United Media Services mourned the loss of veteran Egyptian actress Samiha Ayoub
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Mid East Info
3 hours ago
- Mid East Info
Abu Dhabi Arabic Language Centre closes submissions for the 4th edition of its Kanz Al Jeel award - Middle East Business News and Information
The award received a total of 830 entries from 35 countries this year. Abu Dhabi, UAE -July 2025 – The Abu Dhabi Arabic Language Centre (ALC) has officially closed the submissions stage for the fourth edition of its Kanz Al Jeel award, which was launched to honour outstanding works of Nabati poetry, folklore-focused research, and studies that delve into the heritage and authentic values of Nabati verse. The award forms part of the Centre's wider vision to preserve intangible cultural heritage and enhance its presence in both intellectual and creative spheres. The fourth edition of the award received a total of 830 entries across its six categories, submitted from 35 countries, including 19 Arab nations. This marks a 38% increase from the third edition, which received 601 entries, reflecting the growing recognition and prestige of the Kanz Al Jeel award among literary awards. This progress, in turn, underscores the strong presence that Emirati culture and heritage enjoy in the Nabati poetry space in the Arab world and globally. Egypt topped the list of participating countries with 293 entries, followed by Saudi Arabia with 90 entries, Oman with 82, and the UAE and Jordan with 64 entries each. These figures indicate that the award has established a significant presence in the Gulf and Arab cultural sectors. This year's edition of the award also welcomed entries from more than 16 non-Arab nations, including countries participating for the first time, such as Colombia, Sri Lanka, Uzbekistan, Ecuador, Germany, Serbia, Sweden, Nigeria, and Ukraine. This diverse international participation of the award reflects its growing global appeal and its success in fostering cultural exchange via Nabati poetry and its related artforms. The Kanz Al Jeel award's Reading Panel Committee convened their first meeting after submissions were closed, chaired by Ali Obaid Al Hameli, an acclaimed writer and columnist, and Chair of the award's Higher Committee. The meeting was also attended by academic advisor Dr. Ali Al Kaabi, poet Obaid bin Qadlan Al Mazrouei, and author and researcher Mohamed Abu Zeid. The committee debated selection and evaluation criteria to assess submitted works while ensuring the maximum possible transparency, accuracy, and adherence to literary and artistic quality standards. 'The fourth edition of the Kanz Al Jeel award marks a true milestone in its journey, with a record number of submissions from a diverse range of geographical locations and fields,' said Ali Obaid Al Hameli. 'This reflects the award's growing reputation as a global platform to celebrate Nabati poetry and revive it in the hearts and minds of the new generations.' 'The creative momentum and distinct range of voices we witnessed this year reaffirm the strong emotional and intellectual connection that Arab societies continue to feel towards this cherished artform,' he continued. 'It reassures us that Nabati poetry remains a living manifestation of cultural identity, and an artistic expression that is not bound by language but speaks to the collective soul.' Al Hameli went on to note that: 'The award's growing success year after year embodies and advances the UAE's vision to preserve intangible cultural heritage, strengthen its presence in contemporary life, and highlight its blend of poetic beauty and human depth. Kanz Al Jeel Award is steadily moving forward with its mission to consolidate authentic poetic creativity and open new prospects for emerging young talent to engage with this artistic legacy, through a platform that appreciates talent, rewards excellence, and celebrates both the future and deep-rooted tradition.' For the second year running, the Poetry Matching category attracted the most entries, with 465 submissions, accounting alone for more than 56% of all entries. The Arts category followed with 281 entries, then Poetic Publications with 26, Translation with 11, and Studies & Research with 10 submissions. There was a remarkable growth in the Creative Personality category, with 37 nominations, compared to just 10 in the previous edition. This clearly indicates the growing awareness and significance to honour and recognise influential personalities in the cultural movement. Moreover, the award's fourth edition saw strong participation from women, with 263 entries this year, up from 131 in the previous cycle, reflecting their increasing involvement in the Nabati poetry cultural scene. The list also included submissions from leading publishing houses and cultural institutions, further strengthening the award's partnerships with academic and community establishments involved in this artform. The evaluation process for the shortlisted entries will begin shortly, with each of the six categories being assessed by a dedicated expert panel of judges . Inspired by a poem composed by the late Sheikh Zayed bin Sultan Al Nahyan, Founding Father of the UAE, the Kanz Al Jeel Award is committed to upholding its role as a leading platform for celebrating Nabati creativity, preserving Emirati and Arab poetic heritage, promoting its aesthetic and human values among younger generations. The award also honours the brilliant minds that have contributed to preserving this artform and heritage for the future. Recorded figures from this edition of the award clearly demonstrate its widening reach and stronger presence on the regional and international cultural scenes, reinforcing its role in identifying new talent and ensuring the continuity of Nabati poetry in the nation's collective memory. About the Abu Dhabi Arabic Language Centre: The Abu Dhabi Arabic Language Centre (ALC), part of the Department of Culture and Tourism – Abu Dhabi, was established by a law issued by the President of the United Arab Emirates, in his capacity as Ruler of Abu Dhabi, to promote the Arabic language, set general strategies for its scientific, educational, cultural and creative development, and enhance cultural communication and Arabic language proficiency at the local and international levels. It also aims to support Arab talents in the fields of writing, translation, publishing, scientific research, and audiovisual content creation. It plays a key role in organising book fairs and supporting the publishing industry in the region. To achieve this, the Centre relies on dedicated programmes, the expertise of its teams, and partnerships with prestigious technical, cultural, and academic institutions around the world. About the Kanz Al Jeel Award: Kanz Al Jeel, an Award launched by the Abu Dhabi Arabic Language Centre (ALC) in 2021, is inspired by the poetry of the UAE's Founding Father, the late Sheikh Zayed bin Sultan Al Nahyan. With a total value of AED 1,500,000, the award aims to promote poetry – particularly, Nabati poetry – and highlight its role as a mirror of society. It has six categories: Poetry Matching, Arts, Studies and Research, Poetic Publications, Translation, and Creative Personality.
Mada
10 hours ago
- Mada
Dozens of Egyptians still missing after migrant boat sinks off Tobruk coast
Dozens of Egyptian migrants remain missing after a Europe-bound boat capsized off the Libyan coast in the early hours of July 24. Some of the migrants' families told Mada Masr that identifying and obtaining information about their relatives' whereabouts has been difficult to navigate and that the official response has been slow. Omar Fathy, who buried one of his cousins on Tuesday and is still searching for another, described the process of identifying victims and repatriating their bodies to Egypt as 'haphazard.' The boat, which carried 81 migrants, sank off the coast of Tobruk in Libya on July 24, the city's Maritime Search and Rescue Office announced. Ten people were rescued — including eight Egyptian nationals. A total of 18 bodies were retrieved over the course of the ensuing days, of whom only six have been identified, according to the office's statement. The International Organization for Migration (IOM) said in a statement on Tuesday that roughly 50 people are still missing. 'Three of the six were from our hometown in Badary, Assiut, two were from Sharqiya and one was from Minya,' Fathy said. The Egyptian vice consul told Fathy that three identified bodies — including that of his cousin — were to be repatriated via the land crossing between Libya and Egypt on Sunday. But on his way to Salloum, the official contacted Fathy again to say that there had been a mistake and that his cousin's body had been sent with a dozen unidentified bodies to the morgue in the Libyan city of Derna. The family completed the required procedures — including a National Security Agency interrogation of the victim's brother at the Salloum border crossing — before their relative's body was shipped the following day. Throughout the process, most of the information the families have received came via the Tobruk-based Abereen Foundation and the Tobruk search and rescue office rather than from Egyptian authorities, according to Fathy. The two entities were responsible for informing families when bodies were identified. Relatives then travelled independently to the western border city of Salloum to retrieve their loved ones. The Egyptian Foreign Ministry issued its first statement on the matter on Wednesday, a week after the incident, stating that it is following up on the survivors' cases in preparation for their repatriation from Libya. The statement did not mention the number of fatalities or survivors, but said the ministry is overseeing the transfer of the identified bodies and is participating in efforts to identify the remaining victims. But with around a dozen bodies still unidentified, Fathy believes that Egyptian authorities' delayed and sparse communication with the families has contributed to the ongoing confusion. Families only began on Tuesday to submit DNA samples to the Cairo forensic authority to assist in the identification process, a source at the Egyptian agency told Mada Masr on condition of anonymity. This was after substantial confusion had already taken place. At one point, the Tobruk search and rescue office mistakenly stated it had found and identified the body of Fathy's other cousin, only to retract their announcement after one of the survivors recognized the body in question. A similar mistake was repeated with another body, according to the office's statements. To try and find Fathy's missing cousin, his family submitted a DNA sample at Cairo's central labs on Wednesday. The families first had to obtain a letter from the Foreign Ministry before having samples taken at the Cairo forensic authority, which then coordinates the delivery of the results to the Libyan forensic authorities, the agency source said. The eight Egyptian survivors were held by Libyan authorities until Wednesday, but were later released by the western Tobruk prosecution. They are set to be handed over to Egyptian authorities once deportation procedures are complete. Mostafa Nassir, a relative of three Egyptians who are still missing, told Mada Masr that Libyan authorities rely on survivors to help identify the recovered bodies, which is why they are being held until search and recovery operations conclude. Egyptian authorities could hold them in custody for a few additional days while they file illegal migration reports before releasing them, Nassir explained, citing his past experience having attempted irregular migration himself. According to Nassir, one of the survivors rescued in the afternoon of July 24 said the boat they departed in was in very poor condition, capsizing around eight kilometers into the voyage. The survivor said most of those on board were from the governorates of Assiut, Minya and Sharqia, along with South Sudanese nationals, according to Nassir. Nassir said that five people from Assiut's Badary are thought to be missing, while Ibrahim Mohamed, who is searching for his two nephews, told Mada Masr that 22 young men from his hometown of Bilbeis in Sharqiya are still missing. The bodies of another three Bilbeis residents have been identified. Like many other families who spoke to Mada Masr, the Bilbeis families have been unable to reach the Egyptian intermediaries who convinced their sons to make the journey. Brokers tell the young men that they will be going to a good place with decent housing, the families say, but that is seldom the case. 'Once they arrive in Libya, they're met with humiliation and torture at the hands of smugglers,' Nassir said. 'And when they die, the brokers turn off their phones and disappear.' The IOM described the tragedy as 'a stark reminder of the deadly risks people are forced to take in search of safety and opportunity.' The organization also stressed that Libya continues to serve as a key transit point for migrants and refugees, who face 'exploitation, abuse and life-threatening journeys.' It renewed its call for greater regional cooperation to establish 'safe, regular and dignified migration pathways.' According to the IOM's latest Libya migrant report, covering data from March to April, Egyptian nationals now account for 19 percent of all migrants attempting to reach Europe via Libya. The total number of migrants in Libya has risen to over 867,000, representing 44 nationalities — a 20 percent increase compared to the same period last year, in an upward trend that has continued since December 2023, according to the report. Just this month, weekly reports documented intercepted boats carrying a total of 1,717 migrants.
Al-Ahram Weekly
12 hours ago
- Al-Ahram Weekly
Ziad Rahbani (1956-2025): An endless legacy - Culture - Al-Ahram Weekly
Few artists have shaped the cultural and political fabric of the Arab world quite like Ziad Rahbani, and his passing on 26 July registered among millions as a significant loss for the region's cultural heritage. A multi-talented composer, playwright and pianist as well as an outspoken political commentator, Ziad Rahbani was born in 1956 in Lebanon, in a home already marked by artistic greatness. The son of the legendary singer Fairuz (Nouhad Haddad), who turned 90 last year, and the late composer Assi Rahbani (1923–1986), Ziad inherited more than immense musical talent, he also absorbed an intense sensitivity, a sharp intellect, a critical eye, and a fearless voice for political dissent. His upbringing was steeped in the creative atmosphere shaped by the Rahbani Brothers — Assi and his brother Mansour Rahbani (1925–2009) — visionary composers from the town of Antelias, north of Beirut. Their legacy offered young Ziad not just influence and mentorship, but direct exposure to the intersection of music, theatre, and political thought from a staggeringly early age. No wonder Ziad started writing music so young; his first well-known public composition was Saalouni El-Nass (1973), performed by his mother Fairuz. From his early boundary-pushing, jazz-infused compositions to his provocative musical theatre, Rahbani emerged as the defining figure of a genre he referred to as 'Oriental jazz.' While he wasn't the first to use the label, his music transcended such classifications, fusing Eastern melodies and Lebanese folklore with Western structures in a way that was unmistakably his own. In doing so, he crafted a soundscape that was both rooted in tradition and daringly original. Rahbani's art defies creative perceptions and questions musical canons while his lyrics confront societal norms, all along capturing the pulse of Lebanese life during times of war, instability, change. Revolutionary and boldly visionary, he was also a romantic, with both qualities obvious throughout his creative life. Yet Rahbani was not so much a contradictory man but a deeply complex artist who carried within him a tangle of emotions: love and anger, clarity and confusion, tenderness and rebellion. He didn't resolve these tensions; he lived them, fully and unapologetically, channelling each into his music, theatre, writing. His work became a mirror of his inner world and the world that surrounded him; his creative voice was at times raw, at times refined, but always honest. His softer side shines through many of his songs. Who can find a more haunting and poetic piece than his over six-minute-long, slow-paced ballad Wahdon (On Their Own, 1979)? Performed by Fairuz, this meditation on solitude, memory, and loss, uses piano as protagonist, playing at the backdrop of a delicate fusion of Arabic music and jazz-influenced harmonic progressions. Is there anything more tender than Bala Wala Chi, an anthem of unconditional love so profoundly heartfelt in tone? Written with vulnerability and a quiet kind of longing, its music blends soft piano, jazz, and a minimal arrangement, to highlight the emotional weight. The song comes from Rahbani's iconic Houdou Nisbi (1985), an album that also features Khalas (It's Over), a soft adieu to love, wrapped in a ballad that drifts on soft airs of thoughtful jazz and Latin rhythms — his hallmark palette. Then there is Kifak Inta (How Are You, 1991), another emotionally charged classic among Fairuz's staple hits. While it may sound like a simple nostalgic air, many interpret its lyrics as an expression of Fairuz's pain over her son's departure. Who better than Rahbani to capture those feelings with such emotional subtlety and carefully measured lyricism? But the deeply melancholic face was just one of many facets of this profound artist. Rahbani was known for navigating the political turmoil, becoming the voice of resistance. Through the 1970s and 1980s his radio programmes were hugely influential in Lebanese culture, resonating with listeners trapped in Civil War, as he provided sharp commentary and reflection. Along parallel lines, many of Rahbani's compositions — particularly musical theatre, a form he wholly inhabited as playwright, composer, and lyricist — endure as profound reflections of his deeply rooted socio-political convictions. His reliance on Lebanese dialect was groundbreaking in making his work accessible and politically charged. In his Brechtian musical theatre, Rahbani made his voice unmistakably heard through works such as Sahriyya (An Evening's Celebration, 1973), Nuzl El-Surour (Happiness Hotel, 1974), and Bennesbeh Labokra Chou? (As for Tomorrow, What?, 1978) — the latter including eponymous music that joins jazz with Arabic and bossa rhythms. All those works were created before he had even seen his 22nd spring, and they earned him recognition, especially among his peers, a generation deeply affected by the unrest and violence of war. Far more than artistic expressions, Lebanon heard the voice of a young man full of hope, fighting for change, shedding light on the war, sectarianism, the devastation caused by conflict, political corruption, authoritarian regimes, but also the evils of capitalism, hypocrisy, neglect of the marginalised, and class disparity. His alternative, socially grounded theatre turned into a powerful critique of Lebanese civil society. In doing so, Rahbani transformed music and theatre, as he experimented with genres and forms. He courted sarcasm and a deep sense of irony intertwined with absurdism, factors that gave birth to the Rahbani style of theatre. One of that performance genre's poignant examples is Film Ameriki Tawil (A Long American Film), a play that premiered at Beirut's iconic Piccadilly Theatre in 1980. Set in a psychiatric institution in West Beirut, the play is filled with paradoxical dialogues echoing Beckett and Ionesco, with the characters trapped in the country's chaos. Two addicts, a disillusioned leftist intellectual, a nationalist, a war-time maniac militiaman, a man obsessed with uncovering 'foreign conspiracies', another fearing sectarian divisions, are among the characters who mirror Lebanon's fractured and dysfunctional post-war society. 'The events depicted in this play take place in October 1980 or October 1979 or October 1978, given that the overall political situation has generally remained unchanged.' So Rahbani commented on Film Ameriki Tawil years after its premiere. How prophetic this statement becomes when we realise that, in many ways, it is still valid nearly half a century later. The revolutionary or rather humane Rahbani continued to use his talent, in music and playwriting, to voice his views. The years to come were to see Shi Fashil (Failure, 1983) together with several changes including severe personal turmoil that only compelled Rahbani into detachment. He returned with Bikhsous Al-Karameh Wal-Shaab Al-Aaneed (On Dignity and Stubborn People, 1993), and Loula Fis'het Al-Amal (Little Hope, 1994). It was a time of a more nuanced exploration of alienation, existential doubt and the human cost of enduring conflict. The sarcasm and theatrical absurdity that once defined his plays could no longer be seen as artistic exaggerations; they had become accurate, even understated, reflections on the absurdity of the human systems he opposed. It was a time when the volatile years of a young man influenced by Marxism, his alignment with the Lebanese Communist Party (LCP), began slowly shifting towards disillusionment as he became increasingly critical of the ideological dogmatism that characterised the Lebanese and Arab left. As time passed, themes of existential introspection and isolation began to permeate his creative work. His musical journey also greatly benefitted from this personal development. If it was not for this journey, we would not have had Ila Assi (For Assi), released in 1995, an album which Ziad Rahbani created as a tribute to his father, the renowned Lebanese composer Assi Rahbani. In it, Ziad breathes new life into 18 classic songs composed by the Rahbani brothers, many performed by Fairuz. Undeniably, this work is among the greatest testimonies to the artistic legacies and personal lives of his father, who passed away in 1986 (after a 1972 stroke that marred the rest of his life), and to the whole family. Ila Assi is also one of the clear bridges that Ziad created between the golden era of his parents' generation and contemporary Lebanese music and social commentary, and one of his countless musical collaborations with his mother. Equally, Fairuz's albums Wahdon (On Their Own, 1979) and Maarifti Feek (1987) are among the greatest examples of the mother-son duo, where the Lebanese icon is artistically revitalised by her son's innovative vision, always marking a transformative chapter in both their journeys. The year of Ila Assi, another album, Bema Enno (Given That) was released, marking a continuation of Rahbani's partnership with Joseph Sakr, which began in the early 1970s through various theatrical productions and musical projects. The 14-track Bema Enno stands as a testament to their creative synergy, blending traditional Arabic rhythms and Lebanese folklore with contemporary sounds. It is yet another work that addresses struggles of identity, belonging and existential reflection, embedded in a mix of irony, melancholy and resilience. In his career, Rahbani embarked on several collaborations, with one of the most interesting being that with Lebanese vocalist Salma Al-Mosfi — resulting in Monodose, a 2001 album he produced. While the album marked a significant moment in Al-Mosfi's career, Rahbani poured his many influences into it. The 11-track work draws inspiration from French chanson and classic bossa nova, set within a mix of jazz and Arabic influences. Un verre chez nous (A Drink at Our Place), and Mish Bass Talfinly (It's Not Enough to Just Call Me) are undeniably the album's highlights, with the first being a French chanson toying with relaxed groove, the latter embedded in bossa nova. He paid another powerful tribute to his mother with Eh Fi Amal (Yes, There Is Hope, 2010), Fairuz's 99th studio album. Receiving both critical acclaim and commercial success, the album became especially important for both artists. With this work, the Lebanese icon reaffirmed her status as a musical legend, while for Rahbani, it highlighted the significance of his collaboration with his mother. It is a work that echoes themes of family, memory and personal history, beautifully capturing their intertwined lives. Though in recent years Rahbani stepped out of the public spotlight for the most part, whenever he reappeared at occasional performances on regional stages, curated jazz sessions and festivals (including in Egypt), he always mesmerised his listeners. Ziad Rahbani was a man wholly consumed by his passion for art. His sharp satire often made audiences laugh, his music soothed listeners while awakening their souls. To him laughter was a form of survival, but never an escape. His music was an extension of his being human. Whether navigating writing, composing, arrangements or theatre, there was one thing at his core: He lived through creation. Maybe like Beckett's Vladimir and Estragon, Rahbani quietly hoped for Godot to arrive, for the meaning, and while doing so, he left behind a legacy of profound awareness translated into art. Rahbani's influence runs deep through the work of countless Arab artists who both honour and expand his legacy. From Lebanese musicians like Mashrou' Leila, Yasmine Hamdan, Tania Saleh and Zeid Hamdan, to theatre-makers such as Rabih Mroué — whose work grapples with war, media, and memory — and the politically engaged Zoukak Theatre Company, Rahbani's spirit of artistic defiance and innovation lives on. Equally, it moves beyond Lebanon and enters the souls of artists from Egypt and other Arab countries. As Tania Saleh commented to the media, 'I believe it started with him, because he was already independent — of his family, of the Lebanese music scene, and even of the larger Arab world. His influences came from everywhere. He was a true first.' Rahbani's legacy transcends generations, echoing through today's traditional Arab works, the indie scene, underground hip-hop and theatrical experiments. His music is still performed, his lyrics memorised by heart, his sharp wit and emotional honesty inspiring artists across disciplines. For many, Rahbani remains a blueprint: blending Arabic music and folklore with jazz, political critique with poetic intimacy, and theatre with activism. His body of work is not only culturally essential, it is an open-ended legacy: uncannily relevant and unsettling as well as urgently alive. * A version of this article appears in print in the 6 August, 2025 edition of Al-Ahram Weekly Follow us on: Facebook Instagram Whatsapp Short link:
