
Muscat book fair ends, sees over 649,000 visitors
This year's edition was one of the largest to date, featuring 674 publishing houses from 35 countries. Of these, 640 participated directly, while 34 were represented through local and regional agencies. The event's digital catalogue listed more than 681,000 titles – including 467,413 Arabic books and 213,610 in other languages – underscoring the fair's global appeal.
Speaking at the closing ceremony, Ahmed bin Saud al Rawahi, Director of the fair, said it has played a vital role in promoting reading culture and enhancing Oman's cultural landscape. He noted its impact on the publishing industry and broader economic sectors, while also showcasing the country's literary achievements.
Highlighting regional culture, North Sharqiyah was this year's Guest of Honour at the fair. The governorate presented a rich programme reflecting its artistic and intellectual heritage. Additionally, the fair hosted 'Saudi Cultural Days', marking enhanced cultural ties with the kingdom through participation of leading Saudi writers and creatives.
Rawahi announced Al Wusta as Guest of Honour at the 30th edition of the fair.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Observer
11-07-2025
- Observer
The epic rise of Baybars, the Panther Sultan
If you're a 90's high school graduate, you must remember the novel 'Wa Islamah' written by Yemeni author Ali Ahmed Ba'katheer and read in Arabic classes. You must also remember the super-long Egyptian movie by the same name produced in 1961 starring Ahmed Mazhar and Lubna Abdul Aziz (while researching this article I discovered that this movie was directed by two directors: Italian Enrico Bomba - who was also the writer and the producer - and Hungarian-American Andrew Marton. It had two names, La Spada del'Islam and Oh Islam. The movie follows the story of the Mamluk Sultan Saif Al Deen Qutuz from birth to his death in 1260. As for the novel, I wasn't a fan as I found the romance between Sultan Qutuz and princess Julnar tedious. However, the side character that always fascinated me was the Sultan's friend Baybars - another Mamluk from a humble background - who ruled after his sudden death. As I'm now in the phase of catching up with Arabic historical series on YouTube that I either missed or never heard of, I came across a Ramadhan series by the name Al Zahir Baybars that was broadcasted in Ramadhan of 2005 (unfortunately no English subtitles provided). The series talks about the rise of Baybars (1223/1228-1277 AD) from a Mamluk slave to becoming the Sultan of Egypt. Baybars was a Kipchak (a tribe form the north of the Black Sea) whose name meant great panther. As a young boy, his parents were massacred by the Mongols and he was sold into slavery. When reaching Egypt, he's bought by Alaa Al Deen al Bunuduqdari, a high rank official who when losing favour with the Ayyubid Sultan Al Saleh Ayub ends up fleeing, leaving behind all his possessions. Under the new Sultan, Baybars joins the Bahari Mamluks headed by Faris Al Deen Aktai and meets his new comrades: Izz Al Deen Aybak and Qutuz. After the death of the Sultan, his wife Shajar Al Durr decides to marry Aybak to maintain her status quo. The power-loving wife manipulates Aybak and orders him to assassinate Aktai when she senses his dissatisfaction with her decisions and fears a future military coup lead by him. Consequently, Baybars flees to Levant with his deputy Qalawun and a few loyal soldiers where he keeps travelling for years between different countries trying to convince rulers to help him invade Egypt. However, things change after Qutuz come to power and asks Baybars to return to Egypt and under his command, the Mongols are defeated in the battle of Ain Jalut in 1260. When Qutuz is assassinated, Baybars becomes the first Sultan of the Bahri Mamluk Dynasty and entitles himself Al Zahir (the discernible). During his 17 years of reign, he ends the presence of the Crusaders in Levant, develops Cairo's infrastructure, builds mosques, libraries, and funds scientific research. He also establishes the first waqf garden that provides food and shelter for stray cats. The series highlights the political and military side of Baybars life which made it interesting. Abid Fahad who plays Baybars was convincing but this can't be said about the rest of the cast who were struggling to speak in Classic Arabic, especially Aybak and Qutuz. Besides, director Mohammed Aziziya's signature battle scenes were too long at times (with close shots of smiling extras supposedly facing death) and some historical facts were tampered with like the death of Aybak and his wife Shajar Al Durr. The fun part was the opening song lyrics that sent viewers on heated discussions in different forums trying to decipher the lyrics and the language used. Rasha Al Raisi The writer is the author of 'The World According to Bahja'


Observer
09-07-2025
- Observer
Hong Kong fans queue for opening of Cristiano Ronaldo exhibition
Hong Kong football fans queued for hours on Monday to snap pictures of Cristiano Ronaldo's trophies and jerseys at an exhibition billed as the first of its kind outside the superstar's native Portugal. Visitors at the opening of the "CR7 LIFE Museum Hong Kong" at a luxury shopping mall posed next to life-sized statues of the former Manchester United and Real Madrid player, including one in mid-air celebration and another in traditional Saudi dress. "Cristiano Ronaldo is my idol... he's special," said 14-year-old Alvin Lai, who was first in a queue of more than 100 people. "He's the most hardworking person out there," said university student Henry Singh. "He's 40 years old and still going very strong." Cristiano Ronaldo's Golden Boot trophy is seen on display beside a portrait of the footballer during the opening of the CR7 LIFE Museum in Hong Kong on July 7, 2025. Ronaldo signed a new two-year contract with Saudi Arabian club Al Nassr last month, calling it a "new chapter" in an Instagram post. Al Nassr are due to play in a pre-season tournament in Hong Kong next month. The five-time Ballon d'Or winner Ronaldo will be greeting fans at the museum "very soon", said Tomas Froes, a representative of the footballer's family office. The 12,000 square feet (1,110 square metres) exhibition sends a "strong message for everyone to achieve their dreams", Froes told AFP. Organisers have said the Hong Kong exhibition will run for a year before heading to mainland China. —AFP


Observer
03-07-2025
- Observer
Short-Form Supremacy: How TikTok, Reels, and YouTube Shorts Changed Storytelling
In the age of information overload, brevity is power. The meteoric rise of short-form video platforms—TikTok, Instagram Reels, and YouTube Shorts—has reshaped not only how we consume content but also how we tell stories. Once, a compelling narrative demanded time and attention; now, it must compete for a swipe, a like, and a few precious seconds of someone's scrolling. This shift has had seismic effects on storytelling, from how creators engage audiences to how legacy institutions like newspapers and broadcasters reconsider their roles in the digital age. TikTok's global dominance is supported by figures: as of January 2024, TikTok had over 1.56 billion monthly active users worldwide, according to Statista (2024). The average user spends around 95 minutes a day on the app (DataReportal, 2024), a staggering amount of screen time that has prompted creators to distil their stories into fast, engaging formats. Its success has led Instagram and YouTube to prioritise short-form videos through Reels and Shorts, respectively. YouTube Shorts, for example, exceeded 70 billion daily views by mid-2023 (Google, 2023). Renowned local influencer Sultan Al Balushi explained, 'Social media plays a huge role nowadays; people read less and watch more. There's a trust that comes from seeing something visually. With platforms like TikTok and Instagram Reels, storytelling needs to be more immediate and relatable. You're not just telling a story any more; you're showing it. That shift has changed how we connect with audiences — attention spans are shorter, but the emotional impact can be greater if you get it right.' In the Gulf, the rise is equally notable. In Oman, TikTok had approximately 1.1 million active users by early 2024, accounting for nearly 20% of the population (DataReportal, Oman 2024). In Saudi Arabia, over 26 million TikTok users have been recorded, with a penetration rate of 73% — making it one of the platform's strongest markets globally (Statista, 2024). Instagram Reels and YouTube Shorts are also thriving, especially among users aged 18–34, who form the digital core of the GCC's population. Short-form video has redefined storytelling. Traditional narrative arcs have been condensed or reimagined, replaced by bursts of mood, visuals, and relatability. A 15-second skit in an Omani dialect or a drone shot of a remote wadi can now convey a richer sense of place than lengthy travel articles. These micro-narratives thrive on aesthetic and emotional resonance, rather than conventional structure. Equally transformative is who gets to tell the story. In Oman, social creators and a new generation of local influencers have built digital communities showcasing humour, nature, and regional pride, often in both Arabic and English. Their success reflects a wider regional trend, where democratisation of content creation has allowed voices from small towns to reach a global audience without institutional backing. According to a Statista Global Consumer Survey (2023), more than 50% of Gen Z users in the MENA region prefer discovering content via TikTok or Instagram over traditional media channels. These platforms are becoming entry points not just for entertainment but also for awareness, activism, and community-building. In Oman, initiatives such as turtle conservation, local crafts, and anti-plastic campaigns have gained traction through Reels and Shorts, often reaching audiences that traditional outreach cannot. Short-form video is particularly suited to our distracted, mobile-first lifestyles. A study by Microsoft Canada suggested that the average human attention span has fallen to around 8 seconds in the digital age (Microsoft, 2015). TikTok's internal data supports this trend: videos under 30 seconds consistently perform better in terms of completion and sharing (TikTok for Business, 2023). The format also bridges linguistic and cultural divides. In Oman and the wider Gulf, creators often alternate between Arabic and English, with subtitles making content more inclusive. This fluidity helps local stories resonate globally. For example, traditional Omani music or fashion becomes viral, not just as cultural heritage, but as part of global trend cycles—remixed, duetted, and restaged by users worldwide. Long-form journalism, however, faces growing challenges. Traditional media outlets are contending with a new wave of content creators who can break down complex stories in under a minute. According to the Reuters Institute Digital News Report (2023), over 60% of users under 35 prefer to consume news via video—especially short formats—rather than lengthy articles or traditional broadcasts. In Oman, this trend is reflected by younger audiences turning more to platforms like TikTok for explanations and Instagram for quick headline updates. This doesn't mean long-form journalism is obsolete. Deep investigations, policy analysis, and multi-source reporting still matter — perhaps more than ever. But the path to engaging audiences now often begins on platforms designed for short, visual bursts. Newsrooms are adapting their strategies accordingly. International examples such as The Washington Post's TikTok account (which now has over 1.6 million followers) demonstrate that it's possible to tell substantial stories in playful, digestible formats. Similar initiatives are emerging in the Gulf, involving Arabic-language explainers and cross-platform storytelling strategies to reach younger, digital-savvy audiences. However, short-form content also introduces risks. Misinformation can spread rapidly, exploiting the speed and emotional appeal of these platforms. A landmark MIT study revealed that false news is 70% more likely to be retweeted and spreads six times as fast as truth on social media (Vosoughi et al., Science, 2018). To counter this, Gulf countries have introduced stricter digital regulations. In Oman, Royal Decree 12/2011 on cybercrime (updated in 2018) criminalises the dissemination of false information that could disturb public order, with penalties including fines and imprisonment. The UAE's Federal Decree Law No. 34 of 2021 further criminalises fake news, imposing up to two years' imprisonment and fines of AED 100,000, and requiring social media influencers to register with authorities. Saudi Arabia's Anti-Cybercrime Law enforces similar penalties, with fines reaching SAR 3 million and up to five years' imprisonment for online misinformation. Kuwait's Electronic Media Law mandates registration for digital publishers, while Qatar's Penal Code amendments criminalise spreading false news—both with potential jail terms of up to five years. These laws reflect a regional consensus: viral content must be held accountable. There's also the danger of oversimplification. Complex issues—such as labour reforms, climate policies, or foreign relations—are often reduced to punchy soundbites. Moreover, cultural sensitivities need to be considered; missteps can provoke backlash or legal repercussions in tightly knit societies. Yet, the answer is not to reject short-form storytelling, but to evolve alongside it. The future lies in hybrid formats—TikTok videos that lead into podcasts, Reels that serve as visual abstracts of feature articles, or Shorts that tease full-length documentaries. Skillful producers are learning to connect formats and craft narratives that span multiple platforms, creating a cohesive story ecosystem. Audiences—especially the youth—are not disengaged; they are simply consuming content in ways that reflect their lifestyles: on the move, socially embedded, and visually oriented. The challenge for storytellers is not whether storytelling still matters, but how quickly they can deliver compelling narratives—and whether those stories leave an impact once the scroll stops. In conclusion, short-form video has revolutionised storytelling in the Gulf and beyond, matching our increasingly fast-paced and digitally connected lives. While it brings new opportunities for engagement and diversity of voices, it also demands responsibility and innovation. Embracing hybrid storytelling models and upholding journalistic integrity can ensure that the power of storytelling continues to thrive amid the rapid currents of digital change.