Stellar Line Up For CABSAT Content Congress 2025 Includes Acclaimed Director, Media Group Head, & Sports Council Chief
The annual conference at the long-running trade event promises three days of discourse
UAE, May 2025 : CABSAT 2025, top B2b event for media and entertainment technology in the MENA reveals a line-up of thought-leaders and forward-thinkers for conference at its 31 st edition, which takes place from May 13 to 15, 2025, at the Dubai World Trade Centre (DWTC).
On the packed three-day progamme are a stellar line-up of speakers, including Heba Korayem, Founder of CoProduction Salon, and a visionary in Arabic content partnerships who has helped transform the MENA region's media landscape; Adil Memon, EVP – Content & Marketing, Zee Entertainment Middle East, Wael Al Malki, Content Consultant of Saudi Broadcasting Authority and Anurag Dahiya, Chief Commercial Officer, International Cricket Council to add weight to key themes including 'The Future of Arabic Content,' 'AI and Media Innovation,' 'Sustainability in Media Production,' and more.
Wael Al Malki, Content Consultant at the Saudi Broadcasting Authority , explained why CABSAT is where the future of Arab media takes shape: 'We look forward to being a part of CABSAT 2025, which is the leading platform for fostering strategic dialogue and innovation in the MENA region. The event will help enhance the global competitiveness of our content in the digital age, while staying true to our cultural roots.'
As CABSAT brings a diverse range of experts of different cultures together on its conference stage, cross-culturalism naturally comes under lens.
Actor and comedian Danish Sait brings his sharp wit, relatable humour, and innovative storytelling to the Content Congress on May 13 to reveal how he retains creativity and authenticity in the digital age.
'CABSAT 2025 is a hub for creativity, innovation, and collaboration—values that resonate deeply with me as a content creator,' he said. 'The event provides a platform to exchange ideas and explore how humour and storytelling can shape the future of media and entertainment.'
Trailblazer Ashish S K, celebrated for his pioneering contributions to animation, skill-building, and original IP creation in India's AVGC-XR industry; Patch Khan, an innovator in broadcasting who developed the first virtual OB solution for the Paris 2024 Olympics; and KAMEI Masashi, Senior Manager and Chairman at NHK Japan, also feature in the all-star line-up.
CABSAT 2025 welcomes 750+ exhibiting brands and over 18,800 attendees for three dynamic days of insightful discussions, live demonstrations, and invaluable networking opportunities. Access to the Content Congress sessions is complimentary with delegate passes.
About CABSAT:
With a history of over 30 years, CABSAT is the only specialised event that draws more than 14,000 business professionals from the MEASA region's media, content, and digital industries. Over the years, the event has welcomed the highest number of regional attendees, including engineers, system integrators, and broadcasters from the content creation, broadcast, and satellite industries, as well as content buyers, sellers, producers, and distributors. In line with its vision to provide a platform for business, networking, and knowledge sharing for the MEASA region's media markets, CABSAT continues to work with innovative content creators, producers, broadcast technology providers, and content delivery companies to identify traits of success that will fuel the growth of the industry.
About Dubai World Trade Centre (DWTC):
A global business facilitator since 1979, Dubai World Trade Centre (DWTC) is home to the region's leading purpose-built convention and exhibition centre. DWTC provides a platform for connecting people, products, innovation and ideas from around the world through a dynamic calendar of international trade exhibitions and its own roster of sector leading mega events. As a designated free zone, complemented by award-winning commercial real estate, DWTC plays an integral role in Dubai and the region's growth story. Since its inauguration, DWTC has hosted over 6,000 events, with an estimated economic output of AED 248 billion, attracting over 38 million business visitors to Dubai.
Building on this legacy, DWTC's second flagship venue, the Dubai Exhibition Centre (DEC), stands as a premier destination for prominent national and international mega events. Strategically aligned with the Dubai 2040 Urban Master Plan, DEC's recently announced AED 10 billion expansion is integral to Expo City Dubai's vision of becoming a global business hub for exhibitions and events.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
See - Sada Elbalad
7 hours ago
- See - Sada Elbalad
"The Seven Dogs" Poster Revealed
Yara Sameh The official poster for Karim Abdel Aziz and Ahmed Ezz's highly-anticipated film "The Seven Dogs" has been revealed. Bad Boys For Life directors Adil El Arbi and Bilall Fallah are helming the film from a script by Mohamed El-Dabbah. The pic is based on a story by the head of Saudi Arabia's General Entertainment Authority Turki Al-Sheikh and the Big Time team. The cast also includes Menna Shalaby, Tara Emad, Hannah El Zahed, Sayed Ragab, Saudi Arabian actor Nasser Al Qasabi, Hala Sedki, and more. View this post on Instagram A post shared by TURKI ALALSHIKH تركي آل الشيخ (@turki) The film is sponsored by the Saudi General Entertainment Authority and was shot entirely in Riyadh. The pic will be the first film to be shot in Big Time Al-Husn Studios, one of MENA region's biggest film and television production facilities, with additional shooting at Riyadh Boulevard. Riyadh will serve as a stand-in for multiple international cities, including Mumbai and Shanghai. The film is considered to be the largest Arab film production to date with a budget exceeding $40 million. The $40M project is being hailed as a gamechanger for Saudi Arabia as it continues its drive to become the Middle East and North Africa's biggest film and TV hub. It is produced by Jeddah-based entertainment company Sela, with Ivan Atkinson (The Gentlemen, Wrath of Man) lead producing. "The Seven Dogs" marks the fourth collaboration between Abdel Aziz and Ahmed Ezz after blockbuster films "Welad Rizk 3: El Qadya" and "Kira & El Gin" and season 2 of the critically acclaimed TV series 'El Ekhteyar ll'. In the film, Ezz plays Interpol officer Khalid Al-Azzazi, who apprehends Ghali Abu Dawood (Aziz), a high-ranking member of the clandestine global crime syndicate known as 7 Dogs. A year later, the organization resurfaces, trafficking a dangerous new drug—Pink Lady—across the Middle East. With time running out, Khalid reluctantly join forces with Ghali, the only person with intimate knowledge of the syndicate's operations. Their uneasy alliance propels them on a high-stakes mission across multiple global cities as they strive to dismantle the organization and prevent the drug from flooding Arab streets. Amid escalating tensions and looming. "The Seven Dogs" is slated for a late 2025 release. read more New Tourism Route To Launch in Old Cairo Ahmed El Sakka-Led Play 'Sayidati Al Jamila' to Be Staged in KSA on Dec. 6 Mandy Moore Joins Season 2 of "Dr. Death" Anthology Series Don't Miss These Movies at 44th Cairo Int'l Film Festival Today Amr Diab to Headline KSA's MDLBEAST Soundstorm 2022 Festival Arts & Culture Mai Omar Stuns in Latest Instagram Photos Arts & Culture "The Flash" to End with Season 9 Arts & Culture Ministry of Culture Organizes four day Children's Film Festival Arts & Culture Canadian PM wishes Muslims Eid-al-Adha News China Launches Largest Ever Aircraft Carrier Sports Former Al Zamalek Player Ibrahim Shika Passes away after Long Battle with Cancer Sports Neymar Announced for Brazil's Preliminary List for 2026 FIFA World Cup Qualifiers News Prime Minister Moustafa Madbouly Inaugurates Two Indian Companies Arts & Culture New Archaeological Discovery from 26th Dynasty Uncovered in Karnak Temple Business Fear & Greed Index Plummets to Lowest Level Ever Recorded amid Global Trade War Arts & Culture Zahi Hawass: Claims of Columns Beneath the Pyramid of Khafre Are Lies News Flights suspended at Port Sudan Airport after Drone Attacks News Shell Unveils Cost-Cutting, LNG Growth Plan Videos & Features Video: Trending Lifestyle TikToker Valeria Márquez Shot Dead during Live Stream
Egypt Independent
8 hours ago
- Egypt Independent
Photo: ‘7Dogs' teaser unveils its first look at Karim Abdel Aziz, Ahmed Ezz in action-packed thriller
Saudi General Entertainment Authority Chairman, Turki Al-Sheikh, has unveiled the first teaser poster for the upcoming film '7Dogs,' starring Egyptian megastars Karim Abdel Aziz and Ahmed Ezz. The poster features both actors in elegant black suits, holding weapons – signaling the film's action and crime elements. In the background, a famous painting of dogs playing poker is prominently displayed, accompanied by the intriguing tagline: 'Not All Dogs Stay Loyal', hinting that betrayal may be part of the plot. '7Dogs' is written by Mohamed al-Dabbah, with the story by al-Sheikh. It is directed by the internationally recognized duo Adel and Bilal, and produced by al-Sheikh. The film is set to be released in cinemas in 2025. With its substantial budget, it's widely anticipated to be one of the most powerful productions in Arab cinema in recent years. Edited translation from Al-Masry Al-Youm
CairoScene
2 days ago
- CairoScene
Hamid El-Shaeri: The Man Who Defied Tradition From Benghazi to Cairo
In 1978, at the heart of Tripoli's Al-Saha Al-Khadraa, pianos, violins, guitars, drums, and keyboards were set ablaze—accused of being Western, un-Libyan, and tools of cultural corruption. The scene echoed the infamous Nazi book burnings of 1933, where works by Ernest Hemingway, Karl Marx, Sigmund Freud, and others were reduced to ashes for being deemed un-German. At the time, the Libyan authorities ordered inspections of homes, schools, and universities to ensure they were cleared of all so-called 'corrupting instruments.' Amongst the onlookers was a teenage Abdelhamid Ali Ahmed al-Shaeri—later known as Hamid El-Shaeri, and then as Il Capo—who watched helplessly as his prized piano, awarded to him for his academic excellence, and a keyboard gifted by his father were destroyed in the flames. At this moment, he knew had to flee Libya. The young teenager couldn't really understand why he had suddenly been made a national enemy, or why he was made to feel this way—but he knew the only answer would be heading to Cairo. Hamid El-Shaeri was not an isolated case of personal ambition clashing with political authority. He belonged to a pioneering generation in Libya that listened to music with a new ear and read its notes with a fresh vision. His peers—like Nasser El Mezdawy, who fled to Italy, and Ahmed Fakroon, who sought refuge in France—were part of a generation defined by defiance and the courage to create, pursuing renewal at a time when the safest path in Libya, musically, was strict adherence to artistic tradition. Stepping into Egypt as a stranger, a foreigner entering a land he had only seen on television, Hamid El Shaeri brought with him what would come to define his distinct sound—his roots, carried all the way from his hometown in Benghazi. Though he never studied music academically, he understood it instinctively. That unorthodox path shaped the unique direction his music would take—marked by deep sentiment and raw emotion. This was evident in his debut album 'Ayonha' (1983). While it didn't achieve widespread success at the time, it laid the foundation for the Hamid we know today. That early neglect didn't last; a year later, his second album 'Raheel' (1984) found resounding success, especially amongst younger audiences. Hamid El Shaeri didn't just enter the Arabic music scene — he rewired it. Dubbed the godfather of 'Al-Jeel' music, he introduced a sound that was bold, electronic, and unapologetically modern. He layered his vocals to mimic the effect of multiple singers — a stark contrast to the traditional Egyptian style that relied heavily on a single performer's vocal prowess. Using synthesizers, drum machines, and Western funk and pop grooves fused with Arabic melodies, Hamid injected the region's music with a much-needed jolt of youth and energy. At a time when Arabic music was steeped in classical orchestras and long-winded ballads, he trimmed the excess and cranked up the soul, creating catchy, yet emotionally rich tracks that resonated across generations. Egypt was changing—and so was its soundtrack. In the early 1980s, the country was still reeling from the seismic shifts brought on by President Sadat's Infitah, the open-market policy that restructured Egypt's economy and daily life. After Sadat's assassination, the streets felt restless. Uncertainty lingered in the air, and with it, a growing hunger for something different—something that spoke to a new generation trying to find its voice in the chaos. That's where Hamid El-Shaeri stepped in. Bold, modern, and unapologetically different, it echoed the pulse of a nation in flux. The youth welcomed Hamid like a long-awaited answer. He didn't just arrive on the scene—he arrived right on time. Hamid wasn't just a trailblazing solo artist—he was the mastermind behind the scenes, crafting enduring hits for stars like Amr Diab, Hisham Abbas, Mostafa Amar, Mohamed Fouad, Simone, Ihab Tawfik, Ali Hemeida, and Hakim. He gave many of them their first real break, and in doing so—whether by design or instinct—he helped shape the future of Egyptian music, as these artists went on to dominate the scene for years. But it wasn't all smooth sailing for Hamid in Egypt. Controversy seemed to be his constant companion. When politics wasn't the reason pulling him down, other forces found ways to hold him back. The changes Hamid brought to Egyptian music didn't sit well with many — was the shift too radical? Maybe. Hamid El Shaeri found himself clashing with the establishment once again—and, ironically, the same accusations followed him all the way from Libya. He was blamed for destroying Egyptian music heritage and corrupting the youth. To many, his music was once again labeled too Westernized, accused of lacking any authentic identity. To his surprise, the slamming wasn't limited to his music— even his appearance on stage drew disapproval from the musical aristocracy of the time, as he often performed in sportswear. What they didn't realize was that he was setting a new benchmark. Many musicians would soon start imitating his style, paving the way for the sporty-funky aesthetic that became a hallmark of the '80s and '90s. That relentless challenge to the academic order led to his ban from the Musicians' Syndicate for a full four years. What did they tell the public? They claimed the delayed payment of a whole EGP 16 was behind the non-renewal of his license. Did it stop him? Not quite. Hamid wasn't even sure why he'd been banned, but he knew the issue ran deeper than a missed fee. He kept producing and composing under pseudonyms, quietly crafting hits while others took the credit such as 'Sabry Aleek Tal' for Rajaa Belmaleeh and 'Maktoob' for Alaa Abdelkhalek. In fact, much of Egypt's music scene feared Hamid El Shaeri for his heavy use of electronic music, which they believed threatened the livelihoods of traditional instrumentalists, according to Egyptian music journalist Amgad Alaa. Hamid was leading a shift, and the question naturally arose: was Egyptian music about to change forever? 'Anything new sparks concern. Our generation appeared out of nowhere — we were a shock, not just to the audience, but to the people in charge of Egyptian music at the time,' Hamid El Shaeri said in a TV interview. 'They were stunned. Keyboards? Guitars? Drums? Where's the classical structure? It became a generational clash. They couldn't process what was happening — an album with just eight songs? A track that lasts three minutes? What even is that? The shock was simply too much to handle.' Once his suspension was lifted, it marked a clear victory over the establishment, tradition, and the old guard. Hamid returned with an even broader musical vision, blending more genres than ever before. Flamenco music with Arabic melodies—who would've thought? His comeback was defined by rhythms and instrumental styles he had rarely explored. He returned with 'Nour El Ein' by Amr Diab, his biggest hit to date, along with the singer's entire new album. Beside Amr Diab, there was 'Sidi Mansour' with Saber Al Rubai and 'El Soud Oyouno' for Mostafa Amar. For Hisham Abbas, he produced 'Habibi Dah' and the iconic 'Nari Nareen'. And of course, 'Lolaky' by Ali Hemeida—a track that became a runaway hit. These are just a drop in the ocean—examples of the remarkable work Hamid crafted for others. In Italian, Il Capo means "the chief" or "the boss." In the Arab music dictionary, it means Hamid El-Shaeri. Perhaps it was his courage to defy norms that earned him the title. Or maybe it was his relentless drive to innovate—and his readiness to clash when necessary. That, essentially, is what made Hamid so distinctive. The nickname was first given to him by Fares, a singer Hamid himself discovered. And from that moment on, Il Capo stuck—becoming part of his legacy. 'Art is eternal. We, the artists, are only temporary,' Hamid El Shaeri once said. We still sing his songs by heart—but just as much, we remember the battles he fought. That's the thing about real art—it doesn't play it safe. It breaks rules, stirs things up, and leaves a mark. Sticking to the script never made anyone unforgettable. It's the ones who dare to be different, who stay true to what they feel, that end up becoming legends. Hamid didn't force it. He just poured his heart into the music—and people felt that. No act. No polish. Just honesty, raw and real. Il Capo rose just as Egypt was shifting in the 1980s, delivering the sound they didn't know they needed
