Comoros’ Prized Muslim Headgear Undercut by Chinese Copies 

Muslim men talk to each other after performing the Friday prayer at the Badjanani Mosque in Moroni, on January 12, 2024. (AFP)
Muslim men talk to each other after performing the Friday prayer at the Badjanani Mosque in Moroni, on January 12, 2024. (AFP)
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Comoros’ Prized Muslim Headgear Undercut by Chinese Copies 

Muslim men talk to each other after performing the Friday prayer at the Badjanani Mosque in Moroni, on January 12, 2024. (AFP)
Muslim men talk to each other after performing the Friday prayer at the Badjanani Mosque in Moroni, on January 12, 2024. (AFP)

In the markets of the Comoros, the hand-embroidered kofia that is essential headwear for men and boys at Eid celebrations this month is facing fierce competition from much cheaper Chinese versions.

The authentic kofia -- which often feature delicately embroidered Arabic calligraphy in silk thread -- can cost up to 400 euros ($432) each.

A "made in China" version goes for about 12 euros -- and even that is negotiable, vendor Hassanati Idjabou tells a customer at the bustling Volovolo market in Moroni, capital of the Muslim-majority archipelago of 870,000 people.

"The main attraction is the price," admits the customer, Said Mohamed, a plumber who is shopping for kofia for his two sons ahead of Eid at the end of the month.

"Handmade kofia are more beautiful but they are excessively expensive, especially for carefree children who don't appreciate their value," he says, walking away with his purchase.

The average salary in these Indian Ocean islands is below 200 euros a month but nearly half the population is on the poverty line, living on just over 100 euros a month, according to national statistics.

Three years ago, Idjabou's stand was raided by police combating forgery. "I was arrested for several hours by the national police and my stock of kofia was confiscated for a few days," the frail vendor says.

But today the policemen patrolling a few meters from her stall are indifferent to the counterfeit products.

Idjabou does not think the cheaper versions she sells will undercut the future of the authentic version so cherished on these islands and nearby countries.

"Traditional kofia will not disappear for one simple reason: no one would dream of sending a counterfeit kofia to a man about to marry their daughter," she says.

Another advantage of the Chinese version: they are unlikely to get stolen, says Mohamed Ali Mgomri, who also owns one. "Nobody's going to want to steal something that costs 15 euros," he says.

- 'Killing our craft' -

In the Comoros, kofia are only worn by males but almost exclusively embroidered by women in work that is slow and painstaking.

In the seaside town of Mitsamiouli, 40 kilometers (25 miles) from Moroni, long-time kofia creator Chifayi Mwasi opens the heavy, ornate door of her house at the entrance of the medina.

"They're killing our craft," says Mwasi, who is in her seventies and has been sewing kofia since she was 11 years old.

"They take photos of our models and go to China to produce them in industrial quantities," she says.

In the middle of the living room is an antiquated black-and-gold sewing machine.

"It's over 50 years old, it is hardy," laughs Mwasi. Her right foot, resting on a cushion, gently presses the pedal in a regular rhythm.

"Electric sewing machines are far too fast for crafting a kofia," she says. Mwasi designs the patterns that are later embroidered on to the kofia by other women, such as Maissara Mhadjou.

"Making a kofia takes me at least two months and I am paid 150 euros ($162)," says Mhadjou, whose swollen fingers run over and over an intricate stitch.

"Our heritage won't just disappear," she says. "Chinese kofia aren't ugly, but they're no match for hand-embroidered ones."

But anthropologist Abderemane Wadjih, who is wearing a handmade version on his head, believes "the Chinese invasion represents a cultural threat" to an item that is precious to the Comoros identity.

The Comoros has to nurture the age-old mother to daughter transfer of the art and craft of creating kofia while also considering how to make more affordable versions, says the government's director of culture, Wahida Hassani.

"We have to do our utmost to ensure that this transmission continues, whether through formal or non-formal education," she says. "Preventing the Chinese from proliferating the kofia -- that is not one of my abilities."



Saudi Cultural Development Fund Debuts at Davos to Showcase Culture as Economic Engine

Saudi Cultural Development Fund Debuts at Davos to Showcase Culture as Economic Engine
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Saudi Cultural Development Fund Debuts at Davos to Showcase Culture as Economic Engine

Saudi Cultural Development Fund Debuts at Davos to Showcase Culture as Economic Engine

The Cultural Development Fund (CDF) successfully concluded its participation at the 2026 Annual Meeting of the World Economic Forum, held from January 19 to 23 in Davos, Switzerland, marking a historic and groundbreaking presence for Saudi culture at the world’s premier economic event.

Hosted at the Saudi House, the CDF engaged over 200 international experts, including leading economists and investors, through a series of dynamic activities such as a networking breakfast, panel discussion, and beneficiary talks on the NextOn platform. The CDF emphasized culture not only as a form of artistic and creative expression, but also as a vital economic driver and a strategic pillar for national development, SPA reported.

Reinforcing this vision, CDF CEO Majed Al-Hugail highlighted in a Davos panel Saudi Arabia's belief in culture as a pivotal force for economic diversification and quality of life. By 2030, he stated, the cultural sector is set to contribute $48 billion to GDP, create more than 346,000 jobs, and attract 22 million visitors.

The CDF also underscored the critical role of financing in empowering entrepreneurship and amplifying the economic potential of the cultural sector. Notable participants in the NextOn talk series included Co-Founder of AlMashtal Creative Incubator Princess Noura bint Saud bin Naif, who addressed “Culture as Economic Infrastructure: Unlocking Human Capital Through the Creative Industries.” Additionally, CEO of the Arabian Housing & Building (AHB) Company Eng. Khalid Alhenaidy contributed insights during a session titled “The Value in Cultural Assets.”

Looking ahead, the CDF organized six strategic side meetings aimed at exploring new opportunities and fostering collaborations to accelerate the development of the Saudi cultural sector and attract global investment. It also distributed 150 copies of the comprehensive investment report, Saudi Cultural Market Outlook 2025: Vision, Impact, and Opportunities, developed in partnership with the Ministry of Culture, the Ministry of Investment, and the Invest Saudi initiative.

Furthermore, the CDF showcased Saudi creativity by exporting 60 cultural products from Samuda, a fashion-sector beneficiary brand, highlighting the growing economic significance of the Saudi fashion market.

This milestone reflects the CDF’s commitment to serving as a center of excellence and financial enabler for the Kingdom’s cultural sector. It underscores ongoing efforts to elevate Saudi culture on the global stage, maximizing its economic and social impact in alignment with the ambitious objectives of Saudi Vision 2030.


Five Artists Shortlisted for the Seventh Edition of Ithra Art Prize

The shortlisted artists are Aseel AlYaqoub (Kuwait), Bady Dalloul (Syria), Heba Y. Amin (Egypt), Ala Younis (Jordan), and Jawad Al Malhi (Palestine) - SPA
The shortlisted artists are Aseel AlYaqoub (Kuwait), Bady Dalloul (Syria), Heba Y. Amin (Egypt), Ala Younis (Jordan), and Jawad Al Malhi (Palestine) - SPA
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Five Artists Shortlisted for the Seventh Edition of Ithra Art Prize

The shortlisted artists are Aseel AlYaqoub (Kuwait), Bady Dalloul (Syria), Heba Y. Amin (Egypt), Ala Younis (Jordan), and Jawad Al Malhi (Palestine) - SPA
The shortlisted artists are Aseel AlYaqoub (Kuwait), Bady Dalloul (Syria), Heba Y. Amin (Egypt), Ala Younis (Jordan), and Jawad Al Malhi (Palestine) - SPA

The King Abdulaziz Center for World Culture (Ithra) announced the five shortlisted artists for the seventh edition of the Ithra Art Prize, which celebrates artists from or based in the 22 Arab countries.

Recognized as one of the most distinguished honors in the Middle East, the Prize is dedicated to empowering artists, fostering innovation, and deepening cultural dialogue across the Arab world.

The shortlisted artists are Aseel AlYaqoub (Kuwait), Bady Dalloul (Syria), Heba Y. Amin (Egypt), Ala Younis (Jordan), and Jawad Al Malhi (Palestine), SPA reported.

Head of Ithra’s Museum Farah Abushullaih said: “The development and expansion of the Ithra Art Prize since its launch have established it as an important platform for artistic expression.

This year’s shortlist reflects the incredible diversity, creativity, and critical thought shaping contemporary art in the Arab world. The open call received more than 500 artistic submissions, which underwent an initial review process before a selected group of works was evaluated by the jury.”

She added that the award, in its current edition, is witnessing an expansion in scope compared to previous years, as the judging panel is providing production grants to the five finalists, with their works to be showcased in a dedicated exhibition at the King Abdulaziz Center for World Culture (Ithra) during the spring of 2026.


King Salman Arabic Language Academy Launches Arabic Language Month in Mexico

The Arabic Language Month features specialized training courses, scientific and outreach activities - SPA
The Arabic Language Month features specialized training courses, scientific and outreach activities - SPA
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King Salman Arabic Language Academy Launches Arabic Language Month in Mexico

The Arabic Language Month features specialized training courses, scientific and outreach activities - SPA
The Arabic Language Month features specialized training courses, scientific and outreach activities - SPA

The King Salman Global Academy for Arabic Language launched the Arabic Language Month in Mexico as part of its international efforts to support Arabic language education for non-native speakers and strengthen its cultural and intellectual presence in global academic institutions.

The program runs throughout January and includes a variety of scientific and educational events, such as intensive training courses for teachers and learners, specialized programs for teachers of Arabic as a foreign language, a symposium on the current state and challenges of Arabic language education in Mexico, the administration of the “Hamza” academic test to assess learners’ proficiency, and organized scientific and cultural visits, SPA reported.

Implemented in cooperation with key institutions in Mexico, the program targets teachers, learners, and anyone interested in teaching Arabic as a foreign language.

The Arabic Language Month features specialized training courses, scientific and outreach activities, and active participation from the academy leaders in academic events. It aims to enhance institutional and scientific collaboration, expand international partnerships, and advance the academy’s mission of promoting Arabic language education worldwide.