Culture and Art
Forgetting
It was Abu Ghazi's fate to rent a house after he got married and the family grew larger, as he was not the heir of a wealthy father, nor did he have any businesses
It was Abu Ghazi’s fate to rent a house after he got married and the family grew. He was not the heir of a rich father, and he did not have enough work to buy a house, as is the case for most people at the beginning of their working lives, which must involve hard work. He is an intellectual who is convinced by the philosophy of Abu Al-Ala Al-Ma’arri, and he repeats it to feel comfortable whenever life becomes difficult for him
Life is all toil, and I am only amazed by those who desire more of it
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He toiled day and night, earning enough by the sweat of his brow to avoid need and having to ask a friend or relative for help. He continued his labors day and year, accepting his fate and believing that life is a matter of destiny. He swallowed his pride and agreed to work in jobs unsuitable for his education until he could find a decent position. As he used to say, "We accept temporary work until our destiny arrives." And so he moved from one job to another, changing professions after he married and became a father to a young daughter whose needs he had to provide for. He was also the head of a family with a wife who had her own demands, and he needed to move to a new house, away from the problems of his family, his mother-in-law, his daughter-in-law, and the gossip. Thus, he decided to leave home, and the search for a new place to live began, hoping to forget his imposed reality and the situation he had to adapt to
And in his search, he recalled Ibn Battuta's journey, even though, as he describes himself, he has a "perforated memory and a penchant for forgetfulness," remembering only the present moment. This often caused him considerable embarrassment when he met someone and couldn't recall their name, where they had met, or how they first became acquainted. However, this issue, which had previously been a problem, now became his best means of forgetting and transcending reality and the heavy burdens of life. This problem had become a blessing he hadn't known he possessed, until he happened to hear the singer Mayada El Hennawy singing on the radio from a shop on his way to work: "And you are destined, oh lucky you, for the blessing of forgetfulness." Thus, he began to sense within himself a strength he hadn't known existed, reinforcing his conviction that humans undoubtedly possess hidden powers, but remain unaware of them due to their preoccupation with life and worldly affairs. He believed that one must reflect on oneself to discover the latent abilities God has bestowed upon them, abilities that must not remain dormant. And so, Abu discovered Ghazi realized that what had been bothering him, causing him embarrassment and awkward situations, had become an opportunity to transcend reality, adapt to the situation and the unexpected circumstances. He continued his search for a new place to rent, and his wish was granted. He rented an apartment in one of the towers, hoping that this height would change his reality. As he had heard from his grandmother's stories, houses, like women, could bring a man happiness or make him suffer greatly. Luck, he had heard, lay in the threshold. Thus, he felt optimistic about the height and the fact that he would be living on the sixth floor. This brought back memories of his childhood when he was a sixth-grade student. He didn't know how that period had suddenly appeared in his memory, as he only remembered the present moment. He took this association of memories as a good omen and began to tell the landlord his story of being an outstanding student, praised by his Arabic teacher, who would take him from class to class to read aloud the compositions in which he excelled. After he finished speaking, signed the lease, and paid He paid six months' rent in advance, then rushed off, delighted with what he had accomplished, to his wife, to begin moving his furniture. He called the landlord to inquire about the elevator room key, and the office owner replied that the elevator in the building was out of order and there was no possibility of repairing it in the foreseeable future, and that he had to accept the reality and forget about the elevator.
Culture and Art
Mohamed Ramadan excluded from the Africa Cup of Nations final: The full story
Artist Mohamed Ramadan revealed details of his exclusion from the closing ceremony of the 2023 Africa Cup of Nations, expressing his displeasure with the organizers. Learn the full story and the reasons behind the dispute.
Controversy surrounds the closing ceremony of the 2023 Africa Cup of Nations
Egyptian artist Mohamed Ramadan sparked widespread controversy after announcing his exclusion from performing at the closing ceremony of the 2023 Africa Cup of Nations, held in Ivory Coast. In a video posted to his official Instagram account, Ramadan revealed details of what happened, describing the situation as "disturbing" and humiliating to him as an Arab artist representing Egypt.
Background of participation and general context
This controversy arises from Mohamed Ramadan's participation in the tournament's official song, "Akwaba," which brought him together with prominent African stars such as the Ivorian band Magic System and Nigerian singer Yemi Allied. The song achieved widespread popularity and was considered a symbol of African unity through art and music. It was natural for the public to expect to see the song's stars perform it live at one of the tournament's two main ceremonies, the opening or closing ceremony, given its significant symbolic and media impact.
Details of Mohamed Ramadan's novel
In his account of the events, Ramadan explained that he was delighted to participate in this important continental event and that he had dedicated time and effort to filming the song in Marrakech, Morocco. He noted that he was initially informed his performance would be at the opening ceremony, before being told it had been postponed to the closing ceremony. However, the shock, as he described it, came just one day before the final, when he received no official communication from the organizers to confirm his participation or arrange logistical details. He considered this unprofessional and unbecoming of the event's scale and his artistic stature.
Importance and expected impact
Participating in major sporting events, such as the Africa Cup of Nations, is a golden opportunity for artists to enhance their international presence and reach a global audience. The absence of an artist of Mohamed Ramadan's stature, who enjoys a wide fan base in Africa and the Arab world, from the closing ceremony came as a surprise to many of his followers. This situation raised questions about the organizational efficiency and communication of the tournament's organizing committee, which is affiliated with the Confederation of African Football (CAF). Ramadan concluded his remarks by expressing his deep dissatisfaction with the way he was treated, officially announcing his withdrawal from the event and emphasizing that an artist's dignity and respect come first.
Culture and Art
The future of Saudi cinema: Discussions at the Saudi Media Forum 2024
The Saudi Media Forum is hosting 8 of the most prominent art makers to discuss the transformations of cinema and drama, the impact of digital platforms, and ways for Saudi content to reach a global audience.
At the heart of the rapidly evolving cultural landscape of Saudi Arabia, the Saudi Media Forum as a vital platform, bringing together leading figures in art, film, and production to discuss the future of content creation. In its current edition, the forum hosts eight prominent figures in intensive dialogue sessions aimed at analyzing the current reality, envisioning the future, and answering the pivotal question: How can Saudi content compete globally amidst the rapid pace of technological transformation?
Background: A cultural and cinematic renaissance
This forum comes at a time of historic transformation in Saudi Arabia. With the launch of Vision 2030, the culture and entertainment sector has witnessed significant leaps forward, most notably the return of cinemas in 2018 after a decades-long absence. This decision not only opened doors to international theaters but also ignited a spark of creativity among a new generation of Saudi directors, writers, and producers who found support and opportunities to present their local stories with a contemporary artistic vision. Discussions about the identity of Saudi cinema, its accessibility, and the challenges of production have become crucial for this nascent and ambitious industry, and these are precisely the issues the forum aims to address.
Discussion topics: Between the death of cinema and the birth of innovation
The expert discussions are spread across several main sessions, most notably the session “The Death of Cinema: Did Platforms Kill the Big Screen or Redefine It?” This session features artist and cultural consultant Abdulilah Al-Sinani , who analyzes the changing mood of the audience, and director Abdulaziz Al-Shalahi , who addresses the impact of platforms on film language and narrative structure. They are joined by Hanaa Al-Omair , President of the Cinema Association, who presents a strategic vision on how traditional cinema can survive, and Manal Al-Owaibil , an expert in corporate communications, who connects cultural narrative with creating lasting impact.
Another session, titled “Local Innovations with a Global Touch,” will feature veteran producer Hassan Asiri , who will share his decades of experience in bringing local productions to the Arab world. He will be joined by artist Fahad Albutairi , who will share his expertise in establishing successful digital platforms such as “Telfaz11,” and actor Ibrahim Al-Hajjaj , who will highlight the comedy industry as a bridge to connect with global audiences while preserving local flavor.
Drama and national values: from local to global
In the session “From Epic to Screen: Employing Heroism in Drama to Promote National Values,” director Tawfiq Al-Zaidi , who recently made history with his film “Noura” as the first Saudi film to compete in the official selection at the Cannes Film Festival, will discuss how to draw inspiration from epics and history to create dramas that promote national values and resonate globally, thus opening the door for Saudi drama to become a cultural ambassador for the Kingdom.
Importance and expected impact
These sessions are not merely intellectual discussions; they serve as a compass guiding the future of investment and policy in the Saudi media and entertainment sector. The forum's outcomes are expected to contribute to charting a clear roadmap for content creators, encouraging public-private partnerships, and strengthening the Kingdom's position as a leading regional hub for creative industries. This is a strategic step towards building a diversified knowledge economy and leveraging "soft power" to present a new image of Saudi Arabia to the world.
Culture and Art
Artist Mahmoud Bashir, star of “I Will Not Live in My Father’s Robe,” dies at 76
The esteemed Egyptian actor Mahmoud Bashir passed away after a battle with illness. Learn about his artistic career and his most prominent roles in timeless works such as "I Will Not Live in My Father's Robe.".
Artist Mahmoud Bashir passed away at the age of 76
The renowned Egyptian actor Mahmoud Bashir passed away at the age of 76 after a long battle with illness, leaving behind a rich artistic legacy and a special place in the hearts of viewers who cherished his memorable roles in classic Egyptian dramas. The news of his death was announced by actor Mounir Makram, a member of the Actors' Syndicate, on his official Facebook page, where he offered a heartfelt eulogy, confirming that Bashir's passing came after a period of health struggles in his final days.
Details of the last days
The late artist Mahmoud Bashir had suffered a severe health crisis recently, requiring his transfer to a major hospital in Cairo for treatment. His condition deteriorated significantly, prompting doctors to place him on a ventilator in the intensive care unit, where he ultimately passed away, bringing to a close an artistic career spanning decades.
A prolific artistic career at the heart of Egyptian drama
Mahmoud Bashir was born on March 9, 1950, and began his artistic career at a time when Egyptian television drama was flourishing. He wasn't a leading man in the traditional sense, but he was one of the most memorable and essential figures in the works he participated in. He excelled at portraying supporting roles with sincerity and professionalism, making his presence a key element in the success of many series that have become part of the collective memory of entire generations.
His role in the iconic series "I Will Not Live in My Father's Robe" is considered one of his most prominent artistic milestones, where he left a clear mark despite the limited screen time. He also shone in other works that achieved widespread popular success, such as "Morning and Evening Talk," "The Night and Its End" with the star Yehia El-Fakharany, and "Abbas El-Abyad in the Black Day." His diverse roles reflected his ability to move seamlessly between social and historical settings, proving that he is a talented artist in command of his craft.
The importance and influence of Mahmoud Bashir in the art scene
The passing of Mahmoud Bashir represents a loss for one of the "second-tier" artists who formed the backbone of Egyptian drama for decades. These artists, despite not being at the forefront of the spotlight, were instrumental in creating a complete and realistic dramatic world that resonated with audiences. Bashir was a familiar and reassuring face for viewers, his appearances associated with high-quality family dramas that brought Arab families together around the screen. His last appearance was in the series "Aho Dah Elly Sar" in 2019, marking the end of a quiet yet impactful and profound artistic career.
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