Beloved Sheepskin-Sack Cheese Bosnia Wants to Protect 

This photograph shows barrels filled with kajmak cheese at the workshop of Branka Buha in the hilly hamlet of Domrke, near the southern Bosnian town of Gacko on November 19, 2025. (AFP)
This photograph shows barrels filled with kajmak cheese at the workshop of Branka Buha in the hilly hamlet of Domrke, near the southern Bosnian town of Gacko on November 19, 2025. (AFP)
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Beloved Sheepskin-Sack Cheese Bosnia Wants to Protect 

This photograph shows barrels filled with kajmak cheese at the workshop of Branka Buha in the hilly hamlet of Domrke, near the southern Bosnian town of Gacko on November 19, 2025. (AFP)
This photograph shows barrels filled with kajmak cheese at the workshop of Branka Buha in the hilly hamlet of Domrke, near the southern Bosnian town of Gacko on November 19, 2025. (AFP)

High in the mountain meadows of southern Bosnia, farmer Branka Buha monitors her cows through a GPS signal on her husband's phone.

But when it comes to making her kajmak cheese, she sticks to the traditional method: ageing it in sheepskin sacks.

"It's a tradition passed down from my mother, from my mother-in-law. Now, I'm passing it on to my daughter-in-law," said 55-year-old Buha.

Her dairy is nestled in the hilly hamlet of Domrke, near Gacko.

At 1,200 meters (3,900 feet), and with lots of grass and wind, Buha says she has everything she needs to produce good "kajmak iz mjesine", a creamy cheese aged in animal hide -- typically sheep or lambskin around here.

Her eight cows freely wander the mountain pastures during the day, returning themselves in the evening to be milked, although one has a GPS collar in case they get lost or run into bears or wolves.

Her kajmak is a slightly crumblier, more flavorful cousin of the creamy "kaymak" people across the Balkans and Türkiye love to spread on their bread.

After milking her cows, Buha cooks the milk in a large pot before pouring it into enamel bowls or wooden containers.

"A day or two later, depending on the ambient temperature, we skim off the milk skin that forms on the surface of the milk," she said, scooping up a thick yellow layer with a spoon.

Salt is added and then it is left to rest in a wooden barrel for around 20 days, then wrapped in animal hide.

"The longer it stays in the skin, the more it matures and acquires the specific flavor of the skin. That is what makes it unique," Buha said.

Buha also makes the sheepskin bags. Once the skin is shaved off, the hide is dried over smoke.

When dry, "we wash it carefully and stuff it with kajmak, which is then aged in the skin for up to a month. But it can even stay there for a year," she added.

"It is an ancient preservation method. When there was no electricity or other modern means of preservation, the skin was used to preserve this cheese," said Dragana Milovic, head of the Gacko Kajmak Producers Association.

Much stronger than the traditional kajmak sold in local shops and markets, the cheese has notes of smoke and lamb that set it apart.

With her husband, Buha produces between 500 and 600 kilos (1,100 and 1,325 pounds) of kajmak each year.

They sell their cheese at their farm or to restaurants, where it is usually served with meat dishes.

It is also eaten on toast with honey, or added to "cicvara", a traditional cornmeal dish not unlike polenta.

In 2024, kajmak was granted national Protected Designation of Origin (PDO) status, raising its price per kilo from 40 convertible marks ($24) to 50 ($30).

This means the cheese can be made only with milk from cows that graze in the Gacko region. The cows must also be fed only with locally harvested hay.

The Gacko Kajmak Producers Association recently applied for PDO status at the EU level, said Milovic.

As a formal candidate for membership of the 27-nation bloc, Bosnia-Herzegovina has the right to protect its products there.

But with only small amounts of the sheepskin-sack kajmak being produced, it is more a matter of "prestige" than as an export earner, Milovic added.



David Hockney, the British Artist Who Went in Search of Californian Color, Dies at 88

British artist David Hockney poses as he unveils his painting "Bigger Trees Near Water", the largest painting ever shown at the Royal Academy's Summer Exhibition, London, Friday, May 25, 2007. (AP)
British artist David Hockney poses as he unveils his painting "Bigger Trees Near Water", the largest painting ever shown at the Royal Academy's Summer Exhibition, London, Friday, May 25, 2007. (AP)
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David Hockney, the British Artist Who Went in Search of Californian Color, Dies at 88

British artist David Hockney poses as he unveils his painting "Bigger Trees Near Water", the largest painting ever shown at the Royal Academy's Summer Exhibition, London, Friday, May 25, 2007. (AP)
British artist David Hockney poses as he unveils his painting "Bigger Trees Near Water", the largest painting ever shown at the Royal Academy's Summer Exhibition, London, Friday, May 25, 2007. (AP)

As a child growing up in gloomy northern England, David Hockney noticed the sharply ‌defined shadows in the Hollywood films of comedy duo Laurel and Hardy.

"Strong shadows meant a lot of sun," the painter recalled to BBC television in 2009. "So I thought, well, wherever that is, it's always sunny."

Two decades later, Hockney moved to Los Angeles to immerse himself in that dazzling light.

The artist, whose brightly colored renditions of California would go on to make him one of the most celebrated artists of the 20th and 21st centuries, has died, Sky News reported on Friday. He was 88.

No cause of death was given.

'HERE I FELT FREE'

Initially, almost as much as his paintings, Hockney was known for his own image — thick-rimmed spectacles, peroxide hair, shiny gold jacket — which became a symbol of Britain's Swinging Sixties.

As an art student in the northern English city of Bradford — where he was born to an accountancy clerk father and a devout Methodist mother — Hockney rebelled against convention.

To continue his studies, in 1959 he moved to London where he had a meteoric rise in the British pop art movement and rubbed shoulders with stars from dancer ‌Rudolf Nureyev to ‌Mick Jagger.

But Hockney yearned for the excitement he saw in the work of American artists. Using money ‌from ⁠the sale of ⁠his art, he visited New York for the first time in 1961 — where he became a friend of Andy Warhol — and moved to California three years later.

"I thought people who produced such work must live in color, so I went in search of it," he is quoted as saying in a biography written by art critic and friend Peter Adam.

"I had spent the first 20 years of my life in the gothic gloom of the North. Here I felt free."

His pictures of swimming pools became icons of a sun-drenched lifestyle that he documented with luminous acrylic paint before dividing his time between Los Angeles, London and Paris in the late 1960s and 1970s.

He remained unpretentious despite his success.

"I am actually still a ⁠student," he told Adam. "I just happen to have quite a lot of credit cards in my pocket."

In ‌1985, when he was invited to the White House to dine with President Ronald Reagan, ‌Prince Charles and Princess Diana, he was held up for half an hour by security officers because he was the only guest to arrive on foot, ‌his biographer wrote.

'YOU DON'T RETIRE DOING THIS'

Hockney's images of love and material wealth led to claims by some art critics that ‌his work was trivial. But he won greater renown than any other British artist of the 20th century.

One of his most famous paintings, "Portrait of an Artist (Pool with Two Figures)" sold for $90.3 million in 2018, the most expensive work by a living artist sold at auction at the time.

As he grew older and his life turned more domestic, dogs replaced men in Hockney's work, at a time when many ‌of his friends were dying of AIDS.

He said he cried for two days when Stanley, one of his beloved dachshunds, died in 2001, having been immortalized in scores of paintings and sketches.

In the late ⁠1990s, Hockney began returning more frequently to ⁠visit his mother in the northern English county of Yorkshire, where he had grown up, and a terminally ill friend encouraged him to paint the local landscapes.

Feeling increasingly lonely, he moved from California to the seaside town of Bridlington on England's North Sea coast. For a decade he painted clumps of bare trees in winter, fields full of ripe crops and tracks stretching towards the gentle rolling hills of the Yorkshire Wolds region.

It was the most productive period of his entire career as he rushed to capture scenes that, he said, changed more dramatically with the seasons than did those of California.

"You don't retire doing this," he told the BBC in his broad Yorkshire accent when asked about his unflagging energy. "You just do it until you fall over."

The former enfant terrible of British art, a cigarette almost always in his hand, never stopped trying new techniques. He used faxes to share his work and then iPads to produce it. His Yorkshire paintings led to a stained-glass window for Westminster Abbey, in central London.

In 2018, Hockney bought a farmhouse in Normandy, in northern France, and turned his eye to the fields and flowers of his garden there. The 90-meter-long "A Year in Normandie" frieze was inspired by the nearly 1,000-year-old Bayeux Tapestry.

Hockney's work ethic — instilled in him from getting up daily at 6 o'clock to work in hospitals for two years, when he refused to do his military service in the army — barely relented in his later years.

"I tend to think that you should work every day," he said. "And I do."


Red Sea Museum Extends 'Sunken Treasures' Exhibition Until August 15

The exhibition offers a comprehensive educational and visual experience that traces the evolution of shipwrecks  - SPA
The exhibition offers a comprehensive educational and visual experience that traces the evolution of shipwrecks - SPA
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Red Sea Museum Extends 'Sunken Treasures' Exhibition Until August 15

The exhibition offers a comprehensive educational and visual experience that traces the evolution of shipwrecks  - SPA
The exhibition offers a comprehensive educational and visual experience that traces the evolution of shipwrecks - SPA

The Red Sea Museum is strengthening its cultural and educational offerings by extending its temporary exhibition, “Sunken Treasures: The Maritime Heritage of the Red Sea,” until August 15 at the Bab Al-Bunt building in Historic Jeddah.

The exhibition offers a comprehensive educational and visual experience that traces the evolution of shipwrecks from the remnants of maritime journeys into valuable historical archives and, ultimately, thriving natural habitats rich in coral reefs and marine life, SPA reported.

It reintroduces the Red Sea as a vital cultural and civilizational corridor that has long connected the Arabian Peninsula with Asia, Africa, and the Mediterranean, facilitating trade, cultural exchange, and human interaction across centuries.

The “Sunken Treasures” exhibition reflects the Red Sea Museum’s role as a knowledge platform dedicated to promoting public understanding and supporting scientific research in collaboration with the Heritage Commission and the Jeddah Historic District Program.


Saudi Film Commission Adds Kuwaiti Classic ‘Bas Ya Bahar’ to National Film Archive to Boost Cultural Cooperation

The Saudi Film Commission logo
The Saudi Film Commission logo
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Saudi Film Commission Adds Kuwaiti Classic ‘Bas Ya Bahar’ to National Film Archive to Boost Cultural Cooperation

The Saudi Film Commission logo
The Saudi Film Commission logo

The Film Commission of the Saudi Ministry of Culture announced the inclusion of the film "Bas Ya Bahar" (The Cruel Sea), one of the most prominent Gulf cinematic works, in the National Film Archive collection.

This step comes as part of the commission's efforts to preserve cinematic heritage, make these productions accessible to researchers, creators, and future generations, and highlight Arab cinematic works of cultural and historical significance, SPA reported.

Directed by Kuwaiti filmmaker Khalid Al-Siddiq in 1972, "Bas Ya Bahar" is the first full-length Kuwaiti feature film and one of the most important works in the history of Gulf cinema.

The film sheds light on the lives and hardships of pearl divers in their search for pearls before the discovery of oil, portraying the challenges faced by Gulf communities during that era.