‘Suspense’ of Slowest Horse Race Wins New Fans in Japan 

This picture taken on December 9, 2023 shows a Banei Keiba horse race at the Obihiro racecourse in Obihiro, Hokkaido Prefecture. (AFP)
This picture taken on December 9, 2023 shows a Banei Keiba horse race at the Obihiro racecourse in Obihiro, Hokkaido Prefecture. (AFP)
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‘Suspense’ of Slowest Horse Race Wins New Fans in Japan 

This picture taken on December 9, 2023 shows a Banei Keiba horse race at the Obihiro racecourse in Obihiro, Hokkaido Prefecture. (AFP)
This picture taken on December 9, 2023 shows a Banei Keiba horse race at the Obihiro racecourse in Obihiro, Hokkaido Prefecture. (AFP)

Speed isn't everything at one racecourse in Japan, where the unpredictable stop-and-start drama of the world's slowest horse race has drawn new fans eager to bet on their sturdy favorite.

A fanfare plays, the gates flip open and they're off -- but at a plod rather than a gallop, pulling heavy sleighs in a tradition that harks back more than a century.

The Banei Keiba races are held in Obihiro, a city in northern Japan's Hokkaido, where spectators cheer on the muscular workhorses moving at the pace of a brisk human walk.

Eight equine competitors kicked up dust on a recent afternoon as they powered over the first of two mounds on the 200-meter (220-yard) track.

But they soon began to halt, taking the first of several breaks to catch their breath, which billowed in the winter air.

The slow progress "builds a little bit of suspense", 24-year-old Australian tourist Esther McCourt told AFP, marveling at the horses' size.

"No matter how good people or horses look in the beginning, the crucial part is the last 50 meters, so it can change at any time," she said.

The popularity of Banei Keiba had dwindled until renewed marketing efforts coincided with a surge of interest during the pandemic, when people began to watch the races.

'Dynamic' races

Banei Keiba developed when Japanese settlers migrated to Hokkaido, a sparsely populated island with long, bitter winters.

They relied on horses known as "banba" to clear fields, transport goods and operate mines, and would pit them against each other in tug-of-war games and other contests at local festivals.

Banba are twice as heavy as racing thoroughbreds, and the sleighs they tug weigh more than 600 kilograms (1,300 pounds).

Jockeys standing on the sleighs shout and whip the horses with long reins to keep them going.

Trainers like Yoshiyuki Hattori deny any accusations of cruelty, saying the strong creatures are treated with care and are not forced to pull loads above their capacity.

"If thoroughbreds were born to run, banba were bred to haul things," said Hattori, whose horses have won many race trophies.

"They worked in fields. They worked for us. We want to continue this history."

For Hattori, Banei races are "more dynamic" than the "visual experience" of regular horse racing.

"This moves you physically as you cheer," he said.

'Can't help but cheer'

Three other cities in the region used to host similar races, but they all stopped under mountains of debt in 2006.

The long-stagnant Japanese economy had hit Banei Keiba hard, and the regular punters who kept it going were getting older.

Obihiro Racecourse, now the tradition's sole custodian, made efforts to attract more young families and tourists by cleaning up the facility and making it smoke-free.

They set up a mini-zoo and launched marketing campaigns including tie-ups with popular smartphone games to rejuvenate the attraction.

Now there are around 750 horses taking part in the races, kept by 28 trainers, 150 caretakers and 21 jockeys.

One of the caretakers, 21-year-old Yuno Goto, was busy affixing pale pink and blue fluffy bows and ribbons on a banba's mane ahead of the race.

She said she dreams of becoming a jockey one day, and called the event "a great opportunity to expose people to this culture, and to provide a different experience from other horse races".

Spectator Taichi Yamada, 27, who moved to the region last year, also said knowing the race's origins adds to its appeal.

"This is a form of interaction between humans and animals. I hope it will continue as a piece of history," he told AFP.

"It must be tough for horses to pull this much weight. You can't help but cheer for them."



Cultural and Heritage Events Launched at King Abdulaziz Palace in Qibah, Qassim

The activities will run through March 27 to revitalize the palace - SPA
The activities will run through March 27 to revitalize the palace - SPA
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Cultural and Heritage Events Launched at King Abdulaziz Palace in Qibah, Qassim

The activities will run through March 27 to revitalize the palace - SPA
The activities will run through March 27 to revitalize the palace - SPA

The Imam Turki bin Abdullah Royal Reserve Development Authority, in collaboration with the Heritage Commission, has launched a series of cultural and heritage events at the historic King Abdulaziz Palace in Qibah, Qassim Region.

The activities, running through March 27, 2026, aim to revitalize the palace as a vibrant cultural platform and strengthen the community’s connection to Saudi national identity.

The daily program, held from 3:00 pm to 10:00 pm, includes live folk art performances, such as the Saudi Ardah, along with interactive experiences for all age groups. Outdoor areas are designated for children, offering educational and recreational activities that help preserve cultural values across generations, SPA reported.

Visitors can also explore archaeological artifacts that reflect the region’s social and economic history. The event further provides a platform for families engaged in cottage industries and artisans to showcase traditional handicrafts, supporting local economic empowerment and highlighting the richness of regional heritage through a modern, interactive approach.

The authority confirmed that activating King Abdulaziz Palace in Qibah is part of its strategy to highlight historical sites within its geographical scope. It aims to transform them into active cultural and tourist destinations that promote cultural engagement and strengthen national identity, in coordination with relevant authorities.


Heritage, Arts, and Entertainment Mark Sakaka's Eid Al-Fitr Celebrations

 The event featured booths showcasing local artisans, food, and a photography corner - SPA
 The event featured booths showcasing local artisans, food, and a photography corner - SPA
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Heritage, Arts, and Entertainment Mark Sakaka's Eid Al-Fitr Celebrations

 The event featured booths showcasing local artisans, food, and a photography corner - SPA
 The event featured booths showcasing local artisans, food, and a photography corner - SPA

Eid Al-Fitr celebrations organized by Al-Jouf Municipality wrapped up after three days of events at Sakaka Public Park.

The festivities drew large crowds across three main zones, including a traditional heritage tent, a games and activities area, and a children’s zone featuring puppet shows, SPA reported.

The event also featured booths showcasing local artisans, food, and a photography corner.

Visitors were entertained by a stage program, featuring the traditional Saudi Ardah dance, live oud and organ performances, and poetry evenings.


Painting that Shocked German Society Finally Returns to Berlin

Mors Imperator (Death is the Ruler) is seen as a powerful allegory of death and power, and was misinterpreted in the late 19th century (the Alte Nationalgalerie museum)
Mors Imperator (Death is the Ruler) is seen as a powerful allegory of death and power, and was misinterpreted in the late 19th century (the Alte Nationalgalerie museum)
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Painting that Shocked German Society Finally Returns to Berlin

Mors Imperator (Death is the Ruler) is seen as a powerful allegory of death and power, and was misinterpreted in the late 19th century (the Alte Nationalgalerie museum)
Mors Imperator (Death is the Ruler) is seen as a powerful allegory of death and power, and was misinterpreted in the late 19th century (the Alte Nationalgalerie museum)

More than 100 years after Mors Imperator caused a scandal in 1887 amid fears it mocked the German kaiser, the painting is being displayed in a state museum in Berlin, according to The Guardian.

Wrapped in a cloak with ermine fur and wearing a jagged iron crown, a hulking skeleton rests one foot on a globe and knocks over a royal throne with a dramatic flick of its ivory wrist.

Entitled Mors Imperator (“Death is the Ruler”), the German artist Hermione von Preuschen’s 1887 symbolical painting was meant to express the transience of fame and power.

But authorities feared the picture could be seen as mocking the aging German Emperor Wilhelm I, who then had recently turned 90, and refused to accept its submission to the Berlin Academy of the Arts’ annual exhibition that year.

More than 100 years after the painting’s rejection and subsequent display in the 19th-century equivalent of a pop-up gallery caused a stir in Berlin society, Mors Imperator is returning to the German capital.

From Sunday until mid-November, the 2.5-meter by 1.3-meter painting will be shown in a state institution at last, at the Alte Nationalgalerie museum.

The scandal around von Preuschen’s work illustrates how prone single-ruler autocracies can be to paranoia about hidden meanings in art. According to the Berlin exhibition’s curator, an offense against the monarchy was neither what the artist intended nor how it was perceived by its supposed target.

Born in Darmstadt in 1854, von Preuschen was a poet, world traveler and painter known for her large-scale and flamboyant historical still life pictures. At the 1896 International Women’s Congress in Berlin she gave an impassioned speech calling for women to be allowed education at artistic academies.

“Hermione von Preuschen was bold, not short of self-belief, and an early advocate of female emancipation,” said Birgit Verwiebe, an art historian. “But she was not a political person, and there is no record of her having any anti-monarchical instincts. After all, she came from nobility herself.”