Early Hawaiian Petroglyphs on a Beach Are Visible Again with Changing Tides and Shifting Sands 

A drone view shows petroglyphs carved into the rock surface at Pokai Bay, July 22, 2025, in Waianae, Hawaii. (AP)
A drone view shows petroglyphs carved into the rock surface at Pokai Bay, July 22, 2025, in Waianae, Hawaii. (AP)
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Early Hawaiian Petroglyphs on a Beach Are Visible Again with Changing Tides and Shifting Sands 

A drone view shows petroglyphs carved into the rock surface at Pokai Bay, July 22, 2025, in Waianae, Hawaii. (AP)
A drone view shows petroglyphs carved into the rock surface at Pokai Bay, July 22, 2025, in Waianae, Hawaii. (AP)

Hawaiian petroglyphs dating back at least a half-millennium are visible on Oahu for the first time in years, thanks to seasonal ocean swells that peel away sand covering a panel of more than two dozen images of mostly human-looking stick figures.

The petroglyphs are easy to spot during low tide when gentle waves ebb and flow over slippery, neon-green algae growing on a stretch of sandstone. This is the first time the entire panel of petroglyphs are visible since they were first spotted nine years ago by two guests staying at a bayside US Army recreation center in Waianae, about an hour’s drive from Honolulu.

Native Hawaiian cultural practitioner Glen Kila, who traces his lineage to the aboriginal families of this coastal Hawaii community, said he believes the resurfacing of the traditional marvels are his ancestors sending a message.

"It's telling the community that the ocean is rising," said Kila, a recognized expert on the local culture and history of Waianae who is consulting with the Army on the protection of the petroglyphs.

Army officials are trying to balance protecting the petroglyphs with their accessibility on a public beach.

John and Sandy Stone consulted tide charts and drove about 30 minutes from their home early Tuesday to get a glimpse after watching a local TV report about the petroglyphs.

"It was so interesting to touch them," said John Stone, who splits his time between Hawaii and California. "It felt interesting to kind of have a connection with the past like that."

It is difficult to date petroglyphs, but an archaeological site in the area is from about 600 years ago, said Laura Gilda, an archaeologist with US Army Garrison Hawaii. According to Kila, Hawaiians arrived in Waianae at least 1,000 years ago.

Shift in waves caused petroglyphs to appear

The beach here fluctuates in size and profile each year, with low-pressure weather systems that form in the eastern Pacific between May and November causing waves that cut away loose sand from shorelines and redeposit them further out, according to an Army report on the petroglyphs. That shift is likely what causes their temporary exposure.

Archaeologists identified a total of 26 petroglyphs. Of the 18 anthropomorphic stick figures, eight are possibly male and the remainder are of undetermined gender, the report said.

The entire panel stretches about 115 feet (35 meters) long, Gilda said.

When the petroglyphs first reemerged in July 2016, it was after late spring and early summer storms, including hurricanes, with a lot of wave action that swept the sand away, Gilda said.

They remained visible for a period and then got covered again.

"So there's been portions that have ... been exposed since then, but this is the first summer that the whole panel has been exposed again," Gilda said.

Petroglyphs are telling a ceremonial story, expert says

Based on the teachings Kila learned, the lineal petroglyphs appear to be telling a ceremonial story. He interprets the largest figure, which appears to include hands and fingers with one arm raised and the other down, to represent the rising and setting sun.

Kila said that when the military in the 1930s took over the area and evicted Native Hawaiians, including his family who lived there for generations, his great-great grandmother refused to leave so his family exchanged mountain lands with a coffee plantation so she could remain near the bay.

In an interview included in the Army's report, he recalled growing up in Waianae without television. So "the ocean and mountains were our playground," he said. The Army recreation center was off-limits to the public, and the seawall was the barrier between Native Hawaiians and the military, Kila said.

Kila, now 72, recalled that if they walked on top of the wall, they were clubbed and pushed off by military police.

"We were proud and knew where we came from, so we never fostered any hatred for the military because one day we believed that the land will eventually return to us," he said.

Kila, while visiting the petroglyphs earlier this week, told The Associated Press that the Army's protection of them represents a shift in that community relationship.

Officials have been grappling with how to share the petroglyphs with the community while also protecting them, Gilda said.

"How much attention do you want to bring to this area? You don’t really want people to go digging for them when they’re not exposed," she said. "But they’re certainly awesome to come and see on the public beachscape."

Donald Kauliʻa, a Native Hawaiian who was born and raised in Waianae, snapped photos of the petroglyphs Tuesday. Seeing them, he said, feels like "validation that our ancestors were from here."



Ukraine Urges Venice Biennale to Exclude Russia

A firefighter extinguishes a blaze at a five-story residential building in Kharkiv on March 7, 2026, after it was partially destroyed by a Russian strike amid the Russian invasion of Ukraine. (Photo by SERGEY BOBOK / AFP)
A firefighter extinguishes a blaze at a five-story residential building in Kharkiv on March 7, 2026, after it was partially destroyed by a Russian strike amid the Russian invasion of Ukraine. (Photo by SERGEY BOBOK / AFP)
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Ukraine Urges Venice Biennale to Exclude Russia

A firefighter extinguishes a blaze at a five-story residential building in Kharkiv on March 7, 2026, after it was partially destroyed by a Russian strike amid the Russian invasion of Ukraine. (Photo by SERGEY BOBOK / AFP)
A firefighter extinguishes a blaze at a five-story residential building in Kharkiv on March 7, 2026, after it was partially destroyed by a Russian strike amid the Russian invasion of Ukraine. (Photo by SERGEY BOBOK / AFP)

Ukraine on Sunday called on the Venice Biennale to keep Russia out of the prestigious art event after organizers said it could participate for the first time since launching its all-out invasion in 2022.

"We call on the organizers of the Venice Biennale to reconsider their decision to allow the Russian Federation to return and to maintain the principled position demonstrated in 2022-2024," Ukraine's foreign minister, Andriy Sybiga, and culture minister, Tetyana Berezhna, said in a statement.

The organizers of the event said on Wednesday that they would allow Russia to take part in the exhibition this year, which runs from May 9 to November 22.

"La Biennale di Venezia is an open institution" and "rejects any form of exclusion or censorship of culture and art", they said in a statement.

Their decision was met with criticism, including from Italian Prime Minister Giorgia Meloni's government.

Lithuania's foreign minister called the move "abhorrent".

According to AFP, Italy's culture ministry said the move was made "entirely independently by the Biennale Foundation, despite the Italian government's opposition".

The Venice Biennale is an international cultural organization started in 1895 that presents major cultural festivals and runs its flagship art exhibition and architecture exhibition on alternating years.

Participating countries set up pavilions in Venice, and the art biennial typically attracts more than 600,000 visitors over its seven-month run.


Grabbing the Bull by the Tail: Venezuela’s Cowboy Sport

A cowboy gestures during a bull-tailing competition held as part of the "Fiestas del Alma Llanera" celebration in San Fernando de Apure, Apure State, Venezuela, on February 27, 2026. (AFP)
A cowboy gestures during a bull-tailing competition held as part of the "Fiestas del Alma Llanera" celebration in San Fernando de Apure, Apure State, Venezuela, on February 27, 2026. (AFP)
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Grabbing the Bull by the Tail: Venezuela’s Cowboy Sport

A cowboy gestures during a bull-tailing competition held as part of the "Fiestas del Alma Llanera" celebration in San Fernando de Apure, Apure State, Venezuela, on February 27, 2026. (AFP)
A cowboy gestures during a bull-tailing competition held as part of the "Fiestas del Alma Llanera" celebration in San Fernando de Apure, Apure State, Venezuela, on February 27, 2026. (AFP)

Four mounted cowboys jostle for position near the bull pen gate.

When the bull bolts out into the ring, a mad scramble begins as the riders vie to grab its tail and knock it to the ground.

Bull tailing, or "coleo" is to Venezuela's "llanos" (tropical grasslands) what rodeo is to Texas -- an integral part of popular culture that has survived opposition from animal welfare groups.

Unlike their Texan counterparts, "coleadores" don't try to ride the bull or grab it by the horns but rather chase its tail.

The coleo is one of the high points of the annual "llanera" fair in the central city of San Fernando de Apure, a three-day extravaganza of cowboy culture, including fast-paced, swirling "joropo" partner dancing listed on the UN's Intangible Cultural Heritage list.

Experts trace coleo to Spanish colonial times and link it to cattle herding work.

It is also practiced across the border in Colombia's "llanos," as well as in Brazil and Mexico, countries with strong cattle breeding traditions.

Most of the "coleadores" or bull tumblers learn the sport from their fathers or grandfathers. Women and children have also been known to compete.

For Neomar Sanoja, one of the judges, it's Venezuela's "national sport" -- a bold claim in a baseball mad nation.

- 'Feel the adrenaline' -

Rafael Delgado, 35, started competing at around 10, encouraged by his father, a ranch hand.

"It's part of our 'llanero' culture, part of being Venezuelan," he told AFP before entering the ring.

To reach the bull's tail, riders spur on their horses and when they draw alongside the animal's flanks, perform acrobatic maneuvers to try flip the beast.

The bull writhes, struggles back on its feet and tries to escape along the "manga de coleo," a 200-meter-long sand corridor, with the riders in hot pursuit.

Points vary depending on how the bull tumbles, with extra marks for those who manage to get all four legs in the air.

About 200 competitors took part in the four-minute bouts in San Fernando de Apure, wearing hockey helmets and padding on their arms and legs as armor.

Llanera music blared while a judge narrated the action with rapid-fire delivery.

Florelbis Linares told AFP she wanted to take up coleo despite the misgivings of her coleatero boyfriend, who she watched perform from the stands.

"You really feel the adrenaline watching from here," the 23-year-old said, her legs hanging over the guardrail around the ring.

- 'Defenseless animals' -

The bull's suffering is little cause for concern among aficionados of coleo.

Most of the animals who enter the ring are headed for the slaughterhouse.

Luis Garcia, a 32-year-old rider, accused critics of the sport of hypocrisy, noting that most show no outrage in the face of intensive cattle rearing and meat consumption.

The AnimaNaturalis animal rights NGO, which is active in Spain and Latin America, has called for the practice to be abolished.

"It is cruelty and an abuse of power by llaneros against defenseless animals," it argued on its website.

"Is this what you call culture?" the Napda Foundation, a Venezuelan animal rights foundation, asked, posting a video of coleo spectators kicking and throwing objects at a bull to force it to get back on its feet.

"The alleged 'humans' behave like beasts. This must stop now."


Michelangelo’s Works Hidden in ‘Secret Room’, Researcher Says

Pedestrians walk past the Basilica of Santa Agnese Outside the Walls as a marble bust is displayed inside after being identified as a work by Michelangelo Buonarroti after centuries without attribution, following a decade of archival research by Italian researcher Valentina Salerno in Rome on March 4, 2026. (AFP)
Pedestrians walk past the Basilica of Santa Agnese Outside the Walls as a marble bust is displayed inside after being identified as a work by Michelangelo Buonarroti after centuries without attribution, following a decade of archival research by Italian researcher Valentina Salerno in Rome on March 4, 2026. (AFP)
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Michelangelo’s Works Hidden in ‘Secret Room’, Researcher Says

Pedestrians walk past the Basilica of Santa Agnese Outside the Walls as a marble bust is displayed inside after being identified as a work by Michelangelo Buonarroti after centuries without attribution, following a decade of archival research by Italian researcher Valentina Salerno in Rome on March 4, 2026. (AFP)
Pedestrians walk past the Basilica of Santa Agnese Outside the Walls as a marble bust is displayed inside after being identified as a work by Michelangelo Buonarroti after centuries without attribution, following a decade of archival research by Italian researcher Valentina Salerno in Rome on March 4, 2026. (AFP)

Renaissance artist Michelangelo ordered many of his artworks to be hidden by his pupils in a secret room to protect them for posterity, an Italian researcher claimed Wednesday.

According to renowned art historian Giorgio Vasari, the Italian genius burned a large number of his own drawings and sketches before his death in Rome in 1564.

But researcher Valentina Salerno says she has unearthed unpublished archival documents that reveal a plot to squirrel away his works.

"One of these three unpublished documents I found in the archives speaks of a room" kept by students of the Michelangelo school, the origins of which "can be traced back" to the artist, Salerno told AFP on the sidelines of a press conference in Rome.

"Assets are hidden inside this room. These assets are locked away so tightly that they require a system of multiple keys, so that no one can access them without the permission of others," she said.

Salerno was researching a book on Michelangelo when she came across a document that showed the artist had in 1550 joined the Brotherhood of the Most Holy Crucifix. Those close to him in his final years were members too.

Over a decade of research, she followed the document trail between a series of archives in the Vatican, Italy and European cities including Paris.

As part of what she called a "maniacal plan" cooked up by Michelangelo, his works were to be hidden "because otherwise it would all end up with a nephew he detested".

"The goal was to pass on to his poor, vulnerable, non-noble descendants the material to be able to continue studying, to transmit his art to future generations," she said.

Those involved in the plan went on to form the famous art Academy of San Luca in the 16th century, she added. It still exists today.

Salerno believes the secret room designed to safeguard the artist's creations was likely somewhere inside the Saint Peter in Chains church in central Rome.

- Michelangelo bust -

During her research, she also stumbled across a reference to a bust at the Basilica of Sant'Agnese, also in Rome, currently attributed to an anonymous artist.

She found documents attributing the white bust to Michelangelo down the centuries.

In the 1930s it appears to disappear from documentation, only to reappear in the 1980s, attributed to a minor artist.

Italy's cultural authorities later declared it to be a work by an unknown sculptor instead.

But Salerno insists the bust is a genuine Michelangelo, not just due to the paper trail, but also because it shares a striking resemblance to Tommaso dei Cavalieri, a young nobleman.

Salerno's work has not yet been peer reviewed, but she is a member of the Vatican committee for the celebrations marking the 500th anniversary of Michelangelo's birth.