عربي English Türkçe اردو فارسى
Logo
Latest News
Culture

Saudi Arabia's Mawhiba Signs Strategic Partnership with UNESCO to Foster STEM Education in Arab States

Mawhiba signs a significant partnership agreement with the United Nations Educational, Scientific, and Cultural Organization (UNESCO) aimed at fostering science, technology, engineering, and mathematics (STEM) education across Arab countries. (SPA)
Mawhiba signs a significant partnership agreement with the United Nations Educational, Scientific, and Cultural Organization (UNESCO) aimed at fostering science, technology, engineering, and mathematics (STEM) education across Arab countries. (SPA)
TT
TT

Saudi Arabia's Mawhiba Signs Strategic Partnership with UNESCO to Foster STEM Education in Arab States

Mawhiba signs a significant partnership agreement with the United Nations Educational, Scientific, and Cultural Organization (UNESCO) aimed at fostering science, technology, engineering, and mathematics (STEM) education across Arab countries. (SPA)
Mawhiba signs a significant partnership agreement with the United Nations Educational, Scientific, and Cultural Organization (UNESCO) aimed at fostering science, technology, engineering, and mathematics (STEM) education across Arab countries. (SPA)

Saudi Arabia’s King Abdulaziz and his Companions Foundation for Giftedness and Creativity “Mawhiba” signed on Friday a significant partnership agreement with the United Nations Educational, Scientific, and Cultural Organization (UNESCO) aimed at fostering science, technology, engineering, and mathematics (STEM) education across Arab countries.

The partnership marks a pivotal moment in advancing innovation, creativity, and scientific excellence in the region, Mawhiba said in a statement.

UNESCO Assistant Director-General for Natural Sciences Dr. Lidia Arthur Brito and Saudi Ambassador to France and Monaco Fahd bin Mayouf Al-Ruwaili joined esteemed colleagues and distinguished guests to commemorate the occasion.

The agreement was signed by Mawhiba deputy secretary-general for business development and communication Abdulaziz bin Saleh Al-Subail and UNESCO’s Brito.

Mawhiba secretary-general Dr. Amal bint Abdullah Al-Hazzaa expressed the foundation's profound honor to partner with UNESCO. She emphasized the shared commitment to empowering young Arab minds and advancing sustainable development through education and innovation.

Highlighting the Kingdom’s progress in STEM under the leadership of Custodian of the Two Holy Mosques King Salman bin Abdulaziz and Prince Mohammed bin Salman, Crown Prince and Prime Minister, Dr. Al-Hazzaa underscored the importance of this collaboration within the framework of Saudi Vision 2030.

UNESCO’s Brito expressed her happiness in signing the strategic partnership with Mawhiba, adding that it addresses an important area of UNESCO’s work in the field of science.

Dr. Brito stated that this strategic partnership aims to provide young people with the necessary knowledge and capabilities and to motivate them to use science, technology, engineering, and mathematics to meet global challenges.

She added that the experience gained by Mawhiba in working with youth in Saudi Arabia will help in exchanging these experiences globally. She pointed out that there is potential for expanding these efforts to Africa and other parts of the world to promote sustainable development goals.

The strategic partnership aims to enhance STEM education for students from 6th grade to 12th grade across Arab states, focusing on refining their scientific knowledge, nurturing creativity, and fostering critical thinking. Special attention will be given to empowering Arab girls and young women, ensuring they have equal opportunities to excel in STEM fields.

Central to the initiative is the MAWHIBA-UNESCO Online STEM Oasis, which will serve as a global platform for local, national, and regional science and engineering fairs. The initiative aims to provide Arab students with valuable opportunities to showcase their talents and gain international recognition.

Additionally, the partnership will implement real-time assessments of middle and high schools in Arab states to elevate educational standards and infrastructure.

Recognizing the pivotal role of educators, the partnership will focus on training Arab science teachers to lead research and guide students in scientific projects, thereby boosting the overall quality of STEM education. Public understanding of STEM will be bolstered through targeted training programs, particularly for preschoolers and young women, ensuring inclusivity and accessibility of STEM education across Arab States.

Mawhiba is committed to expanding the use of the UNESCO Open Science Portal and the UNESCO Science-2-Innovation Network to build the capacity of young scientists and women in STEM education globally. Over the past three years, Mawhiba has supported 839 students from Arab states through enriching STEM programs, setting a precedent for regional cooperation and development in STEM education.

The partnership underscores Mawhiba’s leading role in discovering talents and empowering students in STEM, both locally and internationally. It represents a shared vision for creating opportunities for all Arab states to thrive and excel in STEM fields, fostering a culture of scientific inquiry and technological advancement that will benefit the entire Arab region.

By joining forces with UNESCO, Mawhiba aims to amplify its ability to address global challenges such as climate change, health crises, and technological disruptions. The collaboration aims to inspire young Arab minds to pursue careers in STEM, providing them with access to cutting-edge research and resources through initiatives like the UNESCO Open Science Portal.

The partnership between Mawhiba and UNESCO signifies a shared commitment to a brighter future, dedicated to building capacities in STEM fields to support sustainable development. By working together, they aim to create an environment where every young Arab mind can thrive, innovate, and contribute to the global community. This initiative underscores the importance of investing in the future and ensuring every child has the opportunity to explore, experiment, and excel in science and technology.

Most Viewed

 
 
Culture

Private Museums Bolster Cultural Tourism in Qassim Region

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
TT
TT

Private Museums Bolster Cultural Tourism in Qassim Region

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA

Qassim Region is witnessing a significant rise in private museums, as individual collectors transform personal passions into vital cultural projects. These museums serve as a living memory for the community, preserving rare artifacts, historical documents, antique weapons, and vintage collections that document critical stages of the region's history. By connecting the present with its roots, these sites strengthen national identity and provide essential research resources for scholars and tourists alike, SPA reported.

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals.

His collection features rare agates, fossils from ancient geological eras, and unique rock formations discovered throughout the Kingdom.

The museum acts as a scientific platform, promoting geology and field research while educating the community on the Kingdom’s diverse natural resources and mineral wealth.

Located near Al-Khabra Historical Village, these private initiatives have become key cultural landmarks in Riyadh Al-Khabra Governorate. Their growth aligns with Saudi Vision 2030 goals to develop cultural and scientific tourism, support local content, and position the Kingdom’s heritage and natural sites as premier global destinations.

Culture

Saudi Arabia Showcases Literary Diversity at 2026 Rabat International Book Fair

‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
TT
TT

Saudi Arabia Showcases Literary Diversity at 2026 Rabat International Book Fair

‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA

The Literature, Publishing and Translation Commission launched the Saudi pavilion at the 2026 International Publishing and Book Fair in Rabat, which continues through May 10.

‏Commission CEO Dr. Abdullatif Alwasel affirmed that the Kingdom’s participation in the event embodies the deep historical ties between Saudi Arabia and Morocco while showcasing a diverse, contemporary cultural movement driven by Saudi Vision 2030.

“Saudi Arabia’s participation at the 2026 International Publishing and Book Fair emphasizes the Kingdom’s commitment to spotlighting publishers and the creative literary sector, which continues to go from strength to strength,” Alwasel said, SPA reported.

‏He added: “The Saudi pavilion is an opportunity to invite people from every corner of the world to experience Saudi culture and diverse literary works, showcase unique Saudi talent and creative thinking, while facilitating cultural exchange and engaging discussions.”

‏The Saudi pavilion brings together a range of government entities and cultural institutions, led by the Literature, Publishing and Translation Commission, highlighting the integrated approach of the Kingdom’s cultural environment.

‏As part of the pavilion, the commission has organized a series of topical panel discussions, poetry evenings, and workshops featuring Saudi writers and creative thinkers, encouraging discussions on key issues relating to the literature, publishing and translation sector and its impact on Arab and global conversations.

‏The participation at the 31st International Publishing and Book Fair event reaffirms the Kingdom’s efforts towards platforming local talent and enhancing collaboration and cultural exchange.

Culture

Georg Baselitz, the German Painter Who Turned Postwar Art Upside Down, Dies at 88

German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
TT
TT

Georg Baselitz, the German Painter Who Turned Postwar Art Upside Down, Dies at 88

German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)

Georg Baselitz liked to insist — sometimes as a taunt, ‌sometimes as a shield — that he did not know how to paint. That he had "no talent".

Rejected at 17 by the Dresden Academy of Fine Arts, he talked his way into an academy in East Berlin only to be expelled two semesters later for "sociopolitical immaturity".

"I was stupid," he recalled. "I was uneducated, but I was a rebel."

From that rebellion, Baselitz forged a career that made the child of Nazi Germany, schooled under Soviet communism, into one of the defining artists of postwar Germany.

The painter and sculptor, known for his depictions of raw bodies and inverted landscapes, has died at the age of 88, Germany's Die Welt newspaper reported on Thursday. No cause of death was given.

A REBEL SHAPED BY TWO DICTATORSHIPS

Georg Baselitz was born Hans-Georg Bruno Kern on January 23, 1938, in the Saxon village of Deutschbaselitz, a name he later adopted.

His father, a village schoolteacher and Nazi Party member, recorded Hans-Georg's birth in his diary. Inexplicably, he recorded the birth of none of his other four children, the Sächsische Zeitung daily reported in 2018.

After the war, ‌his father was ‌barred from teaching. Baselitz's mother took over his duties at the school.

Baselitz spent his childhood ‌amid ⁠the unforgiving discipline of ⁠Nazi Germany, and his adolescence amid the rubble and ideological re-education of the country's Soviet occupation zone.

"I was born into a destroyed order, a destroyed landscape, a destroyed people, a destroyed society," he later recalled. "And I didn't want to reestablish an order: I had seen enough of so-called order. I was forced to question everything, to be 'naive', to start again."

After he was expelled from the East Berlin academy, he moved to West Berlin, where he finished his studies and absorbed modernism in a way that felt, he said, like a sudden intake of oxygen.

He recalled the shock of first seeing works by Jackson Pollock and other abstract expressionists — evidence, in his telling, that ⁠the United States had a serious culture despite what he had been taught.

But rather than ‌imitate an American style, Baselitz turned back to German sources, drawing on expressionism, ‌folk traditions and imagery often dismissed by critics as ugly or even "degenerate".

SCANDAL AS A CALLING CARD

At a 1963 solo show in Berlin, authorities ‌seized two of his paintings on obscenity grounds. The episode made Baselitz famous.

The early pictures, marked by raw bodies, stunted masculinity and abrasive humor, were widely seen as provocation.

Supporters and museum curators have also framed them as a blunt report on postwar German life: damaged, compromised and struggling to find a new footing.

That sensibility carried into his mid-1960s "Heroes" paintings, which presented hulking, battered figures that looked less like victors than survivors ‌stumbling out of a defeated national myth.

But Baselitz's most recognizable works came in 1969, when he began painting motifs upside down.

After earlier experiments that fractured or partially inverted figures, he ⁠produced fully inverted works including "The ⁠Wood on Its Head" and "The Man by the Tree".

He did not simply flip finished images, he composed and painted them inverted from the start.

That approach altered how viewers read his works. By disrupting recognition, it forced attention onto the mechanics of painting — its color, balance and composition.

"An object painted upside down is suitable for painting because it is unsuitable as an object," Baselitz said.

The inversions made Baselitz an international figure in the 1970s and 1980s, as the market and institutions that once treated him as scandalous increasingly positioned him as a pillar of European postwar art.

His public reputation, however, did not settle into quiet respectability.

He repeatedly sparked backlash with remarks about female painters, including a widely reported claim that women "don't paint very well".

He also confronted the limits Germany's history places on gesture and imagery: a wooden sculpture shown at the 1980 Venice Biennale was widely read as evoking a Nazi salute, a reading he denied.

He was married to Johanna Elke Kretzschmar, known as Elke, with whom he had two sons.

In later life, Baselitz painted huge canvases from his wheelchair and moved his brushes and paints in a rolling cart.

"The sensible thing, in my situation, would naturally be to say: 'I stick to small formats'," he told Spanish newspaper El Pais at age 87. "But of course I don't do what's sensible. What's right for me is the nonsensical."