Italian Cooking and Its Rituals Get UN Designation as World Heritage 

A waiter carries pizzas at L'antica Pizzeria da Michele as Italian cuisine awaits a crucial UNESCO decision that could recognize it as an Intangible Cultural Heritage of Humanity in Naples, Italy, December 5, 2025. (Reuters)
A waiter carries pizzas at L'antica Pizzeria da Michele as Italian cuisine awaits a crucial UNESCO decision that could recognize it as an Intangible Cultural Heritage of Humanity in Naples, Italy, December 5, 2025. (Reuters)
TT

Italian Cooking and Its Rituals Get UN Designation as World Heritage 

A waiter carries pizzas at L'antica Pizzeria da Michele as Italian cuisine awaits a crucial UNESCO decision that could recognize it as an Intangible Cultural Heritage of Humanity in Naples, Italy, December 5, 2025. (Reuters)
A waiter carries pizzas at L'antica Pizzeria da Michele as Italian cuisine awaits a crucial UNESCO decision that could recognize it as an Intangible Cultural Heritage of Humanity in Naples, Italy, December 5, 2025. (Reuters)

Italian food is known and loved around the world for its fresh ingredients and palate-pleasing tastes. On Wednesday, the UN's cultural agency gave foodies another reason to celebrate their pizza, pasta and tiramisu by listing Italian cooking as part of the world’s “intangible” cultural heritage.

UNESCO added the rituals surrounding Italian food preparation and consumption to its list of the world’s traditional practices and expressions. It's a designation celebrated alongside the more well-known UNESCO list of world heritage sites, on which Italy is well represented with locations like the Rome's Colosseum and the ancient city of Pompeii.

The citation didn’t mention specific dishes, recipes or regional specialties, but highlighted the cultural importance Italians place on the rituals of cooking and eating: the Sunday family lunch, the tradition of grandmothers teaching grandchildren how to fold tortellini dough just so, even the act of coming together to share a meal.

“Cooking is a gesture of love, a way in which we tell something about ourselves to others and how we take care of others,” said Pier Luigi Petrillo, a member of the Italian UNESCO campaign and professor of comparative law at Rome’s La Sapienza University.

“This tradition of being at the table, of stopping for a while at lunch, a bit longer at dinner, and even longer for big occasions, it’s not very common around the world,” he said.

Premier Giorgia Meloni celebrated the designation, which she said honored Italians and their national identity.

“Because for us Italians, cuisine is not just food or a collection of recipes. It is much more: it is culture, tradition, work, wealth,” she said in a statement.

Many gastronomic cultures get recognition It’s by no means the first time a country’s cuisine has been recognized as a cultural expression: In 2010, UNESCO listed the “gastronomic meal of the French” as part of the world’s intangible heritage, highlighting the French custom of celebrating important moments with food.

Other national cuisines and cultural practices surrounding them have also been added in recent years: the “cider culture” of Spain’s Asturian region, the Ceebu Jen culinary tradition of Senegal, the traditional way of making cheese in Minas Gerais, Brazil.

UNESCO meets every year to consider adding new cultural practices or expressions onto its lists of so-called “intangible heritage.” There are three types: One is a representative list, another is a list of practices that are in “urgent” need of safeguarding and the third is a list of good safeguarding practices.

This year, the committee meeting in New Delhi considered 53 nominations for the representative list, which already had 788 items. Other nominees included the Swiss yodelling, the handloom weaving technique used to make Bangladesh’s Tangail sarees, and Chile’s family circuses.

In its submission, Italy emphasized the “sustainability and biocultural diversity” of its food. Its campaign noted how Italy’s simple cuisine valued seasonality, fresh produce and limiting waste, while its variety highlighted its regional culinary differences and influences from migrants and others.

“For me, Italian cuisine is the best, top of the range. Number one. Nothing comes close,” said Francesco Lenzi, a pasta maker at Rome’s Osteria da Fortunata restaurant, near the Piazza Navona. “There are people who say ‘No, spaghetti comes from China.’ Okay, fine, but here we have turned noodles into a global phenomenon. Today, wherever you go in the world, everyone knows the word spaghetti. Everyone knows pizza.”

Lenzi credited his passion to his grandmother, the “queen of this big house by the sea” in Camogli, a small village on the Ligurian coast where he grew up. “I remember that on Sundays she would make ravioli with a rolling pin.”

“This stayed with me for many years,” he said in the restaurant's kitchen.

Mirella Pozzoli, a tourist visiting Rome’s Pantheon from the Lombardy region in northern Italy, said the mere act of dining together was special to Italians:

“Sitting at the table with family or friends is something that we Italians cherish and care about deeply. It’s a tradition of conviviality that you won’t find anywhere else in the world.”

Italy already well-represented on list Italy already has 13 other cultural items on the UNESCO intangible list, including Sicilian puppet theater, Cremona’s violin craftsmanship and the practice moving of livestock along seasonal migratory routes known as transhumance.

Italy appeared in two previous food-related listings: a 2013 citation for the “Mediterranean diet” that included Italy and half a dozen other countries, and the 2017 recognition of Naples’ pizza makers.

Petrillo, the Italian campaign member, said after 2017, the number of accredited schools to train Neapolitan pizza makers increased by more than 400%.

“After the UNESCO recognition, there were significant economic effects, both on tourism and the sales of products and on education and training,” he said.



Private Museums Bolster Cultural Tourism in Qassim Region

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
TT

Private Museums Bolster Cultural Tourism in Qassim Region

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA

Qassim Region is witnessing a significant rise in private museums, as individual collectors transform personal passions into vital cultural projects. These museums serve as a living memory for the community, preserving rare artifacts, historical documents, antique weapons, and vintage collections that document critical stages of the region's history. By connecting the present with its roots, these sites strengthen national identity and provide essential research resources for scholars and tourists alike, SPA reported.

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals.

His collection features rare agates, fossils from ancient geological eras, and unique rock formations discovered throughout the Kingdom.

The museum acts as a scientific platform, promoting geology and field research while educating the community on the Kingdom’s diverse natural resources and mineral wealth.

Located near Al-Khabra Historical Village, these private initiatives have become key cultural landmarks in Riyadh Al-Khabra Governorate. Their growth aligns with Saudi Vision 2030 goals to develop cultural and scientific tourism, support local content, and position the Kingdom’s heritage and natural sites as premier global destinations.


Saudi Arabia Showcases Literary Diversity at 2026 Rabat International Book Fair

‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
TT

Saudi Arabia Showcases Literary Diversity at 2026 Rabat International Book Fair

‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA

The Literature, Publishing and Translation Commission launched the Saudi pavilion at the 2026 International Publishing and Book Fair in Rabat, which continues through May 10.

‏Commission CEO Dr. Abdullatif Alwasel affirmed that the Kingdom’s participation in the event embodies the deep historical ties between Saudi Arabia and Morocco while showcasing a diverse, contemporary cultural movement driven by Saudi Vision 2030.

“Saudi Arabia’s participation at the 2026 International Publishing and Book Fair emphasizes the Kingdom’s commitment to spotlighting publishers and the creative literary sector, which continues to go from strength to strength,” Alwasel said, SPA reported.

‏He added: “The Saudi pavilion is an opportunity to invite people from every corner of the world to experience Saudi culture and diverse literary works, showcase unique Saudi talent and creative thinking, while facilitating cultural exchange and engaging discussions.”

‏The Saudi pavilion brings together a range of government entities and cultural institutions, led by the Literature, Publishing and Translation Commission, highlighting the integrated approach of the Kingdom’s cultural environment.

‏As part of the pavilion, the commission has organized a series of topical panel discussions, poetry evenings, and workshops featuring Saudi writers and creative thinkers, encouraging discussions on key issues relating to the literature, publishing and translation sector and its impact on Arab and global conversations.

‏The participation at the 31st International Publishing and Book Fair event reaffirms the Kingdom’s efforts towards platforming local talent and enhancing collaboration and cultural exchange.


Georg Baselitz, the German Painter Who Turned Postwar Art Upside Down, Dies at 88

German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
TT

Georg Baselitz, the German Painter Who Turned Postwar Art Upside Down, Dies at 88

German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)

Georg Baselitz liked to insist — sometimes as a taunt, ‌sometimes as a shield — that he did not know how to paint. That he had "no talent".

Rejected at 17 by the Dresden Academy of Fine Arts, he talked his way into an academy in East Berlin only to be expelled two semesters later for "sociopolitical immaturity".

"I was stupid," he recalled. "I was uneducated, but I was a rebel."

From that rebellion, Baselitz forged a career that made the child of Nazi Germany, schooled under Soviet communism, into one of the defining artists of postwar Germany.

The painter and sculptor, known for his depictions of raw bodies and inverted landscapes, has died at the age of 88, Germany's Die Welt newspaper reported on Thursday. No cause of death was given.

A REBEL SHAPED BY TWO DICTATORSHIPS

Georg Baselitz was born Hans-Georg Bruno Kern on January 23, 1938, in the Saxon village of Deutschbaselitz, a name he later adopted.

His father, a village schoolteacher and Nazi Party member, recorded Hans-Georg's birth in his diary. Inexplicably, he recorded the birth of none of his other four children, the Sächsische Zeitung daily reported in 2018.

After the war, ‌his father was ‌barred from teaching. Baselitz's mother took over his duties at the school.

Baselitz spent his childhood ‌amid ⁠the unforgiving discipline of ⁠Nazi Germany, and his adolescence amid the rubble and ideological re-education of the country's Soviet occupation zone.

"I was born into a destroyed order, a destroyed landscape, a destroyed people, a destroyed society," he later recalled. "And I didn't want to reestablish an order: I had seen enough of so-called order. I was forced to question everything, to be 'naive', to start again."

After he was expelled from the East Berlin academy, he moved to West Berlin, where he finished his studies and absorbed modernism in a way that felt, he said, like a sudden intake of oxygen.

He recalled the shock of first seeing works by Jackson Pollock and other abstract expressionists — evidence, in his telling, that ⁠the United States had a serious culture despite what he had been taught.

But rather than ‌imitate an American style, Baselitz turned back to German sources, drawing on expressionism, ‌folk traditions and imagery often dismissed by critics as ugly or even "degenerate".

SCANDAL AS A CALLING CARD

At a 1963 solo show in Berlin, authorities ‌seized two of his paintings on obscenity grounds. The episode made Baselitz famous.

The early pictures, marked by raw bodies, stunted masculinity and abrasive humor, were widely seen as provocation.

Supporters and museum curators have also framed them as a blunt report on postwar German life: damaged, compromised and struggling to find a new footing.

That sensibility carried into his mid-1960s "Heroes" paintings, which presented hulking, battered figures that looked less like victors than survivors ‌stumbling out of a defeated national myth.

But Baselitz's most recognizable works came in 1969, when he began painting motifs upside down.

After earlier experiments that fractured or partially inverted figures, he ⁠produced fully inverted works including "The ⁠Wood on Its Head" and "The Man by the Tree".

He did not simply flip finished images, he composed and painted them inverted from the start.

That approach altered how viewers read his works. By disrupting recognition, it forced attention onto the mechanics of painting — its color, balance and composition.

"An object painted upside down is suitable for painting because it is unsuitable as an object," Baselitz said.

The inversions made Baselitz an international figure in the 1970s and 1980s, as the market and institutions that once treated him as scandalous increasingly positioned him as a pillar of European postwar art.

His public reputation, however, did not settle into quiet respectability.

He repeatedly sparked backlash with remarks about female painters, including a widely reported claim that women "don't paint very well".

He also confronted the limits Germany's history places on gesture and imagery: a wooden sculpture shown at the 1980 Venice Biennale was widely read as evoking a Nazi salute, a reading he denied.

He was married to Johanna Elke Kretzschmar, known as Elke, with whom he had two sons.

In later life, Baselitz painted huge canvases from his wheelchair and moved his brushes and paints in a rolling cart.

"The sensible thing, in my situation, would naturally be to say: 'I stick to small formats'," he told Spanish newspaper El Pais at age 87. "But of course I don't do what's sensible. What's right for me is the nonsensical."