiers, Salima Ghezali is known for her active role in fighting against fundamentalism during the 1990s civil war in Algeria.

The rise of Islamist patriarchy in Algeria was demarcated, on the political scene, by the proposition of a new family code in 1981 which designated the male patriarch as the head of each family, thus giving him authority over women.

Working as the editor of Algerian French-language weekly La Nation put Ghezali’s life in great danger because of her unyielding political opposition to the government of ex-president Chadli Bendjedid and the Islamist party (FIS). Her dissent against censorship infuriated both the Islamists and government officials.

Ghezali’s bravery as a journalist and a feminist was acknowledged worldwide; she received accolades from the World Press Review and the European parliament.

Nour El houda Dahmani and Nour El houda Oggadi

Today’s revolution is built on the back of the struggles of the past. The young students Nour El houda Dahmani and Nour El houda Oggadi are two women who joined the anti-corruption marches last year to demand long-overdue democratic reforms and a political system representative of its young population.

Law student and activist Nour El Houda Dahmani, 22, was arrested in September 2019 while marching in the Hirak student-led protests against the militarily imposed presidential elections.

Dhamani, who was holding a poster at the time of her arrest, reading: “All of the corrupt shall be held accountable”, soon became one of the many iconic faces of the Revolution of Smiles.

Although Dahmani stated that she was not mistreated in prison, the experience of incarceration was traumatic. She was supported by vast numbers of people, as she explained in an interview with Berbere Television: “When I read the articles written about me, and I heard that people marching in the Hirak were asking for my release, even my incarceration did not seem cruelly bad anymore.”

Upon her release, Dhamani only had one goal: to return to university despite missing an entire term.

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Like Dhamani, Nour El houda Oggadi is a student and activist who was arrested a couple of months later, on 19 December. She was charged with “demoralising the army” because of her social media posts and signs she carried while marching, which were part of demands calling for Algeria to function as a civilian, not a military state. Oggadi served 45 days in prison.

Prison did not deter Oggadi; after her release, she stated her pride in her role in this Hirak, which she describes as “the birth of a new generation.”

The two students became powerful symbols of female resistance in Algeria, just two in a long line of women fighting tyranny and injustice.

This article is available in French on Middle East Eye French edition.

source/content: middleeasteye.net (headline edited)

ALGERIA: ’15th Arab Sports Games 2023′ at Mohamed-Boudiaf Olympic Complex, Algiers with Participation of 22 Arab countries, July 05-15.

PM chairs opening ceremony of 15th Arab Sports Games.

On behalf of the President of the Republic, Abdelmadjid Tebboune, the Prime Minister, Aimene Benabderrahmane chaired the opening of the 15^th Arab Sports Games organized by Algeria from on 5-15 July at Mohamed-Boudiaf Olympic Complex in Algiers, with the participation of nearly 2,000 athletes representing 22 Arab countries.

The opening ceremony of the 15th Arab Sports Games hosted by Algeria (July 5-15) started Wednesday in the Mohamed Boudiaf Olympic Complex in Algiers, in the presence of Prime Minister Aymen Benabderrahmane, members of government and guests from various countries and organizations.

source/content: aps.dz (headline edited)

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SAUDI ARABIA / ALGERIA: Saudi Justice Minister Waleed Al Samaani Elected as Head and Algeria’s Abdul Rashid Tabbi as Deputy Head of the Pan-Arab body -‘Council of Arab Justice Ministers’

Al-Samaani and Tabbi will serve in their roles for two years.

Saudi Justice Minister Waleed Al-Samaani has been elected head of the executive office of the Council of Arab Justice Ministers, the Saudi Press Agency reported.

Abdul Rashid Tabbi of Algeria was elected deputy head. Both will serve in their roles for two years.

The announcement came on Wednesday during the 71st session of the executive office, held at the Arab League’s headquarters in Cairo.

source/content: arabnews.com (headline edited)

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Saudi Justice Minister Waleed Al-Samaani attends 71st session of the executive office of the Council of Arab Justice Ministers. (SPA)

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SAUDI ARABIA / ALGERIA

ALGERIA: The Battle of Algiers: an iconic film whose message of hope still resonates today

Saadi Yacef, the Algerian revolutionary leader who fought for his country’s liberation from French colonial rule, died on 10 September 2021. Yacef is perhaps one of the better known of Algeria’s resistance fighters because of the role he played in the creation of the film The Battle of Algiers , directed by the renowned Italian film maker Gillo Pontecorvo.

The Battle of Algiers was filmed in 1965 as a co-production between an Italian creative team and the new Algerian FLN (Front de Libération Nationale) government, whose representative Yacef produced the film and stars as the character of Jaffar.

One of the most extraordinary films ever made, The Battle of Algiers is an emotionally devastating account of the anticolonial struggle of the Algerian people and a brutally candid exposé of the French colonial mindset. Many French people were unhappy with the representation of their army and country in the film. It was not officially censored in France , but the general public and all cinemas boycotted it. It was seen as anti-French propaganda.

In later years, the film was screened to groups classed as revolutionaries and terrorists, apparently becoming a “documentary guidebook” in the Palestinian struggle, and for organisations such as the Irish Republican Army and the Black Panthers, who examined its detailed representation of guerrilla tactics.

It was also shown in the Pentagon in 2003, in the middle of the Iraq War. US Counterterrorism experts Richard Clarke and Mike Sheehan suggest that the film showed how a country can win militarily, but still lose the battle for “hearts and minds”.

What relevance does The Battle of Algiers hold today, 55 years after it was first released?

The message of the film is ultimately one of hope: the oppressed multitude will eventually triumph because their cause is just. The images of revolutionary crowds in the film recall the jerky, grainy footage that has emerged from a wave of recent protests in the last decade, from the Black Lives Matter movement to Extinction Rebellion . Pontecorvo thrillingly captures the power and possibility of large gatherings of citizens, who come together to demand rights, putting their bodies at risk to create social and political change.

Additionally, the film refuses to condemn any of the agents in this conflict. As Pontecorvo has stated

in a war, even if from a historical standpoint, one side is proven right, and the other wrong, both do horrendous things when they are in battle.

A film of contrasts

Shot in black and white, the film is difficult to classify in terms of style. Its military action sequences and tactical montages remind us of films like Zero Dark Thirty and The Eye in the Sky; indeed, it is almost impossible to film a scene of politically-motivated torture without having The Battle of Algiers as an implicit or explicit point of reference.

The collective aspect of the film’s creation, and the socialist ideals that inspired it, link it to what’s called Third Cinema. This was a kind of revolutionary cinema, a cinema of the “Third World”, that was designed to overthrow the systems of colonialism and capitalism.

The Battle of Algiers is also an example of Italian neorealism, a major film movement coming out of mid-twentieth century Italy. The neorealists made films that opposed Mussolini’s fascist regime, and they focused on the hardships of the working class in Italy. Neorealism was a moral and aesthetic system: it brought art and politics together to expose the ills of society and bring about social change.

The Battle of Algiers was shot entirely on location in Algiers, and Colonel Mathieu was the only professional on set. Pontocorvo selected the other actors from the local population based on their faces and expressions.

Other elements of the neorealist style was the use of techniques that create a documentary aesthetic such as the hand-held camera. Pontecorvo also uses extracts from real-life FLN and police communiqués, letters, and title cards. And he used newsreel stock, which was cheaper, but also added to the sense of verisimilitude in the film.

Although he believed the Algerians cause to be just, Pontecorvo wanted to create a nuanced and fair account of the war. Therefore, he sets up a series of contrasts to reflect this opposition between French and Algerian. This is present in the original musical score by Ennio Morricone: while groups of French soldiers rampage through the Casbah to the sound of jaunty military drums and horns, a haunting flute theme accompanies sequences which feature Algerian civilians.

Contrast is also evident in the use of light and shadow: there are strong chiaroscuro effects, perhaps reflecting the themes of right and wrong in the film. Pontecorvo also uses shadow to highlight the covert operations of the Algerians: Ali La Pointe’s face is filmed with deep shadows, and the face of Colonel Mathieu is always brightly lit.

Space provides another important contrast in the film. Frantz Fanon, a famous theorist of the Algerian revolution, describes the colonial world as a world “cut in two” because of the stark divide between the coloniser and the colonised. In The Battle of Algiers, the wide boulevards of the European quarter are juxtaposed to the narrow, winding, labyrinthine alleyways of the Casbah. Space is also divided vertically and horizontally – the European quarter is flat, while the Casbah is steep and sloping.

This opposition of space highlights the gap between rich and poor, coloniser and colonised.

The question of bias

The biggest contrast in the film is of course between the French and Algerians. The embodiment of French and European values in the film is Colonel Mathieu. He is a suave figure, confident and controlled in army fatigues, stylish sunglasses and slick speech – he has more dialogue than other characters in the film. A number of critics have argued that Mathieu is far ‘too cool’, given that he is a practitioner and a proponent of torture.

Yet Colonel Mathieu is not depicted as an ogre: above all, he embodies reason. We see this in his statements about the use of torture, when he uses solid rhetorical devices to justify it. He says:

…do you think France should stay in Algeria? If you do, you have to accept the necessary consequences.

This is persuasive as a logical argument – if you want French Algeria, you have to accept the actions that result in this outcome – torture.

If Mathieu and the French have reason, what do the Algerians have?

Firstly, they have raw, visceral emotion and the power of the group. The victory at the end of the film is a victory of the masses, embodied in two figures – the martyr Ali La Pointe, the illiterate everyman who becomes a hero for the revolution, and the gyrating, anonymous Algerian women, whose gaze outwards to the future closes the film.

This takes me to the final point about what the Algerians have on their side – the power of historical right. We see this through Pontecorvo’s use of chronology – the narrative proceeds as a flashback, until we leap forward in time to the euphoria and mania of the end of the war and the triumph of the revolutionaries. Pontecorvo here glosses over the fact that the real Battle of Algiers was lost by the Algerians, and jumps into a future of eventual victory in the war.

This is how he views the process of history – the masses, with moral right on their side, will eventually win.

source/content: theconversation.com (headline edited)

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Yacef Saadi (R), military leader of the FLN National Liberation Front networks of the autonomous zone of Algiers, poses after being captured at the end of the “Battle of Algiers”. Photo by -/AFP via Getty Images

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ALGERIA: 5 Algerian Multi Millionaires That You Should Know About!

The only billionaire Algeria has is Issad Rebrab, he is the owner of Algeria’s biggest company, Cevital, which is a sugar refinery company that produces about 2 million tons a year, Although, he is alone in his wealth, there are other 5 multibillionaires worthy of recognition.

Abdelmadjid Kerrar

He is the founder of BioPharm which is a large pharmaceutical company that manufactures and distributes drugs, BioPharm employs more than 1,500 people and gets more than $500 million revenues last year.

Ali Haddad

He is the 52-year-old founder of ETRHB Haddad Group with an annual revenue of $500 million, it’s very impressive that he’d founded this company at the age of 32, he is also the controlling shareholder of the Algerian club USM Alger that plays in the Algerian Premier League.

Mohamed Laid Benamor

He is the head of the Benamor Group, which is one of the most successful food companies in Algeria. This company makes more than $80 million as an annual revenue.

Abderrahmane Benhamadi

This big guy owns the Condor Group which manufactures and distributes air conditioners, televisions, satellite receivers, washing machines, refrigerators, smartphones, tablets, gas cookers, microwaves, desktops and laptops, with an annual revenue of $700 million.

Djilali Mehri

This 80-year-old guy owns the Mehri Group; the sole bottler of all Pepsi products, and the owner of many luxurious hotels.

source/content: scoopempire.com (headline edited) / Febronia Hanna

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pix: en.wikipedia.org/wiki/Algiers /L to R : Coast, Martyr’s Memorial , Ahmed Francis Building , Basilica of Our Lady of Africa, Central Post Office, Ketchaoua Mosque, Harbour

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ALGERIA

ALGERIA: Model Baraka Merzaia: the Face of a New Algeria

The multi-talented, multilingual model, actress and singer is making a name for herself beyond her homeland.

Baraka Merzaia is a true force of nature. Beautiful, intelligent and multi-talented, the young Algerian rising star is attracting praise and attention from across the world for a wide variety of reasons. If you don’t yet know her name, you soon will.

Merzaia was born in Adrar, in the south of Algeria, but is now based in Algiers. Her talent was first noticed aged 16, when she joined a choir to learn to improve her already impressive vocal skills.

Like many young people of her generation in Algeria, Merzaia is a polyglot, which has helped her gain fans across borders. In India, four years ago, when the country celebrated the 150th anniversary of the birth of Gandhi, Merzaia was praised by Indian Prime Minister Narendra Modi for her “memorable” rendition of “Vaishnava Jana To,” a hugely popular Hindu hymn “whose lyrics are imbued with empathy” that Merzaia hopes is contagious.

In 2019, Merzaia was named Miss Talent in her homeland, and has since landed several modelling contracts, and aspires to hit the international catwalks soon, inspired particularly by the career of Somali-American model Halima Aden — who famously sported the hijab on a Vogue cover and was the first model to wear a burkini in Sports Illustrated magazine. Like Aden, Merzaia aims to remain true to her faith and smash stereotypes in the fashion industry.

She tells Arab News France that she has already turned down offers of partnerships with brands who have asked her to remove her headscarf for photo shoots.

“Many consider my (headscarf) to be a fashion accessory,” she says. “That is far from the case, and I am convinced that I can carry out my projects without compromising my integrity.”

Another major inspiration, she tells Arab News, is her mother — a PhD holder whose thirst for knowledge has inspired Merzaia to pursue higher education, in addition to her artistic projects.

The singer, model, and actress has built up a following of more than half a million over various social-media platforms, on which she documents her daily life and her artistic projects, with a strong emphasis on Algerian culture and heritage.

One example is a video shot during a visit to her hometown of Ain Salah. “When I posted a video showing how we make kesra — a semolina pancake baked in sand — I was inundated with messages from curious people across the country asking me to share this type of content more frequently,” she says.

Her kesra video was widely shared online — including by NWE, a media that highlights African culture in all its diversity — and helped to highlight a little-known facet of Algerian culture.

Merzaia explains that she sees social media as an opportunity to introduce people to the south of Algeria, which is under-represented across mainstream media, and, at the same time, to disabuse people of stereotypes concerning Saharan inhabitants.

In 2006, a census estimated that the Black community in Algeria represented around 5 percent of the population, the lowest ratio in the Maghreb.

While Baraka is not overtly political, her claiming of — and ability to reconcile — her Algerian and African heritage, and her faith, demonstrates that these aspects of Algerian identity complement each other, when popular wisdom might suggest that they are incompatible.

At a time when many young people in North Africa tend to look to the West for cultural inspiration, Merzaia demonstrates that Algerian culture, in addition to being plural and rich, “has a lot to offer and deserves to be discovered,” as she puts it.

“I don’t consider myself to be an influencer,” she says. “Nevertheless, I do want to shed light on my culture, by sharing with my followers my faith and culture, (and this balance) between modernism and tradition.”

source/content: arabnews.com (headline edited)

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WORLD RECORDS: ALGERIA: The Mosque that has the Record-Breaking 265m Tallest Minaret In The World. The Great Mosque of Algiers (aka) Djamaa el Djazair’ an Architectural Marvel & Monumental Wonder

One doesn’t have to be a Muslim to visit the mosque or see the tallest minaret in the world.

Many people who think of a vacation to Africa make plans with Morocco in mind, South Africa at times, maybe Kenya, and definitely Egypt—to see the famous pyramids—or the 4,100-mile-long river that gave birth to that momentous civilization. Yet, as a continent, Africa has 54 countries, almost as many as the number of states in the U.S. Though it may come as a surprise, almost all of these countries are safe and have nearly the same conveniences as those found in many First World countries. Take Algeria, for instance, the biggest country in Africa and more than three times the size of Texas. This northern African country has pyramids, just like Egypt, and several fascinating ruins that would interest any history buff or anyone who’s out for some real adventure.

The Great Mosque Of Algiers And Its Record-Breaking Minaret

Also known as Djamaa el Djazaïr, the Great Mosque of Algiers is itself a monumental structure and an architectural marvel in its own right. However, what really puts it in the Guinness Book of World Records is its minaret. The reason is that the Great Mosque of Algiers is noted for having the tallest minaret in the world. For those who may be scratching their heads, a minaret is a tower—or a tower-like structure—built into mosques primarily to project the “Adhan,” the Muslim call to prayer. Of course, today, minarets serve other purposes as well. For instance, they are important landmarks of Islamic presence. Coming to the minaret of the Great Mosque of Algiers, we would not be remiss to expect a structure described as the world’s tallest to answer to that exceptional description. Well, the minaret of the Great Mosque of Algiers is 265 meters tall and hence, by all accounts, impressive.

For perspective, that’s the same height as Truist Plaza, the 60-story skyscraper in downtown Atlanta or the Panorama Tower in Miami, Florida. It’s also about half the height of the One World Trade Center, the tallest building in the United States. Minarets, however, have never been this tall. Before the Great Mosque of Algiers secured a page in the Guinness Book of World Records for its minaret, the tallest minaret was the 670-feet tower of the Hassan II Mosque in Casablanca, Morocco. The Algiers minaret, according to the Guinness Book of World Records, is now not just the tallest minaret in the world but the tallest building in Africa as well. This minaret is designed to withstand a magnitude nine earthquake, the highest earthquake magnitude. This type of earthquake can cause major damage over a region more than 1,000 km across.

Here’s A Brief History Of The Great Mosque Of Algiers And Its Minaret

The government of Algeria launched the construction of the Great Mosque and its record-breaking minaret in 2012. However, according to an adviser to the minister of housing responsible for the construction, the idea of constructing a mega-mosque had been in the cards from way back in 1962 when Algeria got its independence after 132 years of French occupation and after a 7-year brutal war that would send seismic revolutionary waves across the continent. For some reason, the efforts to put up a mega-mosque in Algiers had failed and foundered. However, with the election of Abdelaziz Bouteflika as President of Algeria in 1999, the building efforts would soon receive significant impetus.

Famous for his religious zeal and devotion to Muslim art and culture, Bouteflika would, unsurprisingly, actualize the mega-mosque dream even though his tenure as president would dramatically come to a premature end before the completion of his pet project. The mosque, however, including its record-breaking minaret, was an outstanding architectural masterpiece. According to the Guinness Book of World Records, the Great Mosque of Algiers sits on an expansive area of around 400,000 square meters (about 50 acres). For perspective, the building itself, plus the outside courtyard, can seat up to 120,000 worshipers.

Other Reasons Why The Great Mosque of Algiers Is Worth Visiting (& How To Visit)

The mosque looks towards the scenic Bay of Algiers, which features dazzling white buildings and panoramic views as far as the eye can see. Part of the mosque is a library that can stock more than a million volumes. In addition, the mosque has a Koranic school and a museum of Islamic art and history.

Where Is The Great Mosque of Algiers Located? This mosque is located on the Rue de la Marine in Algeria’s capital city, Algiers.

A crucial travel tip is to get in as a worshiper, probably during worship. Some visitors even carry a prayer mat or wear a scarf, especially women. Of course, one doesn’t have to be a Muslim to visit the mosque or see the tallest minaret in the world.

source/content: thetravel.com (jeff oganga) (headline edited)

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ALGERIAN ANCESTRY: France’s Karim Benzema 2022 Ballon D’Or: The Undreamt-of Award

Just when every single one of his supporters thought he would always be remembered as a cult hero and nothing else, Karim Benzema has reached the pinnacle of the sport 14 years after signing for Real Madrid labeled as the next Ronaldo Nazario. Overcoming ferocious criticism from his own fanbase and from some of his coaches during this time, Benzema carried Real Madrid to an improbable Champions League & LaLiga double all while scoring 44 goals in 46 appearances in the 2021-2022 season.

Karim Benzema has won the 2022 Ballon D’Or no less than 13 years after signing for Real Madrid. It has not been an easy path for Benzema as he had to change his style of play and prove many of his doubters wrong along the way. In those 13 years, he went from being a young, misfit player who struggled in his early days in Madrid to becoming a captain and a true leader for the biggest club in world football.

Here’s how he did it.

I. Struggles: From “The Next Ronaldo Nazario” to “The Next Anelka”

Saying that Benzema never was one of the world’s greatest strikers would be wrong. From 2009 to 2022, the French attacker went through struggles on and off the field but always showed that the talent to be one of the best was there. Real Madrid president Florentino Pérez saw that promise and raw potential and decided to visit Benzema’s home in Lyon to secure his signing in the summer of 2009.

“I was hanging out with my friends and my family called me and said: “You need to come home, Florentino is here.” I opened the door, I saw him there and I just didn’t say anything,” revealed Benzema a decade later.

Still, Benzema failed to establish himself as a regular starter for Madrid until Gonzalo Higuaín suffered a back injury in 2011. José Mourinho, who was the team’s coach back in the day, signed Emmanuel Adebayor on loan because he didn’t feel the 24-year-old Benzema could lead his offense. Mourinho even said that he would rather go hunting “with a hound” [Higuaín] but that he would have to go “with a cat.”

Thing is, Mourinho was right. Benzema was struggling on the pitch and appeared to be careless and apathetic during his first few seasons in the Spanish capital.

“My first season in Madrid, my first six months or so were very tough. I was by myself; I didn’t speak Spanish and that made it all more difficult. Furthermore, I just got to a new world, another team, another style of football. Luckily, I didn’t give up,” he said when asked about that time in an interview published this past summer.

That’s the main reason why most fans and members of the media often compared him to former Real Madrid attacker Nicolas Anelka, who signed for the club in 1999 when he was 20 years old. Anelka left Madrid after just one season having displayed some of the symptoms which kept Benzema out of the team’s starting lineup a decade later. Anelka went on to have a very solid career, but Madrid didn’t reap the benefits.

With Benzema, Florentino Pérez remained patient –perhaps the fact that he was his personal gamble gave the Frenchman a longer leash– and decided to keep trusting his potential knowing that Real Madrid had another historically great player who could lead the team towards the most successful period in the history of the club.

II. Stability without stardom: Cristiano’s Sidekick and the BBC years

While Benzema showed real moments of brilliance during Mourinho’s tenure in the Spanish capital (2010-2013), even scoring 28 goals across all competitions during the 2011-12 season, he always was behind Gonzalo Higuaín in the depth chart.

When Mourinho left the club in 2013, Real Madrid decided to sell the Argentinian striker to Napoli and gave Benzema the chance to be an undisputed starter under new coach Carlo Ancelotti and alongside two great scorers like Cristiano Ronaldo and new signing Gareth Bale. The ‘BBC’ was born.

Ancelotti then created a new role for Benzema, the role he played for most of his career: The 9.5. the French striker wasn’t playing as a false nine, but he was a playmaker through the center-forward position. There, Benzema would often receive the ball and assist to either Ronaldo or Bale while drifting to both flanks to create space for them to finish plays in the center of the attacking line. Ronaldo and Bale were ruthless finishers during these years, but Benzema deserves credit for making their jobs way easier.

“When Cristiano Ronaldo played for Real Madrid, he scored 50 to 60 goals a year. So, my moves were to give him an advantage on the field, generate spaces, because I passed the ball well in the opponent’s area. He was much more effective than I was,” said Benzema earlier this year.

The team won La Décima (their tenth Champions League trophy) and the Copa del Rey during that first season. Ancelotti left the club a year later, but his successor Zinedine Zidane kept the same offensive system going and conquered a historic three-peat with Benzema being the facilitator for Ronaldo and Bale.

Even if Benzema wasn’t focusing on scoring goals, he still found the back of the net 28 times in just 34 appearances back in 2015-16. He was delivering. Zidane being his childhood hero and one of football’s greatest players of all time, the French attacker spent time after every training session working and polishing his game with his coach, with his idol.

Everything changed in 2017-18. Real Madrid struggled immensely throughout the season and didn’t even compete for LaLiga against Barcelona. Benzema had one of his worst campaigns as a Real Madrid player and scored only 12 goals. Somehow, the team managed to win the third consecutive Champions League title and completing the aforementioned three-peat, but both Cristiano Ronaldo and Zidane felt like it was the end of an era and decided to leave the club.

“Every year is the same. I play football to make history. Sometimes people don’t get what I do on the field but I’m here to help my teammates. Of course, I always want to score goals, but sometimes that’s not possible,” said Benzema in 2018, the first campaign without Cristiano Ronaldo and the first time he scored 30 goals in his career. After years of being a playmaker for Ronaldo, Real Madrid needed Benzema to score. He delivered.

III. Mentoring the new generation during Real Madrid’s rebuild

Benzema faced ferocious criticism from his own fanbase during the first few months of the 2018-19 season. The fans at the Santiago Bernabéu appeared to think that he was to blame for the team’s struggles last year. He was never a fan favorite. In 2016, the crowd whistled when he was about to take a penalty-kick, singing Álvaro Morata’s name as they wanted the homegrown attacker to take it instead.

When Ronaldo left the club, Benzema accepted the challenge and realized the fact that he had to score more goals. He rose to the occasion while other attackers like Marco Asensio or even Gareth Bale appeared unwilling to embrace more responsibilities in the offense.

That first season was terrible for the club, even if Benzema scored 30 goals and delivered 9 assists. Zidane’s successor Julen Lopetegui was sacked after just a couple of months and former Real Madrid player and current Castilla coach Santiago Solari was appointed as an interim coach for the remainder of the season, until Zidane made his return to the club just a year after his resignation.

Benzema kept doing his thing and scoring at a solid rate during those seasons but now he was also a mentor for two talented prospects signed from Brazilian football: Vinicius Junior and Rodrygo Goes.

It wasn’t a very successful era for Madrid, but they did conquer the 2019-20 LaLiga title with brilliant performances from goalkeeper Thibaut Courtois and Benzema himself in the condensed schedule after the Covid pandemic.

In the summer of 2021, Zidane left the club for good and a familiar face returned to the Bernabéu. Ancelotti was back. What followed during the next few months will be remembered as one of the most memorable seasons in the history of the club.

IV. Benzema unchained: Carrying Madrid towards a historic double

44 goals in 46 appearances. 15 goals in the Champions League. A hat-trick to rescue his team and advance to the next round in the return leg against Paris Saint-Germain. A hat-trick against Chelsea in the first leg of the Quarterfinals at Stamford Bridge. 10 goals in the 7 do-or-die knockout games in the biggest club competition in the world. Greatness.

Benzema overperformed his xG (expected goals) in 12 goals last season. Courtois and Vinicius were also instrumental in the team’s success and performed better than the French striker in the Champions League Final, but Benzema was historically great all season long with his scoring but also with his playmaking, which helped Vinicius become the player he is today.

It took Benzema a while to get where he stands today, and it would be fair to say that nobody saw this kind of greatness coming from him. In fact, Florentino Perez would have likely replaced him with other strikers had he not been his protégé, his personal signing. None of that matters now. Benzema stayed and he delivered big time in a season where his team needed him the most.

He was hands down the best player in the world of football during the 2021-22 season. He earned every bit of this Ballon D’Or and every single madridista should be proud of him and proud of having him wearing the captain’s armband. They saw Benzema grow into the player, the leader, the captain, the mentor and the man he is today.

“I play for the ones who like and understand football.” Benzema transcended that quote last season and played for every single football viewer around the world, casual or not. He finally earned global recognition.

Karim Benzema is now a Ballon D’Or winner. The world’s greatest

source/content: managingmadrid.com / Lucas Navarrete (headline edited)

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FRENCH / ALGERIAN

ALGERIA: Algeria Beats Morocco and Wins the ‘U-17 Arab Cup 2022’

Algeria won the 2022 U-17 Arab Cup after beating Morocco on penalties in the final at Abdelkrim Kerroum Stadium in Sig on Thursday night, September 08th..

The match had ended 1-1 in front of 20,000 people, and extra time brought no further goals, before the host nation won 4-2 in the deciding shootout.

Morocco took the lead on 51 minutes through Mohammed Rachidi and were within seconds of winning the trophy, but Ismael Chehima scored a 90th minute equalizer.

In the shootout, Morocco missed twice to Algeria’s one, much to the delight of the large home crowd in attendance.

Algeria had reached the final by beating Saudi Arabia 5-4 on penalties after their semifinal clash had finished 0-0, while Morocco overcame Yemen 2-0.

source/content: arabnews.com (headline edited)

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ALGERIA

ALGERIAN-FRENCH: Zineb Sedira—First Artist of Algerian Heritage to Represent France at Venice Biennale—reveals plans for pavilion focused on activist filmmaking

Project shines a light on the cultural exchange between Algeria, France and Italy during the 1960s.

Zineb Sedira has outlined plans for her presentation at the French pavilion at this year’s Venice Biennale (23 April-27 November), revealing that the project will focus on Algerian cinema of the 1960s and 1970s and its links to the Italian and French film industries. The subject matter is timely as 2022 is the 60th anniversary of Algeria achieving independence from France. On 5 July 1962, Algeria became a sovereign state after an eight-year war which resulted in the deaths of at least 400,000 Algerians.

Sedira is the first artist of Algerian descent to be selected as the country’s representative. Sedira, who was born in Paris to Algerian parents, attended college in London, completing her undergraduate studies at Central Saint Martins school of art. She is now based in South London.

Sedira revealed her ideas for the cinematographic installation Dreams have no titles in an online press briefing held 18 February, outlining how she initially researched the history of Algerian film for an exhibition at the Jeu de Paume in Paris in 2019. Her passion for cinema was sparked by childhood trips to the local cinema in the 1960s in her home town of Gennevilliers outside Paris (these film outings were made with her father every Thursday when school was closed).

This interest developed further during her time as a student in London. “As part of postcolonial studies, I came across [the philosopher] Frantz Fanon and [the 1966 film] The Battle of Algiers. In France, I never came across those people because The Battle of Algiers was still censored in France [in the late 1970s and early 1980s],” she said. “There were no intellectual role models to me of Algerian origin; in England, I discovered there was a wealth of [Algerian] men, women and filmmakers.”

For the pavilion piece, Sedira carried out research at the Cinémathèque in Algiers, discovering that many films financed by the state of Algeria at the time were also co-produced with Italian and French filmmakers. “So when I was asked to propose an idea for the French pavilion, I thought of the Mostra [Venice Film Festival]. I thought it was interesting to do something around the three countries,” she said. Sedira wants to focus on the cooperation between France, Italy and Algeria— and the solidarity between the trio of nations—though her Venice “project goes beyond that”, the artist stresses.

Sedira visited numerous film archives in Algeria, France and Italy as part of the research process. “In Italy, [we visited] Venice, Turin and Bologna. We discovered a film that had disappeared,” says Yasmina Reggad, the co-curator of the French pavilion, referring to Les Mains Libres made by the Italian director Ennio Lorenzini in 1964.

“It was the first international film collaboration between Algeria and another country [Italy],” said Sedira, but after 1966 Les Mains Libres was lost. She eventually found the forgotten work in a small archive in Rome. “It is an important film for anyone interested in post-1962 Algerian history,” she adds.

The French pavilion project aims to be a starting point for discussions on other topics such as colonialism, collective and individual histories, national identity and the fight against racism. “The notion of a nation begs to be critiqued and challenged. What is a nation at the end of the day? It is a big fiction to believe that when you draw a certain line, everyone who happens to be behind this line is of the same mentality and culture,” said Sam Bardaouil, the co-director of the Hamburger Bahnhof in Berlin along with Till Fellrath (the duo have also co-curated the French pavilion).

“In a sense, a pavilion is an attempt to give a physical form to a fiction, so to use fiction in the language of cinema as a way to critique nation and belonging is such an intelligent and timely way to discuss these issues,” Bardaouil said.

The three pavilion curators will participate in a film to be shown in the pavilion. “We’ll be turned into actors and actresses,” said Reggad. Bringing together an artistic community was paramount, added Sedira, who relished the opportunity “to work with friends, to be surrounded by friends”. The film production will also include members of the crew and her son. “I was playing on the aesthetic and structure in cinema in the 1960s in low-budget films when one would play many roles,” she said

The pavilion project will also include a “conversation” with the UK pavilion artist, Sonia Boyce, and the Swiss representative, Latifa Echakhch. “Sonia was my neighbour for many years and she taught me at one point when I was studying art in London,” said Sedira.

At the briefing, the curators also discussed the three accompanying journals linked to the pavilion project. Each issue refers to a city—Algiers, Venice, and Paris—that has played an integral part in Sedira’s practice. “The journal is an extension of what the project entails inside the pavilion. The cities mark the phases of Zineb’s life, they become entry points to questions that are related to the themes that will be discovered in the film and installation in the pavilion,” said Bardaouil. Contributors include the French artist Laure Prouvost and the actor Nabil Djedouani.“The journal has allowed for a diversity and plurality of voices,” Bardaouil added.

The journal design is based on film magazines of the 1960s and 1970s, added Reggad, and also borrows from militant leaflets of the era. The journals are “doors to an intellectual horizon [with] texts, images and playlists”, said Eva Nguyen Binh, the president of L’Institut Français which is supporting the pavilion. Other sponsors include Arts Council England and the dealer Kamel Mennour who represents Sedira

source/content: theartnewspaper.com (headline edited)

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Zineb Sedira will represent France at the 2022 Venice Biennale with the exhibition *Dreams have no titles*

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FRENCH / ALGERIAN