Phantom of Nuclear Disasters Hunts the World

The book cover
The book cover
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Phantom of Nuclear Disasters Hunts the World

The book cover
The book cover

“Fukushima – The Nuclear Disaster and the Other Face of Japan” is a book that explores the backgrounds of the nuclear disaster in Fukushima, and the looming phantom of such catastrophes.

Recently released by Al Arabi Publishing and Distribution, Cairo, the book is written by British researcher Andrew Letherbarrow, and translated into Arabic by Rania Sabri Ali.

On March 11, 2011, a quake hit the depth of the Pacific Ocean with a power that redistributed the land masses, and shifted the main axes of the Earth, shortening the day/night cycle. A massive, unstoppable tsunami emerged from the epicenter of the quake, 57 kilometers to the east of Japan, and reached the Japanese coastline in 40 minutes, hitting the Onagawa Nuclear Power Plant, the closest nuclear facility to the quake center, with 14-meter-high waves.

The earthquakes shook the foundations of the facility, but it managed to survive and became a refuge for those who lost their homes. After around 90 minutes, another tsunami hit another nuclear facility, the Fukushima Daiichi Nuclear Power Plant, one of the largest and most impactful worldwide. At the time, the Tokyo Electric Power Company, and owner of the Fukushima Daiichi, claimed that they took all the necessary measures to prepare for such an event. However, these measures weren’t sufficient, the weak coastal defenses of Fukushima drowned easily, which prevented the plant from cooling its six reactors, and led to the most horrifying nuclear crisis in the past 25 years.

The writer sees that the 2011 eastern Japan quake was perhaps a natural disaster, but the collapse of Fukushima Daiichi is a man-made event, and could have been prepared for and prevented.

Letherbarrow quotes the editorial of the Japan Times newspaper seven years before the catastrophe, which reads: “It is one of the places that no sane man would dare choose to build nuclear power plants, which are so many in Japan.”

The Japanese people have always rejected nuclear power, especially after the second world war, but a western campaign driven by economic and political interests managed to convince them to be more accepting in this field. However, the nuclear power industry failed to provide the safety and security measures needed to cope with a tsunami. There were also obstacles that hindered a real independent censure on such sensitive facilities. In 2018, Japanese researchers from the Kyushu and Tohoku institutes found that “the threat of nuclear power accidents in Japan has outweighed that of other countries.”

According to the writer, with time, under the public pressure and the threats caused by the nuclear leakage and pollution, some countries had to slow down the construction of further nuclear plants. However, Japan didn’t, why? It’s simple, because it consists of several islands and suffers from a serious shortage of natural energy resources, which forced it to import 96% of its fuel needs in 2011. Unlike wood and copper, coal, which is very abundant in Japan, could have been a safety net, but its impact on the environment forced the country to abandon it, which led to more crises and threatened the national security.

The Miike coal mine, the largest and oldest in the history of Japan, operated until 1997. Its closure caused a collapse in the domestic economy, and urged the country to seek a sustainable alternative, the nuclear power. One kilogram of coal generates 12 kw of electricity, while the same amount of uranium could generate 24 million kw of electricity after being processed in nuclear plants. Here, Letherbarrow acknowledges the importance of the peaceful uses of nuclear power, but warns from the lack of security and safety measures, which could be caused by administrative failure, lack of qualification, or expenditure reductions.

Andrew Letherbarrow has another book about nuclear disasters based on the Chernobyl accident. He visited the town and spent five years there for research and investigation. The book was a best seller after its release.



Saudi Ministry Launches ‘Cultural Experiences’ Program to Promote Local Arts and Heritage

Riyadh, Saudi Arabia (Reuters)
Riyadh, Saudi Arabia (Reuters)
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Saudi Ministry Launches ‘Cultural Experiences’ Program to Promote Local Arts and Heritage

Riyadh, Saudi Arabia (Reuters)
Riyadh, Saudi Arabia (Reuters)

The Saudi Ministry of Culture unveiled the “Cultural Experiences” program to raise awareness of local culture and arts through interactive public experiences.

The initiative targets all segments of society and offers activities that enable participants to explore Saudi heritage and traditional arts in engaging ways, the Saudi Press Agency said on Thursday.

In its first phase, the program will feature two main trails.

The first, “Cooking Experiences,” will be held in April at the Hotel and Tourism Management Institute (HTMi Saudi Arabia) in Riyadh, Al-Baha, and Jazan.

It showcases Saudi cuisine through hands-on sessions where participants learn to prepare traditional dishes under the guidance of professional chefs.

Participants will explore the stories, ingredients, and cultural significance of these dishes, strengthening their connection to local culinary heritage.

The second trail focuses on handicraft experiences. It highlights traditional crafts through interactive workshops led by skilled artisans.

Participants will learn various handicraft techniques and create artistic pieces, promoting appreciation of crafts, and their role in preserving cultural identity.

The program will be rolled out in multiple phases. Experiences will be announced through the ministry’s official platforms and the hosting platform “Webook,” where participants can view schedules and register.

Registered participants will receive confirmation messages with details of the experience, including location, timing, and attendance requirements.


Picasso’s ‘Guernica’ at Heart of Battle in Spain Over Location

A visitor looks at Spanish painter Pablo Picasso's master piece "Guernica" during a press conference presenting the "Year of Picasso" events, marking the 50th anniversary of the painter's death, at the Reina Sofia museum in Madrid, on September 12, 2022. (Thomas Coex/ AFP)
A visitor looks at Spanish painter Pablo Picasso's master piece "Guernica" during a press conference presenting the "Year of Picasso" events, marking the 50th anniversary of the painter's death, at the Reina Sofia museum in Madrid, on September 12, 2022. (Thomas Coex/ AFP)
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Picasso’s ‘Guernica’ at Heart of Battle in Spain Over Location

A visitor looks at Spanish painter Pablo Picasso's master piece "Guernica" during a press conference presenting the "Year of Picasso" events, marking the 50th anniversary of the painter's death, at the Reina Sofia museum in Madrid, on September 12, 2022. (Thomas Coex/ AFP)
A visitor looks at Spanish painter Pablo Picasso's master piece "Guernica" during a press conference presenting the "Year of Picasso" events, marking the 50th anniversary of the painter's death, at the Reina Sofia museum in Madrid, on September 12, 2022. (Thomas Coex/ AFP)

Pablo Picasso's anti-war masterpiece "Guernica" is swept up in a conflict in Spain, where Basque leaders want the government in Madrid to move the painting to their region, whose 1937 bombing inspired it.

The mural-sized painting has been on display since 1992 at the Reina Sofia museum in the Spanish capital, and repeated requests for it to be moved to Spain's Basque Country have been refused.

The latest demand was made by the head of the regional Basque government, Imanol Pradales, during talks with Socialist Prime Minister Pedro Sanchez.

The Basque government wants the painting to be hung in the Guggenheim Museum in Bilbao to commemorate the 90th anniversary of the April 26, 1937, bombing, in which forces from Nazi Germany and Fascist Italy razed the town of Guernica to help General Francisco Franco in the Spanish Civil War.

Bringing the painting to Bilbao from October until June would be a form of "reparation and historical memory", the Basque government said.

Sanchez -- whose minority government depends on the support of two Basque parties in parliament to pass laws -- did not reject the proposal outright, instead referring it to the culture ministry.

The ministry asked the Reina Sofia museum for a technical report on the viability of the request, which once again "strongly advised" against moving the painting.

The report said the painting is too fragile to travel, citing risks of damage from vibration or movement.

Picasso's black-and-white masterpiece is the highlight of the Reina Sofia museum, which welcomed around 1.6 million visitors last year.

The outspoken head of the regional government of Madrid, Isabel Diaz Ayuso of the conservative Popular Party (PP), weighed in on Monday, calling the request to move the painting "provincial".

"It makes no sense for everything to be returned to its origin. In that case we should send all of Picasso's works to Malaga," she said, a reference to the southern Spanish city where Picasso was born.

- Return from New York -

Asked about the controversy on Tuesday, Spain's central government spokeswoman Elma Saiz said the government relies on the advice of "professionals", referring to the museum report, and "never resorts to insults".

Painted in 1937 in the aftermath of the bombing, "Guernica" debuted in Paris at the World's Fair, then was placed in the care of the Museum of Modern Art in New York.

When Franco's forces overthrew the Spanish republic, Picasso stipulated that the painting should not return to Spain until democracy had been restored.

The work was moved to Spain in 1981, six years after Franco's death.

It was first displayed at the Prado museum, then moved to the Reina Sofia in 1992.

Picasso, who died in 1973, never lived to see the painting on exhibit in Spain.

In 1995, Spanish authorities refused to lend it to the Pompidou Center in Paris, citing the damage the work could suffer during its transport.


Cultural Development Fund Reports Strong Q1 2026 Growth and Impact

Cultural Development Fund Reports Strong Q1 2026 Growth and Impact
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Cultural Development Fund Reports Strong Q1 2026 Growth and Impact

Cultural Development Fund Reports Strong Q1 2026 Growth and Impact

The Cultural Development Fund has announced its results for the first quarter of 2026, demonstrating significant growth in financial performance and developmental impact. This underscores the fund's role as a key financial enabler and center of excellence in developing a sustainable cultural sector, enhancing Saudi culture as a vital economic and social pillar, SPA reported.

Since its inception, the fund has provided over SAR770 million in financial support to 165 cultural projects across various sub-sectors and regions of the Kingdom. It has also benefited more than 1,630 creative individuals and entrepreneurs through developmental services aimed at building entrepreneurial capabilities.

The fund achieved a 30% increase in financial returns compared to the same period in 2025, contributing an estimated SAR4.1 billion to GDP and creating over 12,540 job opportunities.

Additionally, it has stimulated private sector involvement with approximately SAR1.1 billion in contributions, reflecting growing confidence in developing the cultural sector.

These figures highlight the fund's essential role in empowering the private sector and fostering innovative financial solutions that promote growth and enhance the quality of life, aligned with Saudi Vision 2030.