Japan’s Sushi Legend Jiro Ono Turns 100 and Is Not Ready for Retirement 

In this photo released by Bureau of Social Welfare, Tokyo Metropolitan Government, sushi legend Jiro Ono, right, shows a gift from Tokyo Gov. Yuriko Koike to celebrate his 100th birthday in front of his restaurant, Sukiyabashi Jiro in Tokyo on Sept. 18, 2025. (Bureau of Social Welfare, Tokyo Metropolitan Government via AP)
In this photo released by Bureau of Social Welfare, Tokyo Metropolitan Government, sushi legend Jiro Ono, right, shows a gift from Tokyo Gov. Yuriko Koike to celebrate his 100th birthday in front of his restaurant, Sukiyabashi Jiro in Tokyo on Sept. 18, 2025. (Bureau of Social Welfare, Tokyo Metropolitan Government via AP)
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Japan’s Sushi Legend Jiro Ono Turns 100 and Is Not Ready for Retirement 

In this photo released by Bureau of Social Welfare, Tokyo Metropolitan Government, sushi legend Jiro Ono, right, shows a gift from Tokyo Gov. Yuriko Koike to celebrate his 100th birthday in front of his restaurant, Sukiyabashi Jiro in Tokyo on Sept. 18, 2025. (Bureau of Social Welfare, Tokyo Metropolitan Government via AP)
In this photo released by Bureau of Social Welfare, Tokyo Metropolitan Government, sushi legend Jiro Ono, right, shows a gift from Tokyo Gov. Yuriko Koike to celebrate his 100th birthday in front of his restaurant, Sukiyabashi Jiro in Tokyo on Sept. 18, 2025. (Bureau of Social Welfare, Tokyo Metropolitan Government via AP)

Japanese sushi legend Jiro Ono won three Michelin stars for more than a decade, the world’s oldest head chef to do so. He has served the world’s dignitaries and his art of sushi was featured in an award-winning film.

After all these achievements and at the age of 100, he is not ready to fully retire.

“I plan to keep going for about five more years,” Ono said last month as he marked Japan's “Respect for the Aged Day” with a gift and a certificate ahead of his birthday.

What’s the secret of his health? “To work,” Ono replied to the question by Tokyo Gov. Yuriko Koike, who congratulated him.

“I can no longer come to the restaurant every day ... but even at 100, I try to work if possible. I believe the best medicine is to work."

Ono, the founder of Sukiyabashi Jiro, a tiny, 10-seat sushi bar in the basement of a building in Tokyo’s posh Ginza district, turned 100 Monday.

In one of the world's fastest-aging countries, he is now among Japan's nearly 100,000 centenarians, according to government statistics.

Born in the central Japanese city of Hamamatsu in 1925, Ono began his apprenticeship at age 7 at the Japanese restaurant of a local inn. He moved to Tokyo and became a sushi chef at 25 and opened his own restaurant, Sukiyabashi Jiro, 15 years later in 1965.

He has devoted his life seeking perfection in making sushi.

“I haven’t reached perfection yet,” Ono, then 85, said in “Jiro Dreams of Sushi,” a film released in 2012. “I’ll continue to climb trying to reach the top, but nobody knows where the top is.”

Director David Gelb said his impression of Ono was “of a teacher and a fatherly figure to all who were in his restaurant.”

At the beginning, Gelb felt intimidated by the “gravitas" of the legend but was soon disarmed by Ono's sense of humor and kindness, he told the Associated Press in an interview from New Orleans. “He's very funny and very sweet.”

“I was filming an octopus being massaged for an hour, and he was worried about me,” Gelb recalled. Ono told him he was afraid the director was making the most boring film ever and that he could leave if he wanted to.

“He was so generous and kind of humble of him to do that,” Gelb said. “Of course I was determined, and I was like, no way ... Massaging the octopus to me is fascinating.”

Ono is devoted to what he serves to his regular clients, even turning down the Japanese government when it called to make a reservation for then-US President Barack Obama and former Prime Minister Shinzo Abe in 2014.

“I said no as the restaurant was fully booked, then they agreed to come later in the evening,” Ono recalled. “But (Obama) was enjoying sushi and I was happy.”

Ono’s son Yoshikazu, who has worked with his father and now serves as head chef at the Ginza restaurant, said Obama smiled and winked at them when he tried medium fatty tuna sushi.

His restaurant earned three Michelin stars in 2007, as he became the first sushi chef to do so, and has kept the status until 2019, when he was recognized by the Guinness World Records as the oldest head chef of a three-Michelin-star restaurant, at age 93 years and 128 days.

In 2020, Sukiyabashi Jiro was dropped from the guide because it started taking reservations only from regulars or through top hotels.

In recent years Ono serves sushi only to his special guests, “as my hands don't work so well.”

But he hasn’t given up. His son says Ono, watching television news about the death of Japan’s oldest male at 113, said 13 more years seems doable.

“I will aim for 114,” Ono said.

“I cherish my life so I get to work for a long time,” Ono says. He doesn’t drink alcohol, takes a walk regularly and eats well.

Asked about his favorite sushi, Ono instantly replied: “Maguro, kohada and anago (tuna, gizzard shad and saltwater eel).”

“It’s an incredible thing that this tradition continues and that he’s still going strong 100 years in ... It’s an inspiration to everyone,” Gelb said, wishing Ono happy birthday in Japanese.



Arab League Calls for Promoting Values of Coexistence, Inter-cultural dialogue

The League of Arab States logo
The League of Arab States logo
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Arab League Calls for Promoting Values of Coexistence, Inter-cultural dialogue

The League of Arab States logo
The League of Arab States logo

The League of Arab States affirmed the importance of consolidating the values of coexistence and mutual respect, promoting a culture of dialogue, and enhancing social cooperation, as these represent the foundation for building stable and prosperous societies amid the increasing cultural and religious diversity witnessed around the world, Emirates News Agency (WAM) reported.

In a statement issued ahead of the International Day for Tolerance, observed annually on November 16, the Cairo-based pan-Arab organization explained that respecting the right of others to differ and believing that diversity is a source of civilizational richness constitute a fundamental pillar for achieving true peace and strengthening social stability, WAM said. It stressed that tolerance is a human and ethical value that no society aspiring to progress can dispense with.

The League stressed the need to integrate the values of tolerance, dialogue, and coexistence into the vision of societies and the mission of their institutions, considering tolerance a bridge toward a safer, more just, and more humane future.

In this context, the League of Arab States is working on adopting the “Arab Declaration on Tolerance and Peace” as a guiding framework to support future efforts to anchor mutual respect and peaceful coexistence. The declaration also aims to enhance communication between different cultures and reject all forms of hatred, extremism, and discrimination, ensuring the preservation of human dignity regardless of religion, color, language, or culture.

The International Day for Tolerance is an annual observance day declared by UNESCO in 1995 to generate and raise public awareness about intolerance and promoting mutual respect, human rights, and cultural diversity.


Vatican Returns to Canada Artifacts Connected to Indigenous People

A pair of gauntlets made in the late 19th-century Cree-Metif native Canadian traditional style by indigenous activist Gregory Scofield. Gregory Scofield, AP
A pair of gauntlets made in the late 19th-century Cree-Metif native Canadian traditional style by indigenous activist Gregory Scofield. Gregory Scofield, AP
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Vatican Returns to Canada Artifacts Connected to Indigenous People

A pair of gauntlets made in the late 19th-century Cree-Metif native Canadian traditional style by indigenous activist Gregory Scofield. Gregory Scofield, AP
A pair of gauntlets made in the late 19th-century Cree-Metif native Canadian traditional style by indigenous activist Gregory Scofield. Gregory Scofield, AP

The Vatican on Saturday returned 62 artifacts connected to the Indigenous peoples of Canada to the country's Catholic bishops, offering what it called "a concrete sign of dialogue, respect and fraternity", a statement said.

Pope Leo gifted the objects to the Canadian Conference of Catholic Bishops following a meeting with their representatives including their president, Bishop Pierre Goudreault, said Reuters.

"The CCCB will proceed, as soon as possible, to transfer these artifacts to the National Indigenous Organizations (NIOs). The NIOs will then ensure that the artifacts are reunited with their communities of origin," the Canadian bishops said.

Catholic missionaries sent the artifacts to Rome on the occasion of a 1925 exhibition held by Pope Pius XI that displayed more than 100,000 objects. Nearly half of them later formed a new Missionary Ethnological Museum and were transferred to the Vatican Museums in the 1970s.

In 2022, the late Pope Francis issued a historic apology to Canada's Indigenous peoples ahead of his visit to the country for the Catholic Church's role in residential schools where many children suffered abuse and were buried in unmarked graves.

The repatriation of the native artifacts held at the Vatican Museums was also part of the talks between the Church and the Indigenous leaders.


Rebooted Harlem Museum Celebrates Rise of Black Art

To mark its reopening, the Studio Museum is mounting a retrospective on Ton Lloyd, whose works were shown in the museum's 1968 inaugural show. TIMOTHY A. CLARY / AFP
To mark its reopening, the Studio Museum is mounting a retrospective on Ton Lloyd, whose works were shown in the museum's 1968 inaugural show. TIMOTHY A. CLARY / AFP
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Rebooted Harlem Museum Celebrates Rise of Black Art

To mark its reopening, the Studio Museum is mounting a retrospective on Ton Lloyd, whose works were shown in the museum's 1968 inaugural show. TIMOTHY A. CLARY / AFP
To mark its reopening, the Studio Museum is mounting a retrospective on Ton Lloyd, whose works were shown in the museum's 1968 inaugural show. TIMOTHY A. CLARY / AFP

As the Studio Museum reopens this weekend in its gleaming new building, New York's premier institution for Black art finds itself looking back and looking forward at the same time.

Colorful signs featuring permanent works have sprouted near the museum's home in Harlem, a center point in Black life and imagination in America for more than a century, AFP said.

The museum, closed for the more than seven-year project, has commissioned new works to commemorate the reboot, which features expanded studios for the institution's artists-in-residence program.

But the 57-year-old museum is also hearkening back to its roots with a retrospective of the late Tom Lloyd, whose electronically programmed wall sculptures anticipated today's digital age.

Some of the same pieces were hung in the museum's inaugural 1968 show back when works by artists of African descent were mostly absent from New York's leading museums.

Today's art scene is very different.

Rashid Johnson, Amy Sherald and others are regularly showcased in shows at the Guggenheim, Whitney and other nameplate New York museums, which have also hosted retrospectives belatedly recognizing Black movements.

"In the time of the museum's life, we have seen this incredible trajectory and some of that is a result of the work that the museum did in its establishment and its early years," said Studio Museum director Thelma Golden, who oversaw a more than $300 million drive to finance a teardown and newbuild project that cements the museum's ties to Harlem.

"The aperture opens, but even with that, we still believe deeply in the work that continues to need to be done."

'Truly current work'

The museum's history is laid out in photos of the 1968 groundbreaking, and there are posters of jazz nights, "Uptown Friday" gatherings, high school programs and of shows such as a retrospective of James Van Der Zee, a famed photographer during the Harlem Renaissance.

The founders' ambitions included creating a place distinct from New York establishments like the Museum of Modern Art.

The Studio Museum will present "truly current work," founders wrote in 1966. The work "could turn out to be a flash in the pan or could conceivably begin an entire new school or new direction in art."

Backers also sought to redefine Harlem, "which is all too often equated with slums, violence and other evils," and to deepen the commitment of supporters -- some white -- to "make New York City a united city rather than one which is currently divided by an invisible Berlin wall."

Key turning points included 1981, when the Studio Museum broke ground at its current address at 144 West 125th Street.

Another shift came after Golden joined in 2000, when the mission statement was expanded beyond US-born creators to artists of African descent "locally, nationally and internationally."

Signature works

That broadened scope is boldly expressed on the building's exterior with a red, black and green flag by David Hammons inspired by the Pan-African flag of the 1920s associated with activist Marcus Garvey.

Another signature work is Houston Conwill's "The Joyful Mysteries," containing statements by seven prominent Black Americans written for future generations. The time capsules will be opened in September 2034, 50 years after their creation.

The new edifice itself nods to Harlem's architectural vernacular, with a mass of geometries in gray concrete and glass. The building has received rapturous reviews, and this weekend offers the public a first look.

Golden described the site as aiming to "redefine what a museum can be in its space and content."

She credited her predecessors, not all of whom lived to see Black art achieve mainstream acceptance.

"I am well aware that they did not get to see the fruits of the labor," Golden told AFP. "The inheritance I have from them is that they believed so deeply that that belief carries from '68 to this moment."