Bernard O'Kane Wins Iran's Book of the Year Award

“I always insist on the collective because this is how you change history,” says Bahia Shehab (MA ’09), professor of practice in the Department of the Arts and co-editor of Revealing, Recording, Reflecting: Graphic Women from Southwest Asia and North Africa (SWANA), the first publication of its kind to document the work and legacy of contemporary women designers.“This landmark book is about the ‘us’ of women,” says Shehab, who founded AUC’s graphic design program in 2011. ‘When people hold the book, I want them to recognize women’s voices in the Arab world. They are beautiful, they are colorful and they are varied. And they’re not limited to the geography of the Arab world. We are everywhere.”Full of vibrant images, the book emerged from a collaborative initiative aimed at documenting and celebrating the contributions of SWANA women in the field of design. It all started when four women graphic designers from different institutions — Shehab from AUC in Egypt, Huda Smitshuijzen AbiFarès from Khatt Foundation in the Netherlands, Yasmine Nachabe Taan from the Lebanese American University in Lebanon and Soukeina Hachem from Shape interior design studio in Morocco — decided to research and showcase the work of Arab women designers. “We are four women from various parts of the region who came together to reflect, collect and reveal stories of Arab women designers,” says Shehab. Not only were they tapping into an undocumented frontier, but their research process was atypical. “The normal route usually involves archives and a lot of reading,” explained Shehab. “But for this book, we decided to do something else: We opened up our research to a bigger community. So we were four curators, not authors. The idea is that it is a collective story of over 80 Arab women graphic designers that we are telling together, so there isn’t a single authority or voice.”The first step for the co-editors was to focus on themes, the types of stories they want to tell. For Shehab, the choice was clear. “I love everything about Arabic design — its calligraphy, letters and typography — so I chose to work on Ladies of Letters: women who are as passionate about Arabic letters as I am. Each of us worked on a topic that she felt eager to explore in-depth.” The book explores themes of Visual Storytelling by Women, Engaged Image-Making for Social and Political Commentary, Ladies of Letters (connecting generations of women writers and designers) and Navigating Diasporic Identities. Focusing on the work and impact of Arab women graphic designers, illustrators, calligraphers and typographers, the book includes critical writing, testimonials, primary documents and artwork. The co-editors proposed the project online, collecting reflections on the different themes through Zoom panels and collaboration with a cultural space in Berlin, Germany for people to share their insights and recommend women in the field who can be featured in the book. “That physical space became our living research space, with sticky notes, observations, posters and new books. It was the first time for us to experiment with collective crowd-sourced research, and it was an enriching experience,” Shehab says.Questionnaires were then sent out to women graphic designers, asking them to tell their own stories. “In the book, we are not reflecting on how they feel or assuming the meaning of their work. They are choosing what stories they want to tell — in their own words,” affirmed Shehab. 

The year was 1964 when alumna Leila Saad, soon to be Miss Egypt, first fell in love with theatre and launched an acting career that has lasted 61 years (and counting) A tall wooden door guards the Heliopolis apartment where, on a Saturday afternoon, Leila Saad ’66 checks emails on her iPad and prepares for a day of work. Amid the funky statues, potted plants and fairy lights that furnish her apartment, Saad fills the space with a smile, her white hair and pixie cut accentuating her vibrant energy. She insists on coffee — for her, karkade — and an hourlong chat before beginning the interview.Donning black leggings, a colorful blouse and a cross necklace alluding to her Coptic roots, Saad is adamant that she would never leave Heliopolis as she gives us a tour of her old Cairo home. “God will take care of the destination and the rest,” insists Saad, relying on her faith in the present as she has during much of her eventful life.The octogenarian’s career is going strong — she has an acting job later today, and she recently wrapped up a project she directed for AUC, The Importance of Being Earnest.Church bells ring in the vicinity as she takes a seat on her balcony, a private garden filled with greenery. The first question — “Who is Leila Saad?” — prompts the actress to spring to life, her voice heavy and animated with conviction: “Leila Saad is an 88-year-old who is passionate about theatre and has been on a journey doing theatre for 61 years, since she was cast in a 1964 AUC rendition of Oklahoma in Ewart Memorial Hall.” She laughs that her first role caused three music directors to quit after Bob Harper, the casting director, insisted that she sing in the play (“I can’t sing,” says Saad). Thus began a love for theatre, which has since colored every aspect of Saad’s life. A New Life in North AmericaSoon after Oklahoma, Saad opened up a cafeteria called Greedee’s in the basement of the newly acquired Greek Campus, where she started meeting with AUC’s theatre group: “There was no theatre department at the time, but there was something called the Maskers Club,” she reminisces. “I have the best memories with them.”Saad was majoring in English literature at first, but following Harper’s guidance, she soon received a full scholarship to study theatre at the University of Southern California (USC) — an offer she couldn’t refuse. She knew then she had to follow her dreams, even though she was sad to leave AUC in 1966.“There was no theatre department at the time, but there was something called the Maskers Club. I have the best memories with them.”“I was scared and nervous and hesitant, but I went. I took my suitcase and $11 because during Nasser’s rule, we were only allowed 5 Egyptian pounds (equivalent to $11 at the time),” says Saad. “I didn’t know anybody except a friend of mine whom I knew from Cairo and who happened to be studying television and film, and we lived together as roommates.”Saad’s journey in the United States was one that spanned decades: She loved USC but disliked California, so she moved to Oregon, where she joined a graduate program in the theatre department and Middle East Studies Center at Portland State University. After a few years, Saad relocated again. “I was thriving in Portland, but it was time to move to the East Coast where there was more opportunity in theatre,” Saad says. She worked at Boston University (BU) and joined a professional theatre company in the city, where she remained for 25 years. 

Have you ever wondered what the ancient Egyptians would have eaten in the absence of homemade molokhiya and street shawarma? Mennat-Allah El Dorry ’05, assistant professor and chair of Coptic studies in the Department of Sociology, Egyptology and Anthropology, studies Egyptian food history. Here’s what she told us about ancient Egyptian eating habits, and how we know.What was ancient Egyptian cuisine like?                             When it comes to ancient Egyptian cuisine, we’re limited to the evidence we have. We know a lot about the raw ingredients, but we don’t know how they were put together. We can assume the cuisine as a whole was a very simple, rural one, but it’s difficult to describe in detail. Yet we know that it was largely based on land and available resources, with a bit of import and trade of products with others. For example, pomegranate was introduced in the New Kingdom from the East. It was a very local, seasonal diet, and this only changed in the last 100 years, as is the case with many traditional cuisines.In what ways do we see remnants of the ancient Egyptian cuisine in Egyptian food today? There are specific products that are continuously used throughout Egyptian history. Khass baladi, or local lettuce, is seen in ancient Egyptian tomb scenes and continues to be used until now; it’s a staple of every baladi table. So are spring onions and attah, an ancient cucumber variety that can also be found today. Bread was an absolute cornerstone of the ancient Egyptian diet and is still in the modern Egyptian diet. These are staples of the ancient diet that have remained. There are also products that we assume existed but don’t have hardcore evidence for, like fermented cheese, while there are products that we have plenty of evidence for, such as dairy products, beef, duck, geese, fish, pork and other meats. Khass baladi, or local lettuce, is seen in ancient Egyptian tomb scenes and continues to be used until now; it’s a staple of every baladi table. 

With less than 1,400 cases of supercentenarians in history, the exceedingly rare occurrence of living past 110 is a sought-after phenomenon in the research on human longevity. However, Sungsoo Chun, professor at AUC’s Institute of Global Health and Human Ecology, points out that the experimental methods used to research each case differs, with each country’s experts typically studying their supercentenarians independently. This creates problems when comparing results, making it difficult to generalize or draw scientific conclusions that apply beyond each individual case. “We need to collectivize existing and future studies to find the secret behind extreme longevity,” Chun says.To do this, Chun started a cohort study network composed of international subject matter experts. This method pools together existing data on supercentenarians while the network designs a protocol to standardize future research in this area of study. The protocol, which will determine the specific cohort design and data points to be collected in future studies, will connect all research on supercentenarians, allowing longevity researchers to work together. “Without the collaboration of global experts, it’s impossible,” says Chun. The Global Supercentenarian Cohort Network Study conference, which was hosted at AUC in May 2025, brought researchers one step closer to finalizing a protocol. “Two years ago, we set up the network with 42 study panel members from around the world, and they all shared their insights. Accordingly, we developed a draft of the protocol,” he says. “This conference was one of the final stages to global experts reaching a consensus.”