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Brazilian Dance Craze Created by Young People in Rio’s Favelas Is Declared Cultural Heritage 

Youth perform a street dance style known as passinho for their social media accounts, in the Rocinha favela of Rio de Janeiro, Brazil, April 11, 2024. (AP) 
Youth perform a street dance style known as passinho for their social media accounts, in the Rocinha favela of Rio de Janeiro, Brazil, April 11, 2024. (AP) 
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Brazilian Dance Craze Created by Young People in Rio’s Favelas Is Declared Cultural Heritage 

Youth perform a street dance style known as passinho for their social media accounts, in the Rocinha favela of Rio de Janeiro, Brazil, April 11, 2024. (AP) 
Youth perform a street dance style known as passinho for their social media accounts, in the Rocinha favela of Rio de Janeiro, Brazil, April 11, 2024. (AP) 

It all started with nifty leg movements, strong steps backwards and forwards, paced to Brazilian funk music. Then it adopted moves from break dancing, samba, capoeira, frevo - whatever was around.

The passinho, a dance style created in the 2000s by kids in Rio de Janeiro’s favelas, was declared in March to be an "intangible cultural heritage" by legislators in the state of Rio, bringing recognition to a cultural expression born in the sprawling working-class neighborhoods.

The creators of passinho were young kids with plenty of flexibility - and no joint problems. They started trying out new moves at home and then showing them off at funk parties in their communities and, crucially, sharing them on the internet.

In the early days of social media, youngsters uploaded videos of their latest feats to Orkut and YouTube, and the style started spreading to other favelas. A competitive scene was born, and youths copied and learned from the best dancers, leading them to innovate further and strive to stay on top.

"Passinho in my life is the basis of everything I have," dancer and choreographer Walcir de Oliveira, 23, said in an interview. "It's where I manage to earn my livelihood, and I can show people my joy and blow off steam, you understand? It's where I feel happy, good."

Brazilian producer Julio Ludemir helped capture this spirit and discover talents by organizing "passinho battles" in the early 2010s. At these events, youths took turns showing off their steps before a jury that selected the winners.

The "Out of Doors" festival at New York's Lincoln Center staged one such duel in 2014, giving a US audience a taste of the vigorous steps. Passinho breached the borders of favelas and disconnected from funk parties that are often associated with crime. Dancers started appearing on mainstream TV and earned the spotlight during the opening ceremony of the Rio 2016 Olympic Games.

Ludemir describes the style as an expression of Brazilian "antropofagia," the modernist concept of cannibalizing elements from other cultures in order to produce something new.

"Passinho is a dance that absorbs references from all dances. It's a crossing of the cultural influences absorbed by kids from the periphery as they were connecting with the world through social media in internet cafes," he said.

Dancing also became a means for youths to move seamlessly between communities controlled by rival drug gangs. It offered you men from favelas a new way out, besides falling into a life of crime or the all-too-common pipe dream of becoming a soccer star.

Passinho was declared state heritage by Rio's legislative assembly through a law proposed by Rio state legislator Veronica Lima. It passed unanimously and was sanctioned March 7. In a statement, Lima said it was important to help "decriminalize funk and artistic expressions of youths" from favelas.

Ludemir says the heritage recognition is sure to consolidate the first generation of passinho dancers as an inspiration for favelas youths.

Among them are Pablo Henrique Goncalves, a dancer known as Pablinho Fantástico, who won a passinho battle back in 2014 and later created a boy group called OZCrias, with four dancers born and raised like him in Rocinha, Rio's largest favela. The group earns money performing in festivals, events, theaters and TV shows, and they welcomed the heritage recognition.

Another dance group is Passinho Carioca in the Penha complex of favelas on the other side of the city. One of its directors, Nayara Costa, said in an interview that she came from a family where everyone got into drug trafficking. Passinho saved her from that fate, and now she uses it to help youngsters - plus teach anyone else interested in learning.

"Today I give classes to people who are in their sixties; passinho is for everyone," said Costa, 23. "Passinho, in the same way that it changed my life, is still going to change the lives of others."

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Culture

French Artist Begins Giant ‘Cave’ Art Inflation Over Paris’ Oldest Bridge

People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)
People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)
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French Artist Begins Giant ‘Cave’ Art Inflation Over Paris’ Oldest Bridge

People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)
People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)

The oldest bridge in Paris has begun to vanish this week, as the artist JR — who is known as the “French Banksy” — began inflating a giant “cave” over the Pont Neuf.

The monumental, rocky illusion is swallowing the 17th-century landmark, which has carried Parisians across the Seine for more than 400 years. By Thursday, it looked as if a prehistoric cliff had risen in the heart of the city.

The inflation process, which was carried out overnight — after being delayed by bad weather — is the most dramatic stage yet of a project more than a year in the making.

One of the most ambitious public artworks Paris has seen in decades, which has been funded by the sale of JR’s work and a handful of corporate partners, does not open to the public until June 6.

“We’re about to leave something pretty incredible in the middle of Paris,” JR told The Associated Press earlier this year at his studio in the city’s east, wearing his trademark hat and shades.

The transformation of the bridge has been documented by the AP since March with time-lapse cameras, including one fixed on a rooftop terrace high above the river, watching the bridge slowly disappear day by day.

From the outside, the installation looks like a rocky mass that “literally” breaks the landscape, said JR, who is famous for pasting enormous photographs on buildings, walls and rooftops around the world. This time he wanted Parisians to do something unusual on their busiest bridge: stop.

Visitors will be able to walk for free through a long, dark tunnel that lets in no daylight and where, according to JR, people “will lose track of time.”

The numbers are startling. The structure is 120 meters (393 feet) long and 18 meters (59 feet) tall — which is as high as a six-story building.

Yet it is built almost entirely from air — 80 fabric arches filled with 20,000 cubic meters of it — and weighs only about five tons. The fabric was hand stitched by 25 artisans in a village in Brittany.

Nothing digs into the historic stone.

Cut the air and the cliff would sink like a held breath — a collapse JR’s engineers spent weeks rehearsing in a hangar at Orly airport to be sure that if the power ever failed, the rock would come down gently.

The artwork, called La Caverne du Pont Neuf, is a tribute to a Parisian artistic legend.

In 1985, artist Christo and his wife, Jeanne-Claude, wrapped the same bridge in pale golden fabric — 13 kilometers of rope, a decade of arguing with city hall, three million visitors in two weeks. The act helped invent the idea of monumental art in modern cities.

A square beside the bridge now carries their names.

“It’s pretty hard to go after them,” JR said.

His idea, he said, is to bring “mineral and nature” back to the heart of the city. He is not covering the bridge but undressing it — sending the dressed stone back to the limestone quarries from which Paris itself was cut.

The cave is also a warning. JR built it as a nod to Plato’s allegory, in which prisoners mistake shadows on a wall for the real world.

“What are our caves today? Our phones,” he said. “Because we believe that our algorithm on social media is the reality.”

Then he walks straight into the contradiction: to enter his cave about screens, visitors raise their phones.

The tech company Snap has built an augmented-reality layer that shows what the eye cannot.
The sound is a low, mineral hum from Thomas Bangalter, formerly of Daft Punk — who was 10 the year Christo wrapped the bridge.

The cave will be open around the clock from June 6-28, closing the bridge to traffic and visible from the quays, from passing boats, even from the top of the Eiffel Tower.

It will coincide with Paris Fashion Week, World Music Day and the all-night Nuit Blanche arts festival.

When it comes down, the fabric will be reused or recycled. Air, JR likes to say, leaves no scar.
Then, like the golden wrapping 40 years before, the cave will be gone — and the Pont Neuf, older than the republic and older than the revolution, will reappear exactly as it was.

Culture

Winston Churchill's 'Playful' Paintings Go on Show in London

The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP
The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP
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Winston Churchill's 'Playful' Paintings Go on Show in London

The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP
The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP

As Britain's wartime leader, Winston Churchill was known for his stirring speeches, but a new London exhibition explores another side to his creativity -- as a passionate and prolific artist.

The exhibition opening Saturday at the Wallace Collection will be the most significant display of the statesman's paintings for more than 60 years, including over 50 canvases, many of them rarely seen in public.

Churchill first tried painting during World War I after he resigned from the government over the 1915 failed Dardanelles naval attack.

This was a "very difficult time in his life" when "he suddenly finds himself with all this unwanted leisure time", Lucy Davis, co-curator of the exhibition, told AFP.

"And he discovered painting as a way of releasing the stress, the anguish that the situation had caused him."

The museum presents a chronological survey starting with his first paintings, created with advice from renowned artist John Lavery, then canvases painted in the 1920s at Chartwell, the country house where Churchill lived with his family.

Largely self-taught while associating with well-known painters, Churchill quickly became interested in landscape painting and drew inspiration from holidays in the south of France to create brightly colored canvases dominated by blues and ochre.

- 'Loved the light' -

Churchill "saw painting as a spur to travel" and "just loved the light and warmth and atmosphere, which he captures so beautifully", said Davis.

A whole room is dedicated to canvases inspired by trips to Morocco, including "The Tower of the Koutoubia Mosque", the only painting that Churchill did during World War II. A gift to US President Franklin D. Roosevelt, the painting recently belonged to Hollywood star Angelina Jolie.

The exhibition ends with the postwar period when Churchill, defeated in a general election, began painting again and continued until his death in 1965, with some of his works going on display at the Royal Academy.

Churchill had previously shown paintings at various galleries, but always under an assumed name.

As a statesman, Churchill went down in history for his wartime leadership, but as an artist, he had little interest in depicting current world events, the curator stressed.

"He was a wartime leader. He was known for these very stirring wartime speeches. But in these paintings, you really see his joie de vivre, his witty side, his playful side."

One painting at the exhibition is an exception: "The Beach At Walmer", painted in 1938 as fears grew of imminent war.

It shows a sandy beach in southern England with bathers paddling. But in the foreground, a black cannon points at the sea, suggesting a looming threat.

Culture

Saudi Heritage Commission Discovers Abbasid-Era Gold Jewelry in Qassim

The Saudi Heritage Commission logo
The Saudi Heritage Commission logo
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Saudi Heritage Commission Discovers Abbasid-Era Gold Jewelry in Qassim

The Saudi Heritage Commission logo
The Saudi Heritage Commission logo

Saudi Arabia’s Heritage Commission announced the discovery of a collection of Abbasid-era gold jewelry at the archaeological site of Diriyyah in Qassim Region during the fourth season of excavation and survey work.

The discovery includes 100 gold pieces adorned with floral and geometric motifs, along with architectural remains from the Abbasid period, including stone foundations, mud walls, pottery, and metal tools.

The findings indicate human settlement dating back to the late third century AH and highlight the site’s historical importance along pilgrimage and trade routes.

The discovery reflects the Heritage Commission’s ongoing efforts to document and preserve the Kingdom’s archaeological heritage, supporting cultural development goals aligned with Saudi Vision 2030.