Jane Austen Fans Step Back in Time to Celebrate the 250th Anniversary of the Beloved Author’s Birth 

Kate Lobb, a member of the Hampshire Regency Dancers and a tailor, shows a regency-era costume she made during a dance practice session of Hampshire Regency Dancers in Winchester, England, Sept. 10, 2025. (AP)
Kate Lobb, a member of the Hampshire Regency Dancers and a tailor, shows a regency-era costume she made during a dance practice session of Hampshire Regency Dancers in Winchester, England, Sept. 10, 2025. (AP)
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Jane Austen Fans Step Back in Time to Celebrate the 250th Anniversary of the Beloved Author’s Birth 

Kate Lobb, a member of the Hampshire Regency Dancers and a tailor, shows a regency-era costume she made during a dance practice session of Hampshire Regency Dancers in Winchester, England, Sept. 10, 2025. (AP)
Kate Lobb, a member of the Hampshire Regency Dancers and a tailor, shows a regency-era costume she made during a dance practice session of Hampshire Regency Dancers in Winchester, England, Sept. 10, 2025. (AP)

Ellie Potts goes dancing with her friends most weeks. They don’t put on the latest Taylor Swift or Ed Sheeran, though — they much prefer English country dances that were popular more than 200 years ago.

As the music starts, about two dozen men and women curtsy and bow, extend a gloved hand to their partner, before dancing in circles or skipping in elaborate patterns around each other.

Like many of her fellow Hampshire Regency Dancers, Potts is a devotee of Jane Austen and all things from the Regency period. Not only have they studied the books and watched all the screen adaptations — they also research the music, make their own period dresses, and immerse themselves in dances Austen and her characters would have enjoyed in centuries past.

“I’ve been interested in Jane Austen since I was about 8 or 9,” said Potts, 25. “I mainly joined (the dance group) so I can have balls and things to go to in my costumes, but I really got into it. I’ve been surprised how much I enjoy the dancing.”

There’s no shortage of grand costumed balls and historical dancing this year, which marks the 250th anniversary of Austen’s birth. This weekend, thousands of fans who call themselves “Janeites” are descending on the city of Bath for a 10-day festival celebrating the beloved author of “Pride and Prejudice” and “Sense and Sensibility.”

The highlight is a Regency costumed promenade on Saturday, where some 2,000 people in their finest bonnets, bows and costumes will parade through the streets of Bath. Organizers say the extravaganza holds the Guinness World Record for the “largest gathering of people dressed in Regency costumes.”

Fans descend from all over the world

Bonny Wise, from Indiana, is attending her sixth Jane Austen festival in Bath. This time she’s bringing four period dresses she made, and will lead a tour group of 25 Austen enthusiasts from all over the United States.

“I started planning a tour four years ago, when I realized this was a big year for Jane,” said Wise, 69. She credited the 1995 adaptation of “Sense and Sensibility” with sparking her obsession.

“That movie just opened up a whole new world for me,” she said. “You start with the books, the movies, then you start getting into the hats, the tea, the manners ... one thing just led to another.”

Wise said she loves the wit, humor and social observations in Austen’s books. She also finds the author’s own life story inspiring.

“I admire Jane and what she managed as a woman in that era, her perseverance and her process of becoming an author,” she said.

The Jane Austen Society of North America, the world’s largest organization devoted to the author, says it has seen a recent influx of younger fans, though most of its members — 5,000 to date — skew older.

“We’re growing all the time because Jane Austen is timeless,” said Mary Mintz, the group’s president. “We have members from Japan, India. They come from every continent except Antarctica.”

The Bridgerton effect

Many festival-goers will be making a pilgrimage to Steventon, the small village in rural Hampshire, southern England, where Austen was born in 1775.

The author lived in Bath, a fashionable spa town in the 18th and 19th centuries, for five years. Two of her novels, “Persuasion” and “Northanger Abbey,” feature scenes set in the World Heritage city.

Bath is also the filming location for parts of “Bridgerton,” Netflix’s wildly popular modern take on period drama based loosely on the Regency period, the decade when the future King George IV stood in as prince regent because his father was deemed unfit to rule due to mental illness.

Thanks to the show, Austen and Regency style — think romantic flowing gowns, elegant ballrooms and high society soirees — have become trendy for a new generation.

“I think Jane Austen is on the rise,” Potts said. “She’s definitely become more popular since ‘Bridgerton’.”

Stepping back in time together

In a church hall in Winchester, a few streets away from where Austen was buried, the Hampshire Regency Dancers gather weekly to practice for the many performances they’re staging this year in honor of the author.

The group selects dances that appear in screen adaptations of Austen’s novels, and members go to painstaking detail to ensure their costumes, down to the buttons and stitching, are authentic looking.

“We go to a lot of trouble to get things as close to the original as possible,” said Chris Oswald, a retired lawyer who now chairs the group. “For me it’s about getting a better understanding of what life was like then, and in the process of doing that getting a better understanding of Jane Austen herself.”

Oswald is passionate about his group’s showcases in Hampshire, or what he jokingly calls “Jane Austen land.”

“People get quite touched because they are walking where Jane Austen actually walked. They dance in a room that Jane Austen danced in,” he said. “For people who are very into Jane Austen, that’s extremely special.”

Many “Janeites” say they get huge enjoyment in making Austen's words and imageries come to life in a community of like-minded people.

Lisa Timbs, a pianist who researches the music in Austen’s life and performs it on an antique pianoforte, puts it succinctly: She and her Regency friends are “stepping back in time together.”

“I think it’s an escape for a lot of people,” Timbs added. “Perhaps it's to escape the speed, noise and abrasiveness of the era in which we find ourselves, and a longing to return to the elegance and indulgent pleasures of what was really a very fleeting period in history.”



UK Proposal to Charge Tourists to Visit Museums Sparks Backlash

FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
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UK Proposal to Charge Tourists to Visit Museums Sparks Backlash

FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo

Britain is considering introducing entry fees for tourists visiting some of England's most renowned museums, a proposal that has drawn criticism from restitution groups and countries while disputed artefacts remain on display.

Free admission to Britain's national museums and galleries was introduced in 2001 by former Labour Prime Minister Tony Blair in a bid to make culture more accessible to all.

Last month, the UK government said it would work with the museum sector to explore the potential benefits of charging international visitors at ⁠national museums, including how ⁠this could support the arts sector. It would provide an update of the consultation before the end of the year, it said.

However, the proposal is facing backlash amid growing calls worldwide for artefacts to be sent back to their communities or countries of origin, Reuters reported.

Although some efforts have been made to confront the long-standing issue, artifacts as well as human ⁠remains taken during the colonial era are still held in various museums across Europe. Some long-standing claims for artifacts involving the British Museum include Greece's Parthenon Sculptures, known as Elgin marbles, and Nigeria's Benin Bronzes.

The British Museum has previously said that the strength of its collection lies in enabling millions of visitors to understand the world's cultures and how they are interconnected.

Ghana, which has some of its regalia and other artifacts in British institutions, said charging foreign visitors to view such objects raises issues of "fairness," particularly where restitution discussions remain ongoing, ⁠foreign minister ⁠Samuel Okudzeto Ablakwa told Reuters.

The proposal, if implemented, would be "unethica," said Eric Phillips, vice chair of the Caribbean Community's reparations commission, a bloc of 15 member states including Jamaica and Barbados.

"Why should we have to pay to see our heritage?" Phillips said.

Arley Gill, chairman of Grenada's national reparations committee, said the priority should be to return the artifacts to their "rightful owners."

Open Restitution Africa (ORA) said Africans and others already face barriers to accessing artifacts taken from their countries and held in Western museums, including visa requirements and travel costs.

"Introducing entry fees further compounds these inequalities," ORA said.

Meanwhile, the US-based non-profit Restitution Study Group said a fee exemption for such visitors would be a "meaningful gesture."

The government declined to comment on the criticism.


Riyadh Art Unveils 75 Works in Expanding Public Art Collection Across Capital

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
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Riyadh Art Unveils 75 Works in Expanding Public Art Collection Across Capital

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA

The Royal Commission for Riyadh City, through its “Riyadh Art” program, has unveiled 75 new artworks as part of a growing permanent collection installed across key locations in the capital.

The initiative forms part of broader efforts to expand the presence of public art in urban spaces, with additional installations planned in the coming period.

The program aims to enrich daily life in Riyadh by integrating art into the urban fabric, contributing to a dynamic cultural environment that reflects the capital's regional and international stature.

As one of the world’s largest public art initiatives, the Riyadh Art program now features 75 installations, with plans to expand the collection by adding 115 more works. The current collection includes contributions from 35 Saudi artists and 100 international artists representing 45 countries.

Among the internationally renowned artists featured are Anish Kapoor, Giuseppe Penone, and Jeff Koons, alongside prominent Saudi artists such as Zaman Jassim, Mohammed Alsaleem, and Manal AlDowayan.

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs, enabling residents and visitors to engage with them as part of their everyday environment and reinforcing the role of art in public life.

The collection comprises both commissioned and acquired works. Commissioned pieces are specifically designed to respond to their surroundings, integrating with the urban context and patterns of movement within each location.

Recent commissions were selected through an international competition that attracted 161 artists, with 72 shortlisted participants submitting 70 proposals. These contributions have helped shape a diverse and evolving collection spanning the city’s main axes and public spaces.


New Tools Rescue Old Art at Madrid’s Prado Museum

A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)
A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)
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New Tools Rescue Old Art at Madrid’s Prado Museum

A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)
A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)

In a quiet space secluded from the throngs of daily visitors to Madrid's Prado art museum, a team of experts perpetuate an ancient tradition of restoring centuries-old European cultural treasures.

Creations by some of art's most illustrious names -- Goya, Velazquez, Rubens, Caravaggio, Bosch and El Greco -- are conserved in the vast, bright space at one of the world's most-visited museums.

The Prado has always put an emphasis on the conservation and restoration of art since it opened to the public in 1819.

Cutting-edge technology and modern tools to analyze and treat paintings and sculptures allow Almudena, Marta, Maria, Alvaro, Alicia, Elena, Sonia and Eva to maintain the tradition.

The team is capable of caring for the museum's most prized collections as well as works from other institutions.

In February, the Prado launched the restoration of "Pablo de Valladolid", an emblematic portrait that Spanish master Velazquez produced in the 17th century.

But the work will first undergo a deep technical analysis by new equipment, the museum said in a statement.

Scanning technology will allow the experts to identify and locate the materials used by the artist, while multispectral infrared reflectography will reveal details invisible to the naked eye.

Everything contributes to a deeper understanding of the artist's technique, the work's state of conservation and preparing its restoration.