Tag: Records of MENA

ABU DHABI (U.A.E) / EGYPT : AD Ports Group, Egypt’s Suez Canal Economic Zone sign agreement to develop KEZAD East Port Said Zone

AD Ports Group, and the General Authority for Suez Canal Economic Zone (SCZONE), the integrated investment destination for linking industry and global trade, today signed a 50-year renewable usufruct agreement, to develop and operate a 20 km2 industrial and logistics park near the Egyptian coastal city of Port Said on the Mediterranean Sea.

The East Port Said Industrial Zone provides an opportunity to turn a unique location on the Mediterranean Sea into a key hub for international trade and investments serving the East-West trade routes, right at the entrance of the Suez Canal.

The agreement to develop KEZAD East Port Said Industrial and Logistics Zone was signed in Cairo, and witnessed by Egyptian Prime Minister, Dr. Mostafa Madbouly, in the presence of Dr Sultan Al Jaber, Minister of Industry and Advanced Technology, Mohamed Hassan Alsuwaidi, UAE Minister of Investment, Lieutenant General Engineer Kamel Al Wazir, Deputy Prime Minister for Industrial Affairs Egyptian Minister of Industry and Transport, Mariam Al Kaabi, Ambassador of the UAE to Egypt, Captain Mohamed Juma Al Shamisi, Managing Director and Group CEO of AD Ports Group and Mr. Waleid Gamal El-Dien, Chairman of SCZONE.

The agreement was signed by Ahmed Al Mutawa, Regional CEO of AD Ports Group, and Admiral Mohamed Ahmed Mahmoud, Vice Chairman of SCZONE for the Northern area.

AD Ports Group will develop, construct, finance, operate, and manage the industrial and logistics zone in phases, with a focus on phase 1 to start with, an area covering a total of 2.8 km2. An estimated total investment of $120 million will be allocated to market and technical studies as well as to phase 1 development over the next three years. Construction on the initial 2.8 km2 Phase 1 is expected to start by the end of this year.

The development of Phase 1 will be anchored by key potential clients and partners, including one of the region’s foremost construction and development groups, Hassan Allam Holding.

Captain Mohamed Juma Al Shamisi, Managing Director and Group CEO, AD Ports Group, said: “KEZAD East Port Said is a milestone that highlights the strong economic relations between the UAE and Egypt. In line with the vision of our wise leadership, this strategic cooperation is another sign of our Group’s growing focus on Egypt, where we continue to enhance and develop our integrated trade, transport, and industrial ecosystem, offering clients unparalleled end-to-end solutions and services. This infrastructure investment will provide a long-term source of economic growth for Egypt, while enhancing the Suez Canal role in promoting and supporting the East-West trade corridor.”

Waleid Gamal El Dien, Chairman of the Suez Canal Economic Zone, said: “The launch of this project in the East Port Said Industrial Zone represents an important strategic step that reaffirms the depth of the strong fraternal relations and the growing strategic partnership between the Arab Republic of Egypt and the United Arab Emirates, as well as the prominent position held by SCZONE as a pivotal global trade hub for industrial and logistics activities. This project enhances SCZONE’s ongoing efforts to support global supply chains by providing a competitive and integrated investment environment, underpinned by advanced infrastructure, and a unique geographic location, connecting three continents via one of the world’s most vital maritime routes.”

Gamal El Dien added: “Over the past few years, the SCZONE has become a cornerstone for the investment expansion plans of many leading regional and international companies, thanks to its integrated model of combining industrial zones and affiliated seaports. Among these is the KEZAD East Port Said Industrial and Logistics Zone, which seamlessly connects with East Port Said Port, a key strategic location on the Mediterranean Sea. The port features deep berths for large vessels, efficient operations, and excellent connectivity to advanced road and transportation networks. The expertise of a global organisation such as AD Ports Group will help SCZONE achieve its goals.”

Ahmed Al Mutawa, Regional CEO of AD Ports Group, said: “KEZAD East Port Said is being built to attract investments, promote industrial and logistics growth, create jobs, increase exports, develop skills, and facilitate technological transfer. It will complement AD Ports Group’s growing business ecosystem in Egypt, and capitalise the natural assets of the Suez Canal area for Egypt, while supporting the country’s manufacturing sector, and increasing the ease of doing business in Egypt as a preferred gateway to global markets.”

Admiral Mohamed Ahmed Mahmoud, Vice Chairman of SCZONE for the Northern area, said: “We are working on developing an integrated model that combines industry, maritime transport, and logistics services within a flexible and investment-friendly regulatory environment. East Port Said Industrial Zone stands at the heart of this model due to its strategic location at the northern entrance of the Suez Canal and its direct connection to the modern East Port Said Port, a key hub in global trade, consistently ranked among the top international ports thanks to its operational readiness and advanced capabilities. Furthermore, the integration with West Port Said Port enhances its readiness to offer comprehensive and attractive logistical solutions for investors. Therefore, this project represents a qualitative leap in the development of the northern part of SCZONE, not only in terms of the scale of anticipated investments but also in the advanced industrial and logistical activities to be implemented.”

In addition, AD Ports Group and Hassan Allam Holding, which is one of the Group’s development partners in Egypt, signed a memorandum of understanding (MoU) to develop and invest in the industrial zone and explore other projects.

AD Ports Group in December 2024 appointed Hassan Allam Construction, the construction arm of Hassan Allam Holding and one of the premier engineering and construction companies in the region, to build AD Ports Group’s new multipurpose cargo terminal in Safaga, on Egypt’s Red Sea coast.

The Group in 2023 obtained a concession from Egypt’s Red Sea Ports Authority (RSPA) to build and operate the USD 200 million Safaga multipurpose terminal project, which will be the first internationally operated multipurpose cargo terminal in Upper Egypt.

Since 2022, AD Ports Group has invested significantly in Egypt, acquiring Transmar, a regional shipping company, TCI, a port operator and stevedoring company, and in 2024, Safina B.V., a provider of maritime agency and cargo services. AD Ports Group has also secured long-term concessions to develop and operate three cruise terminals at the Red Sea ports of Safaga, Hurghada, and Sharm El Sheikh. In addition, AD Ports Group has initialled agreements for the right to develop and operate a cruise terminal and a Ro-Ro terminal in Ain Sokhna.

The East Port Said project aligns with long-standing ties between the UAE and Egypt, and the objectives of leadership in both countries to support the commercial and industrial sectors and attract high-quality investments. This project also supports the global trend of establishing regional manufacturing centres, thus shortening and sustaining global supply chains, and enhancing connectivity with major global markets.

AD Ports Group is an integrated trade, transport, logistics, and economic zones group with a presence in more than 50 countries. Based in Abu Dhabi, the Group has a maritime fleet of 247 vessels, 34 terminals, in addition to an economic and industrial land bank of over 550 km2, the largest integrated trade, logistics, and industrial business grouping of its kind in the Middle East. Furthermore, SCZONE offers unique investment potential, making it one of the most prominent destinations on the global investment map. It is supported by a strategic geographical location, advanced infrastructure, and modern ports connected to fully integrated industrial zones. These include four industrial zones, East Port Said Industrial Zone, East Ismailia Industrial Zone, Qantara West Industrial Zone, and Sokhna Industrial Zone, which are seamlessly integrated with six seaports: East Port Said, West Port Said, Al-Arish, Sokhna, Adabiya, and Al-Tor, covering a total area of 455 square kilometers. Over the past 33 months, SCZONE has successfully attracted 274 investment projects from around the world, either through direct agreements with it or via industrial developers, with a total investment value of $8.3 billion. These projects span a wide range of sectors, reflecting strong global investor confidence in SCZONE’s viability as a strategic platform for industry, exports, and logistics services.

source/content: wam.ae (headline edited)

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ABU DHABI (U.A.E) / EGYPT

PALESTINIAN : Remembering our grandmother, Nahil Bishara: The Palestinian artist and Renaissance woman who preserved her identity through creativity

In an interview with The New Arab, Nahil Bishara’s grandchildren speak about their grandmother’s artistic legacy and her role in preserving Palestinian identity.

History is full of remarkable yet forgotten women whose stories have yet to be told.

One such case is the late Palestinian artist and designer Nahil Bishara, an active and erudite woman who sought to preserve her Palestinian identity through endless creativity despite living through constant political instability in her homeland.

“Generally, artists at the time created art to sell, but she never created art to sell. She created art to anchor her Palestinianness”

Nearly three decades after Nahil Bishara’s passing, her grandchildren are ready to share her story with the world. 

“She was always up to something artistic,” the artist’s UAE-based grandson, Assad Bishara, told The New Arab.

“She was somebody who wanted to master any kind of artistic medium she could get onto her hands. Whatever she got her hands on, she created something out of it,” Assad added.

Echoing this sentiment is his sister, Talia Bishara, a public relations specialist in culture, who fondly remembers her grandmother as a woman of taste of the Sixties era. 

“She was an elegant woman, whose hair was styled in a chignon with a million pins,” recalled Talia.

“She wanted to project an image. Her persona in society was also very important. Generally, artists at the time created art to sell, but she never created art to sell. She created art to anchor her Palestinianness.”

From Ramallah to Jerusalem 

Nahil was born in Ramallah in 1919, shortly after the end of the First World War, and spent most of her life in Jerusalem, where she nurtured her artistic talent.

In 1940, at the age of 21, the artist married Dr Assad Bishara, a renowned gynaecologist who, as Talia claimed, “a whole generation of Palestinians were born under his hands.”

According to Talia, Dr Assad was open-minded and supportive of his wife’s dreams.

As Talia puts it, “Whenever I speak about my grandmother, I have to speak about my grandfather too. He was a larger-than-life person. He wasn’t the type that restricted her to staying at home and raising a family. She did those things, but on top of that, she was exploring her artistic talent and supporting her community of Palestinian women.”

Beyond her personal achievements, Nahil also lived through important political events of the twentieth century, including the Nakba — the mass displacement of Palestinians — which led to the Israeli occupation in 1948.

‘A force and an avant-gardiste’

During this period, Nahil was offered a rare opportunity to study in England, but she refused, choosing instead to remain in her country as an act of defiance.

A woman who made history, she became the first Arab and Palestinian to study art at the Bezalel School of Arts and Crafts in Jerusalem, which had been founded as a Jewish art institution in the early 1900s.

Interestingly, at the time, Nahil was one of the few Palestinian artists to formally study art. But her education didn’t stop there.

Always striving to expand her mind and skill set, she undertook a design course by correspondence with an American university in Washington, DC. Then, in the 1960s, Nahil found herself in the Italian city of Perugia, where she studied classical painting and ceramics.

Known for always being on the move, Talia shared, “All her life, my grandmother loved art. She was a force and an avant-gardiste. She wanted to be ahead of everyone in her time.”

‘She wanted to constantly create’

To this day, Nahil is remembered as a Renaissance woman.

The educated artist spoke four languages (including Italian and French), tried her hand at stitching, woodworking, and glassblowing, hosted cultured dinners, volunteered at refugee camps, and mastered interior decoration.

Her most significant project was decorating the interior of the Young Men’s Christian Association (YMCA) building in Jerusalem, which was later converted by the Israelis into a hotel called Aelia Capitolina. Today, the hotel is known as the Legacy Hotel.

“People were visiting Jerusalem from all over the world. I think she felt a responsibility to show the world a different image of Palestine”

By using locally sourced materials, Nahil designed its chandelier (made with Palestinian refugees), crafted wooden tables, and donated around 30 of her paintings to the establishment.

“I think she saw that there was power in creation, rather than focusing on destruction. She wanted to constantly create,” explained Talia.

“People were visiting Jerusalem from all over the world. I think she felt a responsibility to show the world a different image of Palestine.”

Another momentous event in Nahil’s career occurred in 1964 when she was commissioned by the Kingdom of Jordan to create a bust of Pope Paul VI in honour of his pilgrimage to Palestine. Today, the bust sits in the Vatican.

‘Capturing everything she could to preserve Palestine’ 

Exploring Nahil’s artistic legacy, she was known for creating religious landscapes, depictions of Palestinian refugees, and floral arrangements, the latter of which her husband particularly enjoyed.

“She was concerned with the preservation of identity because it was being erased” 

Her grandchildren believe that her art carries a strong message beneath the surface, with Assad sharing, “For her, it was about capturing everything she could to preserve Palestine. She was concerned with the preservation of identity because it was being erased.”

During The New Arab’s interview, Talia showed her grandmother’s artwork of female refugees, one of whom is holding a child, painted in 1948.

Talia explained that she was literally holding a piece of history in her hands, adding, “When I watch the news today, it’s like history is repeating itself,” referring to the ongoing bombardment in Gaza.

“A portion of our civil society has been cut off and turned into refugees who live in tents, and this was something that had to be captured,” commented Assad on the theme of displacement in Nahil’s art.

Celebrating a forgotten artist

In 1997, Nahil died of cancer, yet her memory remains alive in the hearts and minds of her family and friends.

Recently, the once-forgotten Nahil has slowly been re-entering the public sphere. Thanks to Talia, Nahil’s name now appears in Google searches, and some of her artworks have found homes in public cultural institutions, such as the Barjeel Art Foundation in the UAE and Dar El Nimer in Lebanon.

According to Talia, some museums have expressed interest in acquiring Nahil’s work since she became more vocal in sharing her grandmother’s story.

For Talia, this recognition has motivated her to one day publish a catalogue of Nahil’s artworks.

“My whole life I wanted to do something for her,” Talia said.

“I didn’t study art but I know its importance and can feel it. I started connecting with art people, but it wasn’t an easy journey. It fuelled me even more after the 7 October attacks,” she added. 

“Everyone should be interested in championing these names and putting them on the stage because you need the past… The past is your present. It’s our role to preserve it.”

source/content: newarab.com (headline edited)/Rawaa Talass

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Nahil Bishara being honoured for volunteering work at Inaash Al Usra Association

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PALESTINE

IRAQ launches Cinematheque project to digitize and restore film archives

 Iraq has taken a significant step towards preserving its cinematic heritage with the launch of the Cinémathèque Iraq project, a national initiative aimed at digitizing, restoring, and protecting Iraqi film archives. The project was officially announced during an event at the French Institute in Baghdad, attended by Iraqi filmmakers, artists, and cultural figures.

Under the supervision of the Iraqi Visual Memory Committee in the Prime Minister’s Office, the project is being developed in collaboration with the French Embassy in Iraq, with the goal of reviving Iraq’s film industry and ensuring that its rich cinematic history is accessible to future generations.

A mission to restore and preserve Iraqi cinema

Project director Warith Kweish emphasized the initiative’s importance, stating:

“Cinémathèque Iraq aims to restore and preserve more than 100 Iraqi films by training local experts in film archiving and preservation. The project also includes building specialized infrastructure in Iraq for film storage and restoration, ensuring that our visual history is safeguarded using advanced digitization techniques.”

Kweish highlighted that the project’s long-term vision is to make Iraq’s cinematic heritage available to a global audience, showcasing the country’s rich film history on both Arab and international platforms.

Classic Iraqi films undergo restoration

As part of the first phase of the project, two of Iraq’s most iconic films have been selected for restoration and digitization:

“Saeed Afandi” (1957) – One of the most influential films in Iraqi cinema, has arrived in Paris for restoration using modern digital techniques. The film is expected to be screened at the Cannes Film Festival, marking the first time an Iraqi film is featured at the prestigious event.

“Aliya and Issam” – A classic romantic drama is currently undergoing restoration to prepare it for cinematic screenings in Iraq and abroad.

French Ambassador Patrick Durel, who attended the launch, expressed his enthusiasm for the project, stating:

“We are proud to collaborate with Iraq on this cultural initiative. This project is a crucial step toward preserving Iraq’s cinematic legacy and sharing its stories with the world.”

Building a strong foundation for Iraq’s film industry

Beyond archiving and restoration, Cinémathèque Iraq is envisioned as a comprehensive initiative to develop the country’s film industry. Filmmaker Jamal Amin, who has been involved in the project, explained:

“This initiative aims to establish a strong cinematic foundation in Iraq by supporting filmmakers and enhancing industry infrastructure. Our goal is to create a sustainable film ecosystem that includes training, production, and international collaboration.”

The project seeks to attract local and international investment in Iraqi cinema, providing grants for film projects and facilitating the growth of Iraq’s independent film industry.

Future expansion and international cooperation

Filmmaker Falah al-Azzawi highlighted the project’s potential for international partnerships, stating that Cinémathèque Iraq will expand its reach by:

Collaborating with global film institutions to gain expertise in film preservation.

Encouraging private-sector participation to support Iraq’s film industry.

Establishing cultural exchange programs with international filmmakers.

According to Prime Ministerial Advisor Hassan al-Sudani, the government plans to expand the initiative beyond cinema, with upcoming projects focused on restoring Iraq’s television and radio archives.

The launch event was also attended by prominent cultural figures, including the head of the Iraqi Artists’ Syndicate, Jabbar Joudi, and the director of the Department of Cinema and Theater. They praised the project as a landmark effort to protect Iraq’s artistic and cinematic history.

A new era for Iraqi cinema

With the Cinémathèque Iraq initiative, Iraq is positioning itself as a key player in regional cinema, working towards preserving its cinematic past while building a future for Iraqi filmmakers. As the country embraces digital restoration and industry development, it is opening doors for global recognition and participation in international film festivals.

Through this initiative, Iraq is not only reclaiming its cinematic heritage but also laying the groundwork for a thriving film industry that can compete on the global stage.

source/content: iraqinews.com (headline edited)

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Cinémathèque Iraq Initiative Pannel Discussion

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IRAQ

OMAN signs historic agreement to establish world’s first Liquid Hydrogen Corridor to Europe

As part of the state visit of His Majesty Sultan Haitham bin Tarik to the Kingdom of the Netherlands, the Sultanate of Oman signed a historic Joint Development Agreement (JDA) to establish the world’s first commercial-scale liquid hydrogen corridor linking Oman to the Netherlands and Germany. The agreement marks a critical point in the global energy transition journey and brings Oman one step closer to becoming the leading hub for green hydrogen production and export.

The corridor will enable the export of RFNBO-compliant liquid hydrogen from Oman’s Port of Duqm to the Port of Amsterdam and key logistics hubs in Germany, including the Port of Duisburg, and onward to other European countries.

At the heart of this corridor is the world’s largest hydrogen liquefaction, storage, and export terminal to be established in the Port of Duqm. Hydrom, as the orchestrator of Oman’s green hydrogen sector, will ensure upstream production is aligned with national plans and that the project integrates seamlessly into Oman’s broader hydrogen infrastructure and policy framework. OQ, Oman’s energy transition enabler, leading the liquefaction infrastructure, will develop the hydrogen plant along with related storage and export facilities, contributing directly to the corridor’s supply capabilities and Oman’s national hydrogen targets. The centralised facility will draw from Duqm’s growing renewable hydrogen developments, leveraging the port’s strategic location as a global maritime hub and Special Economic Zone. 

The centralised liquefaction plant will be supported by revolutionary maritime transportation vessels developed by ECOLOG to ship liquid hydrogen with zero boil-off, ensuring greater efficiency and reduced losses. On the European side, the corridor will be anchored by re-gasification import terminals in the Port of Amsterdam from which the hydrogen will distributed to industrial offtakers in the Netherlands and Germany via gas pipeline networks, rail connections, and barge distribution through the Dutch canal network. 

 “Today’s landmark signing demonstrates how Oman is turning its hydrogen ambitions into concrete projects aligned with global demand and national priorities,” said H.E. Eng. Salim bin Nasser Al Aufi, Minister of Energy and Minerals and Chairman of Hydrom. “While this corridor will enable the large-scale export of Omani hydrogen to Europe, its true value lies in how it supports our broader vision of an integrated sector that advances our national objectives. From industrial diversification and infrastructure development to job creation and capacity building, we are committed to building a future-ready sector that will position Oman at the center of green hydrogen global supply chain and deliver tangible economic value for the country.”

source/content: timesofoman.com (headline edited)

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OMAN

YEMENI DUTCH : ‘Storytelling isn’t just about the narrative’: Yemeni photographer Thana Faroq on nurturing migratory grief

The New Arab sat down with Yemeni documentary photographer and storyteller Thana Faroq to discuss intentional photography, craft, and nurturing intimate narratives of displacement and resilience.

Thana Faroq is a Yemeni photographer and educator based in the Netherlands. Her photography projects, which have been supported by the Arab Documentary Fund and the Magnum Foundation among others, blend text, physicality, emotional density, and visual storytelling, to explore immigrant lives and the complexities of belonging and trauma.

The New Arab interviewed Thana Faroq on the occasion of her new book, How Shall We Greet the Sun, which follows a group of displaced young women including Faroq herself, as they negotiate their multilayered presence in the Netherlands.

“My work is mainly driven by current events and broader themes, such as intergenerational trauma and memory resilience in relation to migration and refugees”

The New Arab: You’ve completed several series and projects, including your new photo book, How Shall We Greet The Sun. How do your various projects communicate with one another? 

Thana Faroq: At the core of all my work, including How Shall We Greet The Sun, lies an exploration of women’s resilience, adaptability, and the quest for belonging. These themes are the threads weaving my projects together, creating a continuous dialogue.

A consistent focus in my projects has been on the aftermath of pivotal events, particularly in migration. I’m drawn to understanding and portraying the lingering effects, the changes, and the adaptations that individuals and communities undergo in their post-disaster homes.

My projects often converse with each other, providing different facets of a broader narrative about migration, displacement, and the aftermath of these transformative events.

It is essential to explore these events not only in terms of their immediate impact but also in the ripples they create over time. How does our survival, resilience, loss, and search for identity and belonging look like? While my earlier works might have explored the immediacy of events, more recent ones, like How Shall We Greet The Sun, dive deeper into the lasting, often nuanced, emotions and memories that remain. 

Do you feel that your work has evolved in terms of craft, technique, and vision? I saw that you have incorporated more poetry and written text recently.  

Certainly. I spent my formative years in Yemen and from the age of seventeen, my educational journey took me across the globe, in Canada, the US, and the UK, which significantly broadened my perspectives.

It’s also crucial to acknowledge the life-altering events I’ve encountered: the war in Yemen, the subsequent move from my homeland, and the pursuit of asylum in the Netherlands. These profound experiences have shaped my life and continue to influence my understanding of the world.

This, in turn, has expanded my artistic vision. I’ve become more intentional about the themes I choose to explore and the stories I wish to tell.

Over the years, I’ve continually sought to refine my craft, exploring new techniques, tools, and mediums, especially sound and moving images. I love writing and it has become part of my creative journey and output.

I can’t label my written explorations as ‘poetry’ in the traditional sense, but I do have a deep affinity for playing with words, treating them as visual elements in their own right. I don’t view them merely as ‘texts’ but as visual companions to my images.

When paired with my visuals, these words offer an additional narrative layer, adding complexity and depth to the story I’m telling.

How do you approach storytelling in your work? Stories have a beginning, a middle, and an end, but using real-life subjects means that this linear, theoretical approach might prove restrictive.

I agree with you and I don’t personally stick to the classical structure of storytelling. All my stories are rooted in real-life experiences which means I will have to challenge this conventional approach of storytelling.

I ask myself very often: does a linear progression truly capture the essence of this experience, or is a non-linear narrative more authentic? And so my starting point might differ, I might start in the middle of a story with an emotional state that sets the tone for the narrative. My approach focuses on deep research and understanding. I immerse myself in the subject matter.

This helps me understand the nuances, the emotions, and the various perspectives that exist. Though all my projects exist in a final outlet (for example, a book) the creative process is never linear. I have a lot of responsibility to stay true to the essence of my subject’s experiences and sometimes this means breaking away from traditional structures or inventing new ones.

Also, storytelling isn’t just about the narrative; it extends beyond the mere sequence of events or plot points that make up a story. It’s about conveying experiences, emotions, and messages. For me, it’s about the use of texts, imagery, and symbolism to evoke feelings and provoke thought.

Though photography is my main medium, I include sensory elements, such as sounds and texts which can elevate the story and make it more immersive, especially in installation settings. This multilayer experience is powerful. I’m deeply intentional in my approach.

Before capturing or selecting an image, I reflect on its purpose: ‘What story am I conveying? How does this differentiate from the masses? What emotions or messages am I trying to evoke? This reflection ensures that my work carries depth and isn’t merely a fleeting visual in an endless scroll.

Are you looking for that person’s specific story in your photos or rather how they symbolise something bigger, larger than their own selves?  

My work is mainly driven by current events and broader themes, such as intergenerationl trauma and memory resilience in relation to migration and refugees.

Every individual is a microcosm of the larger society they inhabit, and their stories, while personal, often resonate with universal themes. I work to make my images evoke shared experiences or emotions for a wider audience and, to a certain extent, the individual here becomes a symbol of something larger while ensuring that the individual’s story doesn’t get lost in symbolism.

Narratives that illustrate their character, resilience, culture, family ties, and personal history can help dismantle stereotypes and build a deeper understanding. This also means providing contextual cues within the composition. I write a lot during the process and these texts allow the viewers to draw connections between the personal and the universal.

“Photography, as I see it, is a shared endeavour from the research phase to execution. I prefer to refer to those I photograph as ‘collaborators’ involved every step of the way, valuing their insights and feedback. This often paves the way for deeper intimacy”

How do you nurture trust and intimacy with your subjects? Is there a story you chose not to tell?

My personal background plays a crucial role. As a woman refugee myself who has experienced the impacts of war and trauma first-hand, I share a common ground.

When I interact with my subjects, I approach them not just as a photographer, but as someone who has walked a mile in similar shoes. I don’t shy away from sharing my personal journey when appropriate, as I find that this openness can lead to mutual trust and safety.

Photography, as I see it, is a shared endeavour from the research phase to execution. I prefer to refer to those I photograph as ‘collaborators’ involved every step of the way, valuing their insights and feedback.

This often paves the way for deeper intimacy. Open communication and transparency are also pivotal. I make it a priority to be clear about how the photographs will be utilised, whether as an exhibition, a book, or any other medium, which helps bolster trust and comfort.

I approach each shoot with sensitivity, recognising and respecting the emotions and vulnerabilities of my collaborators. This journey of empathy, trust, and intimacy is complex and requires time, honesty, and sincerity.

There have been instances where I’ve chosen not to share certain stories out of respect for the privacy of those photographed.

For instance, in my recent book How Shall We Greet the Sun, there are many emotional transitions that migrant women undergo as they settle in a new place. Discussing these transitions isn’t always easy. I only choose to reveal such narratives when my collaborators are ready and confident to share them with the world.

For the young generation of aspiring artists in Yemen and elsewhere, could you share what helped launch your career and any advice you may have for others who can’t rely on institutional support and backing?

In my journey as an artist and photographer, I’ve come to understand a few key truths that I believe have been instrumental in shaping my career, especially in places like Yemen where institutional support might be sparse.

While talent is a gift, discipline and hard work are choices. Talent might get you started, but discipline will carry you through. It’s crucial to stay true to your artistic vision.

Instead of creating what you think others might want to see, focus on what you passionately believe needs to exist in the world. Also, the art world and photography, like any other field, constantly evolve.

Stay open-minded and eager to learn from others, peers, mentors, friends, and family… every interaction can offer a fresh perspective that can enrich your work.

Farah Abdessamad is a New York City-based essayist/critic, from France and Tunisia / Follow her on Twitter: @farashstlouis

source/content: newarab.com (headline edited)

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NETHERLANDS / YEMEN

SAUDI ARABIA : Dr. Mahmoud Aljurf, First Non-US Physician Wins Weinberger Prize for Hematology and Stem Cell Research

Director of the Adult Stem Cell Transplantation and Cellular Therapy Program at the King Faisal Specialist Hospital & Research Centre (KFSHRC) Dr. Mahmoud Aljurf, M.D., MACP, has been awarded the Steven E. Weinberger Award for Physician Executives/Leaders by the American College of Physicians (ACP), the largest medical specialty organization in the US.


According to a recent KFSHRC press release, ‏Dr. Aljurf is the first recipient from outside the United States, underscoring his global impact on hematopoietic stem cell transplantation and oncology. He was honored at the ACP Convocation Ceremony held at the Ernest N. Morial Convention Center in New Orleans, Louisiana, during ACP’s Internal Medicine Meeting 2025.


‏At KFSHRC, Dr. Aljurf has played a key role in developing one of the world’s largest and most recognized hematopoietic stem cell transplantation programs, significantly improving treatment options for patients with hematologic malignancies. His leadership has helped expand access to novel transplant therapies and elevate global standards in hematology and oncology.


‏In addition to his clinical contributions, Dr. Aljurf is widely recognized for his research and editorial leadership. He served as the editor-in-chief of the Annals of Saudi Medicine.

He was the founding editor-in-chief of the Elsevier Journal of Hematology/Oncology and Stem Cell Therapy.

Currently, He serves as an editorial board member of several high-impact field-related scientific journals, including his role on the international advisory board of The Lancet Hematology. He has published nearly 500 scientific contributions in high-impact journals. He has also served as the editor of five books, primarily focused on building units and programs for cancer care and hematopoietic stem cell transplantation.


His contribution to bone marrow, hematopoietic stem cell transplantation, and cellular therapy was recognized by his election as the Worldwide Network for Blood and Marrow Transplantation (WBMT) president in 2023. He is the founding member and scientific director of the Eastern Mediterranean Blood and Marrow Transplantation (EMBMT) Group, affiliated with the World Health Organization’s Eastern Mediterranean Regional Office (WHO/EMRO).


‏The release also highlighted that Dr. Aljurf was the recipient of several international awards, including the Florence A. Carter Leukemia Research Award of the American Medical Association (AMA) Education and Research Foundation, the Center for International Blood and Marrow Transplant Research (CIBMTR) Annual Distinguished Service Award, the King Hussein Cancer Foundation Lifetime Achievement Award, and the Lifetime Achievement Award from the Research Development and Innovation Authority (RDIA).

source/content: spa.gov.sa (headline edited)

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SAUDI ARABIA

PALESTINIAN Samar Abu Elouf Wins World Press Photo of the Year

The award-winning image captures nine-year-old Mahmoud Ajjour, who lost both arms in an Israeli attack on Gaza, and is now learning to adapt to life in Qatar.

A photograph of nine-year-old Mahmoud Ajjour, a Palestinian child injured in an Israeli airstrike on Gaza City in March 2024, has been named World Press Photo of the Year by the World Press Photo Foundation. The image, taken by Palestinian photojournalist Samar Abu Elouf for The New York Times, offers a harrowing glimpse into the long-term impact of genocide on Palestinian children.

The photograph shows Mahmoud in a clinical setting in Doha, Qatar, where he was evacuated for medical care after losing one arm and suffering severe injuries to the other during an Israeli airstrike. The explosion struck after Mahmoud reportedly turned back to urge others to flee. Since undergoing treatment, he has begun to learn how to use his feet for basic tasks such as writing, playing games on his phone, and opening doors. He still requires support for daily activities such as eating and dressing. His aspiration, the photo caption notes, is simple: to receive prosthetic arms and live as any other child would.

The World Press Photo jury praised the image for its emotional weight and clarity, describing it as “a portrait that speaks to the long-term cost of war, the silences that perpetuate violence, and the role of journalism in exposing these realities.” The jury highlighted how the photo doesn’t flinch from documenting the physical toll of conflict while also humanising the statistics that often dominate war reporting.

The broader context of the photograph adds to its urgency. According to the United Nations Relief and Works Agency (UNRWA), by the end of 2024, Gaza had more child amputees per capita than any other place in the world. The World Health Organization (WHO) reported that by March 2025, over 7,000 injured Palestinians had been evacuated from Gaza for medical treatment, while more than 11,000 critically wounded individuals remained in the Strip, awaiting transfer. Qatar, which has developed its healthcare system in recent years, played a central role in facilitating these evacuations, alongside Egypt, Jordan, and Turkey.

The winning photo forms part of the annual World Press Photo Contest, which celebrates outstanding photojournalism and documentary photography from around the globe. Two other Arab photojournalists were recognised during the World Press Photo Contest: Palestinian photojournalist Ali Jadallah was recognized for his stark documentation of the aftermath of Israel’s invasion of Gaza, while Sudanese photographer, Mosab Abushama offers a jarring juxtaposition of violence and celebration with his photo of a groom at his wedding with a rifle in the background.

source/content: cairoscene.com (headline edited)

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PALESTINE

MOROCCAN Iconic Artist Naima Samih Dies at 71

The celebrated vocalist started her singing career in the 1970s, contributing to Morocco’s musical heritage.

Renowned Moroccan singer Naima Samih died early Saturday morning at the age of 71 following a prolonged period of illness.

The deceased left  behind a significant legacy in Moroccan musical culture.

Born in Casablanca in 1954, Samih earned a prestigious position and popularity in Morocco and the Arab world because of her sweet voice and delicate sensibility. 

While Moroccans mourn the death of the iconic singer, fellow Moroccan artists have paid tribute to the musical icon.

Latifa Raafat wrote on her Facebook, “We share in mourning the departure of the lady of Moroccan music, the dear one who will never be forgotten, Lalla Naima Samih.

The celebrated vocalist started her singing career in the 1970s, contributing to the musical heritage of the country.

Samih’s true breakthrough came through talent discovery programs broadcast on Moroccan radio and television. Her first appearance was on “Lucky Thursday” (Khamis Al-Hazz), followed by her participation in the competition program “Talents” (Mawahib).

The artist’s journey to becoming a musical icon wasn’t without obstacles. Her father was initially reluctant to allow her to enter the world of singing, as was common for most fathers during that era.

He only consented after the intervention of influential media figures. But he insisted that his daughter should only perform modern songs and be selective in choosing quality poets and composers.

The young artist quickly rose to prominence in Morocco’s music scene, establishing herself as a leading figure alongside Abdelhadi Belkhayat and Abdelouahab Doukkali.

Through her musical and poetic choices, Samih developed a unique identity that resonated with modern song audiences in Morocco.

She collaborated with composers known for their dedication to incorporating traditional Moroccan rhythms into modern templates (including Abdelkader Rachdi, Abdelkader Wahbi, and Ahmed Alaoui), as well as with prominent zajal poets who adapted local dialects to achieve sophisticated expressiveness (such as Ahmed Tayeb Alj and Ali Haddani).

Among the late artist’s most important musical works were the songs “Jari Ya Jari” (My Neighbor, Oh My Neighbor), “Yak A Jarhi” (Oh My Wound), and “Amri Lillah” (My Life is for God).

These beloved classics helped establish her as a pillar of Moroccan musical heritage and left a stamp in the souls of her era’s Moroccans.


In the early 1970s, Samih married Moroccan cycling champion Mustafa Belkayed. The couple had one son named Shams.

source/content: moroccoworldnews.com (headline edited)

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MOROCCO

EGYPTIAN actor Youssef Omar to join cast of British-Chinese thriller film Shashou

Egyptian actor Youssef Omar will join the cast of the British-Chinese production Shashou, set in Hong Kong.

Youssef Omar is a rising Egyptian actor known for his versatile roles in film and TV series, including, most recently in Ramadan, TV series A Woman’s Youth (Shabab Emraa, 2025), where he co-starred opposite Ghada Abdel Razek.

He gained widespread recognition with his breakthrough in the 2018 drama Rahim (dir. Mohamed Salama) and has since starred in popular series like Sittat Bayt Al-Maadi (Women’s Maadi House, 2021), where he played Timo El-Badry (Timo), acting alongside Mira El-Helbawi, Tara Emad, and Enjy Kiwan.

Both series were directed by Mohamed Salama, with the latter catapulting Omar to fame.

Youssef has also successfully transitioned to the silver screen in high-grossing movies such as Awlad Hareem Kareem (2023) and El-Hareefa (2024), starring Nour Ehab, Khaled El-Zahaby, and Bayoumi Fouad.

In 2024, Omar starred in Meen Yasadaq (Who Would Believe?), a film directed by Zena Ashraf Abdel Baky. The film was screened during the 45th Cairo International Film Festival, further solidifying Omar’s status as an up-and-coming talent to watch out for.

Produced and directed by UK producer, screenwriter, and filmmaker Bizhan Tong, Shashou offers Omar his first international role.

Alaa Karkouti and Maher Diab, co-founders of MAD Solutions, which distributes the film in the MENA region, described the film as a thriller that is “an Arab spin on the packaging strategy that Hollywood has long deployed.”

Shashou is set in the shady world of ex-special forces, where outcasts Kelly Frost, Rachel Chan, and Inferno unite to stop a billionaire’s plot to destabilize Hong Kong.

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

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EGYPT

EGYPT: Mohamed Tarek Named Artistic Director of Cairo Int’l Film Festival

Festival president Hussein Fahmy announced the appointment during the Berlin International Film Festival.

The Cairo International Film Festival has named Mohamed Tarek as its new artistic director, following his tenure as deputy artistic director. Festival president Hussein Fahmy announced the appointment during the Berlin International Film Festival.

Since its inception in 1976, the Cairo International Film Festival has been a cornerstone of the region’s cinematic landscape, held annually at the Cairo Opera House.

Tarek’s career spans film programming, festival consultancy, and jury roles at major international festivals. A graduate of the Locarno Industry Academy in Beirut and the Durban Talents programme, he has worked with CIFF, Dublin International Film Festival, El Gouna Film Festival, and Manassat Film Festival. His expertise also extends to projects with El Nahda Association, MedFest Egypt, and the Goethe Institute Cairo.

source/content: scenenow.com (headline edited)

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EGYPT