SDAIA sets new standard for generative AI in Arabic

The Saudi Data & AI Authority (SDAIA) has integrated the latest NVIDIA technological advancements to enable developers to build and deploy AI applications with the ALLaM Arabic large language model (LLM) more easily.

Leveraging NVIDIA NeMo, part of the NVIDIA AI Enterprise software platform for large-scale language model training and NeMo Guardrails for AI safety, the collaboration will provide developers with a faster, more accessible path to building generative AI applications with ALLaM’s capabilities and set a new standard for AI-driven language models in the region. 

Additionally, companies will have access to recently-announced NVIDIA NIM Agent Blueprints to support quick and simple development of customised AI agents for any industry.

Arabic speech-to-text technology introduced in KSA

Maqsam, a MENA-based cloud communications company, is on track to disrupt Arabic-speaking customer engagement.

Founded by Fouad Jeryes and Sinan Taifour, Maqsam has developed generative artificial intelligence (AI) in the field of Arabic automatic speech recognition (ASR), also known as speech-to-text (STT). The company's language models have outperformed Google, Microsoft, and other regional competitors in the race to accurately transcribe the diverse Arabic dialects of the Middle Eastern and North African (MENA) region, Maqsam said.

Source: Maqsam. The first-of-its-kind STT solution was launched by Maqsam at LEAP 2023 in KSA.

Arabic has 422 million native speakers and around 1.5 billion total speakers globally, but is one of the most neglected languages when it comes to native deep tech offerings, Maqsam noted. Maqsam's technology can transcribe the different Arabic dialects spoken every day in MENA despite their varying orthographies, phonetics and phonological differences, reliably and cost-effectively. 

"Many years of experience went into achieving where we are today and yet this is the tip of the iceberg. Our competitive advantage lies within our proudly native and capable regional team of engineers, machine learning task force as well as mentors who are celebrated global leaders in this particular discipline. Our goal is one where we are helping enable the MENA region to unleash its true potential within a global revolution, rather than be an afterthought once more." said Taifour, CEO of Maqsam during their live showcase at the LEAP technology expo in Riyadh.

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Trial the ASR tool

iRead Arabic reading competition now open to all Arab countries

Source: Ithra. Winners of iRead 2022.

The King Abdulaziz Center for World Culture (Ithra) flagship Arabic reading competition iRead is expanding beyond KSA to readers across the Arab world.

The President and CEO of Saudi Aramco, Engineer Amin bin Hassan Nasser, made the announcement at the closing ceremony of  the 7th iRead in late June. Al-Nasser additionally hoped that the Nobel Prize for Literature will be awarded to a Saudi author in the future, and that iRead will play a role towards that achievement. 

Hussain Hanbazazah, the Director of Ithra, said: "iRead has witnessed rapid development since its inception in 2013, as well as an increase in the number of participants which to date exceeded 75,000 readers. With its continued growth, Ithra has continually developed the programme on an annual basis, expanding and enhancing it further so that more bibliophiles can have the opportunity to join. 

"Reading is one of the pillars of the Arabic language, and one that can become a tool of human development and innovation." 

Hanbazazah additionally pointed out the role played by the competition in promoting knowledge and raising awareness by encouraging youth to compete, and praised the role that Ithra continues to play in nurturing a passion for literature and reading through its library, which has received more than 1 million visitors since the centre's inception.

Winners at the 7th iRead included:

- Khazina Al Shammari, Reading Ambassador

- Khuloud Al Anzi, Reading Ambassador

- Maha Al Omari, Reading Ambassador

- Munira Al Hwaidi, Translation Ambassador

- Wijdan Al Widyani, Translation Ambassador

- Marwan Al Rasheed, Translation Ambassador

- Zainab Al Nasser, Young Reader 

- Mohammad Al Khalifa, Young Reader

- Shahd Al-Qaisum, voted Reader of the Year by the audience.

 

Collection from calligrapher Afaque Hussain now available as NFTs on Artifiya

IBC Capital chairman Khurram Shroff has announced the launch of a collection from calligrapher Afaque Hussain, valued at US$39 million, on the Toronto-based curated digital arts non-fungible token (NFT) marketplace, Artifya. This is the first-ever Arabic calligraphy collection to be tokenized as NFTs.

Source: Artifiya. Khurram Shroff, Artifya board member and IBC Capital Chairman with calligraphy artworks.

Shroff is a member of the Artifiya board of directors and also a co-founder of the Ethereum GeneSys Blockchain. As a result of being backed by Ethereum GeneSys, Artifya is able to offer greater code flexibility, and the lowest transaction fees compared to similar marketplaces.

"We are witnessing a boom in NFTs, and the creation of a digital marketplace that is bringing together artists, musicians, gamers, and collectors, globally," said Shroff.

"It's particularly exciting to be involved in the launch of the first-ever digitally tokenised Arabic calligraphy collection, especially as the NFTs are being created just in time to commemorate (Ramadhan)." 

Blockchain-authenticated NFTs are creating a mechanism for artists to unlock the value in their creations, and Artifya is transparently monetising artwork and making it globally accessible as part of the movement. In addition to lowering costs associated with digitally tokenising collectibles, Artifya is also able to 'age' NFTs, with the help of Ethereum GeneSys, to mimic changes in the value of physical artwork, with time. 

"As an artist, it's very gratifying to see the latest chapter in the history of an ancient artform being showcased using cutting-edge technology," said Hussain, who noted that Arabic calligraphy is inextricably linked with Islamic theology and spiritual expression.

"For those of us who have been proponents of Blockchain since its inception, the growth in NFTs is another validation of this decentralised and empowering technology. As supporters of artistic expression around the world, Artifya will continue to expand the number of artists it features, with many more collections to be tokenised in the near future", Shroff said. 

Explore: 

Exactly 10,000 NFTs of calligraphy of the phrase "Ramadan Kareem" by Hussain, titled Worthy: Allah, are currently available for free at Artifiya.

Massive study to add to our understanding of Arabic

Sharjah in the UAE has begun on a project to chronicle the development in the Arabic language spanning five distinct time periods, Sharjah 24 has reported.

Spoken by more than 400 million people in the the Middle East and Africa, Arabic was the medium through which philosophers, mathematicians, and astronomers communicated during the Golden Age of Islam, said to span the 8th to 14th centuries.

Dr Mohammed Safi Al Mostaghanemi, Secretary-General of the Arabic Language Academy in Sharjah, said: “The Historical Corpus of the Arabic Language fulfils a dream of the entire Arabic-speaking world; it is an exemplary feat that will shine light on the richness of the Arabic language.”

The Historical Corpus of the Arabic Language aims to offer insights into the world’s fifth-most widely-spoken language and serve as a linguistic resource for researchers, academia, linguists and students worldwide. It is envisioned to be a larger-scale project coupled with superb planning and funding.

Under the direct supervision of HH Sheikh Dr Sultan bin Mohamed Al Qasimi, Supreme Council Member and Ruler of Sharjah, the Arabic Language Academy (ALA) in Sharjah will lead the management and coordination of the project with the support of the Egypt-based Union of Arab Scientific Language Academies.

Experts from 10 Arabic language academies across the Arab world are currently documenting and researching the history and evolution of Arabic words. After an estimated six years, their research will form the most comprehensive historical corpus of the Arabic language to date, and also the first to cover its evolution from the pre-Islamic period through to its modern form.

The project will reference the broad history of science and arts, and delve into the scientific study of the Arabic language, including syntax, morphology, fiqh (فقه, Islamic jurisprudence), phonetics, 'aroodh (اَلْعَرُوض, Arabic prosody), rhetoric, and more.

With the digitisation of nearly 20,000 Arabic books, manuscripts, sources, and historical documents, the Historical Corpus of the Arabic Language will be designed for easy access. A digital library will host more than 40,000 titles, extracts and documents, many in digital format for the first time.

The corpus will answer questions about language use across the Pre-Islamic period, the Islamic era from Hijri years 1 AH to 132 AH, the Abbasid Caliphate, the development of nation states, and the present modern-day era. The Historical Corpus will outline the development and evolution of terms used throughout the centuries and document the entry of new words into the language over time, from word roots and derivatives to phonetic variations. It will also detail semantic changes – be it semantic shift, progression, development, or drift.


Word comparisons with Semitic languages such as Hebrew, Akkadian, Syriac, Abyssinian, and others, will be emphasised. To accomplish this task, a committee of Semitic language scholars are tracing the similarities and differences between Arabic words and their equivalents in Semitic languages.

Fundamentals of Islamic calligraphy in Singapore

The inaugural Islamic Calligraphy Exhibition, an Arabic and Islamic calligraphy event, has concluded in Singapore with the prize-giving ceremony for the IRCICA Regional Competition of Calligraphy in South East Asia 2018. The exhibition introduced the public to fundamentals of Islamic calligraphy, culminating in prize-winning works from regional calligraphers. Winners were largely from Indonesia.

Source: Competition booklet for the IRCICA Regional Competition of Calligraphy in South East Asia 2018. Set texts for the Jali Diwani, Diwani, Jali Ta'aliq and Nasta'aliq categories.

Source: Competition booklet for the IRCICA Regional Competition of Calligraphy in South East Asia 2018. Set text for the Riq'a category.

Sheikh Belaid explains what an
ijazah is.

During a tour of the exhibition, Sheikh Belaid Hamidi, who has been the Royal Calligrapher of Morocco, explained the various tools of the trade to the audience.

Pens of bamboo are used for the writing. The tip is shaved at an angle to create a point, which is then shaped like a chisel but angled so that it mirrors the slant created when the forefinger and middle finger are held together.

Specially prepared ahar paper is dull on one side and shiny on the other. The shiny side, created through a coating of egg white and alum, creates a barrier between the pores of the paper and the ink so that the calligraphy can be preserved for centuries. The coating also enables mistakes to be easily corrected with saliva. Ahar paper is typically stored for at least a year before it is used.

Silk figures in traditional Arabic calligraphy. It is frayed and placed in the inkwell to absorb the ink and allow an appropriate quantity of the ink to be taken up by the nib. It also protects the fragile nib when it is dipped into the inkwell.

The exhibition was the first time ijazahs by Singapore calligraphers were on display. The sheikh explained that the ijazah is a certification of competency in Arabic calligraphy, received when a student reaches maturity as a master calligrapher who is able to imitate the work of another master calligrapher exactly.

The master - Sheikh Belaid in the cases of the ijazahs on exhibit - signs the ijazah in recognition that the student has mastered a particular script, names his or her own teacher - Hasan Shalabi of Turkey in this case - and gives permission for the student to sign his or her own name with work done of that script. This ensures that the lineage of the instruction can be traced for the past 500 years.

Ijazahs on display showed Thuluth (الثلث) and Naskh (النسخ), the scripts of the Quran and mosques; Maghribi, a script found in Morocco that Sheikh Belaid introduced to this part of the world; variations of Kufi (الكوفي), Nasta'aliq (التعليق) that came to Turkey via Iran, Jali Diwani (الديواني الجلي) and Diwani (الديواني) scripts.

Detail of the lock at the end of a

Jali Diwani illuminated artwork. 

Part of Surah Al Imran, ayah 132-134. 

Calligrapher, Mohamad Zaenudin 

Ahmadun, Indonesia. 1st prize in the Jali 

Diwani style, 10th International 

Calligraphy Competition, 2016. 

Illumination by Songul Sumen Ak, 

2016.

The Ottoman empire designated different fonts for different applications. Naskh was used for the Quran and Riq'ah (رقعة) for the day-to-day use. The Diwani script was invented during Ottoman times, and only used for royal decrees. To prevent alterations, the letters of this script look different from other scripts; are written very close together, and end off with a symbol that looks like a leaf, called a quful (قفل, lock). The calligraphers of the Sultan had to swear not to bring the script outside of the Palace.

Sheikh Belaid further commented on the winners of the IRCICA Regional Competition of Calligraphy in South East Asia 2018. He noted that there were only subtle differences in quality between the first-prize and third-prize winners, and that the strength of the composition mattered. The placement of each letter is typically planned ahead of time, and not written spontaneously.

He added that some words had to be shaped in exactly the same way whereas others offered some leeway for the calligrapher to express himself or herself. This could be in the length of certain strokes, the angle chosen for the calligraphy, or in the variation of the letter chosen.

For the Jali Diwani entries, all of which were written in the shape of a sword, he commented that it is permissible to use a character to create a space within Jali Diwani calligraphy, but only if it is within a word as opposed to the beginning or end of a word, which could allow alterations.

The competition was organised by the OIC Research Centre for Islamic History, Art and Culture (IRCICA), in cooperation with the Bustan Khat Center and Madrasah Aljunied Al-Islamiah to commemorate the birth of the Prophet (ﷺ) in 2018 (1440). It was open to calligraphers in Southeast Asia who had studied calligraphy in the traditional way from a master of calligraphy who is authorised to give ijazahs (إِجَازَة) to his or her students.

Judges included Sheikh Belaid, who is from Morocco; Efdaluddin Kılıç of Turkey; Ataullah, of Indonesia and Mohamad Nasrullah Refa’ie, from Singapore.

IRCICA has been organising calligraphy competitions since 1986. The 11th International Calligraphy Competition, with results announced in 2019, has 10 categories: Jali Thuluth (الثلث الجلي), Thuluth, Naskh, Muhaqqaq (المحقق), Thuluth-Naskh, Jali Ta'aliq (التعليق الجلي), Ta’aliq (Nasta'aliq), Jali Diwani, Diwani, or Kufi.

Hashtags: #khatsingapore, #khatsg, #islamiccalligraphy, #arabiccalligraphy, #madrasahaljunied, #thebustankhat

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View pictures of the event on Facebook

Visit Belaid Hamidi's Facebook page to see highlights of the competition

12th Sheikh Zayed Book Award winners announced

The Sheikh Zayed Book Award 2017-2018 winners have been announced.

The Literature Award went to Syrian novelist Khalil Sweileh for his Novel Ikhtibar al-nadam (اختبار الندم, Remorse Test) published by Nofal-Hachette Antoine, Beirut (2017), while Emirati author Hessa Al Muhairi was named winner of the Children’s Literature Award for Al-dinoraf (الدينوراف, The Dynoraf) published by Al Hudhud Publishing and Distribution, UAE (2017).

Judges said of Ikhtibar al-nadam: "The novel portrays an inward view of the Syrian civil war tragedy; the author takes the reader on a trip around Damascus, trudging down the memory lanes and presenting the psychological conflicts amid the shattered reality of place and society – marking an important addition to the Syrian literature, with a unique use of narrative tools and vocabulary construction."

 On ’Al-dinoraf judges said: "The story is set in the animal kingdom, where a dinosaur is out on a mission to find his parallel among the rest of animals. Throughout his journey, he gets to know the differences between the animals, which finally lead him to find his connection with the giraffe, hence becoming the Dinoraf, in a unique portrayal of the contemporary case of peaceful coexistence and mutual tolerance of cultural differences within the global society. The story is written in an aesthetic language that is beautiful, artistic and carefully crafted."

In the Young Author category, the Egyptian writer Ahmad Al Qarmalawi won the title for his novel Amtar Sayfiyyah أمطار صيفية<, Summer Rains), published by Maktabat al-Dar al-Arabiyah lil-Kitab, Cairo (2017).

"(Amtar Sayfiyyah) tackles the interrelations between the music and the soul, and the sublimity of the spirit versus covetousness. The work showed an extensive knowledge in music that creates a tangible setting of melodic notes transcending to that of the Sufism station (مقام, maqaam)," judges said.

Néji Elounelli from Tunisia won the Translation Award for his Arabic translation from of the work of German author Theodor Adorno, Natharayya ‘astiteeqyya (نظرية استيطيقية, Ästhetische Theorie), published by Al-Jamal Publications, Beirut 2017

"The book represents an authentic depiction from the German text that is considered a valued work in philosophy whose author is a prominent figure in the Frankfurt School of thought. The work investigates the theoretical paradigm of aesthetics that shifts the perspective from the traditional theory of knowledge to the critical philosophy in society," noted judges.

The Literary and Art Criticism Award went to Moroccan academic Mohammad Mishbal, for his work, Fi balaghat al-hajjaj: nahwa balagha hajjajiyyah litahleel al-khitab (في بلاغة الحجاج: نحو مقاربة بلاغية حجاجية لتحليل الخطاب, The Rhetoric of Eloquence), published by Kunouz Al Ma’refa Publishers, Amman (2017).

"The book elaborates on Al Hajjaj connections to the rhetoric and discourse, analysing the foundational strategies in ancient rhetoric up to present-day, in a well versed language, clear analysis and based on extensive bibliography," judges commented.

The Arab Culture in Other Languages Award went to German researcher Dag Nikolaus Hasse for his work Success and Suppression: Arabic Sciences and Philosophy in the Renaissance, published by Harvard Press 2017 while Dar Al-Tanweer (Beirut/Cairo/ Tunisia) won the Publishing and Technology Award.

"The book is a significant work of scholarship that fills in an important gap in modern knowledge: the fact that works in the Arabic sciences and philosophy played an important role in Western Renaissance movement. Hasse monitors the influence of Arabic in the intellectual development, debates and controversies of the Renaissance," said judges.


Judges said Dar Al-Tanweer "is viewed as a luminary institute that contributes generously to spreading the Arabic culture, encouraging authoring and translation. The publishing house continues to assume a leading role in bringing young voices in philosophy and literature to the limelight".
 
Dr Ali Bin Tamim, the Secretary General of Sheikh Zayed Book Award commented: “The nominations went through a rigourous assessment towards selecting the best of the entire body of works received this year, followed by a series of evaluations lasting for three months by qualified judging panels, to be concluded by the reviews of the scientific committee and the final sign-off by the Award’s Board of Trustees to name the winning titles of the 12th session.

“Throughout the past 12 years, since its inception, the Award has won a reputation of recognising and celebrating the best text in the Arabic literary production, with a deeply rooted transparency engraved on a regional and an international level.”

HE Saif Saeed Ghobash, Director General of the Department of Culture and Tourism, Abu Dhabi, congratulated the winners for their achievement, stressing that their works deserve the recognition, and adding: “As we mark the Year of Zayed, this is fitting appreciation to the memory of the late Sheikh Zayed bin Sultan Al Nahyan; crowning this outstanding group of writers, intellectuals, publishers and young talent as winners of an award in his name, and echoing his vision of fostering the sciences to enrich the Arab cultural, literary and social life.”

There was no award for the Contribution to the Development of Nations category this year.

The Sheikh Zayed Book Award was inaugurated in 2007, and aims to promote scholarship and creativity in Arab culture. It carries cash prizes totaling AED7 million – with AED750, 000 per winner in all eight categories. The winners also receive a certificate of merit and a gold medal.

Details:

The award ceremony is scheduled on April 30 in Abu Dhabi, UAE.

2017 bespoke Rolls-Royce models include the Spirit of Calligraphy Ghost

Rolls-Royce Motor Cars has shared the finest examples of bespoke design and craftsmanship to be completed by the luxury house over the past 12 months. The Rolls-Royce Motor Cars Bespoke department is a collective of designers, engineers and craftspeople who bring patrons’ most ambitious and personal visions to reality. Today, almost every motor car made by Rolls-Royce is bespoke.

According to the company, 2017 was the year that Rolls-Royce elevated its Bespoke initiative to unprecedented new levels, resulting in one of the most significant years for the Bespoke department in the 114-year history of the brand.

Spirit of Calligraphy Ghost

A special one-off commission unveiled in Dubai, UAE in 2017, the Bespoke Spirit of Calligraphy Ghost draws its design inspiration from the art of Arabic calligraphy. Conceptualised by brand experts at AGMC, the sole dealers of Rolls-Royce Motor Cars in Dubai, Sharjah and the Northern Emirates, the Spirit of Calligraphy is an extended wheel base Rolls-Royce Ghost that combines the words of the luxury brand’s founder with the region’s Arabian heritage.

Handpainted on the fascia of this masterpiece is a calligram created by Arabic calligrapher Khalid Al Saaei, where Sir Henry Royce’s iconic words “Take the best that exists and make it better. When it does not exist, design it” has been translated into Arabic and then written as the shape of the Rolls-Royce’s famous flying mascot, the Spirit of Ecstasy.

The features a Sapphire Black exterior with an Arctic White coachline and 21” painted wheels with matching wheel centres and Arctic White pinstripes. The bespoke interior features Al Saaei’s Spirit of Ecstasy calligraphy motif as both a silver inlay on the centre panel and as embroidery on the rear centre seat, amidst an eye-catching array of turchese, Black and Arctic White leathers, finished with Black lambswool carpets.

At the time of the announcement in November 2017, timed to coincide with the Dubai International Motor Show, Mamdouh Khairallah, GM, Rolls-Royce Motor Cars AGMC, said, “Khaled Al Saaei’s artwork captures the words that have formed Rolls-Royce’s ethos for decades and contours them into the brand’s inspirational muse. Only with Rolls-Royce can you take a unique piece of art that encapsulates culture and tradition, and present it in a luxury automobile as unique and special as the piece of art itself.”

Source: Rolls-Royce Motor Cars. Detail of calligraphy motif, Spirit of Calligraphy Ghost.

Sweptail

Source: Rolls-Royce Motor Cars. The Sweptail.

Rolls-Royce Sweptail premiered in 2017, draws on the lineage of 1920s and 1930s Rolls-Royce motor cars. The client’s vision was for a coach-built two seater coupé featuring a large panoramic glass roof.

The grille, milled from solid aluminium, presents a distinct formality. The side profile of Sweptail defines its stately character, whilst the rear taper of the motor car pays homage to the world of racing yachts. The rear culminates in the registration number 08, milled from ingots of aluminium and hand-polished to a mirror finish.

Phantom and The Gallery

Source: Rolls-Royce Motor Cars. The Thorsten Franck Bespoke Phantom Gallery.

This new Rolls-Royce Phantom has at the heart of its design aesthetic The Gallery, a contemporary and luxury reinterpretation of a motor car’s dashboard and instrument panel.

An application of glass runs uninterrupted across the fascia, providing an unprecedented opportunity to present artwork within a car.

Dawn and Wraith at Porto Cervo

Two motor cars were created in honour of the 2017 Rolls-Royce Summer Studio, Porto Cervo, Sardinia in Italy. A bespoke Dawn drophead coupé and a Wraith Black Badge were commissioned to encapsulate the essence of the island.

Source: Rolls-Royce Motor Cars. The Porto Cervo motif in sapphires and mother of pearl, in the Dawn.

Dawn adopted a nautical theme, evoking emotions of a Mediterranean sojourn. The Porto Cervo motif, encrusted with genuine sapphires and mother of pearl, is embedded into the front fascia of the motor car. Navy blue and arctic white hues complement an expanse of teak, including the decking and floor.

The Porto Cervo Wraith emulates Sardinia’s night time ambience. A two-tone Diamond Black exterior is contrasted with gloss and matte paint applications, while black woven leather door panniers infer Wraith Black Badge’s dark and complex character.

Ghost Elegance

Commissioned for an individual collector, the Ghost Elegance is the first motor car to be finished in a paint infused with diamonds. Named Diamond Stardust, the unique paint incorporates 1,000 diamonds crushed to form a very fine powder, giving the finished panels unmatched lustre and sparkle.

Source: Rolls-Royce Motor Cars. The Ghost Elegance.

The flanks of the car are highlighted with Mugello Red and Black twin coachlines, reflected inside with black leather seats and accents in Mugello Red, carried through stitching on the doors and piping on the seats. The detailed fascia of smooth open-pore Tudor Oak veneer is also complemented with a Mugello Red single stitch along the top of the dashboard, and finished with a Bespoke clock.

Source: Rolls-Royce Motor Cars. Dawn in Fuxia.

Dawn in Fuxia
In 2017, US collector Michael Fux was presented with his 10th Bespoke model from Rolls-Royce Motor Cars. Following a visit to Pebble Beach, US in 2016, where he collected a cluster of fuchsia petals, he challenged the Bespoke team at Goodwood - the home of Rolls-Royce - with a commission to bring a new colour to Dawn.

Dawn in Fuxia represents a unique hue to the Rolls-Royce Colour Collection, and is reserved exclusively for Fux. His most recent commission is his second Dawn, having collected the first – in one-off Fux Blue – in 2016. Reminiscent of that car, the interior of Dawn in Fuxia is trimmed in Arctic White leather.

Dawn B50 for Hotel Byblos

In celebration of the 50th anniversary of the Hotel Byblos in Saint-Tropez, France in 2017, Rolls-Royce Motor Cars revealed the Dawn B50, a Bespoke car inspired by the warmth and vibrancy of the Côte d'Azur.

Commissioned by the Hotel Byblos as the automotive Jewel of Saint-Tropez, the Dawn B50 has two dominant exterior colours. The combination was developed exclusively to celebrate the hotel’s anniversary, along with bespoke door treadplates and a unique hand-painted coachline on each side bearing the B50 logo. The sophisticated interior takes inspiration from the Mediterranean sun, with tangerine tones that accentuate the dashboard and echo the stitching across the seat upholstery and floor mats.

A special Silver Dawn

Prominently displayed at the Home of Rolls-Royce is a very rare 1952 Silver Dawn. It was sold new to a customer in Canada, and in 2017 a commission for a new Dawn from the same country led to a homage to this particular car in its 65th anniversary year.

Finished in two-tone Midnight Sapphire and Jubilee Silver, the new Dawn closely emulates the original finishes of the 1952 motor car, with a Bespoke painted coachline, broken for the first time on a Rolls-Royce. Inside, Selby Grey and Navy leather are combined with Crossbanded Walnut Burr veneer, closely matched to the original. The finishing touches include a Bespoke clock with 1952 lettering and a Spirit of Ecstasy veneer inlay.

Inspiration from South Korea

The Bespoke Collection for Korea embraces the aesthetic heritage of South Korea with contemporary flair. The Ghost Seoul Edition reflects colours that grace the country’s Taegukgi national flag, finished in bright Andalusian White with a twin coachline in Cobalto Blue and Mugello Red – along with a handpainted Bespoke motif that captures the silhouette of the iconic Namsan Seoul Tower. Inside, the black leather upholstery is complemented by contrasting bands in Arctic White, as well as blue and red highlights for stitching and piping.

The Wraith Busan Edition is inspired by the hues of the coastal city of the same name, with a two-tone exterior in Royal Blue and Jubilee Silver that conjures up the shimmering sea. The rear pillar motif echoes the delicate latticework of traditional Korean hanok screen doors, and is also carried inside the car across the dashboard. Emulating the dusk sky across nearby mountains, a single coachline in Blushing Pink draws attention to the shoulder line. The colour is also applied to the seat stitching, instrument panel and RR headrest monograms inside, as a flourish to the Selby Grey and Cobalto Blue upholstery.

Shapes and meanings: Islamic calligrams in Southeast Asia

Calligrams, or figurative calligraphy, refers to calligraphy in which the letters also form images. In a recent talk at the ISEAS-Yusof Ishak Institute in Singapore, Dr Farouk Yahya, Leverhulme Research Assistant in Islamic Art and Culture at the Ashmolean Museum, University of Oxford, explained that calligrams have been used for devotional and talismanic purposes in various parts of the Islamic world, particularly Iran, Ottoman Turkey, and India.

Source: Wikimedia Commons. An example of a
lion of Ali, titled "Ismal lion" and contributed by
Ishvara7. 

The author of Magic and Divination in Malay Illustrated Manuscripts and Editor of The Arts of Southeast Asia from the SOAS Collections focused on two types of calligrams found in Southeast Asia in his talk, the "lion of Ali" and a ship featuring the seven sleepers of Ephesus*, a legend also related in the Quran.


The lion of Ali, better known as the tiger of Ali in Southeast Asia, is a calligram in the form of a large feline. It is usually associated with the Prophet Muḥammad’s (ﷺ) cousin and son-in-law Ali. While the calligram was first known as a lion, tigers are the major predators native to Southeast Asia and the calligram of the large cat eventually became known in this part of the world as a tiger instead, said Dr Farouk. This is especially so in Cirebon in Indonesia, and Kelantan in Malaysia.

The tiger calligram is typically created with the Arabic script of the Quranic verse 61:13 (نَصرٌ مِنَ اللَّهِ وَفَتحٌ قَريبٌ ۗ وَبَشِّرِ المُؤمِنينَ), translated by Sahih International as "Victory from Allah and an imminent conquest; and give good tidings to the believers". Arabic is read from right to left, and Dr Farouk demonstrated how the the verse often began from the eye of the animal.

Asked if the reference to Ali could be a Shia practice in a predominantly Sunni Southeast Asia, Dr Farouk said that Ali reflected respect towards the Prophet's family and acknowledgment that Ali was one of the four caliphs who ruled after Muhammad. "Ali is also found in Ottoman times, and [the Ottomans were] Sunni," he said. "It might connote Sufism." Ali is often considered the father of Sufism.

Tiger calligrams also had a heraldic use. The state flag of Kelantan from 1912 to 1923 uses an animal calligram featuring the "victory from Allah" verse, ending in a mention of the rajah at the tail area. The same calligram is on the Sultan's personal banner, in yellow, versus a blue version for the state. Dr Farouk noted that these particular calligrams were inspired by animal calligrams on the doors of the Sultan's predecessor's palace, and noted that these calligrams are themselves very similar to the lions of Ali in Ottoman times.

A later phrase used in calligrams was "qauluh al-haq wa kalamuh as-sadq" (قل الحق و كلماة الصادق), loosely translated as "I say and write truth", as observed by Annabel Teh Gallop and E Ulrich Katz in The Legacy of the Malay Letter, Dr Farouk said. The phrase used to be common at the beginning of a letter written in Malay.

The calligrams were not just used for personal protection but for protecting assets as well. Dr Farouk shared calligrams used to protect bulls used in bull-fighting in the hope that they would win the fight. The calligrams would be written on leaves which were then consumed by the bulls.

A calligram in the shape of a paddle-steamer from Cangking, Indonesia, 1866, that is in the Bodleian Libraries collection was shared by Dr Farouk.

Calligrams in the form of a ship featuring names of the seven sleepers of Ephesus and their dog were used as talismans that bridged travel between the physical and spirit worlds, Dr Farouk said. They were also thought to prevent ships from sinking, and to ensure safe arrival of letters. These were influenced by Persian, Indian and Ottoman models. According to Dr Farouk, the Prophet Muhammad is said to have said that writing the names of the seven sleepers in the form of a ship calligram will ensure that the ship will not sink. In the story the seven youths are said to have been from the port city of Ephesus (present-day Selçuk in Turkey), falling asleep in a cave and waking up centuries later.

Dr Farouk concluded that the power of figural and zoomorphic calligraphy is widespread, with calligrams also found in other scripts and used by non-Muslim populations. Studying them helps to understand how designs are used in a region, how and why motifs travel, and why designs are important in certain areas, he said.

Explore:

The form of the Malay letter from the 16th century (Malay)

*There are variations in the stories but they all agree that there were seven young men who refused to renounce Christianity and were sealed up in a cave. In one variation the cave was unsealed many years later and the youths were discovered to be sleeping, waking as if they had only slept overnight. They woke up at a time when the resurrection after life was being debated, proved they were who they said they were and shortly after went back to sleep permanently. 

In the Quran, surah al-Kahf (the cave) mentions a number of men (three to seven) who went to sleep in a cave together with a dog. They awake centuries later and one of them is told to go into town but to be discreet about it (ayah 18:19). He is to be careful because their religion will be disputed, but more context is provided by the Ephesus story, which is considered biblical apocrypha today.

Arabic classes over the year end holidays

As-Souq Arabic Centre Singapore is opening two courses for the year end holidays:

Arabic for Parents course

Parents will learn basic Arabic grammar rules as well as multimodal techniques of learning which they can use to help their children learn at home.

Madrasah Enrichment course

Designed for Primary 1 and 2 madrasah students, this course aims to help the children overcome one of the more common areas of weakness, oral communication.

The interactive lessons are designed to help the children grow their confidence and increase their vocabulary.

Details:

As-Souq is at 55 Lorong L Telok Kurau Road, #03-69, Bright Centre.

Arabic for Parents
Every Saturday
 11 November - 16 December
 10am-12pm
 Register

Madrasah Enrichment
Every Tuesday and Thursday
 28 November-21 December
 2-4pm
 Register

Al-Ahdaf Academy offers weekly Quran recitation and Arabic language course for kids

Source: Al-Ahdaf Academy Facebook page. Poster for the Q&A Course.

Al-Ahdaf Academy in Singapore has a Quran & Arabic (Q&A) Course that equips children with the knowledge and skills necessary for Quran recitation and the Arabic language, estimating that a child will be able to read the Quran within six months. Arabic language and conversation will be taught once students are able to read simple Arabic sentences.

Interested?

The course is for children aged five to 12 years old, with classes grouping children of similar age together. Sessions* are held weekly:

Every Saturday,  9.30am to 11.30am
S$80/month

(During Ramadhan 2017)
Every Monday and Wednesday, 9.30am to 11.30am or 11.30am to 1.30pm
S$140/month

(After Ramadhan)
Every Tuesday and Thursday or Monday and Wednesday, 4pm to 6pm
S$140/month

Email alahdaf.arabiyyah at gmail.com with enquiries

*A one-time registration fee of S$20 will be charged. S$20 discount will be given for siblings who register together.

Katara offers Arabic calligraphy exhibition and workshops by Chinese artists

Source: Katara Twitter account. Poster for the Arabic Calligraphy by Chinese Artists Exhibition and Workshop.

The Cultural Village Foundation-Katara has put together the Arabic Calligraphy by Chinese Artists Exhibition and Workshop at the Katara Art Studios.

Katara is part of a vision to position Qatar as a cultural beacon in the Middle East through activities around theatre, literature, music, visual art, conventions and exhibitions.

Interested?

Both the exhibition and the workshops will be held from 15 to 20 May. The exhibition will be held from 10am to 10pm at Building 19, Gallery 02, Katara Art Studios. The workshops will also be at Building 19, from 5pm to 9pm. Call +974 4408 0233 to register

Download the Katara mobile app

Hashtag: #Katara

Dubai introduces high quality font for global use

• Hamdan bin Mohammed: Dubai Font (خط دبي) combines the authenticity of the past and the aspirations of the future

• The Dubai Font is the first Microsoft font created by a city and named after it

• The font can be accessed globally by more than 100 million users across the world through Microsoft Office 365

Source: Dubai Font. Government institutions are directed to use the
font in correspondence.

The Crown Prince of Dubai and Chairman of the Executive Council of Dubai HH Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum has launched the Dubai Font– Microsoft’s first font to be created by a city and named after it – in line with the UAE’s vision to become a regional and global leader in innovation.

Dubai Font is a project spearheaded by HH and launched by the Executive Council in partnership with Microsoft. HH officially directed government institutions in the Emirate of Dubai to adopt the font in government correspondences, saying: “The launch of the Dubai Font to the world is a very important step for us as part of our continuous efforts to be ranked first in the digital world. We are confident that this new font and its unique specifications will prove popular among other fonts used online and in smart technologies across the world. Therefore, we urge all government entities to use the Dubai Font in their official correspondence, which is considered as a positive shift that will boost the emirate’s competitiveness in smart technology. This should be a commitment from the Dubai government to guarantee the dissemination and success of this initiative on a local and global level.

“I have personally overseen all the stages of the development of this font, from the first design sketches to the execution phase. I congratulate the project team and everyone who contributed to the success of this unique initiative.”

On the same note, Secretary General of the Executive Council of Dubai HE Abdulla Abdul Rahman Al Shaibani said: “Based on the directives of VP and PM of the UAE and Ruler of Dubai HH Sheikh Mohammed bin Rashid Al Maktoum, who has always urged us to communicate and to open new channels with others to exchange ideas and experiences, in addition to the continuous support of Crown Prince of Dubai and Chairman of the Executive Council of Dubai HH Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum, and the valuable trust bestowed upon us, we are gathered here today to witness a new contribution from Dubai to serve the region and the world. The Dubai Font– the emirate’s new and innovative mark in the digital world – builds a knowledge bridge linking the East to the West.”

HE added: “The Dubai Font sets itself apart from other fonts because it was designed based on the main pillars that have turned Dubai into a remarkable symbol of success and tolerance. It was simultaneously designed in both Arabic and English, which was later extended to include 21 other languages. It reflects the commitment of the General Secretariat of the Executive Council of Dubai in executing the directives of our wise leadership, as well as achieving its strategy to encourage the use of technology in reaffirming Dubai’s global stature, and asserting its influential role in serving governments and the community across all levels.”

Assistant Secretary General for the Executive Council and General Secretariat Affairs Sector of Dubai, and Project Director of Dubai Font, Engineer Ahmad Al Mahri said: “The Dubai Font reflects the commitment of the General Secretariat of the Executive Council to employ the best technologies and tools in an innovative and effective way. It integrates the traditions of the UAE and its ancient and honourable past with its developed and innovative future, as per the directives of our wise leadership. Our team has executed the orders of HH the Crown Prince and has ensured that the Dubai Font adopts the latest international practices in the world of typefaces.

“This initiative will surely mark Dubai’s position in this fast-paced world of digital typography; therefore, it was necessary for us to embrace these technologies and present them to the people in a way that gives them pride and happiness, allowing them to express themselves with the people around them.

“We present the Dubai Font to the world today, to restate the essential role played by the UAE in promoting the values of giving and tolerance not only within the country but also around the world. The font also supports the technology sector in general by offering a high-quality digital font with unique specifications in different countries of the world without any costs. The font carries special characteristics that facilitate reading and supports printing and display on electronic screens. Dubai Font happens to be the most exemplary font to use in designing promotional ads to be used in larger sizes. It is important to note that the high technical quality of the font fills an important need for high-quality Arabic fonts as part of the Office 365 programme by Microsoft.”

The President of Microsoft in the Middle East and Africa Samer Abu Ltaif said: “Complementing the city’s efforts to adopt more designs and technology on a global level, we are happy to confirm that the Dubai Font will be available globally to over 100 million users around the world through Office 365. The debut of this font is a great example of successful collaborations between the public and private sectors to encourage reading and adopt more technical solutions to serve the communities. This reinforces the vision of Dubai, which aims to become one of the most inclusive cities, as well as Microsoft’s vision to provide better fonts to the world that are accessible to everyone.”

The font is the first font in Microsoft applications and solutions to be developed by a city and to carry its name. The Dubai Font was designed by Dr Nadine Chahine in collaboration with a team from a global agency Monotype. It was developed as a font with unique specifications that aims to encourage self-expression and reading, such as being optimised for use with screens. Created from scratch, the Dubai Font fills a design gap between Arabic and Latin texts and presents harmonious typefaces combining the two scripts seamlessly. The design of the font captures the unique nature of the Emirate of Dubai, mirroring the city’s qualities and promotes its global standing.

Source: Dubai Media Office. HH Sheikh Hamdan bin Mohammed bin Rashid
Al Maktoum, Crown Prince of Dubai and Chairman of the Executive Council
of Dubai. 

“The openness and harmony of the people in the UAE, the essence of Dubai and its vision to become the quintessential modern Arab city were our source of inspiration to design the Dubai Font,” explains Dr Chahine, Type Director and Legibility Expert at Monotype. “The challenge wasn’t to create a quality font but to create a new and a special medium of expression to unleash ambitions and transcend borders.”

Interested?

The font comes in four weights and includes 23 languages and is available within Office 365. It is also free for global use in design, communications, or embedding in applications, and is expected to reach more than 85 million users in 180 countries via Microsoft. Download the font

Hashtag: #ExpressYou

posted from Bloggeroid

Register at Al-Ahdaf Academy for madrasah tuition

Al-Ahdaf Academy has opened 2017 registration for madrasah* tuition, conversational Arabic and preparatory courses for kindergarten.


Classes are either held in Paya Lebar or in Tampines. The Paya Lebar location is near Paya Lebar MRT station, at the Arab Association (Al-Wehdah), 11, Lorong 37, Geylang Road, Singapore 387908. The Tampines venue is at #07-06 Income @ Tampines Junction, 300 Tampines Avenue 5,
Singapore 529653.

The Madrasah Tuition Program caters to full-time Singapore madrasah students from primary up to secondary level. It aims to equip students with the knowledge and skills necessary for their exams in Arabic and Islamic subjects.

There is a Weekday Tuition Program from Monday to Thursday at Paya Lebar. Students can choose from a twice weekly or weekly tuition programme.

A Week-end Tuition Program is held once a week on Saturdays or Sundays at Tampines, either at 9.30am to 11.30am or at 11.30am to 1.30pm.

A minimum of four students are required to start a twice weekly class. Lower primary students pay a monthly fee of S$180 each; upper primary students pay S$190 and secondary students pay S$200.
The weekly class requires at least two students. Lower primary students pay S$150 each a month; upper primary students pay S$160 and secondary students pay S$180.

The Kindergarten Students Preparatory For Primary 1 Madrasah course provides sufficient preparation in the Arabic language for K1 and K2 students to sit for the madrasah’s primary one entry test. K1 and K2 refer to the two years of kindergarten just before primary school, and would correspond to students of four to five years old, and five to six years old respectively.

This course is available all year round. K2 classes are held every Wednesday at the Paya Lebar venue from 3.45pm to 5.45pm. There are currently some vacancies.

A weekly K1 class at Paya Lebar will be beginning soon, with the days and times to be shared later. New once-a-week K1 and K2 classes are beginning in March at the Tampines venue.
Three or more students are required to start a class, at S$130 per month per student. Materials will be provided.

A Conversational Arabic course for secondary madrasah students is also available at Tampines on Sundays from 2.30pm to 4.30pm. The course is designed to enable students to converse in Arabic with basic vocabulary in three months (14 lessons). The course is tailored to help individual students on pronunciation, memorisation and general progress.

At least 10 students are required to form a class. The course costs S$80 a month for three months, and the books cost S$25.

There is a one-time registration fee of S$20 that is waived for those who register for any course by 11 March 2017.

Interested?

Register. Registrations will be confirmed via email, SMS or WhatsApp.

*An Islamic religious school is termed a madrasah in Singapore. There are six full-time madrasahs in Singapore:

1. Madrasah Al-Arabiah Al-Islamiah
2. Madrasah Al-Irsyad Al-Islamiah
3. Madrasah Aljunied Al-Islamiah 
4. Madrasah Al-Maarif Al-Islamiah (this is a girls-only school)
5. Madrasah Alsagoff Al-Arabiah (this is a girls-only school)
6. Madrasah Wak Tanjong Al-Islamiah

Al-Ahdaf Academy opens applications for March Arabic courses

Al-Ahdaf Academy, which specialises in Arabic language tuition in Singapore, is promising that students will master basic Arabic conversation in two months with the Al Muhawarah Conversational Arabic course.

"We tailor the course to track students' pronunciation, memorisation and general progress to better cater to their varying personal needs," states an overview of the course, which focuses on listening, speaking, reading and writing proficiency in modern standard Arabic.

Teacher Mustafa Altahir graduated from Al-Azhar University of Egypt and attended The American University of Cairo for Translation (Arabic-English). He also attended Dar Almustafa, Tarim, Yemen and Darul Lughah in Indonesia.

The beginners' course is two months long, and a minimum of 10 students are required. Course fees are S$300 for 16 lessons, twice weekly. Books and course materials cost S$25*. It will cover:

- Use and understanding of common verbs in the present tense ✅
- Use and understand basic nouns such as family members, body parts and tools ✅
- Introduce themselves comfortably in Arabic ✅
- Share their daily activities in Arabic ✅
- Conduct casual conversations in Arabic, as opposed to formal reading and writing in formal Arabic ✅
- Greet and interact with guests with simple questions ✅
-Tell the time, days and be able to count ✅
- Construct basic sentences confidently ✅
- Tell a simple story ✅
- Describe objects and pictures ✅
- Recognise simple words and meanings found in the Quran ✅

Students are eligible for the beginners' level if they can recognise the different letters, sounds of the Arabic alphabet and read simple Arabic sentences.

Intermediate classes are two months long. Course fees are S$300 for 16 lessons, twice weekly. Books and course materials cost S$25*. The intermediate level will cover:

- Use and understanding of common verbs in the past tense, and their imperative forms ✅
- Use and understanding of basic nouns such as food, transportation and furniture ✅
- Sharing of experiences in travelling and favourite sporting activities ✅
- Sharing of daily activities in Arabic ✅
- Spoken Arabic (different from reading and writing in formal Arabic) ✅
- Tell the time, days and count ✅
- Construct more advanced sentences confidently ✅
- Converse in Arabic at restaurants, airport and hotels ✅
- Tell stories ✅
- Describe objects and pictures ✅
- Understand words and meanings found in the Quran ✅

At the intermediate level, students must already be able to introduce themselves in simple Arabic, and:

• Construct basic sentences using the present tense with pronouns such as أنا، نحن، أنت، هو، هي (I, we, you, he, she).
• Count to 100 in Arabic.
• Describe simple objects using tastes, colours, shapes and sizes.

Aspiring students must complete a simple written test before the class starts.

Advanced level students must first complete the intermediate level, and is scheduled after the intermediate level is completed, at the same venue. The advanced level course is one month long, and costs S$150 for nine lessons.

Interested?

Classes are held either in Tampines or Sembawang, at:
NTUC Income Building @Tampines Junction, next to Telepark building and opposite Tampines Hub.
#07-06

The Canberra Community Club, next to Sembawang Neighbourhood Police, 5 minutes' walk from Sembawang interchange 

The beginners' course will be held at

Tampines from 8 March, every Monday and Wednesday
6.30pm to 8.30pm (10-minute break for maghrib)

Tampines from 25 March, every Saturday
9.30am to 12pm (15 minutes' break)

Sembawang from 10 March, every Tuesday and Friday
6.30pm to 8.30pm (10-minute break for maghrib)

Intermediate classes will be held at

Tampines from 8 March, every Monday and Wednesday
8.30pm to 10.30pm (10-minute break included)

Sembawang from 14 March, every Tuesday and Friday
8.30pm to 10.30pm (10-minute break included)

Watch the promotional video

Register. There are discounts applicable for full-time students, registering with family members or friends, and early-bird registration.

Read reviews

*Course materials are from Darul Lughah wa Dakwah Institute in Indonesia. The textbooks are in Arabic and will be used until the Advanced course:
- AlMuhawarah Alhadisiah (Modern Arabic Conversation)
- Kalimaat Af 'aal Alyaumiyah (Daily Verbs)
- Kalimaaat Asmaa' Alyaumiyah (Daily Nouns)

Worldreader to expand Read to Kids Program to serve Syrian and host communities in Jordan

Worldreader, a global non-profit that believes everyone can be a reader, plans to expand its Read to Kids Program to serve Syrian refugee and host communities in Jordan. The programme supports parents and caregivers to become their children's first teachers, enabling and encouraging them to read to their young children using their mobile phones.

The Read to Kids mobile reading programme in India cultivated more than 60,000 readers over nine months through support from Pearson. Worldreader is now committing to expanding into Jordan to help Syrian and Jordanian children become lifelong readers. The organisation will work with Arabic publishers and partners to digitise and disseminate high-quality Arabic children's reading books to 50,000 households across the country. The programme will also work with educators and publishers to curate a psychosocial collection of books and activities that encourages stories and reading as a safe way to explore emotions and generate healing.

"Encouraging parents to get engaged in their children's learning through reading books has been outlined as a key priority of Jordan in 2016. The research is clear on the importance of reading for brain development and long-term success in children's lives. We are pleased to work with Worldreader be able to offer this innovative programme to the people of Jordan as well as the Syrian nationals who have sought refuge within our country," said HE Dr Omar Razzaz, Jordan's Minister of Education.

Parents and caregivers will be able to access this programme from an Internet browser on their mobile phone or by downloading the Read to Kids app from the Google Play Store. The books are curated to match children's interests and developmental readiness from birth through age 12.

Worldreader plans to launch Read to Kids Jordan in late 2017. The programme will be made possible through a US$1 million grant from private philanthropic organisation Stavros Niarchos Foundation (SNF), with additional support from Jordanian social and education entities. The organisation is seeking additional funding and support from organisations wishing to help promote reading and education to refugees in Jordan.

"Worldreader is an exemplary organisation providing critical literary resources to enhance children's learning and educational development," said Andreas Dracopoulos, Co-President of the SNF. "SNF is proud to partner with Worldreader on Read to Kids Jordan, a critical initiative that aims to support early literacy programmes for 50,000 Syrian and Jordanian children, and as a foundation to continue to respond to the devastating crisis and its impact on refugee and host-community children."

"At a time when world leaders are closing their doors to refugees, conflict-affected families need every tool to ensure bright futures for their children," said David Risher, CEO and Co-founder of Worldreader. "We have seen firsthand the impact that digital reading has on children and families in India and we are proud to bring this same opportunity to all children in Jordan—including those who have been affected by the worst humanitarian crisis of our time—through the Read to Kids programme. Every child should be able to benefit from the magic of reading."

Compare travel pricing in Arabic on Rahlat.com

Source: Rahlat.com website. Screen capture of the home page.

Rahlat.com, the Arabic travel search website done by Arabs for Arabs, aims to help Middle East and Gulf travellers save time and money. The free, independent travel metasearch engine, which supports Arabic and English, discovers the best flight and hotel prices with the click of a mouse, displaying results in a range of currencies.

The Arabic search engine can compare prices from hundreds of travel and airline websites, and almost 1 million hotels located across the globe, and currently attracts more than 100,000 visitors from various countries in the Middle East and Gulf regions, including the UAE, KSA, Jordan and Kuwait.

Company CEO Elie Messo said, "We saw that travellers in the Middle East still bought their tickets from small offline agencies around the corner. Prices they paid were mostly 50% higher compared to what is paid online via travel search engines in Europe. We decided to solve this problem in the Middle East by launching Rahlat.com in Arabic with the vision of providing the same low prices as elsewhere in the world.

Southeast Asian calligraphy from students of Bil'eed AlHameedy

Source: Sharjah Museums Department.

The Sharjah Calligraphy Museum is hosting Letters & Ornamentation from Southeast Asia, an exhibition for the students of the Moroccan calligrapher Bil'eed AlHameedy from Indonesia, Malaysia, China and the Philippines. Each artist has contributed up to five pieces of his or her best work.
AlHameedy is also hosting calligraphy workshops in conjunction with the exhibition.

Interested?

 

The exhibition continues till 3 March 2017.

The Sharjah Calligraphy Museum is in the Hamad Al Midfaa building in the Sharjah Heritage Area (Heart of Sharjah). Tickets are AED5 for those aged 13 and above. Entry is free for children aged 12 and below. Family tickets cost AED10.

Opening hours:
Saturday to Thursday 8am to 8pm
Friday 4pm to 8pm

Call +971 6 569 4561 with enquiries
Hashtag: #SharjahCalligraphyMuseum

Katara brings prize-winning Arabic novels to Doha International Book Fair

Source: Katara. The Cultural Village Foundation (Katara) made prize-winning works available at the Doha International Book Fair.

The Cultural Village Foundation-Katara, a platinum sponsor of the 27th edition of the Doha International Book Fair,  showcased 28 publications that have won Katara’s Prize for Arabic Novel at the expo.

​The winning novels include translated copies of English and French publications as well as the work of Qatari novelists Shama Al-Kuwari and Ahmad AbdulMalek, which were distributed free to readers.



Winners of the second Prize for Arabic Novel included:

In the published category, Ibrahim Nasr Allah for Kilmanjaro Souls, Ilyas Khori for Sons of Gitto, Eman Hamedan for Fifty Grams of Heaven, Nasser Iraq for Al Azbakia, and Yahia Yakhalf for Wind Rider.  

In the unpublished category, Salmi Al-Nasser for Blue Tongues, Saad Mohamed Raheem for Desire Banks, Ali Ahmad Al-Rifai for Mero Family Genes, Mohamed Al-Gharbi Omran for Heights Queen, and Mostafa Al-Hamdawi for Princess Shadows.

Katara's prizes for research and studies went to Dr Ibrahim Al-Hajri, Dr Hassan Al-Mowadn, Dr Hossam Safan, Dr Zohor Karam and Dr Mohamed Abo Azza. ​

Nasser Iraq wrote the best drama in the published category, which was awarded US$200,000, while Ali Ahmad Al-Rifai took home US$100,000 for the best drama in the unpublished category. The top five published submissions were also awarded US$60,000 each, while the top five unpublished submissions received US$30,000 each.

The top five unpublished studies from the research, evaluation and literary criticism category were each awarded US$15,000. The top five unpublished young-adult novels won US$10,000 each.

Five awarded authors from the first Katara prize for Arabic Novel from the non-published novels category were also present to sign their works throughout the event.

The Doha International Book Fair had Read as its theme. Four hundred and ninety publishers from 33 countries presented more than 104,000 books, including 15,219 new titles.