through a caesarean section which she announced via her official Instagram. On 26 April, she reveals her son name as Muhammad Afwa officially which means Forgiving during aqiqah and tahnik ceremonies at her home. On 29 May 2021, Siti Nurhaliza along with NurJiwa Foundation & CTDK Holdings, announce the launch of the NurJiwa Foundation & CTDK Holdings: Palestine and Covid-19 Special Aid Fund, which is the continuation and continuing efforts of the Siti Nurhaliza PKP Fund last year and now with the new fund name for the latest special assistance, namely the Palestine Special Assistance Fund and Covid-19. The initiative is divided into three categories: Palestine — Provides emergency aid, welfare aid, humanity aid and development assistance to the Palestinians. Covid-19 — Provides special assistance that includes survival assistance to the frontliners as well as victims or families of Covid-19 victims who are facing financial problems etc. Others — Offers additional welfare assistance and current needs. Artistry Voice Musically classified as a lyric soprano, she's one of Malaysia's best singers for winning 13 times the award for the "Best Vocal Performance in an Album/Single" from Anugerah Industri Muzik, Malaysia's equivalent of Grammy Awards. Adjie Esa Poetra, an Indonesian vocal instructor described her voice as "She is very careful and never fails in the tone production and she's able to produce the most artistic and beautiful tone as possible.... In any songs, she can sing it with ease but powerful other than possessing more than four-octave vocal range." M.Nasir, music critic and music composer has praised Siti's voice as saying, "When we talk about her, she is the voice...Give her any songs, she can deliver it very well and it is not a problem to find a suitable song for her." He further praised Siti for her brave efforts to experiment her voice melisma with new musics or songs. One of her trickiest songs to perform is Kurniaan Dalam Samaran, a Japanese enka-influenced song where it requires her play of transition of alto to soprano vocal tones and she rarely performed it live. However, at her recent SATU concert, she performed it live, where it received appraisals from critics and fans where one of the reviewers cited her live rendition as, "The Japanese-flavoured song required her to switch from her natural voice to falsetto in a hair-raising cadenza somewhere in the absurdly high range most women vocalists would cringe from. But