Emiratis Battle to Preserve Dying Art of Embroidery

An Emirati woman weaves thread in the Al Talli method, a traditional local weaving technique, during an annual heritage festival in Al-Ain on November 10, 2023. (AFP)
An Emirati woman weaves thread in the Al Talli method, a traditional local weaving technique, during an annual heritage festival in Al-Ain on November 10, 2023. (AFP)
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Emiratis Battle to Preserve Dying Art of Embroidery

An Emirati woman weaves thread in the Al Talli method, a traditional local weaving technique, during an annual heritage festival in Al-Ain on November 10, 2023. (AFP)
An Emirati woman weaves thread in the Al Talli method, a traditional local weaving technique, during an annual heritage festival in Al-Ain on November 10, 2023. (AFP)

Far from Dubai's glitzy towers, Mariam al-Kalbani's henna-dyed fingers weave brightly colored threads in a skill she hopes young Emirati women watching her can preserve for the future.

The art of hand-weaving braided shiny ribbons to adorn traditional clothing and bags is called Al Talli, and is on UNESCO's Intangible Cultural Heritage of Humanity list.

But with the relentless pace of change in the United Arab Emirates, its days may be numbered.

"It's a craft of our ancestors and our people," Kalbani told AFP in Al Ain, the UAE's fourth largest city, which sits between mountains and the desert.

"If we do not take initiative and introduce it to them, it will disappear."

The 70-year-old craftswoman, wearing a traditional black abaya robe and golden face covering, has been training students and apprentices in the art for 15 years.

"The goal is to revive the heritage for the next generation," she said.

She emphasized that mastering Al Talli doesn't happen "in a couple of hours -- it could take a year or two, especially if training is done just once a week".

Kalbani has been weaving Al Talli since she was a teenager.

The simplest Al Talli designs are made from six threads -- although they can number up to 50 -- and mastering the process of combining them with beads, ornaments and precious metals such as gold can take a long time.

'Rare and special'

Accounting student Reem al-Ketbi watched Kalbani intently as she worked on a round cushion called a Mousadah, weaving a silver thread back and forth during a recent handicrafts festival.

"Every time I see Al Talli, I remember the Emirati identity -- it's something rare and special," said the 23-year-old, who began learning the craft last year while also pursuing her studies.

No precise information on Al Talli's origins exists.

But Mohamed Hassan Abdel Hafez, a cultural heritage expert at the Sharjah Institute for Heritage, said it has been passed down through multiple generations, "at least from grandparents to grandchildren", in line with UNESCO's listing requirements.

"In the field of intangible cultural heritage, it is very difficult to determine the exact date or when it historically began," he said.

However, the UAE authorities are working to preserve traditions that date from before the development of the oil industry in the country.

Kalbani laments that her own daughters did not take up the craft, but smiled as her three-year-old granddaughter beside her asked questions about the braids and threads.

Al Talli was not the only tradition being highlighted at the Crafts and Traditional Industries Festival.

At the main square in Al Ain, American Katie Gaimer watched men performing the traditional Ayalah dance, wielding bamboo sticks or unloaded rifles to the rhythm of folk songs.

The 35-year-old teacher said she and her friends had just enjoyed an Al Talli workshop, where they had a free lesson on how to make bracelets.

"It kind of felt like we were making friendship bracelets... it was fun and it was nice to learn from somebody teaching it in a traditional way," she said.

'Worth preserving'

Elsewhere, women produced various items including Sadu fabric, which is used for tents, carpets and camel saddles, and is also listed by UNESCO.

Aisha al-Dhaheri, who works to promote traditional crafts at the Department of Culture and Tourism in Abu Dhabi, said authorities hope to support Al Talli by licensing certified experts to expand production and teaching.

"It's considered at risk of disappearance, so we tried to expedite preservation efforts by organizing training courses," she said.

Accounting student Ketbi believes that young women these days "are not very interested" in learning craft techniques from long ago.

But she still considers preserving them worthwhile "out of love for the country".

At one shop in the festival area, octogenarian Kulthum al-Mansouri sold bags, incense burners, bracelets, necklaces, medals and key chains -- all adorned with Al Talli which she herself braided under the eyes of passers-by.

She said she felt saddened that young women seem less interested in Al Talli than ever, distracted as they were "by screens and phones".

But she still hoped the skill could be passed on because her generation cannot maintain it forever.

"For how long do we have left to live?" she said.



French Artist Begins Giant ‘Cave’ Art Inflation Over Paris’ Oldest Bridge

People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)
People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)
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French Artist Begins Giant ‘Cave’ Art Inflation Over Paris’ Oldest Bridge

People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)
People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)

The oldest bridge in Paris has begun to vanish this week, as the artist JR — who is known as the “French Banksy” — began inflating a giant “cave” over the Pont Neuf.

The monumental, rocky illusion is swallowing the 17th-century landmark, which has carried Parisians across the Seine for more than 400 years. By Thursday, it looked as if a prehistoric cliff had risen in the heart of the city.

The inflation process, which was carried out overnight — after being delayed by bad weather — is the most dramatic stage yet of a project more than a year in the making.

One of the most ambitious public artworks Paris has seen in decades, which has been funded by the sale of JR’s work and a handful of corporate partners, does not open to the public until June 6.

“We’re about to leave something pretty incredible in the middle of Paris,” JR told The Associated Press earlier this year at his studio in the city’s east, wearing his trademark hat and shades.

The transformation of the bridge has been documented by the AP since March with time-lapse cameras, including one fixed on a rooftop terrace high above the river, watching the bridge slowly disappear day by day.

From the outside, the installation looks like a rocky mass that “literally” breaks the landscape, said JR, who is famous for pasting enormous photographs on buildings, walls and rooftops around the world. This time he wanted Parisians to do something unusual on their busiest bridge: stop.

Visitors will be able to walk for free through a long, dark tunnel that lets in no daylight and where, according to JR, people “will lose track of time.”

The numbers are startling. The structure is 120 meters (393 feet) long and 18 meters (59 feet) tall — which is as high as a six-story building.

Yet it is built almost entirely from air — 80 fabric arches filled with 20,000 cubic meters of it — and weighs only about five tons. The fabric was hand stitched by 25 artisans in a village in Brittany.

Nothing digs into the historic stone.

Cut the air and the cliff would sink like a held breath — a collapse JR’s engineers spent weeks rehearsing in a hangar at Orly airport to be sure that if the power ever failed, the rock would come down gently.

The artwork, called La Caverne du Pont Neuf, is a tribute to a Parisian artistic legend.

In 1985, artist Christo and his wife, Jeanne-Claude, wrapped the same bridge in pale golden fabric — 13 kilometers of rope, a decade of arguing with city hall, three million visitors in two weeks. The act helped invent the idea of monumental art in modern cities.

A square beside the bridge now carries their names.

“It’s pretty hard to go after them,” JR said.

His idea, he said, is to bring “mineral and nature” back to the heart of the city. He is not covering the bridge but undressing it — sending the dressed stone back to the limestone quarries from which Paris itself was cut.

The cave is also a warning. JR built it as a nod to Plato’s allegory, in which prisoners mistake shadows on a wall for the real world.

“What are our caves today? Our phones,” he said. “Because we believe that our algorithm on social media is the reality.”

Then he walks straight into the contradiction: to enter his cave about screens, visitors raise their phones.

The tech company Snap has built an augmented-reality layer that shows what the eye cannot.
The sound is a low, mineral hum from Thomas Bangalter, formerly of Daft Punk — who was 10 the year Christo wrapped the bridge.

The cave will be open around the clock from June 6-28, closing the bridge to traffic and visible from the quays, from passing boats, even from the top of the Eiffel Tower.

It will coincide with Paris Fashion Week, World Music Day and the all-night Nuit Blanche arts festival.

When it comes down, the fabric will be reused or recycled. Air, JR likes to say, leaves no scar.
Then, like the golden wrapping 40 years before, the cave will be gone — and the Pont Neuf, older than the republic and older than the revolution, will reappear exactly as it was.


Winston Churchill's 'Playful' Paintings Go on Show in London

The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP
The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP
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Winston Churchill's 'Playful' Paintings Go on Show in London

The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP
The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP

As Britain's wartime leader, Winston Churchill was known for his stirring speeches, but a new London exhibition explores another side to his creativity -- as a passionate and prolific artist.

The exhibition opening Saturday at the Wallace Collection will be the most significant display of the statesman's paintings for more than 60 years, including over 50 canvases, many of them rarely seen in public.

Churchill first tried painting during World War I after he resigned from the government over the 1915 failed Dardanelles naval attack.

This was a "very difficult time in his life" when "he suddenly finds himself with all this unwanted leisure time", Lucy Davis, co-curator of the exhibition, told AFP.

"And he discovered painting as a way of releasing the stress, the anguish that the situation had caused him."

The museum presents a chronological survey starting with his first paintings, created with advice from renowned artist John Lavery, then canvases painted in the 1920s at Chartwell, the country house where Churchill lived with his family.

Largely self-taught while associating with well-known painters, Churchill quickly became interested in landscape painting and drew inspiration from holidays in the south of France to create brightly colored canvases dominated by blues and ochre.

- 'Loved the light' -

Churchill "saw painting as a spur to travel" and "just loved the light and warmth and atmosphere, which he captures so beautifully", said Davis.

A whole room is dedicated to canvases inspired by trips to Morocco, including "The Tower of the Koutoubia Mosque", the only painting that Churchill did during World War II. A gift to US President Franklin D. Roosevelt, the painting recently belonged to Hollywood star Angelina Jolie.

The exhibition ends with the postwar period when Churchill, defeated in a general election, began painting again and continued until his death in 1965, with some of his works going on display at the Royal Academy.

Churchill had previously shown paintings at various galleries, but always under an assumed name.

As a statesman, Churchill went down in history for his wartime leadership, but as an artist, he had little interest in depicting current world events, the curator stressed.

"He was a wartime leader. He was known for these very stirring wartime speeches. But in these paintings, you really see his joie de vivre, his witty side, his playful side."

One painting at the exhibition is an exception: "The Beach At Walmer", painted in 1938 as fears grew of imminent war.

It shows a sandy beach in southern England with bathers paddling. But in the foreground, a black cannon points at the sea, suggesting a looming threat.


Saudi Heritage Commission Discovers Abbasid-Era Gold Jewelry in Qassim

The Saudi Heritage Commission logo
The Saudi Heritage Commission logo
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Saudi Heritage Commission Discovers Abbasid-Era Gold Jewelry in Qassim

The Saudi Heritage Commission logo
The Saudi Heritage Commission logo

Saudi Arabia’s Heritage Commission announced the discovery of a collection of Abbasid-era gold jewelry at the archaeological site of Diriyyah in Qassim Region during the fourth season of excavation and survey work.

The discovery includes 100 gold pieces adorned with floral and geometric motifs, along with architectural remains from the Abbasid period, including stone foundations, mud walls, pottery, and metal tools.

The findings indicate human settlement dating back to the late third century AH and highlight the site’s historical importance along pilgrimage and trade routes.

The discovery reflects the Heritage Commission’s ongoing efforts to document and preserve the Kingdom’s archaeological heritage, supporting cultural development goals aligned with Saudi Vision 2030.