Historic Jewish quarter of Marrakesh sees revival

Moroccan Jews and Israeli Jewish tourists participate in a religious ceremony to observe the holiday of Sukkot (the Feast of the Tabernacles) at a synagogue in the “Mellah” Jewish quarter of the Medina in Marrakesh on October 13, 2017. (AFP)
Updated 31 October 2017
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Historic Jewish quarter of Marrakesh sees revival

MARRAKESH: The once teeming Jewish area of Moroccan tourist gem Marrakesh is seeing its fortunes revived as visitors including many from Israel flock to experience its unique culture and history.
“You’re now entering the last synagogue in the mellah,” the walled Jewish quarter in the heart of the ochre city, Isaac Ohayon says as he enthusiastically guides tourists in the courtyard of the Lazama synagogue.
“Many visitors come from Israel — you wouldn’t believe the demand!” adds the jovial 63-year-old hardware shop owner.
This place of worship and study was built originally in 1492 during the Inquisition when the Jews were driven out of Spain.
Known as the “synagogue of the exiles,” it hosted generations of young Berbers who converted to Judaism and were sent from villages in the region to learn the Torah, before finally being deserted in the 1960s.
In classrooms now transformed into a museum, fading color photographs tell the story of a now-dispersed community, with many having left for France, North America and especially Israel.
The caption on one sepia shot of an old man sitting by a pile of trunks says it all: “They are traveling toward a dream they have prayed for for more than 2,000 years.”
Rebecca is now in her fifties and grew up in Paris, but she has “great nostalgia” for Morocco and returns as often as she can.
“The Jewish Agency began recruiting the poorest in the 1950s and then everyone left after independence (from France), at the time of King Hassan II’s policy of Arabization,” she says.
The Jewish Agency of Israel is a semi-official organization that oversees immigration to the country.

Before the wave of departures, Morocco hosted North Africa’s largest Jewish community, estimated at between 250,000 and 300,000 people.
There are fewer than 3,000 left, according to unofficial figures.
Marrakesh at the foot of the Atlas mountain range was home to more than 50,000 Jews, according to a 1947 census.
Now, 70 years later, around 100 are thought to remain, many of them extremely elderly.
Jewish-owned homes inside the mellah were sold to Muslim families of modest means, and the walls of the district were eroded by time.
“Sometimes we can’t get even 10 men together for prayers,” says one woman worshipper at the old synagogue, preferring to remain anonymous.
But at celebrations marking the end of the festival of Sukkot, which commemorates the Jewish journey through the Sinai after their exodus from Egypt, and the Simchat Torah holiday, the place is buzzing with song, dance and traditional dishes.
The worshipper says she has “never seen so many people” there.
Jacob Assayag, 26, proudly calls himself “the last young Jew in Marrakesh.”
“Since the quarter was restored, there have been more and more tourists,” says the restaurateur and singer.
A restoration project begun just over two years ago has already seen 17.5 million euros ($20.5 million) spent.
Ferblantiers Square, a large pedestrian area near the spice souk lined with benches and palm trees where tourist buses gather, also benefited from the revamp.
Twenty years ago, the quarter was renamed “Salaam (’peace’ in Arabic),” but this year saw its original “El Mellah” name restored on the orders of King Mohamed VI “to preserve its historic memory” and develop tourism.

The streets with their ochre facades once more bear their names on plaques in Hebrew: the synagogue, for example, is on Talmud Torah Street.
There is much to see inside the mellah.
Camera-toting tourists snap vigorously at shopfronts and the carved wooden doorways of houses in the quarter.
“Many people come every year from Israel for the (Jewish) holidays, and this year has seen even more, maybe 50,000,” says Israeli tourist guide David, leading a group from Tel Aviv via Malaga in Spain on an eight-day trip.
“I feel at home in Morocco because I was born here,” adds the 56-year-old from the port of Ashdod just north of the Palestinian-controlled Gaza Strip.
His parents left Marrakesh in the 1960s, when David was just four years old, “because they were Zionists.”
Ohayon says visitors from the Jewish state are often bowled over by Marrakesh.
“Moroccan Jews can’t forget their homeland and Israelis who come here for the first time find the spirit of tolerance here almost unbelievable when they themselves live under constant tension,” he says.
Officially, Morocco has neither diplomatic nor economic ties with Israel, as this is a sensitive topic. Just two Arab states, Egypt and Jordan, have signed peace treaties with the Jewish state.
But in reality, there are few obstacles to both business and tourism.
Moroccan media reports say commercial exchanges between the two countries this year have amounted to more than four million dollars a month.
The kingdom, seen as a safe destination, recorded a more than 10 percent rise in tourist arrivals between January and August this year over 2016, with eight million visitors.


Ithra launches literary initiative in East Asia

Updated 13 June 2024
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Ithra launches literary initiative in East Asia

  • Ithra will be present at the Beijing International Book Fair, which will be held from June 19-23, and the Seoul International Book Fair, which will be held from June 26-30
  • Participation is part of Ithra’s wider mission to promote cross-cultural exchange, raise awareness and foster understanding through knowledge-sharing

DHAHRAN: King Abdulaziz Center for World Culture, also known as Ithra, will be present at two of the most prominent cultural events in Asia this summer.

The events are the Beijing International Book Fair, which will be held from June 19-23, and the Seoul International Book Fair, which will be held from June 26-30. 

This participation is part of Ithra’s wider mission to promote cross-cultural exchange, raise awareness and foster understanding through knowledge-sharing.

This book tour will also launch the Mandarin and Korean versions of “Al-Mu’allaqat for Millennials,” a collection of 10 pre-Islamic Arabic qasidahs, or odes, each considered among the most important pieces penned by Arab poets of the 6th century.

The selection represents a shining example of early Arabic poetry. The book is intended to educate new generations about the social and philosophical values of those ancient poems.

Ithra Library will showcase its status as one of the largest and most technologically advanced in the Middle East and solidify itself as a world-class destination for readers from around the globe, offering a variety of resources and tools.

“Ithra is a cultural landmark not just in the Kingdom of Saudi Arabia, but across the Arab World and the globe as well,” Tariq Khawaji, cultural advisor to Ithra, said.

“Our goal at BIBF and SIBF is to expand our reach and encourage greater collaboration, cultural exchange and knowledge sharing. Our presence here serves as a window into our offering, our country and our culture. We are excited to share and start conversations that lead to deeper understanding and continued positive cultural exchange.

“Last year, the Ithra Library had over 700,000 visitors. We successfully conducted more than 100 reading club sessions, 15 programs, and around 175 cultural sessions,” added Khawaji.

“Our library’s programs are not exclusive to the Kingdom of Saudi Arabia,” he continued. “Some of our initiatives now take place in seven cities across the globe and we are hoping to expand that further.”

The Beijing fair, now the second largest book fair in the world, attracts more than 2,600 exhibitors from more than 100 countries and regions every year. 

The Seoul fair has been South Korea’s largest book fair for around 70 years and is considered an important platform in the publishing industry.

Ithra Library, housed within the headquarters of Ithra in Dhahran, is a four-story structure, covering more than 6,000 square meters, and is home to over 340,000 books in English and Arabic.

The library applies the latest technologies and tools, including RFID technology that streamlines book borrowing, as well as a smart book returning and sorting system. The library offers free internet, and supplies interested parties with computers for research and study purposes.

The first digitally integrated library in the Kingdom, Ithra’s Digital Library serves as a digital haven of over 50,000 free e-books and audiobooks available to book lovers from across the globe, as well as over 7,000 newspapers and magazines available in 60 languages.


Saudi artist Nada Halabi explores dreams through artwork

Updated 13 June 2024
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Saudi artist Nada Halabi explores dreams through artwork

  • Nada Halabi: I get a lot of inspiration from travel, so when I go to Europe, I love to visit old and contemporary museums to get ideas
  • Halabi: I lose myself while painting, and sometimes I paint something, then paint something over the top of it if I’m not content, until I’m happy with the end result

RIYADH: Contemporary Saudi artist, Nada Halabi, is exhibiting her “Dreams Unveiled” collection at Ahlam Gallery in Riyadh from June 4-15.  

“There’s a lot of dreams in these paintings,” Halabi told Arab News. “So, it’s like all the years accumulated with time and all my dreams, like sometimes I wake up at 5:00 a.m. and write down what I see, and when I wake up again, I paint.” 

Some of her works are inspired by the Renaissance era, a period of European cultural, artistic, political and economic “rebirth” after the Middle Ages.  

“I enjoy combining Renaissance art with a contemporary touch of flair, and I chose Renaissance characters because I believe their style at that era was exceptional, and they were the true artists, so I transformed some of them into contemporary art,” said Halabi, who enjoys experimenting with different styles, colors and sizes.  

Many things have influenced Halabi’s work as an artist. She enjoys traveling to different museums and finds inspiration in historic places and things. 

“I get a lot of inspiration from travel, so when I go to Europe, I love to visit old and contemporary museums to get ideas. Then, when I return to Saudi Arabia, I just paint nonstop because everything is so new on my mind,” she said. 

Halabi’s works reflect her time-consuming process.  

“I lose myself while painting, and sometimes I paint something, then paint something over the top of it if I’m not content, until I’m happy with the end result,” she said.  

The artist has clients of all ages. Some of her clients are art collectors, while others own museums.  

She studied fine art at the Academie Libanaise de Beaux Arts in Lebanon before relocating to London and then Los Angeles, where she received more guidance from a well-known American artist. She has trained at schools of art in the UK and the US, and exhibited her work in exhibitions and galleries in the Middle East.

In her current exhibition, there is a section dedicated to Lebanon — featuring newspapers and the neon words “Disconnected Roots.”

Halabi said: “I lived in Saudi Arabia longer than I did in Lebanon, even though I was born and raised there, and this artwork shows how many countries are connected yet at the same time are disconnected due to political conflicts.” 


Inside Gharem Studio, the Saudi cultural ‘think tank’ 

Nadine Dorries, who at the time was the British secertary of state for digital, culture, media and sport, visits Gharem Stud
Updated 13 June 2024
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Inside Gharem Studio, the Saudi cultural ‘think tank’ 

  • Founder Abdulnasser Gharem discusses the sweeping changes he has witnessed over his career as an artist in the Kingdom

DUBAI: There is perhaps no better person to ask about the magnitude of Saudi Arabia’s current cultural boom than Abdulnasser Gharem. Gharem has been creating art for decades, and has established himself as one of the Kingdom’s most acclaimed contemporary artists, despite the many obstacles he faced starting out at a time when there was really no pathway to becoming a professional artist from Saudi Arabia and most of those with a creative bent in the country were left with little choice but to pursue other careers. 

“I was in the army for 23 years,” Gharem, 51, who comes from the south of the Kingdom, tells Arab News. “There was no way you were going to be an artist with an income in the late 1990s or early 2000s. Most of my friends and relatives were in the army, so it was a popular thing. I became an officer, just to make sure that I could earn (money), and art would be something I’d do on the side.” 

Gharem also remembers how he discovered that two of his best friends from high school, raised in a strict environment, were part of the September 11 attacks on the US in 2001. “After high school, they just disappeared. We thought that maybe their parents moved to another city,” he says. “And suddenly I found their names in the list of the 19 hijackers. I was really shocked, because I was asking myself: ‘Why wasn’t it me?’ We were in the same neighborhood, the same school, the same environment, and had the same education. I think that’s why I became an artist: I was insisting that I wasn’t going to just rely on others. I just needed to create my own path.” 

And that is exactly what Gharem has done over the past two decades. In 2003, he co-founded Edge of Arabia in London. The arts platform, which highlighted Saudi artists through touring exhibitions, became hugely influential.  

A decade later, Gharem decided to set up his “own space” in Riyadh, which made him realize that there was a huge lack of support for the country’s up-and-coming generation of artists. 

“I had the experience of establishing a studio, dealing with challenges, bringing in sponsors, and setting up programs,” he says. “I was shocked to see how young Saudi talents — boys and girls who were interested in fashion, art, photography, filming — didn’t have their own space.” 

In Gharem Studio, young creatives from a variety of fields are invited to use Gharem’s library, art, filming equipment, the space itself, and — most importantly — to share ideas among themselves. He is much more than simply the founder of the studio, and has become a mentor to several young artists. He hopes that his non-profit arts organization can inspire self-expression and freedom of thought.  

Abdulnasser Gharem, founder of Gharem Studio. (Supplied)
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“It’s really fascinating for me. We have artists like photographer Haitham Alsharif who discusses gender issues, and the artist Halla Bint Khalid (the studio’s co-owner), who is looking into family and children,” he says. “So, it’s all related to society. It’s nice when you listen to issues from different aspects, ages and slices of society. The studio became a think tank.” 

When Gharem Studio was launched, its artists flew abroad to experience art fairs in Europe and exhibited their own works in the UK and the US, traveling across 15 states. Gharem admits that in the beginning there were some hurdles to overcome, not just at home but overseas too.  

“We were doing international shows, because contemporary art wasn’t accepted yet in Saudi Arabia,” he says. “It was honestly tough to sell Saudi art. Of course, now it’s different. Now the government is putting us on the cultural map of the world. We are living in what I call ‘a grant narrative,’ and that’s what we have been looking for since we were young. I can’t believe our dreams became true. Suddenly everything changed. We have two biennales in this country. We have Desert X and Noor Riyadh Festival. These kinds of cultural events have become part of people’s daily lives. They can spend time at the movies, in a restaurant or at a concert, or a biennale. The public sphere has become totally different.” 

In early May, a selection of predominantly photographic works from Gharem Studio were displayed in an exhibition at Zidoun-Bossuyt Gallery in Dubai. This month, the studio will be moving to its new home in the cultural hub of JAX District in Riyadh. According to Gharem, there are also plans to establish a bio-art lab in the studio, where artists can explore environmental issues.  

“Our mission,” he says, “is to bring something new to the artist and society.”  


Jeddah university alumna’s film selected for Tribeca festival

Updated 11 June 2024
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Jeddah university alumna’s film selected for Tribeca festival

  • ‘Kum Kum,’ directed by Dur Jamjoom, has been chosen for the prestigious Tribeca Film Festival in New York
  • Jamjoom completed the film as her graduation project at Effat University in 2022

JEDDAH: Dur Jamjoom’s graduation film from Effat University, “Kum Kum,” has been chosen for the prestigious Tribeca Film Festival in New York.

Founded by actor Robert De Niro, Tribeca is one of North America’s most important festivals. This year’s event began on June 5 and runs until June 16.

Jamjoom completed the film as her graduation project at Effat University in 2022. She said: “I’m incredibly honored and blessed to be the first Saudi female as part of the shorts program at the Tribeca Festival. This opportunity wouldn’t have been possible without my incredible team.”

The autobiographical film is deeply personal, centering on the untimely passing of Jamjoom’s best friend in 2012. Just 12 years old at the time, the tragic event introduced her to a range of unfamiliar emotions.

As the story unfolds, each person recounts the event from their own perspective. Jamjoom brings these diverse narratives together to form a cohesive story, highlighting the profound impact of one person’s suffering on the lives of others.

She said: “I was hesitant to delve into the memory of my friend who is no longer with us, fearing disrespect. But I realized I’m actually honoring my friend, who made me into the person I am today.”

During production, Jamjoom faced numerous challenges. “We shot the movie in the sea, but the waves were uncooperative, and many people were getting seasick,” she said.

“The underwater housing case for the camera posed unique challenges I had never encountered before. I had to trust my team and stay focused on directing.”

She hopes the film inspires audiences to see the light after darkness, emphasizing that “where there is grief, there can also be healing, and the transformative power of overcoming life’s challenges.”

Speaking about the film’s deeper meanings, she said: “In the movie, ‘Kum Kum’ serves as a traditional Saudi game that holds symbolic significance. The game metaphorically represents how life presents unexpected moments, and individuals must adapt to the changes. ‘Kum Kum’ explores the intricate connections between faith, suffering, resilience, and personal growth.”

Mohamed Ghazala, chair of the Cinematic Arts School at Effat University, expressed his pride and joy in celebrating this incredible achievement. He said: “Jamjoom, one of our finest graduates, has dedicated countless hours to honing her craft at our campus, passionately writing, filming, animating, directing, and documenting real stories.

“The selection of her graduation film for the esteemed Tribeca Film Festival is a tremendous honor for us and for Saudi Arabia as a whole. To be shortlisted from a pool of 8,000 submissions is a remarkable feat that showcases the incredible talent being nurtured within our institution. We are filled with optimism and enthusiasm as we look forward to witnessing more groundbreaking achievements from our talented students in the future.”

He added: “This remarkable accomplishment is a true testament to the impactful teaching at Effat University, empowering students with the strong tools necessary to bring their stories to life, captivating not only local audiences but also international viewers.”


Dates revealed for second Islamic Arts Biennale in Jeddah

Updated 09 June 2024
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Dates revealed for second Islamic Arts Biennale in Jeddah

DUBAI: The Diriyah Biennale Foundation’s second Islamic Arts Biennale is scheduled to take place from January 25 to May 25, 2025, at the Western Hajj Terminal at King Abdulaziz International Airport in Jeddah.

The event is the first and only biennial dedicated to the arts of Islamic civilization.

The first biennale was titled “Awwal Bait” and attracted more than 600,000 visitors. The second event in 2025 will continue its exploration of themes by showcasing historical artifacts alongside contemporary art, including site-specific installations.

The directors of the second event are Amin Jaffer, Julian Raby, Abdulrahman Azzam and Muhannad Shono.

Jaffer, whose academic and curatorial work is focused on the meeting of European and Asian cultures, will return to his role as director of the Al-Thani Collection.

Raby, a scholar and former lecturer in Islamic art and architecture at the University of Oxford, also served on the curatorial team of the first Islamic Arts Biennale.

Azzam, an author and historian, served as senior adviser to the Al-Madar exhibition and forum during the first biennale. 

Saudi artist Shono, whose work deals with questions of spirituality and the role of imagination in shaping reality, will serve as contemporary art curator.

The expanded curatorial team includes Masa Al-Kutoubi, Rizwan Ahmad, Heather Ecker, Marika Sardar, Joanna Chevalier, Amina Diab, Sarah Al-Abdali, Bilal Badat, Faye Behbehani and Wen Wen.

With a total area of more than a 110,000 square meters, with 12,000 square meters of dedicated exhibition space, the biennale takes visitors on a journey through the objects, rituals, ideas and aesthetics that constitute Islamic arts in all its forms.

The Western Hajj Terminal has been repurposed as a cultural venue by Saudi Arabia’s Ministry of Culture.

The site holds deep significance for Muslims around the world, as millions of travelers pass through the airport each year to make the Hajj and Umrah pilgrimages to Makkah.