Now read this: How Saudi Arabia is aiming to end illiteracy by 2024

Updated 21 November 2018
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Now read this: How Saudi Arabia is aiming to end illiteracy by 2024

  • The Ministry of Education has introduced programs to boost the Kingdom’s literacy rate to 100 percent
  • International group says it’s a role model to others trying to do the same worldwide literacy by 2030

DUBAI: Saudi Arabia’s goal to eradicate illiteracy has been applauded by international experts and educational bodies, who say the Kingdom is a role model for countries in the Arab world, where more than a quarter of women, men and children are unable to read or write.
Earlier this year, Saudi Arabia pledged to raise its literacy rate from 94.4 percent to 100 percent by 2024, and experts say the Kingdom can now play a major part in helping to eradicate illiteracy in the wider region.
According to the Project Literacy alliance, a coalition of charities and businesses, illiteracy is a major barrier to worldwide economic development, costing at least
$1 trillion (SR3.75 trillion) per year. It says that today about 750 million adults worldwide are unable to read or write.
“If the Kingdom is able to make the investment to eradicate illiteracy in their country, it will be a great example to other countries in the Arab world, and worth sharing best practices and the model they used for their success,” Alesha Anderson, senior program officer for ProLiteracy, another advocacy group, told Arab News.
Anderson hailed the Kingdom’s efforts to boost literacy rates, especially the country’s projects to tackle adult illiteracy. According to Saudi Arabia’s Ministry of Education (MOE), the current literacy rate was achieved by boosting enrolment in thousands of schools, vocational colleges and universities, with the aim of achieving 100 percent literacy by 2024.
Among its many initiatives, the MOE has rolled out adult education centers across the Kingdom, introduced lifelong learning initiatives, neighborhood learning programs, educational and literacy campaigns in remote areas of the country and implemented financially based reward programs to work toward an illiteracy-free society.
The government has also granted $51 billion to the education sector in 2018 as part of Vision 2030, its ambitious program to reduce economic dependency on oil sales. Since launching the Adult Education and Literacy System in 1972, and the General Secretariat for Adult Education and Literacy in 1977, the country has seen illiteracy rates fall from 60 percent in 1972 to 5.6 percent in 2018.
“Having a 100 percent literacy rate is ambitious, but when a government makes a commitment to address adult literacy issues in their country, we are excited as adults can often be left out of the national education agenda and funding for adult education is often non-existent or very low,” said Anderson. “Yet research suggests that investing in youth and adults (particularly mothers) can directly impact and improve rates for children’s literacy as well.
“Limited funding and visibility are given to the issue of adult literacy on a global scale, and the proposed campaign the Kingdom of Saudi Arabia is planning has the potential to impact 27 countries in the Arab world by promoting and sharing the results of their program.”
Anderson said Saudi Arabia and the neighboring UAE, which also has several initiatives underway to improve literacy rates, could use their political and geographic influence to lead the way in the adult literacy discourse across the region.
“They can do this both in terms of providing funding to lower-income countries, and by starting a conversation and advocating for the importance of literacy, especially for women and girls.”
Anderson said Middle Eastern countries that have strong economies and are advanced in their development tended to have higher literacy rates. However, there was still a significant need for literacy, especially in the adult population, for many countries in the region.
“The disparity in literacy rates is especially evident in looking at the variance between literacy rates for men and women. In places like Afghanistan, Egypt, Morocco, Yemen and Sudan, women’s illiteracy rates, in particular, tend to be high. For example, the literacy rate, for adult females (ages 15 and above) in Egypt was reported at 68.06 percent in 2015, according to the World Bank. In Afghanistan, more than three times as many men as women are literate. Some 47 percent of Afghan men and a mere 15 percent of women can read and write, according to the UN Children’s Fund (UNICEF).”
According to Project Literacy, two-thirds of the worldwide illiterate population are women. Furthermore, 123 million 15- to 24-year-olds in the world today cannot read or write.
“Female literacy is absolutely important and should be a priority in the Arab region. Access to education for women is still extremely limited, especially in countries that restrict women’s role in society,” Anderson said.
“Research shows that educating a mother results in her children and community also being educated because she will pass it on. Despite cultural restrictions for women, there are ways to include women in the education process. For example, we have a partner program in Afghanistan that has educated women by only registering men in a class if they agree to bring their wife or sister. In this way, women are allowed to learn alongside men and not excluded from the literacy class.”
Traditionally, Anderson said, barriers to success in national or large-scale literacy campaigns include lack of teacher training, curriculum and support for learners after achieving a certain level of literacy.
Despite the social benefits, tackling illiteracy has huge economic advantages. Each year, illiteracy costs a developed nation 2 percent of its GDP, an emerging economy 1.2 percent of its GDP and a developing country 0.5 percent of its GDP, she said.
The UN defines illiteracy as “the inability to read and write a simple message in any language.” While Saudi Arabia and the UAE are setting benchmarks to tackle illiteracy, other countries across the Middle East paint a more dire picture, with Afghanistan topping the highest illiteracy rates (72 percent of the population over the age of 15), followed by Pakistan (50 percent), Mauritania (49 percent), Morocco (48 percent) and Yemen (46 percent), according to the Global Campaign for Education.
Andrew Kay, CEO and founder of the World Literacy Foundation, said almost 20 percent of the global population was illiterate, while in the Arab region, 27.1 percent of people were unable to read or write.
“This means that even these basic educational standards are unmet,” said Kay. “Despite significant progress since the 1980s, the black cloud of illiteracy is still weighing heavily on some Arab countries that are going through a critical phase and facing tremendous political, social and economic challenges.
“Saudi Arabia’s literacy rates are much better than other countries in the region, although there are still disadvantaged people that struggle to read. Increased funding and a holistic government approach is a step in the right direction, but we need to ensure the specialist literacy support goes to the people where there is the greatest need.
“Often minorities, migrants and disadvantaged people have low-level literacy skills. Therefore, providing gender equality and fairness to all people in our literacy support and intervention is fundamental.”
Kay said oil-rich countries such as Saudi Arabia could help its Arab neighbors through “leading by example,” and providing literacy grants, books, tutoring and support.
Mansoor Ahmed, director of health care, education, development solutions and PPP for the MENA region at the advisory firm Colliers International, also said the Kingdom was implementing “several commendable initiatives to achieve its aspiration to eradicate illiteracy by 2024.”
“Among several education reforms, the roll-out of adult education and literacy centers is expected to positively impact on the literacy levels in the country. There has been a significant increase in literacy rates over the past decade due to focused policy measures.”
Ahmed said the region was becoming more aware of the importance of literacy and education for all.
“For example, Egypt has also come up with ambitious targets in tackling illiteracy by improving educational infrastructure. We expect this trend to continue in the long term as the governments implement their economic transformation programs. The UAE, also, has recently launched a free e-learning platform which provides education videos to over 50 million Arab students.
“We believe initiatives such as these, if implemented sustainably, will help the region achieve higher levels of literacy,” he said.
Hegazi Idris Ibrahim, a program specialist in basic education and literacy at the regional office for education in Arab states at the UN Educational, Scientific and Cultural Organization (UNESCO), highlighted the Kingdom’s efforts in diversifying its educational programs, paying financial incentives to adult learners who join literacy programs and adopting a “lifelong learning initiative” to achieve an illiteracy-free society.
“Literacy is more important than ever given the increasing dependence on fast-growing technology, and the rapid changes in the labor market and inter-country mobilities,” said Ibrahim. “For the region, it is also important for peace and stability.
“UNESCO’s target is to provide the right to high-quality education to all, including adult learners, and to make lifelong learning a reality and reduce the illiteracy rate by 2030.”


Two Saudi hotels listed in Conde Nast’s Hot List of new openings from the last year

Updated 25 April 2024
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Two Saudi hotels listed in Conde Nast’s Hot List of new openings from the last year

DUBAI: For those planning their next staycation, two hotels in Saudi Arabia have found a spot in Conde Nast’s prestigious annual Hot List, with one of them located in the heart of Riyadh.

The St Regis Riyadh and Six Senses Southern Dunes, The Red Sea have joined the list of best hotel openings from the last year, spanning the globe, from Argentina and Zimbabwe to Nepal and Spain, and more.

The St Regis Riyadh is “the only hotel inside Via Riyadh – a bijou mall of designer boutiques, hand-picked restaurants, and a cinema complex, wrapped within monumental sandstone walls at the edge of the Saudi capital’s Diplomatic Quarter – the St Regis Riyadh nods to the hotel brand’s New York heritage as well as its new Saudi home,” according to the publication.

Six Senses Southern Dunes, The Red Sea, is the first resort to open in the 28,000-square-kilometer expanse of sea, reefs, islands and inland desert known, simply, as The Red Sea. (Supplied)

Meanwhile, the new Six Senses Southern Dunes, The Red Sea, is the first resort to open in the 28,000-square-kilometer expanse of sea, reefs, islands and inland desert known, simply, as The Red Sea. It’s one of Saudi Arabia’s ambitious tourism-focused giga-projects, part of the Kingdom’s Vision 2030 aimed at diversifying the economy and heralding a new future for the nation.


Moroccan director Asmae El-Moudir joins Cannes’ Un Certain Regard jury

Updated 25 April 2024
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Moroccan director Asmae El-Moudir joins Cannes’ Un Certain Regard jury

DUBAI: The Cannes Film Festival announced on Thursday that Moroccan director, screenwriter and producer Asmae El-Moudir will be part of the Un Certain Regard jury at the 77th edition of the event, set to take place from May 14-25. 

She will be joined by French Senegalese screenwriter and director Maïmouna Doucouré, German Luxembourg actress Vicky Krieps and American film critic, director, and writer Todd McCarthy. 

Xavier Dolan will be the president of the Un Certain Regard jury. 

The team will oversee the awarding of prizes for the Un Certain Regard section, which highlights art and discovery films by emerging auteurs, from a selection of 18 works, including eight debut films.

El-Moudir is the director of the critically acclaimed film “The Mother of All Lies.”

The movie took the honors in the Un Certain Regard section, as well as winning the prestigious L’oeil d’Or prize for best documentary at the festival in 2023. The film explores El-Moudir’s personal journey, unraveling the mysteries of her family’s history against the backdrop of the 1981 bread riots in Casablanca.

El-Moudir is not the only Arab joining the Cannes team. 

Moroccan Belgian actress Lubna Azabal this week was appointed the president of the Short Film and La Cinef Jury of the festival. The La Cinef prizes are the festival’s selection dedicated to film schools.


Second Ritz-Carlton Reserve in Saudi Arabia planned for Neom 

Updated 25 April 2024
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Second Ritz-Carlton Reserve in Saudi Arabia planned for Neom 

DUBAI: Marriott International, Inc. announced on Thursday that it has signed an agreement with Neom to open its second Ritz-Carlton Reserve in Saudi Arabia. 

The hotel is anticipated to open in Trojena, a year-round mountain destination located in the northwest region of the country. 

The resort is expected to feature 60 expansive one-to-four-bedroom villas. Plans also include a range of amenities including a spa, swimming pools and multiple culinary venues.

Chadi Hauch, the regional vice president of Lodging Development Middle East, Marriott International said in a statement: “Together with Neom, we look forward to bringing this ultra-luxury experience to Trojena. This signing also marks an important addition to our portfolio in Saudi Arabia where we continue to see a strong demand for our luxury brands.” 

“Trojena is a rare destination, and we are delighted that Ritz-Carlton Reserve has hand-picked the mountains of Neom for their next property.  Together we will create an experience that can’t be recreated anywhere else. Our visitors and residents will experience a sanctuary that will capture the magic of Saudi Arabia, embracing ultimate luxury in an unforgettable location,” executive director and Trojena region head Philip Gullett said in a statement. 

Trojena, one of the flagship developments within Neom, is being developed and positioned as a year-round adventure sports destination that will include activities such as skiing, water sports, hiking and mountain biking. It will also include apartments, chalets, retail, dining, entertainment, leisure, sports and recreational facilities, and other hospitality offerings, including a W Hotel and a JW Marriott Hotel.

Ritz-Carlton Reserve currently boasts a  collection of only six properties in destinations including Thailand, Indonesia, Puerto Rico and Mexico.


The Arab world at the Venice Biennale: Artists explore themes of identity, immigration, history

Updated 25 April 2024
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The Arab world at the Venice Biennale: Artists explore themes of identity, immigration, history

VENICE: No event in the international art scene is more anticipated, or debated, than the Venice Biennale. This year’s edition, “Foreigners Everywhere,” curated by Adriano Pedroso from Brazil, features 331 artists and 86 nations, including four Gulf countries as well as Lebanon and Egypt.  

Saudi Arabia 

Women’s voices chanting in unison fill the air of the Saudi Pavilion at Venice this year. “Shifting Sands: A Battle Song” was created by Saudi artist Manal AlDowayan, and hundreds of women from across the Kingdom participated in its creation. The exhibition, which includes large-scale installations in the form of desert roses filled with writing and drawings by the Saudi female participants whom AlDowayan worked with, aims to showcase the evolving role of women in the Kingdom while also striving to dispel media narratives that have long defined them. The chanting is derived from traditional battle songs once performed by Saudi men before they went into battle. Here they are chanted by women in a powerful chorus of strength and resilience, backed by recordings of the wind passing through sand dunes. The work, AlDowayan tells Arab News, “is about change, subtle changes — like those of a sand dune — the surface changes, but the core stays the same.”   

“Shifting Sands: A Battle Song” was created by Saudi artist Manal AlDowayan. (Supplied)

UAE  

Emirati artist Abdullah Al-Saadi is presenting “Sites of Memory, Sites of Amnesia” at the National Pavilion of the United Arab Emirates. It’s an introspective show consisting of drawings, sculptures, paintings and installations charting Al-Saadi’s travels around his homeland. “Traveling and understanding the natural world around me has always been an important part of my work,” Al-Saadi, who has even used rocks from the Emirates as his ‘canvas’ for some of the works, told Arab News. “Through this presentation in Venice, I hope visitors will enjoy tracing the travels I have taken over the past few years and also think about the world around us, and our place within it.”  

Visitors will also be presented with gifts: maps and scrolls in colorful traditional chests from the region, which will be removed and presented to guests by actors from the UAE.  

Emirati artist Abdullah Al-Saadi is presenting “Sites of Memory, Sites of Amnesia.” (Supplied)

Qatar  

While Qatar doesn’t have a national pavilion at the biennale, it is presenting “Your Ghosts Are Mine: Expanded Cinemas, Amplified Voices” — a group show of films by artists from across the Arab world, Africa and South Asia, as well as video installations from the collections of Mathaf: Arab Museum of Modern Art and the Art Mill Museum (scheduled to open in 2030). All the films were backed by the Doha Film Institute. 

“For me, it was important to show movies reflective of the theme of the biennale — so, revolving around immigration, foreigners, personal diaries and self-portraits and stories from women — all coming from independent (artists) in the Global South, whose voices are not always shared,” the Paris-based curator Matthieu Orlean told Arab News. 

Installation view of 'Your Ghosts Are Mine.' (Supplied) 

 

Egypt  

Alexandrian-born artist Wael Shawky has created “Drama 1882,” a 45-minute film for which he also composed the music, for Egypt’s national pavilion, which — in the first week of the biennale at least — has proved to be one of the most popular pavilions at this year’s event.   

The film is based around Egypt’s nationalist Urabi revolution against imperial influence in the late 19th century and Shawky uses historical and literary references as starting points from which to weave together a story that fuses fact, fiction and fable, while also exploring national, religious and artistic identity.  

“I worked with performers who enacted a play in a theater for the film,” Shawky told Arab News. “The film strives in part to connect the idea of history to drama — drama regarding the connection to catastrophe and drama regarding cynicism. I like to analyze the authenticity of history, especially Egyptian history. When one makes films about history there is this gap between truth and myth.” 

Wael Shawky has created “Drama 1882,” a 45-minute film for which he also composed the music, for Egypt’s national pavilion. (Supplied)

Lebanon 

Lebanese artist Mounira Al-Solh’s multimedia installation “A Dance with Her Myth” combines drawing, painting, sculpture, embroidery, video, and audio, and guides viewers through ancient Phoenicia. The piece, Al-Solh explains to Arab News, is inspired by the tale of Europa, the daughter of a Phoenician king who was abducted from the city of Tyre in Lebanon by the Greek god Zeus, who had transformed himself into a white bull to trick her into riding him, then took her off into the sea.  

“The (work) pays tribute to the ancient multicultural heritage of Lebanon,” Al-Solh says.  

In the center of the pavilion is an unfinished boat, that Al-Solh says references “the tension that women still face today, despite their emancipation.”  

Lebanese artist Mounira Al-Solh’s multimedia installation “A Dance with Her Myth” combines drawing, painting, sculpture, embroidery, video, and audio. (Supplied)

Oman  

Oman’s second participation in the biennale, is an exhibition titled “Malath — Haven.” It includes work from five Omani contemporary artists: Ali Al-Jabri, Essa Al-Mufarji, Sarah Al-Aulaqi, Adham Al-Farsi and Alia Al-Farsi (who also curated the show). “We used the word ‘haven’ in the title because, since antiquity, foreigners — including the Romans, Portuguese and Indians — have visited Oman,” Alia Al-Farsi told Arab News. The works on display — from Al-Farsi’s own colorful and expressive mixed-media murals (such as “Alia’s Alleys,” pictured here) to Al-Aulaqi’s “Breaking Bread,” which includes a large sculpture of a niqab made from silver spoons — reflect both traditional and contemporary life in Oman.  

“As an Omani creative with an international background, my aim was for the exhibition to serve as a sanctuary for visitors and travelers, allowing stories to unfold and intertwine, mirroring how our country finds its richness in intercultural dialogue,” the curator said in a statement.

'Alia’s Alleys' is on show in Venice. (Supplied)

 


Behind the scenes at Mazen Laham’s Middle East media powerhouse 

Updated 25 April 2024
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Behind the scenes at Mazen Laham’s Middle East media powerhouse 

  • Mazen Laham’s Different Productions, the company behind “Dubai Bling” and the regional version of “Shark Tank,” just celebrated its 10th anniversary 
  • Discussing Arabic-language adaptations of global shows, he said they preserve the original concept while respecting cultural sensitivities

DUBAI: Lebanese producer Mazen Laham’s Different Productions celebrated its 10th anniversary this month. The company is one of the driving forces of the television industry in the region, responsible for the creation of acclaimed shows including Netflix’s “Dubai Bling,” and “It’s OK” — a docuseries about the Lebanese pop superstar Elissa — as well as Arabic adaptations of popular franchises “Shark Tank,” “Say Yes to the Dress,” and “Chopped.”  

Laham told Arab News that shooting for the third season of “Dubai Bling” has already concluded, adding that it is “even bigger than the two previous seasons.” He confirmed that Emirati-Egyptian TV host Mahira Abdeaziz and Iraqi influencer Jwana Karim will be joining the cast, which already includes Zeina Khoury, Safa and Fahad Siddiqui, DJ Bliss, Danya Mohammed, Kris and Brianna Fade, Mona Kattan Al-Amin, Hassan Al-Amin, Loujain Adada, Ebraheem Al-Samadi, and Farhana Bodi.  

The previous two seasons both ranked in the global top 10 for non-English series on Netflix. “I believe in numbers,” Laham said. “It was (popular) globally. What I will say is that season three is a very big season.”  

While they suspected the show would be popular, Laham admitted that he and his team were not expecting it to get quite so big. “What we were aiming for is to have a good show but we never thought that it will be this successful,” he said.  

The show may be popular, but it has also attracted plenty of criticism online for its depiction of life in Dubai. Laham, though, seems unperturbed. 

“We never said that this is Dubai. From day one, we said it is about a group of friends living in Dubai,” he said. “It is not a documentary about the city. We are not saying ‘This is Dubai and this is life in Dubai,’ we only focused on a group of friends living in Dubai.” 

Discussing his company’s various Arabic-language adaptations of international shows, Laham said that they try to preserve the original concept of the show while ensuring they cater to the cultural sensitivities and preferences of the region. 

“Before getting the shows, we make sure that they fit our culture — anything that, culturally, does not pass, we do not even get it in the first place,” he said. “But, whenever we see something that could be adapted, yes, we (try to) get the rights for it. The most important thing is to keep the structure and the main spirit of the format the same.” 

Laham believes there are now two distinct audiences for shows: those for traditional television networks and those for streaming services such as Netflix, Shahid, Starzplay.  

“What is on TV does not work on a platform and vice versa, because the new generation want something fast — they want something will keep them hooked. So, it’s very challenging to make content for them,” he said.  

What Laham believes works best are docuseries such as “Dubai Bling” and “It’s OK.” 

“These are non-scripted, but they are serialized; they’re sticky,” he explained. “You want to keep on watching to follow the stories and this is when you binge watch. On TV channels, you still get to see classical standalone episodes.” 

Laham said Different Productions is currently working on an original docuseries for Starzplay called “Unstoppable.”  

“It’s a football-based reality show where children between the ages of 13 and 15 compete. There will be one winner, and the winner will hopefully play for one of the big Italian teams,” he said.  

Laham described the Saudi Arabia market as “promising,” not only due to the growing number of original productions but also because “the infrastructure, whether it’s Neom or AlUla,” is drawing in creatives from around the world. “I think it’s going to the biggest media hub out there very soon,” he added.  

“We care a lot about the viewership in Saudi Arabia because it’s the biggest market,” Laham said. “So we always look into the ratings — even if it’s not a pure Saudi show, we want our shows to be watched in Saudi Arabia.”