The Golden Era of Saudi Culture

Saudi Minister of Culture Bader bin Abdullah bin Mohammed bin Farhan Al Saud
Saudi Minister of Culture Bader bin Abdullah bin Mohammed bin Farhan Al Saud
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The Golden Era of Saudi Culture

Saudi Minister of Culture Bader bin Abdullah bin Mohammed bin Farhan Al Saud
Saudi Minister of Culture Bader bin Abdullah bin Mohammed bin Farhan Al Saud

We bid farewell to 2023, with all accomplishments and lessons that we learned, welcoming the new year immensely determined to seize new opportunities and enhance our progress. We are intent on continuing our journey at the Ministry of Culture, a journey of big dreams inspired and empowered by the Custodian of the Two Holy Mosques, and His Royal Highness the Crown Prince and Prime Minister - may God protect them. It is a journey grounded in Saudi ingenuity, diverse heritage is the secret to its success, and a bright future is its destination.

Five and a half years in, the journey has made exceptional gains in a record time, making the Saudi experience of institutionalizing the cultural sector unique and inspiring. Dreams have become reality, thanks to the immense support of our wise leadership that believes culture is crucial for the development of humanity and nations, as well as our productive partnership with Saudi intellectuals and creatives, and the tireless efforts of the young Saudi men and women who have been doing diligent work in the cultural sphere.

Although cultural sectors have many branches, the cultural system has operated in the spirit of a united team. Since then, it has succeeded in creating incentives within the sector by launching 500 initiatives to ensure that it evolves across the board and establishing 11 cultural commissions alongside 25 cultural institutions that make us proud. We have shared our inspiring cultural experience with the world through international forums, in order to enhance intellectual and cultural exchange, which contributed to reflecting the unique historical depth and value of Saudi culture.

Over the past few years, we have seen the expansion of our global partnerships with friendly states and international cultural organizations, and the Kingdom has become a cultural and artistic destination that draws visitors from across the world. It has adopted a vision that clearly sees the importance of promoting culture globally through its initiatives, which have received international support and endorsement.

Our journey has contributed to enhancing our national identity through a series of transformative and exceptional initiatives. It has facilitated access to cultural content in every region of the Kingdom, through over 4000 cultural events that drew 11 million visitors. The cultural system’s efforts have raised awareness about the importance of culture and its impact on individuals and society. According to recent studies, 92 percent of the Kingdom's residents now see the importance of culture in their daily lives. The private sector's investment in culture has doubled, and cultural activity now contributes more strongly to our GDP.

Surpassing Three Targets

The cultural system has also made strides in terms of supply, demand, and enabling factors. It has surpassed three of the targets it had set for the year 2030. The number of graduates in fields tied to cultural specialties has increased to more than 28,000, exceeding the target of 26,000. The number of employees in the cultural sectors has leaped to 244,000, whereas the 2030 target was 140,000. Additionally, the target number of Saudi participation in international cultural events was surpassed, with the Kingdom having taken part in 35.

In light of all that has been achieved, our experiences attest to the cultural system's capacity for adapting to change and its flexibility in creating innovative and sustainable operating models. The Saudi experience in facing the major challenge recently encountered by cultural sectors worldwide, COVID-19, is a prime example.

Ambitions for 2024

Looking to the future, we enter the year 2024 with great ambitions. We aim to enhance these gains and supplement them with more achievements in a rapidly evolving and changing world. Several major shifts that will impact the cultural sector over the next few years are emerging, creating new opportunities. While social transformations and consumer preferences affect the sector, they fundamentally help the system with planning. Global economic shifts push the cultural sector to adopt new approaches so that it can continue to thrive. It also highlights the significance of funding and support, while technological developments offer infinite opportunities for growth and contribute to creating new spaces.

Three Fundamental Pillars

The priorities of Saudi Arabia's cultural system, starting from the new year, will be founded on three fundamental pillars: culture for enhancing creative endeavors and community participation, economic growth, and national pride and global exchange. The focus is on achieving further progress, whether in terms of supply, by incentivizing innovation, production, and publication, demand (awareness and consumption), or enabling factors such as funding, education, vocational training, laws and regulations, and technology.

We are determined to strengthen our international partnerships and encourage plans for integrating culture into other public policies and ensuring that they complement one another to ensure that we achieve sustainable development goals across the globe. We are also determined to protect global heritage from challenges like climate change, conflicts, and other risks, and to contribute, with friends around the world, to safeguarding cultural treasures, which are part of our human civilization.
Enhancing and preserving culture is not only a fundamental need but also a civilizational responsibility.

Thus, we will continue to pursue Saudi Vision 2030. The journey of the Ministry of Culture will reach the middle of the journey towards 2030 in June. We have no choice but to fulfill the aspirations of our leadership and the ambitions of our country, which deserves to see forms of culture flourish. We would thereby enrich individual lifestyles, reinforce our national identity, and encourage cultural dialogue with the world.

 

Facts

 11 Million Visitors were drawn by 4,000 cultural activities in Saudi Arabia

 



Geisha Spectacle in Japan’s Kyoto Celebrates Arrival of Spring

 Maiko (apprentice geisha) take part in a press interview ahead a rehearsal for the annual "Miyako Odori" -- which means "capital city dance" in Japanese, at the Gion Kobu Kaburenjo in Kyoto on March 31, 2026. (AFP)
Maiko (apprentice geisha) take part in a press interview ahead a rehearsal for the annual "Miyako Odori" -- which means "capital city dance" in Japanese, at the Gion Kobu Kaburenjo in Kyoto on March 31, 2026. (AFP)
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Geisha Spectacle in Japan’s Kyoto Celebrates Arrival of Spring

 Maiko (apprentice geisha) take part in a press interview ahead a rehearsal for the annual "Miyako Odori" -- which means "capital city dance" in Japanese, at the Gion Kobu Kaburenjo in Kyoto on March 31, 2026. (AFP)
Maiko (apprentice geisha) take part in a press interview ahead a rehearsal for the annual "Miyako Odori" -- which means "capital city dance" in Japanese, at the Gion Kobu Kaburenjo in Kyoto on March 31, 2026. (AFP)

Against a backdrop of blooming cherry blossoms, a group of geishas elegantly shuffle onto a stage in Japan's Kyoto city to begin a centuries-old performance celebrating the arrival of spring.

Dressed in sky blue kimonos emblazoned with flowers, the dancers twist and twirl in unison in front of hundreds of spectators eager to see the annual "Miyako Odori" in the nation's spectacular ancient capital.

Geishas, known as geikos in Kyoto, and apprentices called maikos have been donning elaborate costumes and fluttering fans since the Miyako Odori -- or "capital city dance" -- first started in 1872.

"Just as cherry blossoms bloom when spring approaches, the Miyako Odori is a spring tradition in Kyoto," Kyoko Sugiura, head of the Yasaka Nyokoba Gakuen, a school for geishas in Kyoto's Gion district, told AFP.

In Japanese, the word geisha means "person of the arts", and can refer to a woman or man trained in traditional Japanese performing arts.

In the popular imagination geishas are often confused with courtesans but their work as trained masters of refined old artforms does not involve selling sex.

Their performances are usually small and private, and take place at high-class establishments which operate a no first-time customer policy.

"That's why it is often thought of as a very exclusive world," Sugiura said.

"But the Miyako Odori is a one-hour show in which geisha and maiko have the opportunity to showcase the arts they practise daily," she said.

"Anyone and everyone with a ticket can enjoy the show."

The Miyako Odori began soon after Kyoto hosted Japan's first national expo -- an effort to revitalize the western city following the relocation of the capital to Tokyo in 1869.

The format of the performance has not changed much, Sugiura explained, although the music and dance moves are sometimes switched up.

Maria Superata, a geisha expert who has worked with them as an interpreter, explained that the show "combines all of the traditional performing arts that you can see in Japan".

"For example, elements from kabuki (classical Japanese theatre), elements from traditional dance. So they have to act, they have to sing, they have to play the instruments, everything all in one," she said.

"That's why it's so special."

But the number of geishas, who once made a living through performing for Japan's wealthy elite, is in decline.

Superata said that fewer young Japanese want a life that demands huge discipline and comes with a strict practice schedule.

"Nowadays, young Japanese people... are not very interested that much in traditional art and in kimono."


Danish Warship Sunk by Nelson’s British Fleet Discovered After 225 Years

 Morten Johansen, head of maritime archaeology at Denmark's Viking Ship Museum, shows a metal insignia recovered from the wreck of Danish flagship "Dannebroge" that sank during the Battle of Copenhagen in 1801, in Copenhagen, Denmark, Tuesday, March 31, 2026. (AP)
Morten Johansen, head of maritime archaeology at Denmark's Viking Ship Museum, shows a metal insignia recovered from the wreck of Danish flagship "Dannebroge" that sank during the Battle of Copenhagen in 1801, in Copenhagen, Denmark, Tuesday, March 31, 2026. (AP)
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Danish Warship Sunk by Nelson’s British Fleet Discovered After 225 Years

 Morten Johansen, head of maritime archaeology at Denmark's Viking Ship Museum, shows a metal insignia recovered from the wreck of Danish flagship "Dannebroge" that sank during the Battle of Copenhagen in 1801, in Copenhagen, Denmark, Tuesday, March 31, 2026. (AP)
Morten Johansen, head of maritime archaeology at Denmark's Viking Ship Museum, shows a metal insignia recovered from the wreck of Danish flagship "Dannebroge" that sank during the Battle of Copenhagen in 1801, in Copenhagen, Denmark, Tuesday, March 31, 2026. (AP)

More than 200 years after being sunk by Adm. Horatio Nelson and the British fleet, a Danish warship has been discovered on the seabed of Copenhagen Harbor by marine archaeologists.

Working in thick sediment and almost zero visibility 15 meters (49 feet) beneath the waves, divers are in a race against time to unearth the 19th-century wreck of the "Dannebroge" before it becomes a construction site in a new housing district being built off the Danish coast.

Denmark’s Viking Ship Museum, which is leading the monthslong underwater excavations, announced its findings on Thursday, 225 years to the day since the Battle of Copenhagen in 1801.

“It’s a big part of the Danish national feeling,” said Morten Johansen, the museum’s head of maritime archaeology.

A great deal has been written about the battle “by very enthusiastic spectators, but we actually don’t know how it was to be onboard a ship being shot to pieces by English warships and some of that story we can probably learn from seeing the wreck,” Johansen said. The Associated Press was the only international outlet given access to the site.

In the Battle of Copenhagen, Nelson and the British fleet attacked and defeated Denmark’s navy as it formed a protective blockade outside the harbor.

Thousands were killed and wounded during the brutal hourslong naval clash, considered one of Nelson’s “great battles.” The intention was to force Denmark out of an alliance of Northern European powers, including Russia, Prussia and Sweden.

At the center of the fighting was the Danish flagship, the Dannebroge, commanded by Commodore Olfert Fischer.

The 48-meter (157-foot) Dannebroge was Nelson’s main target. Cannon fire tore through its upper deck before incendiary shells sparked a fire aboard.

“(It was) a nightmare to be on board one of these ships,” Johansen said. “When a cannonball hits a ship, it’s not the cannonball that does the most damage to the crew, it’s wooden splinters flying everywhere, very much like grenade debris.”

The battle also is believed to have inspired the phrase “to turn a blind eye.” After deciding to ignore a superior’s signal, Nelson, who had lost sight in his right eye, reportedly remarked: “I have only one eye, I have a right to be blind sometimes.”

Nelson eventually offered a truce and a ceasefire was later agreed with Denmark’s Crown Prince Frederik.

The stricken Dannebroge slowly drifted northward and exploded. Records say the sound created a deafening roar across Copenhagen.

Marine archaeologists have discovered two cannons, uniforms, insignia, shoes, bottles and even part of a sailor’s lower jaw, perhaps one of the 19 unaccounted-for crew members who likely lost their lives that day.

The dig site will soon be enveloped by construction work for Lynetteholm, a megaproject to build a new housing district in the middle of Copenhagen Harbor that is expected to be completed by 2070.

Marine archaeologists began surveying the area late last year, targeting a spot thought to match the flagship’s final position.

Experts say the sizes of the wooden parts found match old drawings. Dendrochronological dating, the method of using tree rings to establish the age of wood, match the year the ship was built. They also say the darkened dig site is full of cannonballs, a hazard for divers navigating waters darkened by clouds of silt stirred up from the seabed.

“Sometimes you can’t see anything, and then you really have to just feel your way, look with your fingers instead of with your eyes,” diver and maritime archaeologist Marie Jonsson said.

Chronicled in books and painted on canvases, the 1801 battle is deeply embedded in Denmark’s national story.

Archaeologists hope their discoveries may help reexamine the event that shaped the Scandinavian country and perhaps uncover personal stories of those who went into battle on that day 225 years ago.

“There are bottles, there are ceramics, and even pieces of basketry,” Jonsson said. “You get closer to the people onboard.”


Priceless Ancient Golden Helmet Stolen from Dutch Museum Is Recovered

A police officer stands by a stolen artifact from Romania, the 2,500-year-old Cotofenesti helmet, recovered in Netherlands, is shown during a press conference in Assen, Netherlands, Thursday, April 2, 2026. (AP Photo/Aleksandar Furtula)
A police officer stands by a stolen artifact from Romania, the 2,500-year-old Cotofenesti helmet, recovered in Netherlands, is shown during a press conference in Assen, Netherlands, Thursday, April 2, 2026. (AP Photo/Aleksandar Furtula)
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Priceless Ancient Golden Helmet Stolen from Dutch Museum Is Recovered

A police officer stands by a stolen artifact from Romania, the 2,500-year-old Cotofenesti helmet, recovered in Netherlands, is shown during a press conference in Assen, Netherlands, Thursday, April 2, 2026. (AP Photo/Aleksandar Furtula)
A police officer stands by a stolen artifact from Romania, the 2,500-year-old Cotofenesti helmet, recovered in Netherlands, is shown during a press conference in Assen, Netherlands, Thursday, April 2, 2026. (AP Photo/Aleksandar Furtula)

A priceless ancient golden helmet from Romania stolen last year from a museum in the Netherlands has been recovered, Dutch authorities announced Thursday.

Under the guard of heavily armed, balaclava-clad police, prosecutors unveiled the 2,500-year-old Cotofenesti helmet, one of Romania’s most revered national treasures from the Dacia civilization, during a news conference in the eastern Dutch city of Assen.

“We are incredibly pleased,” Corien Fahner of the prosecution service told reporters. “It has been a roller-coaster. Especially for Romania, but also for employees of the Drents Museum.”

The helmet was on display at the small museum in January 2025, the last weekend of a six-month-long exhibition, when thieves broke in and grabbed it, along with three golden wristbands.

There were fears the helmet may have been melted down because its fame and dramatic studded appearance made it virtually unsellable.

Two of three missing armbands were also recovered as part of a deal prosecutors reached with three men arrested for the heist shortly after it occurred. Their trial will begin later in April.

Fahner said the search for the remaining armband would continue.

The helmet did not return unscathed.

“The helmet is slightly dented, but there will be no permanent damage,” Drents Museum director Robert van Langh said during the news conference. “The armbands are in perfect condition.”

Thieves used a homemade firework bomb and sledgehammer to break into the museum. Grainy security video distributed by police after the raid appeared to show three people opening a museum door with a large crowbar, followed by an explosion.

The theft put a strain on relations between the Netherlands and Romania

Romanian Justice Minister Radu Marinescu last year called the incident a “crime against our state” and said recovering the artifacts “is an absolute priority.”