Secrets of Palestinians' UNESCO-listed Nablus Soap

A Palestinian woman pours the ingredients for making traditional 'Nabulsi' soap into a barrel, in the village of Salem east of the occupied-West Bank city of Nablus on December 5, 2024. (Photo by Zain JAAFAR / AFP)
A Palestinian woman pours the ingredients for making traditional 'Nabulsi' soap into a barrel, in the village of Salem east of the occupied-West Bank city of Nablus on December 5, 2024. (Photo by Zain JAAFAR / AFP)
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Secrets of Palestinians' UNESCO-listed Nablus Soap

A Palestinian woman pours the ingredients for making traditional 'Nabulsi' soap into a barrel, in the village of Salem east of the occupied-West Bank city of Nablus on December 5, 2024. (Photo by Zain JAAFAR / AFP)
A Palestinian woman pours the ingredients for making traditional 'Nabulsi' soap into a barrel, in the village of Salem east of the occupied-West Bank city of Nablus on December 5, 2024. (Photo by Zain JAAFAR / AFP)

Initiated into the thousand-year-old practice of Nablus soap making by a distant relative, Umm al-Abed is now passing on the secrets of the practice newly designated by UNESCO as intangible world heritage, Agence France Presse reported.

Umm al-Abed handcrafts soap at her home in the village of Salem, east of Nablus, in one of many small soap workshops across the Israeli-occupied West Bank.

The process is rudimentary, involving a plastic bucket in a concrete courtyard and just three ingredients: olive oil, water and lye.

"The person who taught us to make the soap was an elderly relative from the village of Immatin. A long time ago, around 20 to 30 years, she came here and made soap," Umm al-Abed said.

"When she cooked the oil, I watched how she did it. I learnt the processes and I began to make soap myself. I made it for all the residents" of the village, she said.

Behind Umm al-Abed, the women were hard at work. One poured olive oil from a container, then added the lye. Using a long stick, she stirred the mixture with one hand and poured in water with the other. As she did so, the mixture gradually turned vibrant green.

The cooking is done in an oil drum over a wood fire. When the mixture is ready, it is poured into large, plastic-lined trays and left to cool and harden.

The giant block is then marked by hand before being cut into small bars of soap with a giant metal sheet.

The artisanal process, handed down from generation to generation, was recently added to UNESCO's list of intangible cultural heritage.

- 'Need to preserve it' -

It joins other Palestinian entries like hikaye, a tradition of female storytelling, the traditional dabkeh dance and embroidery.

According to the UN's cultural organization: "The use of olive oil reflects people's strong relation to nature, and many people use their homemade soap as a personal gift for celebrations such as weddings and birthdays."

"Most families in Palestine share the tradition, with both men and women taking part" in all stages of production and children helping to cut and pack it.

In Nablus, the Tuqan soap factory, established in 1872, continues to churn out bars.

It was founded "in the Ottoman period and has made soap ever since", said Nael Qubbaj, the factory chief.

He sat in his office, surrounded by faded portraits of suit and fez-wearing men, all members of the Abdul Fattah Tuqan family, co-founders of the factory.

The site's output is considerably higher than that of Umm al-Abed's artisanal workshop.

On the factory floor, a layer of soap covered the whole room from wall to wall. A barefoot soap maker slowly walked backwards across the room slicing the vast soap carpet into perfectly sized individual blocks.

The thousands of individual soaps were then stacked into hollow round towers to dry before being individually wrapped.

Recognition by UNESCO of Nablus soap "is an acknowledgement by the global community... of the significance of this craft and the need to preserve it," AFP quoted Qubbaj as saying.

Doing so was especially important "given the Israeli occupation's efforts to undermine these traditional industries," he said.



The 91-Year-Old Weaving Venezuelan Ancestral Tradition into Art

 Venezuelan weaver Margarita Mora. (The New York Times)
Venezuelan weaver Margarita Mora. (The New York Times)
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The 91-Year-Old Weaving Venezuelan Ancestral Tradition into Art

 Venezuelan weaver Margarita Mora. (The New York Times)
Venezuelan weaver Margarita Mora. (The New York Times)

Though electric machines are now standard, the Venezuelan weaver Margarita Mora has clung to a mix of ancestral Indigenous and Spanish practices to create surprisingly modern work, reported the New York Times.

As she sat at her loom on the rooftop of her home in Mucuchies, a town high in the Venezuelan Andes, Margarita Mora, recalled the morning when, at 5, she delivered some wool her mother had spun to a local weaver in nearby Mitivivó. It was her first encounter with the very loom she would use for decades to come.

“This loom has made me very happy,” she said during an interview at her home in 2024. “When I learned to weave, I was able to buy my own clothes and shoes.”

It was also how she discovered the craft that she has dedicated her life to. All those decades ago, Mitivivó was a remote settlement with just a few families, set where the mountains met the sky. It was here that she began selling her weavings.

In most parts of the world, electric machines have replaced ancient weaving techniques, but Mora, who is 91 and tiny, wearing head scarves around her weathered face, has clung to a mix of ancestral Indigenous and Spanish traditions.

Her weavings have gained her a modest level of fame in Venezuela. For years, she was an instructor at the Moconoque School of Trade, Arts and Crafts, a nonprofit with the mission of preserving and promoting traditional crafts.

In 2008, her face adorned a huge billboard on the facade of a convention center hosting an art exposition in the city of Mérida, southwest of Mucuchies, along with two other weavers and former president Hugo Chávez. She has also received multiple honorary degrees.

*Silvia Benedetti for the New York Times


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.