Arabs & Arabian Records Aggregator. Chronicler. Milestones of the 25 Countries of the Arabic Speaking World (official / co-official). AGCC. MENA. Global. Ist's to Top 10's. Records. Read & Enjoy./ www.arabianrecords.org
Ashwag Mukhtar is working as a visiting researcher at the National Cancer Research Centre thanks to the Ellas Investigan programme organised by Fundación Mujeres por África
“It will be the most important experience of my life, I am now part of CNIO,” says Sudanese scientist Ashwag Mukhtar, assistant professor with the Department of Histopathology and Cytology at the University of Alneelain (Khartoum), referring to her time at the National Cancer Research Centre (CNIO), where she has been a visiting researcher linked to the Genetic and Molecular Epidemiology Group of this centre since last December.
Ashwag Mohammed Mukhtar is one of the African scientists selected by Fundación Mujeres por África to take part in its Ellas Investigan programme, which promotes stays in Spain for senior African women researchers from affiliated scientific institutes. The stays are for six months and allow these researchers to carry out, in collaboration with these institutes, projects previously selected by the programme’s Scientific Committee. In this case, funding was provided by Exolum.
The Sudanese scientist aims to compare bladder cancer in Spain and North African countries. She will compare and contrast the environmental factors causing this cancer and genetic diversities in order to provide important findings and data regarding this type of cancer and its treatments.
Holder of a PhD from the University of Alneelain, Ashwag Mohammed Mukhtar explains what her work will entail during her time in Spain: “On the one hand, I am conducting a meta-analysis, focusing on reanalysing the treatment of bladder cancer, genetic mutation, and mortality, and comparing it with data from the Spanish Bladder Cancer Foundation. On the other hand, I intend to determine the expression of certain genes that can predict the type of chemotherapy. We are doing this on Sudanese tissue samples and comparing our findings with Spanish tissue samples.”
As well as science, her other passions are music, meditation, and nature walks, as she explains in this video. In it, she gives recommendations about the Sudanese music she likes most, including the band AGD Aljalad.“Having the opportunity to work in another country is a very enriching experience, both professionally and personally,” says the scientist.
About Ellas Investigan
Ellas Investigan (Women Researching) is the most important programme promoted by Fundación Mujeres por África in the scientific field and has achieved spectacular growth. Since it was launched in 2014 with five associated research centres, it has grown to more than 20 affiliated centres and has launched seven editions.
The centres brought into this programme in the last edition are the Barcelona Institute of Material Science (ICMAB); IIS Biodonostia; and INCLIVA, Research Institute of the Clinical Hospital in Valencia. The company Abertis has also been brought on board as a sponsor, which will finance the chosen researcher’s stay at the National Biotechnology Centre on Biodiversity Issues. So far more than a hundred African women scientists have been involved in Ellas Investigan.
About CNIO
CNIO is a Spanish institution dedicated to the research, diagnosis, and treatment of cancer. CNIO has obtained accreditation as a Severo Ochoa Centre of Excellence for the third time in a row. It is ranked seventh among the world’s best cancer research centres (according to the Scimago report; Nature Index) and has been named Europe’s leading cancer research centre.
More than 450 scientists work at CNIO to transfer their results quickly and efficiently to Spain’s National Health System and the pharmaceutical and biotechnology market. In recent years, the strand of research devoted to metastasis – responsible for 90% of cancer deaths worldwide – has been strengthened with the incorporation of several fully dedicated research groups. Interdisciplinarity has also been boosted by recruiting computer experts to gain a more in-depth view of the complexity of cancer and to propose new therapeutic hypotheses.
One of the goals at CNIO is to bring science closer to society through initiatives such as CNIO Arte , a project that brings together scientists and artists to create new works of art around scientific research, and CNIO Friends, a philanthropic platform through which any person, company or association can support cancer research carried out at the Centre, and through which a CNIO Friends International Contracts Programme has been launched to attract research talent.
source/content: cnio.es (headline edited)
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Ashwag Mukhtar. / Laura M. Lombardía. CNIO
Ashwag Mukhtar. Visiting researcher from Sudan. Women for Africa Foundation / source: youtube.com / canalcnio
Born in Saudi Arabia and the daughter of a Sudanese father and Egyptian mother, Marwa Zein is a woman that truly embodies multiple identities, and for many it is this that perhaps shines through the most in her work. Even when it comes to her roles, that diversity and multiplicity are frontline and center. An award-winning director, scriptwriter, film producer, women’s rights activist, and founder of ORE Production, a Khartoum-based film production company, Zein is inspiring in every way.
Before setting off on a journey to become a filmmaker, Zein enrolled in Cairo University as a chemical engineering student to please her parents. While studying, she worked and saved up to have the means to leave her degree behind three years later, instead study cinema at the Academy of Arts in Cairo, Egypt in 2005. In 2009, she graduated with honors and moved to Germany to continue her film studies. Her graduation project, “A game,” was an official selection of more dozens of international festivals across the globe and was translated into five languages.
From her inspiring start into the world of film and her academic achievements, Zein moved on to bigger goals, nabbing awards for her short film “One Week, Two Days,” which premiered at the 2016 Dubai International Film Festival. In 2019, she was selected as one of the seven young filmmakers from across to attend the Cannes Film Festival 2019 by the International Emerging Film Talent Association (IEFTA).
Perhaps her most renowned recent work is “Khartoum Offside,” which was awarded Best Documentary for 2019 at the 15th Africa Movie Academy Awards AMAA 2019. The documentary tells the story of women footballers whose dream it is to play for Sudan at a Women’s World Cup hosted by their home country, revealing the challenging social, economic, and political situations they face and inspiring audiences with their tale.
Speaking to Women and Hollywood in 2019, Zein had some inspiring words of advice for other female filmmakers, saying, “There’s no competition. Everyone is unique, and we can’t tell the same story even we have the same idea. You are special, different, and inspiring, and you lead the way for the people coming after you.”
“Take care of your mental, physical, and financial situations. It’s a very challenging and demanding business, so don’t lose your soul in the process. Stay true to who you are, and you will reach the horizon,” she continued.
A group of academics have spent close to a decade scanning historic documents and images and making them available online.
Sudanese academic Badreldin Elhag Musa followed the news with alarm when Al Qaeda-affiliated fighters set fire to two libraries containing historic documents in the Malian city of Timbuktu in 2013.
While local residents managed to smuggle many manuscripts to safety in advance, a Unesco team later found that some 4,200 of the documents stored in the libraries were either destroyed or stolen – about a tenth of its archives .
At the time, Elhag Musa already had concerns about the preservation of rare documents in his country. The events in Timbuktu accelerated the sense of urgency for the scholar, a member of the Sudanese Association for Archiving Knowledge (Saak).
The tragic episode served as a warning that highlighted the plight of cultural heritage artefacts in areas of actual or potential conflict – just like Sudan.
Elhag Musa set a plan in motion, connecting with King’s College London Professor Marilyn Deegan, who has over 20 years of experience in digital humanities. His goal: to find ways to safeguard as much of Sudan’s cultural heritage as possible.
A decade later, the result is Sudan Memory, a project that seeks to preserve and promote valuable cultural materials about Sudan through digitisation. The online platform aims to ensure current and future generations can benefit from the country’s rich heritage.
In total, more than 200 people and over 40 institutions have been involved in the project, which offers 60,000 digitised documents.
The results are invaluable: The materials range from manuscripts, photographs, books and films, covering a myriad of topics, as well as jewellery, traditional dresses, and artefacts from different regions spanning around 6,000 years of history.
“We never expected such success when we started,” Elhag Musa told Middle East Eye.
His colleague Deegan notes, “We’ve digitised… well over 100.000 images,” adding, “We thought we would be able to do millions…but I think we did do a lot.”
Sourcing collections
One of the reasons that prompted Elhag Musa and his colleague at Saak to protect Sudan’s cultural heritage with such urgency was that many of the country’s richest archives, particularly private collections, are in danger.
The reasons are manifold, ranging from extreme weather and lack of appropriate storage to neglect and conflict.
Many valuable collections, whether public or private, are also locked away and not easily accessible to the public.
Yet at the same time, many of Sudan’s archives and collections were in good enough condition to undertake a project like Sudan Memory, as Deegan saw for herself on her first visit to Khartoum, Omdurman and Atbara in May 2013.
“Archives in Sudan are not (like) the British Library, but they are not too bad,” she said.
Although its origins go back a decade, the Sudan Memory team was only able to start digitising documents in 2018, some time after securing funds.
At first, the focus was on large institutions; one of the entities that contributed the most was the National Records Office (NRO), which serves as Sudan’s national archives.
The NRO holds more than 30 million documents, some dating as far back as 1504 CE, and they are currently classified into around 300 collections.
Today, some of these materials can be found in the Sudan Memory archive, including early issues of The Sudan Times newspaper, as well as old magazines, rare books and precious photographs.
Another major collection included in the Sudan Memory project was provided by Al Rashid Studio, the largest private photo studio in the country.
Located in the city of Atbara, once the centre of Sudan’s railway industry and regarded as the cradle of its trade union and communist movements, the studio holds over four million negatives dating back to the 1940s.
Through these negatives, the Rashid family has captured the cosmopolitanism that once defined Atbara, as well as some of the changes Sudan has undergone in recent decades.
“What’s interesting about [it] is looking at the early images and seeing over time how things like fashion changed, and how that’s related to politics,” Deegan noted.
A turbulent process
Building the Sudan Memory archive was not an easy task, primarily as a result of political circumstances in the country.
Training could not start until scanners were imported into the country and these were not installed until July 2018, as the team had to navigate sanctions still in place at the time – a period when former president, Omar al-Bashir, was still in charge.
These restrictions also affected the purchase of other equipment and the transfer of funds to teams within Sudan.
Additionally, in the lead-up to the revolution in Sudan in late 2018 and the period until the formation of the now-ousted transitional government, there was little stability within the country’s institutions with many regularly closing, thereby disrupting the project.
And just as the situation began to settle down and work restarted, the Covid-19 pandemic hit in early 2020, once again putting a hold on scanning in local institutions.
Throughout this turbulent process the project stayed going thanks to the efforts of Katharina von Schroeder, Sudan Memory’s project manager in Khartoum.
“Just like many other projects, Covid times were difficult,” Elhag Musa said.
“But for us the passion was great, and as Marilyn continued to work on targeting international sources [of funding], we went on to focus on training talented team members on digitisation skills,” he added.
As if all this was not enough, the military coup of October 2021, which derailed the fragile transition in the country, further aggravated political instability in Sudan and delayed the project’s launch in Khartoum indefinitely.
“It has just been so turbulent over the last few years,” Katherine Ashley, another of Sudan Memory’s project managers, told MEE.
“But people, if anything, have become as or even more generous and excited to share their collections and do things about it,” she noted.
Private collections
About halfway through the project, the Sudan Memory team decided to expand beyond the country’s major institutions and dive into private collections as well.
And that’s when Ashley, who has extensive experience in the field, came in.
“The big collections are amazing, but the ones that people feel so passionate about are (ones) hidden away in people’s homes; private collections and stories,” she said.
“This is what (made me realise) how important it is to try and make some effort…on Sudan and record some of these oral histories and stories,” Ashley added.
One such preserved collection is that of Sadia el-Salahi , a Sudanese artist and designer born in 1941 in Omdurman and famous for her pioneering work on Sudanese folklore and traditional costumes.
In 1968, Salahi joined the Sudanese Ministry of Culture and became the first Sudanese national to hold the position of head costume designer, according to Sudan Memory.
“She sadly passed away…but we were lucky to record what was left of her collection and also do a video recording about her career and life story,” Ashley said of Salahi, who died in 2022.
Another jewel in the crown of the Sudan Memory project is an interactive 3D reconstruction of Suakin Island , on the west coast of the Red Sea, as it was in 1900.
The portal also features some important documentation about the history of the island, and links to digitised content about it.
To a great extent, the reconstruction of Suakin was possible thanks to Mohamed Nour, a local Sudanese citizen, and his family, who dedicated their life to building a museum of the island’s history through photographs, artefacts and other documents.
“It’s a lifelong work that they are continuing,” Ashley said.
Remembering Sudan’s Jewish community
A significant part of the archive created by Sudan Memory does not come from within the country but by a process they call digital repatriation: content about Sudan acquired from institutions and individuals abroad.
“We are bringing Sudanese materials back into the country,” Deegan noted, adding: “We are pushing Sudanese materials out to the world, but also bringing stuff back in.”
One example is the Tales of Jewish Sudan archive , a collection of stories, photos and recipes from Sudan’s Jewish community compiled by historian Daisy Abboudi, a descendant of the Sudanese-Jewish community born in the UK.
The history of Sudan’s Jews is difficult to trace, but Abboudi has documented that from the early 20th century onwards, Jews from all over the Middle East and North Africa began to arrive after the building of a rail connection to Cairo by the British army.
At its peak in 1950s, Sudan’s Jewish community numbered approximately 250 families, mainly concentrated in Khartoum, Omdurman and Wad Madani. And its members were predominantly merchants involved in the textiles, silks and Arabic gum trades.
“The community was very active, they had a club, a synagogue… It was an equipped, functioning community,” Abboudi told MEE.
“It was small, but I think that that made it even more vibrant and active,” she added.
However, from the mid-20th century onwards, and for reasons ranging from the establishment of the State of Israel to the rise in antisemitic incidents and rhetoric in Sudan, the Jewish community began to shrink amid successive waves of emigration.
According to Abboudi, by the end of 1973 following the Arab-Israeli war, the last remaining Jews left Sudan.
To prevent the memory of the once vibrant Jewish community in Sudan from fading, Abboudi started Tales of Jewish Sudan in 2015 with the aim of preserving its history and stories before it was too late – a goal now shared with Sudan Memory.
“Living in the more Ashkenazi-dominant British community, I felt that my history was neglected, ignored or somehow not present. And that’s why I started,” she said.
“But also for my generation and the generations to come, because I realised that as soon as those people are no longer here, that community will be forgotten,” she explained further.
Another curious example of repatriated Sudanese materials comes from Air Tickets History , a collection belonging to Greek collector, Gklavas Athanasios, that today holds over 4,500 airline tickets and boarding passes from more than 1,000 airlines spanning six continents.
The extensive collection includes several documents dated from 1960 to 1983 from Sudanese airlines, such as Sudan Airways, the national airline; also one of the first airlines in Africa, Mid Airlines, a charter airline established in Khartoum in 2002, and Marsland Aviation.
“I started collecting tickets when I was eight and had my first flight with Olympic Airways, from Athens to Samos Island,” Athanasios told MEE. “But about the Sudanese tickets I unfortunately don’t have much information, as I bought them on Ebay many years ago.”
All in all, the compilation of these documents gathered from major institutions and private collections both inside and outside Sudan helps to build up a complex picture of the memory of a nation.
“We were optimistic, but we didn’t expect at all that we would succeed in the organisation of such magnificent collaboration,” Elhag Musa said.
And the process that has been followed also serves to pave the way to go further.
“What we do have at least is a much broader understanding of what is there and what else could be done in the future,” Ashley said.
The Khartoum-based photographer’s work has become ‘a nostalgic collection’ of what his city looked like before the current outbreak of violence .
When the Khartoum-based Sudanese photographer Ala Kheir was approached to feature in “Reframing Neglect,” a group show in New York presenting works by African photographers, he had no idea that the exhibition would be staged as his country was plunged into another violent conflict.
Sudan has been in the throes of political turmoil since authoritarian leader Omar Al-Bashir was overthrown in 2019, but the explosion of violence on April 15 between Sudan’s two warring generals Abdel Fattah Al-Burhan of the Sudanese Armed Forces and Mohamed Hamdan Dagalo’s Rapid Support Forces took the world by surprise, including Kheir.
“Reframing Neglect,” curated by contemporary artist and activist Aïda Muluneh, is focused not on warfare, but on the need to end what are termed “neglected tropical diseases,” which included leprosy, sleeping sickness and river blindness. It showcases works by Kheir and photographers from six other countries in Africa — Somalia, Ethiopia, Kenya, Mali, Nigeria, Sudan and Ethiopia.
Kheir’s works in the exhibition were shot in the Stables Industrial Area, a neighborhood on the outskirts of Khartoum where families fleeing unstable regions have made makeshift homes. It’s also where the majority of the people in Sudan living with NTDs reside. But now, with the violence that has transformed Khartoum into a constant battleground, even they have been forced to find refuge elsewhere.
Kheir’s work subtly addresses Khartoum’s complexity, as well as the socio-economic issues that shape it, or at least shaped it before the current violence.
“I work in a way that feels more like seeing,” Kheir explains from his home in Khartoum. “This city has been my playground for so long. Even though I am from Darfur, Khartoum is where most of my work is. Through my photography I try to document and engage with the city and understand it better.
“With my camera I’ve been to all parts of the city, all parts of the community,” he adds. “I’ve been photographing projects in the outskirts — in the poor, relatively new neighborhoods — and in the center of the city, where the action is.”
Through photography, Kheir strives to raise awareness of the community of artists whose lives are now at risk in Khartoum.
“I try to use photography with the aim of self-reflection, while also enjoying the process and the difficulty of making a simple photograph that delivers a message,” he says.
Kheir runs The Other Vision, a platform that focuses on photography education and training in Sudan, through which he assists young photographers and connects Sudanese artists to the rest of Africa, as well as engaging with the public to address social issues to bring about change in Sudan.
“When I look at my photography now and think about the war that is currently taking place in Khartoum, my work has become very important to me,” he tells Arab News. “I keep looking at the photographs I took of the city; they have become a nostalgic collection of what it used to look like.
“Since I cannot photograph the city now like I did before, I am reviewing the work I have done over the past 10 years and I want to publish a book with these images,” he continues. “Khartoum and Sudan will not be the same after this war.”
source/content: arabnews.com (headline edited)
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‘Home is Here,’ one of Sudanese photographer Ala Kheir’s images from the New York group exhibition ‘Reframing Neglected.’ (Supplied)
How do you use tech/data to tackle important issues? Tell us about your work.
Data, specifically qualitative research methods, is important to apply a systems lens of work as a means to connect the dots between the various solutions I’ve been mapping. Looking at a portfolio of solutions rather than stand-alone silver bullets creates evidence to better understand complex problems that are in nature wicked and interlinked. This method of starting with the solution and portfolio of solutions becomes a proxy indicator of a need and blind spot in a system or system of systems and/or a signal of change taking place.
I work with ordinary people who create extraordinary things to adapt to change quickly. My work is then to analyse that to share with the UNDP network and government counterparts for better decision making.
Solutions mapping is like pointillism. A series of dots may not make much sense but when it begins to connect and harmonise, you step back and see a picture. An example of that was during Covid-19 and how micro enterprises were forced to figure out ways to continue work under limitations of social and safe distancing. Observing a pattern of cashless solutions and connecting these with similar solutions both in Sudan, regionally and across the globe underlined the need but also an accelerated shift to a cashless economy as result of this new normal.
What was the most impactful project you worked on in the past year?
One of the ways to support a thriving local innovation ecosystem is one that facilitates this very ecosystem to see itself and its diverse and often unusual stakeholders.
If I were to liken the current ecosystem in Sudan, I would describe it as a map of islands with few bridges in between. When you start to ‘see’ solutions, as a mapper, you can see in all the ways they connect, align and interlink in this bigger and collective effort to create impact.
Everywhere I go, I cannot stop emphasising the ripple effect of the Solutions Fair held in early 2020. Whereby for the first time, stakeholders from different groups spanning academia, private and public sectors where in the same giant hall as Giulio Quaggiotto, Head the UNDP Strategic Innovations Unit has coined, the development mutants. A social experiment of sorts, of what takes place when the traditional development actors meet the unusual and unexpected.
The organic connections, knowledge sharing and diffusion that begin to form from which a community of solution holders emerged. With the first Covid-19 case reported in March and subsequent lockdown, it was this very community network that I was able to tap into to understand how they were responding, pivoting with Covid-19. The socio-economic impact but also the incredible resilience to reconfigure and do things differently under this immense and limiting challenge. How this network was connecting, working and collaborating with other networks. From university labs shifting to production of hand-sanitizers for students to distribute for free in the urban centres, to a social enterprise supporting highly affected street tailors into an organised collective to mass produce re-usable masks. The power of connections and compound impact that bridge the usual with the unusual.
What are some innovations from the pandemic that have caught your eye?
Indigenous Sound Bites. This completely grassroot effort was carried out by Dr. Hiba Abdelrahim of Sudan Unity Networking who first noticed the glaring gap in inclusive Covid-19 communication available in local and indigenous languages. She started to reach out to a network of Sudanese polyglots on Facebook to record sound bites of Covid-19 WHO guidelines and safety precautions. Through networks and network of networks on social media from Telegram, Whatsapp, Youtube, a collective distribution approach was used to share and reshare these sound bites to ensure this reaches volunteers on the ground in rural and hard to reach areas to share this vital and critical health information.
What is one unexpected learning from 2020?
2020 was a year of personal growth and learning forced by being cut off from the usual pace and external stimuli of everyday life and way of work. Facing a collective and shared challenge caused by the Covid-19 pandemic, the uncertainty of this new reality and what that means at a personal and professional level created a space to pause for much needed reflection on what really matters. Family and well-being, particularly mental well-being, and health have always been important. But what was unexpected was how much that really is a priority at the core of the choices I make and should and ought to be making.
In a way, the great re-set of this year was a wider ripple effect for social solidarity which emphasised the need for better support for care work and care economies. An integral support system that was consistently undervalued but came to the forefront with the pandemic in the welfare of, for and by communities.
What are your priorities for 2021?
Balance. Solutions mapping, and I am biased for obvious reasons, is an important protocol that introduces mixed research methods and approaches to development practice. The importance of constant and consistent engagement with the systems outside the work of UNDP, and connecting to those closest to the problem in the context of development challenges, allows solutions mappers to be a bridge to share, diffuse and shine light on context responsive knowledge with decision makers at UNDP and government counterparts that may influence programming, policy or inform better partnerships and possibly open unexpected pipelines in the market.
All the while, it is imperative to embed the practice and protocols of solutions mapping within UNDP thereby creating movements and networks of UNDP mappers in the country office to re-learn to see, observe and engage with ecosystems through this new lens. This is akin to having one foot out with one foot in, a balancing act to ensure that I am not leaning heavily on one foot at the expense of the other.
What tool or technique particularly interests you for 2021?
Ethnographic cartography (EC) is a method I am particularly keen to explore its possible applications in the context of Indigenous Knowledge Systems (IKS) in Sudan. EC inspired by Everyday Geographies and Personal Geographies, is a multi-sensory approach combining two activities.
The first, MyWalks is an activity that is intended to reawaken the senses to look for the unexpected. A simple premise of walking through a familiar route, re-walked or a new route walked for the first time. The experience of the journey starting at A is more important by engaging the senses and observing rather than reaching the destination at B.
The second, MessyMaps is the technique to record this multi-sensory experience through images, sound and notes. The outcome of this supports better understanding and engagement of the ecosystem in which I am mapping solutions and how these solutions exist, interlink and engage with the environment it operates out of and with.
I first came across an application of this method through the amazing work “Other Maps” undertaken by a fellow Solution Mapper, Paulina Jimenez at UNDP Ecuador. In academia, this emerging method was used to produce qualitative GIS representations of resilience. In this use case, Dr Faith Evans incorporated emotion, social connections and experience to present an experimental map visualisation of informal settlements in Kenya.
Which other countries inspire you and why?
India. As I onboarded to the Accelerator Lab, the cohort of AccLab mappers had the unique opportunity to get first-hand knowledge and support from the Accelerator Lab Network knowledge partner, the Honey Bee Network and GIAN. Virtual classes led by Prof Anil Gupta and Dr Animika Dey on mapping inclusive grassroots innovation was an eye opener to the work led by India over the last two decades to recognise, incorporate and support grassroots innovations in the National Innovation Policy. As one publication describes it, propositioning grassroots innovations in the S&T policies of India created a space for “the innovation agenda [to] shift from presenting grassroots innovation as a divider of the national innovation wealth to a provider of it”. (1)
The kind of effort India has spearheaded is one I would hope can be galvanised for Sudan to learn from and emulate.
Who do you admire? Who is your hero?
My grandfather. A food scientist, teacher, researcher, former FAO and fierce advocate for R&D turned entrepreneur and thought leader in the F&B industry of Sudan.
I remember once asking him why he did not invest in better advertising for his products or fancier packaging. His response was that his responsibility and priority is to ensure accessibility for the everyday Sudanese informed by the forefront of sustainable food production research. In which the everyday consumer not only benefits from the product itself but is able to re-use and repurpose the packaging for domestic needs.
The value system he has abided by until his retirement almost a decade ago is one I admire and have grown to appreciate even more as a development practitioner. The principles he went by still ring true and relevant in industrial innovation and sustainable consumption and production today.
(1) Jain, A., & Verloop, J. (2012). Repositioning grassroots innovation in India’s S&T policy: From divider to provider. Current Science, 103(3), 282-285. Retrieved March 16, 2021, from http://www.jstor.org/stable/24085031
CNN has promoted senior international correspondent Nima Elbagir to the role of chief international investigative correspondent.
A London-based Sudanese journalist, Elbagir has broken countless stories for CNN from war and crisis zones, reporting on human rights abuses in places like Ethiopia’s Tigray region, Libya, Democratic Republic of the Congo, Nigeria and Yemen. In 2017, her undercover reporting exposed migrants being sold at slave auctions in Libya and prompted responses from the government and the United Nations.
Elbagir has scooped up numerous awards in her career, including the Royal Television Society’s Television Journalist of the Year Award in 2020, a duPoint Award, a Polk Award in 2017, the International Center for Journalists 2018 Excellence in International Reporting Award, the 2018 IWMF Courage in Journalism Award, a 2019 Gracie Award, and the LA Press Club’s 2019 Daniel Pearl Award.
Elbagir joined CNN in Feb. 2011 as a full-time reporter based at network’s Johannesburg bureau, before later moving to Nairobi, Kenya. Prior to joining CNN as a freelancer in 2010, Elbagir worked in various capacities for the UK’s Channel 4 for a number of years from 2005: she freelanced from Kabul, Afghanistan for Channel 4 News; reported for the Unreported World documentary strand; and both reported and presented for Channel 4 News and More4 News.
source/content: adweek.com/TVNewser/CNN-Revolving Door (headline edited)
Rashid Diab was the first in a stream of brilliant Sudanese artists who came flooding into Kenya in the early 1990s.
He has been a way-shower ever since. Experimenting with technical skills that he’s acquired and mastered over the years, his awesome etchings have come to Nairobi’s Red Hill Gallery in an exhibition entitled A Trajectory of Etchings – 1980-2000.
A trip up to Hellmuth and Erica Rossler-Musch’s ever-green gallery is well worth the trek, if for no other reason than to meet two of the most hospitable art lovers around.
But then, to see the Gallery’s pearly white walls covered in a rich array of Rashid’s colourful etchings is all the more reason to come and see.
They are mainly abstract works, but one can see so many influences surfacing through his swirls of colours, two-dimensional lines, and calligraphic curves that disclose his Sufi upbringing.
There are more than 50 etchings, all of which are beautifully framed and displayed in geometric clusters of both miniature gems of genius dressed in sepia and ochre ink as well as larger works suggesting symbolic forms such as are found in northern Sudan, in the ancient murals of Meroetic and Kush civilisations.
The venerable Sudanese artist flew in from Khartoum, especially for his exhibition opening last Sunday, November 20, having been preceded by his son Yafil, who prepared the way for Nairobi to see facets of his father’s art other than the style of painting that he is currently passionate about and which we have seen in recent exhibitions of his work in places like Tribal Gallery, One Off, and Gravitart.
“We met Yafil more than a year ago when he came and suggested that we have an exhibition of his father’s etchings,” Hellmuth told BDLife shortly before the exhibition opened.
“We were impressed with the etchings, especially as they cover a span of 20 years, but we couldn’t hold the exhibition until now.”
There had been many steps involved in bringing Yalif’s idea to fruition, especially as he had to return to Khartoum and the process of curating the show had to proceed online.
The fact that none of the etchings had ever been seen before in Kenya made the preparation process all the more exciting for Hellmuth who relished the challenge.
But once he’d selected his favourites from the hundreds that Yalif had shared, Hellmuth insisted on framing all but ten of them to show them in their best light.
“My father was impressed to see the exhibition as he had never seen so many of the works shown so well in one space,” Yalif said.
Rashid himself hadn’t discovered his passion for printmaking, specifically for etching until he was introduced to the technique in Spain, at the Complutense University of Madrid where he had been awarded a fellowship to attend.
That discovery led to his getting advanced degrees in painting and etchings, including a PhD.
But after years of working as a scholar and professor of fine art, he felt compelled to return to his homeland where he has been sharing his knowledge, skills, wisdom and experience with his fellow Sudanese ever since.
In 2000 when he returned to Khartoum, he established the Dara Art Gallery. And several years after that, the Rashid Diab Art Centre was born.
“As we don’t have a national art gallery in Sudan, the Centre has played an important role,” Yalif said. It has also given Rashid the visibility required for the world to recognise his talent and leadership role in the arts of Sudan.
For instance, he won the King Juan Carlos of Spain award for Excellence in Service. He has also won ambassadorial status from the Japanese and British governments for his concern for peace and the environment.
He’s also exhibited his art all over the Middle East and Europe.
So, while he hasn’t lost his passion for printmaking, he had to put it on hold while shifting artistically as well as socially and culturally from his Spanish to his Sudanese circumstance.
“I’m concerned about the role of women in our society, which is why they appear so frequently in my art,” Rashid told BDLife at the opening of his first solo exhibition at Red Hill.
But it is thanks to his son, who discovered hundreds of his etchings while archiving his father’s art that we have the opportunity to see this treasure trove of an earlier phase of Rashid’s artistic ‘trajectory.’
Sudanese women’s activist Amira Osman Hamed has won a Front Line Defenders Award for Human Rights Defenders at Risk, the organization announced.
The activist and engineer, now in her forties, has been advocating for Sudanese women for two decades, and was detained this year in a crackdown following the country’s latest coup.
She was among defenders from Afghanistan, Belarus, Zimbabwe and Mexico who also received the 2022 award for Human Rights Defenders at Risk.
Osman “never deterred from her mission,” Dublin-based Front Line Defenders said in its awards announcement, “consistently (advocating) for democracy, human rights, and women’s rights.”
After first being charged for wearing trousers in 2002, she drew international support in 2013 when she was detained and threatened with flogging for refusing to wear a headscarf.
In 2009, she established “No to Women Oppression,” an initiative to advocate against the much-derided Public Order Law. It was finally repealed in 2019 after Bashir’s ouster following a mass uprising.
The award has honored human rights defenders annually since 2005.
