Barry Lopez, Author who Tied People to Place, Dies at 75

This March 24, 2003 courtesy photo released by Natural History photographer David Liittschwager, shows writer Barry Lopez near Blue River, Oregon. (AP)
This March 24, 2003 courtesy photo released by Natural History photographer David Liittschwager, shows writer Barry Lopez near Blue River, Oregon. (AP)
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Barry Lopez, Author who Tied People to Place, Dies at 75

This March 24, 2003 courtesy photo released by Natural History photographer David Liittschwager, shows writer Barry Lopez near Blue River, Oregon. (AP)
This March 24, 2003 courtesy photo released by Natural History photographer David Liittschwager, shows writer Barry Lopez near Blue River, Oregon. (AP)

Barry Lopez, an award-winning writer who tried to tighten the bonds between people and place by describing the landscapes he saw in 50 years of travel, has died. He was 75.

Lopez died in Eugene, Oregon, on Friday after a years-long struggle with prostate cancer, his family said.

Longtime friend Kim Stafford, former Oregon poet laureate, said Lopez’s books “are landmarks that define a region, a time, a cause. He also exemplifies a life of devotion to craft and learning, to being humble in the face of wisdom of all kinds.”

An author of nearly 20 books on natural history studies, along with essay and short story collections, Lopez was awarded the National Book Award in 1986 for “Arctic Dreams: Imagination and Desire in a Northern Landscape.” It was the result of almost five years of traveling the Arctic.

His final work was “Horizon,” an autobiography that recalls a lifetime of travel in more than 70 countries.

Born in 1945 in Port Chester, New York, Lopez grew up in California’s San Fernando Valley and, after his mother remarried, New York City. In “Horizon,” he wrote that in those formative years, he developed “a desire simply to go away. To find what the skyline has cordoned off.”

His later years were spent with his wife, Debra Gwartney, in a wooded area along the McKenzie River east of Eugene. After years of writing about the natural world and humans’ effect on climate change, he mourned the loss of acres of timber, not to mention personal papers, in the September 2020 Holiday Farm fire.

The wildfire damaged Lopez’s home so badly that he couldn’t live in it. The blaze also destroyed a building that stored his original manuscripts, personal letters, photos and a typewriter he used to write his books. The IBM Selectric III was quickly replaced with an identical model by his friends.

“Just an incredible body of work and memories,” said his stepdaughter Stephanie Woodruff. “Very meticulously kept and organized. That (loss) was devastating, certainly. He wrote every single book on a typewriter.”

In 2013, Lopez wrote the essay “Sliver of Sky,” revealing he had been sexually abused by a family friend for several years starting when he was 7. Lopez said the essay was an attempt at catharsis.

Woodruff said the essay possibly helped lead to “Horizon,” a book more than two decades in the making. In a 2019 review, The Associated Press said the book felt like the crowning achievement of Lopez’s illustrious career, describing it as part travel journal, part history, part science lecture, part autobiography, and completely unique.

“I do think that (the essay) released something in him to really ground and round out and complete ‘Horizon,’” Woodruff said. “Everything he wrote was personal, of course.”

In a statement Saturday, his family encouraged financial support for the McKenzie River Trust, with which Lopez had worked on conservation efforts.

Lopez is survived by his wife, four stepdaughters and an older brother. A younger brother died in 2017.



'Makkah Greets Us' Concludes in Hira Cultural District

Photo by SPA
Photo by SPA
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'Makkah Greets Us' Concludes in Hira Cultural District

Photo by SPA
Photo by SPA

The "Makkah Greets Us" event, hosted by the Royal Commission for Makkah City and Holy Sites, concluded on Monday after a successful five-day run in the Hira Cultural District.
The event aimed to enrich the cultural and entertainment experience for residents and visitors alike. It provided a unique platform to highlight the region's rich Islamic heritage, SPA reported.
It boasted a captivating high-tech sound and light show at the foot of Mount Hira, enabling visitors to connect with Makkah's most significant historical landmarks.


At Birthplace of Olympics, Performers at Flame-Lighting Ceremony Feel a Pull of the Ancient Past 

A woman in the role of a priestess holds the Olympic flame after lighting it during the rehearsal of the flame lighting ceremony for the Paris 2024 Olympics Games at the ancient temple of Hera on the Olympia archeological site, birthplace of the ancient Olympics in southern Greece, on April 15, 2024. (AFP)
A woman in the role of a priestess holds the Olympic flame after lighting it during the rehearsal of the flame lighting ceremony for the Paris 2024 Olympics Games at the ancient temple of Hera on the Olympia archeological site, birthplace of the ancient Olympics in southern Greece, on April 15, 2024. (AFP)
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At Birthplace of Olympics, Performers at Flame-Lighting Ceremony Feel a Pull of the Ancient Past 

A woman in the role of a priestess holds the Olympic flame after lighting it during the rehearsal of the flame lighting ceremony for the Paris 2024 Olympics Games at the ancient temple of Hera on the Olympia archeological site, birthplace of the ancient Olympics in southern Greece, on April 15, 2024. (AFP)
A woman in the role of a priestess holds the Olympic flame after lighting it during the rehearsal of the flame lighting ceremony for the Paris 2024 Olympics Games at the ancient temple of Hera on the Olympia archeological site, birthplace of the ancient Olympics in southern Greece, on April 15, 2024. (AFP)

No one knows what music in ancient Greece sounded like or how dancers once moved.

Every two years, a new interpretation of the ancient performance gets a global audience. It takes place in southern Greece at the birthplace of the Olympic Games.

Forty-eight performers, chosen in part for their resemblance to youths in antiquity as seen in statues and other surviving artwork, will take part Tuesday in the flame-lighting ceremony for the Paris Olympics.

Details of the 30-minute performance are fine-tuned — and kept secret — right up until a public rehearsal Monday.

The Associated Press got rare access to rehearsals that took place during weekends, mostly at an Olympic indoor cycling track in Athens.

As riders whiz around them on the banked cycling oval, the all-volunteer Olympic performers snatch poses from ancient vases. Sequences are repeated and re-repeated under the direction of the hyper-focused head choreographer Artemis Ignatiou.

“In ancient times there was no Olympic flame ceremony,” Ignatiou said during a recent practice session.

“My inspiration comes from temple pediments, from images on vases, because there is nothing that has been preserved — no movement, no dance — from antiquity,” she said. “So basically, what we are doing is joining up those images. Everything in between comes from us.”

Ceremonies take place at Olympia every two years for the Winter and Summer Games, with the sun’s rays focused on the inside of a parabolic mirror to produce the Olympic flame and start the torch relay to the host city.

Women dressed as priestesses are at the heart of the ceremony, first held for the 1936 Olympics in Berlin. Leading the group is an actress who performs the role of high priestess and makes a dramatic appeal to Apollo, the ancient god of the sun, for assistance moments before the torch is lit.

Over the decades, new ingredients have been progressively added: music, choreography, new colors for the costumes, male performers known as “kouroi” and subtle style inclusions to give a nod to the culture of the Olympic host nation.

Adding complexity also has introduced controversy, inevitably amplified by social media. Criticism this year has centered on the dresses and tunics to be worn by the performers, styled to resemble ancient Greek columns. Faultfinders have called it a rude departure from the ceremony’s customary elegance.

Organizers hope the attire will create a more positive impression when witnessed at the ruins of ancient Olympia.

Counting out the sequences, Ignatiou controls the music with taps on her cell phone while keeping track of the male dancers at the velodrome working on a stop motion-like routine and women who glide past them like a slowly uncoiling spring.

Ignatiou has been involved with the ceremony for 36 years, as priestess, high priestess, assistant and then head choreographer since 2008. She takes in the criticism with composure.

She’s still moved to tears when describing the flame lighting, but defers to her dancers to describe their experience of the five-month participation at practices.

Most in their early twenties, the performers are selected from dance and drama academies with an eye on maintaining an athletic look and classic Greek aesthetic, the women with hair pulled back in neat double-braids.

Christiana Katsimpraki, a 23-year-old drama school student who is taking part at Olympia for the first time, said she wants to repay the kindness shown to her by older performers.

“Before I go to bed, when I close my eyes, I go through the whole choreography — a run through — to make sure I have all the steps memorized and that they’re in the right order,” she said. “It’s so that the next time I can come to the rehearsal, it all goes correctly and no one gets tired.”

The ceremony is performed to sparse music, and final routine modifications are made at Olympia, in part to cope with the pockmarked and uneven ground at the site.

Dancers describe the fun they have in messaging groups, the good-natured pranks played on newcomers and fun they have on the four-hour bus ride to the ancient site in southern Greece — but also the significance of the moment and the pull of the past.

“I’m in awe that we’re going there and that I’m going to be part of this whole team,” 23-year-old performer Kallia Vouidaski said. “I’m going to have this entire experience that I watched when I was little on TV. I would say, ’Oh! How cool would it be if I could do this at some point.’ And I did it.”

The flame-lighting ceremony will start at 0830 GMT Tuesday. A separate flame-handover ceremony to the Paris 2024 organizing committee will be held in Athens on April 26.


Gaza’s Historic Treasures Saved by ‘Irony of History’ 

A picture taken on January 5, 2024 shows Gaza City's 17th century Qasr al-Basha or the Pasha's Palace, also known as Radwan dynasty castle, which houses a museum and a girls' school, damaged in Israeli bombardment during the ongoing battles between Israel and the Palestinian Hamas movement. (AFP)
A picture taken on January 5, 2024 shows Gaza City's 17th century Qasr al-Basha or the Pasha's Palace, also known as Radwan dynasty castle, which houses a museum and a girls' school, damaged in Israeli bombardment during the ongoing battles between Israel and the Palestinian Hamas movement. (AFP)
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Gaza’s Historic Treasures Saved by ‘Irony of History’ 

A picture taken on January 5, 2024 shows Gaza City's 17th century Qasr al-Basha or the Pasha's Palace, also known as Radwan dynasty castle, which houses a museum and a girls' school, damaged in Israeli bombardment during the ongoing battles between Israel and the Palestinian Hamas movement. (AFP)
A picture taken on January 5, 2024 shows Gaza City's 17th century Qasr al-Basha or the Pasha's Palace, also known as Radwan dynasty castle, which houses a museum and a girls' school, damaged in Israeli bombardment during the ongoing battles between Israel and the Palestinian Hamas movement. (AFP)

Gaza's ancient Greek site of Anthedon has been bombed, its "Napoleon's Palace" destroyed and the only private museum burned down: the war has taken a terrible toll on the rich heritage of the Palestinian territory.

But in a strange twist of fate, some of its greatest historical treasures are safe in a warehouse in Switzerland.

And ironically, it is all thanks to the blockade that made life in the Gaza Strip such a struggle for the past 16 years.

Based on satellite images, the UN cultural organization reckons some 41 historic sites have been damaged since Israel began pounding the besieged territory after the October 7 Hamas attack.

On the ground, Palestinian archaeologist Fadel al-Otol keeps tabs on the destruction in real time.

When he has electricity and internet access, photos pour into a WhatsApp group he set up with 40 or so young peers he mobilized to watch over the territory's vast array of ancient sites and monuments.

As a teenager in the 1990s, Otol was hired by European archaeological missions before going on to study in Switzerland and at the Louvre Museum in Paris.

"All the archaeological remains in the north have been hit," he told AFP by phone from Gaza.

The human toll since the October 7 Hamas attack has been chilling.

A total of 1,170 people were killed in the unprecedented raid on Israel, according to an AFP tally of Israeli official figures.

Almost 34,000 have died in Gaza in unrelenting Israeli retaliation, according to the territory's health ministry.

The damage to Gaza's history has also been immense.

Napoleon's HQ flattened

"Blakhiya (the ancient Greek city of Anthedon) was directly bombed. There's a huge hole", said Otol.

He said part of the site, near a Hamas barracks where "we hadn't started excavating", was hit.

The 13th-century Al-Basha palace in Gaza City's old town "has been completely destroyed. There was bombing and (then) it was bulldozed.

"It held hundreds of ancient objects and magnificent sarcophagi," Otol added as he shared recent photos of the ruins.

Napoleon is said to have based himself in the ochre stone edifice at the disastrous end of his Egyptian campaign in 1799.

The room where the French emperor supposedly slept was full of Byzantine artifacts.

"Our best finds were displayed in the Basha," Jean-Baptiste Humbert of the French Biblical and Archaeological School in Jerusalem (EBAF) told AFP.

But we know little of their fate, he said. "Did someone remove the objects before blowing the building up?"

Nerves were frayed even further when the director of Israeli Antiquities, Eli Escusido, posted a video on Instagram of Israeli soldiers surrounded by vases and ancient pottery in the EBAF warehouse in Gaza City.

Much of what has been unearthed in digs in Gaza was stored either at the Al-Basha museum or the warehouse.

Palestinians quickly accused the army of pillaging. But EBAF archaeologist Rene Elter said he has seen no evidence of "state looting".

"My colleagues were able to return to the site. The soldiers opened boxes. We don't know if they took anything," he told AFP.

However, he added: "Every day when Fadel (al-Otol) calls me, I'm afraid he'll tell me that one of our colleagues has died or that such and such a site has been destroyed".

Archaeology is a highly political issue in Israel and the Palestinian territories, with discoveries often used to justify the claims of the two warring peoples.

While Israel has an army of archaeologists who have unearthed an impressive number of ancient treasures, Gaza remains relatively untouched by the trowel despite a rich past stretching back thousands of years.

Ancient crossroads

The only sheltered natural harbor between the Sinai and Lebanon, Gaza has been for centuries a crossroads of civilizations.

A pivot point between Africa and Asia and a hub of the incense trade, it was coveted by the Egyptians, Persians, Greeks, Romans and Ottomans.

A key figure in excavating this glorious past over the last few decades has been Jawdat Khoudary, a Gazan construction magnate and collector.

Gaza, with its "seafront real estate", had a property boom in the 1990s after the Oslo peace accords and the creation of the Palestinian Authority.

When building workers dug up the soil, they came across lots and lots of ancient objects. Khoudary amassed a treasure trove of artifacts that he opened up to foreign archaeologists.

Marc-Andre Haldimann, then curator of MAH, Geneva's art and history museum, couldn't believe his eyes when he was invited to have a look around the garden of Khoudary's mansion in 2004.

"We found ourselves in front of 4,000 objects, including an avenue of Byzantine columns," he told AFP.

Quickly an idea took shape to organize a major exhibition to highlight Gaza's past at the MAH, and then to build a museum in the territory itself so that the Palestinians could take ownership of their own heritage.

At the end of 2006, around 260 objects from the Khoudary collection left Gaza for Geneva, with some later going on to be part of another hit show at the Institut du Monde Arabe (IMA) in Paris.

But geopolitics changed along the way. In June 2007, Hamas drove the Palestinian Authority from Gaza. And Israel imposed its blockade.

As a result, the Gazan artifacts could no longer return home and remained stuck in Geneva, while the archaeological museum project fizzled out.

But Khoudary did not give up hope. He built a museum-hotel called Al-Mathaf, museum in Arabic, on the Mediterranean coast north of Gaza City.

But then came the Israeli ground offensive after the Hamas attack on October 7, which began in Gaza's north.

'Anything but a black hole'

"Al-Mathaf remained under Israeli control for months," Khoudary, who fled Gaza for Egypt, told AFP. "As soon as they left, I asked some people to go there to see what state the place was in. I was shocked. Several items were missing and the hall had been set on fire.

His mansion was also destroyed during fierce fighting in the Sheikh Radwan neighborhood of Gaza City.

"The Israelis flattened the garden with bulldozers... I don't know whether objects were buried (by the bulldozers) or whether the marble columns were broken or looted. I can't find words," he added.

The Israeli military did not comment on specific sites. But it accused Hamas of systematically using civilian structures like cultural heritage sites, government buildings, schools, shelters and hospitals for military purposes.

"Israel maintains its commitments to international law, including by affording the necessary special protections," the army added in a statement.

While part of Khoudary's collection has been lost, the treasures held in Switzerland remain intact, saved by the blockade and the red tape that delayed their return.

"There were 106 crates ready to go" for years, said Beatrice Blandin, the MAH museum's current curator.

Safely far from the war raging in Gaza, "the objects are in good condition", she added. "We restored some of the bronze pieces that were slightly corroded and repacked everything.

"We just had to be sure that the convoy would not be blocked," she told AFP. "We were waiting for that green light."

But with any return impossible for the moment, Blandin said "discussions are under way" for a new Gaza exhibition in Switzerland.

Khoudary is excited by the idea.

"The most important collection of objects on the history of Gaza is in Geneva. If there is a new show, it will allow the whole world to learn about our history," he told AFP from Cairo.

"It's an irony of history," said Haldimann, who is trying to get his friend Fadel al-Otol safely out of Gaza.

"A new Gaza exhibition would show once again that Gaza... is anything but a black hole."


Cameroon Opens Museum Honoring Oldest Sub-Saharan Kingdom

A traditional masked dancer performs during the inauguration of the new Bamoun Kings Museum in Foumban, on April 13, 2024. (AFP)
A traditional masked dancer performs during the inauguration of the new Bamoun Kings Museum in Foumban, on April 13, 2024. (AFP)
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Cameroon Opens Museum Honoring Oldest Sub-Saharan Kingdom

A traditional masked dancer performs during the inauguration of the new Bamoun Kings Museum in Foumban, on April 13, 2024. (AFP)
A traditional masked dancer performs during the inauguration of the new Bamoun Kings Museum in Foumban, on April 13, 2024. (AFP)

To enter the Museum of the Bamoun Kings in western Cameroon, you have to pass under the fangs of a gigantic two-headed snake -- the highlight of an imposing coat of arms of one of the oldest kingdoms in sub-Saharan Africa.

Thousands of Cameroonians gathered in the royal palace square in Foumban on Saturday to celebrate the opening of the Museum of the Bamoun Kings.

Sultan King Mouhammad Nabil Mforifoum Mbombo Njoya welcomed 2,000 guests to the opening of the museum located in Foumban -- the historic capital of the Bamoun Kings.

The royal family, descendants of a monarchy that dates back six centuries, attended the event dressed in traditional ceremonial attire with colorful boubous and matching fezes.

Griot narrators in multicolored boubous played drums and long traditional flutes while palace riflemen fired shots to punctuate the arrival of distinguished guests which included ministers and diplomats.

Then, princes and princesses from the Bamoun chieftaincies performed the ritual Ndjah dance in yellow robes and animal masks.

For Cameroon, such a museum dedicated to the history of a kingdom is "unique in its scope", Armand Kpoumie Nchare, author of a book about the Bamoun kingdom, told AFP.

"This is one of the rare kingdoms to have managed to exist and remain authentic, despite the presence of missionaries, merchants and colonial administrators," he said.

The Bamoun kingdom, founded in 1384, is one of the oldest in sub-Saharan Africa.

To honor the Bamoun, the museum was built in the shape of the kingdom's coat of arms.

A spider, which is over 5,000 square meters (54,000 square feet), sits atop the building while the entrances represent the two-headed serpent.

"This is a festival for the Bamoun people. We've come from all over to experience this unique moment," 50-year-old spectator Ben Oumar said.

"It's a proud feeling to attend this event. We've been waiting for it for a long time," civil servant Mahamet Jules Pepore said.

The museum contains 12,500 pieces including weapons, pipes and musical instruments -- only a few of which were previously displayed in the royal palace.

"It reflects the rich, multi-century creativity of these people, both in terms of craftsmanship and art -- Bamoun drawings -- as well as the technological innovations of the peasants at various periods: Mills, wine presses etc," Nchare said.

Also on display are items from the life of the most famous Bamoun King, Ibrahim Njoya, who reigned from 1889 to 1933 and created Bamoune Script, a writing system that contains over 500 syllabic signs.

The museum exhibits his manuscripts and a corn-grinding machine he invented.

"We pay tribute to a king who was simultaneously a guardian and a pioneer... a way for us to be proud of our past in order to build the future" and "show that Africa is not an importer of thoughts," Njoya's great-grandson, the 30-year-old Sultan King Mouhammad said.

To commemorate his grandfather's work, former Sultan King Ibrahim Mbombo Njoya launched the construction of the museum in 2013 after realizing the palace rooms were too cramped.

The opening of the museum comes months after the Nguon of the Bamoun people, a set of rituals celebrated in a popular annual festival, joined UNESCO's List of the Intangible Cultural Heritage of Humanity.


Faith Ringgold, Pioneering Black Quilt Artist and Author, Dies at 93

Artist Faith Ringgold poses for a portrait in front of a painted self-portrait during a press preview of her exhibition, "American People, Black Light: Faith Ringgold's Paintings of the 1960s" at the National Museum of Women in the Arts in Washington, June 19, 2013. (AP)
Artist Faith Ringgold poses for a portrait in front of a painted self-portrait during a press preview of her exhibition, "American People, Black Light: Faith Ringgold's Paintings of the 1960s" at the National Museum of Women in the Arts in Washington, June 19, 2013. (AP)
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Faith Ringgold, Pioneering Black Quilt Artist and Author, Dies at 93

Artist Faith Ringgold poses for a portrait in front of a painted self-portrait during a press preview of her exhibition, "American People, Black Light: Faith Ringgold's Paintings of the 1960s" at the National Museum of Women in the Arts in Washington, June 19, 2013. (AP)
Artist Faith Ringgold poses for a portrait in front of a painted self-portrait during a press preview of her exhibition, "American People, Black Light: Faith Ringgold's Paintings of the 1960s" at the National Museum of Women in the Arts in Washington, June 19, 2013. (AP)

Faith Ringgold, an award-winning author and artist who broke down barriers for Black female artists and became famous for her richly colored and detailed quilts combining painting, textiles and storytelling, has died. She was 93.

The artist’s assistant, Grace Matthews, told The Associated Press that Ringgold died Friday night at her home in Englewood, New Jersey. Matthews said Ringgold had been in failing health.

Ringgold’s highly personal works of art can be found in private and public collections around the country and beyond, from the Smithsonian’s National Museum of American Art to New York’s Museum of Modern Art and Atlanta’s High Museum of Fine Art. But her rise to prominence as a Black artist wasn’t easy in an art world dominated by white males and in a political cultural where Black men were the leading voices for civil rights.

A founder in 1971 of the Where We At artists collective for Black women, Ringgold became a social activist, frequently protesting the lack of representation of Black and female artists in American museums.

“I became a feminist out of disgust for the manner in which women were marginalized in the art world,” she told The New York Times in 2019. “I began to incorporate this perspective into my work, with a particular focus on Black women as slaves and their sexual exploitation.”

In her first illustrated children’s book, “Tar Beach,” the spirited heroine takes flight over the George Washington Bridge. The story symbolized women’s self-realization and freedom.

The story is based on her narrative quilt of the same name now in the permanent collection of the Solomon R. Guggenheim Museum in New York.

While her works often deal with issues of race and gender, their folk-like style is vibrant, optimistic and lighthearted and often reminiscent of her warm memories of her life in Harlem.

Ringgold introduced quilting into her work in the 1970s after seeing brocaded Tibetan paintings called thangkas. They inspired her to create patchwork fabric borders, or frames, with handwritten narrative around her canvas acrylic paintings. For her 1982 story quilt, “Who’s Afraid of Aunt Jemina,” Ringgold confronted the struggles of women by undermining the Black “mammy” stereotype and telling the story of a successful African American businesswoman called Jemima Blakey.

“Aunt Jemima conveys the same negative connotation as Uncle Tom, simply because of her looks,” she told The New York Times in a 1990 interview.

Soon after, Ringgold produced a series of 12 quilt paintings titled “The French Collection,” again weaving narrative, biographical and African American cultural references and Western art.

One of the works in the series, “Dancing at the Louvre,” depicts Ringgold’s daughters dancing in the Paris museum, seemingly oblivious to the “Mona Lisa” and other European masterpieces on the walls. In other works in the series Ringgold depicts giants of Black culture like poet Langston Hughes alongside Pablo Picasso and other European masters.

Among her socially conscious works is a three-panel “9/11 Peace Story Quilt” that Ringgold designed and constructed in collaboration with New York City students for the 10th anniversary of the Sept. 11 attacks. Each of the panels contains 12 squares with pictures and words that address the question “what will you do for peace?” It was exhibited at the Metropolitan Museum of Art in New York.

In 2014, her “Groovin High,” a depiction of a crowded energetic dance hall evocative of Harlem’s famous Savoy Ballroom, was featured on a billboard along New York City’s High Line park.

Ringgold also created a number of public works. “People Portraits,” comprised of 52 individual glass mosaics representing figures in sports, performance and music, adorns the Los Angeles Civic Center subway station. “Flying Home: Harlem Heroes and Heroines” are two mosaic murals in a Harlem subway station that feature figures like Dinah Washington, Sugar Ray Robinson and Malcolm X.

In one of her recent books, “Harlem Renaissance Party,” Ringgold introduces young readers to Hughes and other Black artists of the 1920s. Other children’s books have featured Rosa Parks, the Rev. Martin Luther King Jr. and the Underground Railroad.

Born in Harlem in 1930, Ringgold was the daughter of a seamstress and dress designer with whom she collaborated often. She attended City College of New York where she earned bachelor and master’s degrees in art. She was a professor of art at the University of California in San Diego from 1987 until 2002.

Ringgold’s motto, posted on her website, states: “If one can, anyone can, all you gotta do is try.”


NY’s Met Museum Plans Growing Focus on African Art

Max Hollein, CEO and Director of the Metropolitan Museum of Art, poses for a portrait at The Met in New York on April 4, 2024. (AFP)
Max Hollein, CEO and Director of the Metropolitan Museum of Art, poses for a portrait at The Met in New York on April 4, 2024. (AFP)
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NY’s Met Museum Plans Growing Focus on African Art

Max Hollein, CEO and Director of the Metropolitan Museum of Art, poses for a portrait at The Met in New York on April 4, 2024. (AFP)
Max Hollein, CEO and Director of the Metropolitan Museum of Art, poses for a portrait at The Met in New York on April 4, 2024. (AFP)

New York's prestigious Metropolitan Museum of Art wants to offer its millions of visitors a less Western-centered view of the world, a shift that will highlight works from Africa and the continent's 3,000 years of cultural history.

That shift in perspective will also help the world's fourth most-visited museum -- behind the Louvre, the British Museum and the museums of the Vatican -- attract more African American and diaspora visitors, Met CEO and executive director Max Hollein told AFP in an interview.

The iconic museum, situated on Fifth Avenue across from Central Park since 1870, thus hopes to shine a brighter light on its 4,000 African works, produced by more than 200 cultures from what today are nearly 40 sub-Saharan African countries.

After spending tens of millions on renovations, the Met in spring 2025 will reopen its Michael C. Rockefeller wing, which houses not just African art but also works from the South Pacific and the early Americas.

"We wanted to have a completely new architecture and scenography in showing this work of art, and especially African art," said Hollein, a 54-year-old Austrian art historian and the first European to lead the Met.

He took the Met's reins in July 2023 as it was recovering from a collapse in visitorship during the pandemic. It drew 5.4 million visitors last year, a figure actually 10 percent higher than the pre-Covid 2019 number.

Hollein said the Rockefeller wing, which opened in 1982, already represented a major shift to a "much broader perspective" for the museum, founded and financed by wealthy art lovers, businessmen and collectors of works from Europe, Asia and the Middle East, as well as from ancient Greece and Rome.

A less Eurocentric view

But once the renovated and reimagined African galleries open in 2025, they will mark "another milestone."

The museum wants "to make sure that we don't have just a Western-centric or Eurocentric perspective," Hollein said.

The Met has also extended its reach by negotiating agreements with African counterparts, such as a 2023 accord with Nigeria's National Commission for Museums and Monuments to help it with the digitization and cataloging of its holdings.

Working with African countries, the Met in 2020 organized an ambitious exhibit on the arts of the Sahelian empires of the Middle Ages (Ghana, Mali, Songhai and Segu) and a smaller one, which ended last month, on 1,000 years of influence by the Byzantine empire on the art of the Christians of Egypt, Tunisia, Ethiopia and Sudan.

Hollein said it is time to step back from a Eurocentric view -- to stop "just looking at these objects because they've influenced European modernism so much" or studying Maori sculptures only because "they fascinated French artists of the early 20th century."

African art, American heritage

To deepen his connection to African art and better understand its works in their local context, Hollein traveled in late March to South Africa, Zimbabwe and Tanzania, meeting with museum curators, art historians and contemporary artists.

He also visited some rare archeological sites: Great Zimbabwe, the ruins of a medieval city in that country's south, and the Tanzanian island of Kilwa Kisiwani, where the remains of another medieval city are now recognized as a World Heritage Site by UNESCO.

Videos with updated information on the sites will be shown in the Met's Rockefeller wing.

Eager, like other American and European museums, to appeal to a younger and more diverse public, the Met has turned its attention to the multicultural mosaic that is New York City -- and in particular its population descended from enslaved peoples, as well as more recent arrivals from Africa and the Caribbean.

"It's the art of Africa, but it is basically also the cultural heritage of African Americans in the United States," Hollein said.


190 Guests from 25 Countries Set to Enrich Young Minds at SCRF

The Sharjah Children's Reading Festival (SCRF) logo
The Sharjah Children's Reading Festival (SCRF) logo
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190 Guests from 25 Countries Set to Enrich Young Minds at SCRF

The Sharjah Children's Reading Festival (SCRF) logo
The Sharjah Children's Reading Festival (SCRF) logo

The Sharjah Children's Reading Festival (SCRF), renowned for its ability to unite global literary enthusiasts and bring the undeniable power of reading to the youth, is making a comeback next month, Emirates News Agency (WAM) reported.

Organized by Sharjah Book Authority (SBA) and set to take place from May 1 to 12 in Expo Center Sharjah, the region’s largest event dedicated to nurturing the imaginations of young minds, carries the theme ‘Once Upon a Hero’ this year.

There will be 190 guests from 25 countries. Leading the pack is Jerry Craft, a distinguished American cartoonist and children's book illustrator, whose syndicated comic strip "Mama's Boyz" and graphic novels such as "New Kid" and "Class Act" have earned him widespread acclaim.

Joining Craft is Raúl The Third, a New York Times bestselling illustrator and author, celebrated for his evocative portrayals of the contemporary Mexican-American experience.

Further enhancing the festival's agenda is Dr. Caroline Leaf, a world-famous communication pathologist and neuroscientist from the United States. Renowned for her research on the mind-brain connection, Dr. Leaf's expertise in mental health and memory formation promises to enlighten and inspire attendees.

Hailing from Malaysia, Stacy C. Bauer and Ying Ying Ng bring their unique talents to the forefront. Bauer, a prolific writer known for her humorous anecdotes and relatable storytelling, is set to regale audiences with tales of childhood adventures. Ng, with over three decades of experience in music education, offers invaluable insights into the world of creativity and learning.

Malaysia's David Chek Ling Ngo rounds out the top tier of distinguished guests, bringing his wealth of knowledge in leadership and academic excellence to the fore. Recognized as one of the Top 2 percent Scientists Worldwide by Stanford University, Ngo's contributions to the fields of education and institutional growth are nothing short of exemplary.

According to WAM, the festival will also play host to a diverse array of luminaries from around the globe. From Georgia, Lia Shalvashvili, an esteemed author and educator, joins the fray with her extensive repertoire of children's literature. The United States contributes Dr. Al Jones, a distinguished psychologist specializing in educational and gender psychology, further enriching the festival's intellectual discourse.

Not to be overlooked are the notable guests from India, including Mamta Nainy, Bethany Clark, and Sohini Mitra, each bringing their unique perspectives on children's literature and publishing to the table.

Other noteworthy figures include Cathy Camper from the US, Joanne Steer from the UK, Dr. Sandy Zanella from Mexico, Toyin Akanni from Nigeria, Deeba Zargarpur representing Afghanistan and the US, Liam Kelly from Ireland, Hannah Moushabeck from the US, Lauren Tamaki also from the US, Leila Boukarim, Jane Mount, and Zelmaré Viljoen.


King Salman Bin Abdulaziz Royal Reserve Festival to Kick Off in Saudi Arabia’s Al-Qurayyat

The King Salman bin Abdulaziz Royal Reserve Development Authority logo
The King Salman bin Abdulaziz Royal Reserve Development Authority logo
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King Salman Bin Abdulaziz Royal Reserve Festival to Kick Off in Saudi Arabia’s Al-Qurayyat

The King Salman bin Abdulaziz Royal Reserve Development Authority logo
The King Salman bin Abdulaziz Royal Reserve Development Authority logo

The King Salman bin Abdulaziz Royal Reserve Festival, organized by the Reserve Development Authority, will take place from April 14 to 18 at the Cultural Center in Al-Qurayyat Governorate.

The festival aims to showcase tourist and recreational sites within the reserve and encourage local community involvement in reserve activities.

The festival offers a variety of events that will take visitors on a fun journey through recreational, cultural, artistic, and awareness activities. These include a children's area with games and drawing, an afforestation and planting area to promote afforestation culture and vegetation development, an artisan's market that celebrates Saudi heritage and traditional crafts, a wildlife area, and a performing arts theater.

The theater will present cultural shows and segments highlighting heritage, history, poetry evenings, theatrical performances, and folk arts.

The King Salman bin Abdulaziz Royal Reserve is the largest wildlife reserve in the Middle East, spanning over 130,000 square kilometers. It has archaeological sites registered with the UN Educational, Scientific, and Cultural Organization (UNESCO).


Royal Commission for Makkah Launches ‘Makkah Greets Us’

The event will host the Revelation and Route to Makkah Exhibitions - SPA
The event will host the Revelation and Route to Makkah Exhibitions - SPA
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Royal Commission for Makkah Launches ‘Makkah Greets Us’

The event will host the Revelation and Route to Makkah Exhibitions - SPA
The event will host the Revelation and Route to Makkah Exhibitions - SPA

In celebration of Eid Al-Fitr, the Royal Commission for Makkah City and Holy Sites launched the second annual “Makkah Greets Us” event in the Hira Cultural District.
The event, taking place until Monday, April 15 is expected to attract more than 15,000 visitors daily.
Visitors will enjoy more than 14 diverse programs tailored for all societal segments, including cultural, entertainment, and historic programs, SPA reported.
The event will host the Revelation and Route to Makkah Exhibitions, which display visual presentations of the descent of revelation and the Hajj routes over history.
Additionally, the event will feature folk art performances, falcon shows, and sound and light shows. It will host a dedicated area for the crafts market, children's activities, and various entertainment options.
Makkah Greets Us is held by the Royal Commission for Makkah City and Holy Sites, in cooperation with the Pilgrim Experience Program (PEP), the Holy Makkah Municipality, the Makkah Chamber, KIDANA development company, and AlBalad AlAmeen company.


Saudi Arabia Announces Inaugural Protected Areas Forum ‘HIMA’

The site at Hima, the sixth to be enlisted in Saudi Arabia, is home to one of the largest rock art complexes in the world and ancient wells. (SPA)
The site at Hima, the sixth to be enlisted in Saudi Arabia, is home to one of the largest rock art complexes in the world and ancient wells. (SPA)
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Saudi Arabia Announces Inaugural Protected Areas Forum ‘HIMA’

The site at Hima, the sixth to be enlisted in Saudi Arabia, is home to one of the largest rock art complexes in the world and ancient wells. (SPA)
The site at Hima, the sixth to be enlisted in Saudi Arabia, is home to one of the largest rock art complexes in the world and ancient wells. (SPA)

Saudi Arabia announces the Inaugural Protected Areas Forum ‘‘HIMA’’, a groundbreaking event in the region dedicated to the conservation and preservation of natural habitats and wildlife, SPA reported.

Under the patronage of Engineer AbdulRahman Al-Fadli, the Minister of Environment, Water, and Agriculture and Chairman of the Board of the National Center for Wildlife (NCW), this forum organized by the National Center for Wildlife will be held in Riyadh from April 21-24, marking a significant milestone with both local and international participation.
The forum will feature a comprehensive agenda filled with panel discussions and presentations by renowned experts in the field of protected areas from around the globe.

Attendees will include representatives from protected areas, educational institutions, major projects, companies, and the non-profit sector, reflecting a growing commitment to environmental conservation and sustainability.
Dr. Mohammed Qurban, CEO of the National Center for Wildlife, emphasized that the organization of the "HIMA" forum stems from the Kingdom's leading position in global environmental initiatives and closely aligns with NCW's mandate as the
national authority for the wildlife sector. This initiative is part of a strategic plan to enhance the national system for protected areas, setting a clear direction for the Kingdom's efforts to safeguard vital natural sites for biodiversity.
Dr. Qurban highlighted the Kingdom's ambitious 30×30 initiative, aimed at protecting 30% of Saudi Arabia's land and sea area by 2030. This initiative, announced during the Green Saudi Initiative, underscores the Kingdom's dedication to
global biodiversity goals and environmental sustainability. The roadmap includes specific targets for the protection of land and marine areas by 2025 and 2030, demonstrating a proactive approach towards conservation.
The forum serves as a platform for global leaders in protected area management to exchange knowledge and best practices, fostering collaboration and ensuring alignment with international standards.
Since its establishment in 2019, the National Center for Wildlife has been dedicated to implementing strategic plans to address the challenges facing wildlife and marine ecosystems. With a vision for flourishing and sustainable wildlife
and biodiversity, the NCW is committed to preserving environmental systems and enhancing community engagement to achieve long-term environmental sustainability and maximize societal and economic benefits.