Before Dawn, Ancient Drum Rite Wakes Istanbul Faithful to Fast

Turkish drummer Hakan Ozbingol plays drum and sings traditional songs in the streets of Istanbul, to wake Muslims up for the suhour, the Ramadan meal eaten at night, on February 24, 2026. (AFP)
Turkish drummer Hakan Ozbingol plays drum and sings traditional songs in the streets of Istanbul, to wake Muslims up for the suhour, the Ramadan meal eaten at night, on February 24, 2026. (AFP)
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Before Dawn, Ancient Drum Rite Wakes Istanbul Faithful to Fast

Turkish drummer Hakan Ozbingol plays drum and sings traditional songs in the streets of Istanbul, to wake Muslims up for the suhour, the Ramadan meal eaten at night, on February 24, 2026. (AFP)
Turkish drummer Hakan Ozbingol plays drum and sings traditional songs in the streets of Istanbul, to wake Muslims up for the suhour, the Ramadan meal eaten at night, on February 24, 2026. (AFP)

It's 3:30 am and lights are slowly coming on in the homes lining a narrow Istanbul street as people are woken up by the rhythmic thump of a drum.

Emerging onto a balcony, Sibel Savas and her grandson look down as the drummer -- or davulcu in Turkish -- wanders through the Ayvansaray neighborhood, his drumbeat waking the faithful for a last meal before the daily Ramadan fast begins at sunrise.

For the past 55 years, Hakan Ozbingol has got up at 3:00 am every day during Ramadan to play his davul, a large double-headed drum carried with a strap and played while walking through the streets.

He inherited the role from his father, with whom he started venturing out when he was 10.

Although their nightly sortie is purely voluntary, local residents traditionally give a tip at the end of the month, says Ozbingol, who is now 65.

If once this amounted to enough to buy the children a nice gift, these days it's barely enough "to buy them clothes or to cover the bills", he sighs, as people struggle to cope with Türkiye's bitter economic crisis.

But for him, it's not a job but more of a sacred duty.

"As long as it's to do with Allah, this drum will never fall silent. We're doing Allah's work, it's our duty," he said hoarsely, trudging with bent back through the winding streets.

- Ottoman roots -

According to Harun Korkmaz, a music historian at Istanbul University, the Ramadan drum rite "dates back to the end of the 19th century" when the Ottoman military bands, or mehters, performed several times a day, setting the pace of daily life.

"The davulcu are continuing this tradition," he told AFP of a tradition that began in Istanbul and spread to the rest of the country.

As well as drumming, "real" davulcu will also chant "mani", or short rhythmic poems, under people's windows to flatter a sleepy audience, Ozbingol explained.

"In Türkiye, there are few davulcus who know how to sing mani. It's not enough to pick up the drum and bang on it while walking around," he said, proudly tapping his temple to show where he keeps this knowledge.

The tradition began in the Fatih district near Istanbul's historic peninsula, and most of today's Ramadan drummers come from Türkiye's Roma community, who today number around 2.7 million, research figures show.

As the davulcu walks the street where washing lines vie for space with Turkish flags draped from the high facades of the buildings, he is warmly greeted by a pensioner called Zafer, who is also a musician.

"If the Roma weren't here there would be nothing. They are the musicians and Istanbul's Ramadan drummers," the 71-year-old told AFP.

- 'A tradition that must not die' -

Still holding her grandson, Sibal Savas says she has no alarm clock and relies on the early-morning drum rite to wake her up.

"This tradition is important to us this. It comes from our ancestors," she told AFP.

In a nearby street, another drummer, 58-year-old Yurdaer, is trying to play a little more quietly as he passes the home of an elderly neighbor who has heart problems.

Across Istanbul, Türkiye's largest city, there are a total of 3,000 davulcu who go out nightly to wake the faithful in 961 neighborhoods, explains Selami Aykut, who heads an organization representing the megacity's local mayors.

Since the pandemic, when the nightly rite was briefly halted, the authorities doubled the number of accredited drummers.

"We have increased the number we work with in order to better pass on our Ottoman traditions to young people, so that they can feel the excitement of Ramadan," Aykut told AFP.

With street vendors hawking traditional foods increasingly scarce across the city's streets, their services replaced by supermarkets, the davulcu is one rare tradition not at risk of disappearing due to his unique role at Ramadan.

"There are no more people selling boza (a fermented cereal-based drink), no more yoghurt sellers, nor other street vendors -- they've almost all disappeared," said Ozbingol.

"Only the davulcu are left," he murmurs, wandering off up the street.



Diving Robot Explores Mystery of France's Deepest Shipwreck

Marine Sadania, a maritime archaeologist in charge of scientific and heritage management for the PACA Coastal Observatory, observes the “ROV C 4000,” a remotely operated vehicle manufactured by the French company LD Travocean and designed for seabed exploration,  during its launch aboard the Jason (BSAA), chartered for an archaeological mission on the wreck of the CAMARAT 4 off the coast of Ramatuel, in southeastern France on April 7, 2026. (Photo by Thibaud MORITZ / AFP)
Marine Sadania, a maritime archaeologist in charge of scientific and heritage management for the PACA Coastal Observatory, observes the “ROV C 4000,” a remotely operated vehicle manufactured by the French company LD Travocean and designed for seabed exploration, during its launch aboard the Jason (BSAA), chartered for an archaeological mission on the wreck of the CAMARAT 4 off the coast of Ramatuel, in southeastern France on April 7, 2026. (Photo by Thibaud MORITZ / AFP)
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Diving Robot Explores Mystery of France's Deepest Shipwreck

Marine Sadania, a maritime archaeologist in charge of scientific and heritage management for the PACA Coastal Observatory, observes the “ROV C 4000,” a remotely operated vehicle manufactured by the French company LD Travocean and designed for seabed exploration,  during its launch aboard the Jason (BSAA), chartered for an archaeological mission on the wreck of the CAMARAT 4 off the coast of Ramatuel, in southeastern France on April 7, 2026. (Photo by Thibaud MORITZ / AFP)
Marine Sadania, a maritime archaeologist in charge of scientific and heritage management for the PACA Coastal Observatory, observes the “ROV C 4000,” a remotely operated vehicle manufactured by the French company LD Travocean and designed for seabed exploration, during its launch aboard the Jason (BSAA), chartered for an archaeological mission on the wreck of the CAMARAT 4 off the coast of Ramatuel, in southeastern France on April 7, 2026. (Photo by Thibaud MORITZ / AFP)

Deep below the surface of the Mediterranean off the French coast, the pincer of a remotely guided underwater robot delicately closes around a centuries-old jug lying near a 16th-century shipwreck.

"You have to be extremely precise so as not to damage the site, so as not to stir up sediment," says navy officer Sebastien, who cannot give his second name for security reasons.

A two-hour journey from the French Riviera, Sebastien is overseeing the first of several archaeological missions on the deepest shipwreck in French territorial waters.

A routine army survey of the seabed uncovered the 16th-century merchant ship by chance last year in waters off the coast of Ramatuelle, close to Saint-Tropez.

Archaeologists believe the ship was sailing from northern Italy loaded with ceramics and metal bars before it sank.

Now the French navy and the culture ministry's underwater archaeology department are back to inspect the surviving artifacts lost more than 2,500 meters (1.5 miles) below sea level.

- Cannon, piles of jugs -

The navy is keeping secret the location of the wreckage site, which they have dubbed "Camarat 4" -- even if most people would unlikely have the means to reach a site so deep.

The sun has barely risen when the mission's navy tugboat arrives on site, carrying an underwater robot and two large containers acting as makeshift offices for marine archaeologists.

Its crew lower the robot -- which is equipped with cameras as well as pincers -- into the water.

A navy officer guides the robot down, linked to the ship through a long cable, as experts monitor its slow descent on screens.

An hour later, the device -- which is designed to plunge as deep as 4,000 meters -- is gliding over piles of round pitchers on the sea floor.

Slowly, through its cameras, it reveals the wreck to the team sitting on deck, AFP reported.

It captures footage of a cannon, as well as hundreds of pitchers and plates, decorated with floral motifs, crosses and fish.

The robot shoots eight pictures per second for three hours, grabbing more than 86,000 images that will then be used to create a 3D model of the site.

Archaeologist Franca Cibecchini is delighted the water is so clear.

"The visibility is excellent. You almost can't tell it's so deep," she says.

"It is most likely a merchant ship carrying glazed pottery from Liguria," a region in the northwest of Italy, Cibecchini adds.

She says it could have been loaded on to the ship in the ports of Genoa or nearby Savona.

- 'Valuable information' -

Marine Sadania, the lead archaeologist on the underwater dig, says findings will be key to understanding trade routes at the time the ship sank.

"We don't have very detailed texts about merchant ships in the 16th century, so this is a valuable source of information on maritime history," she says.

The experts hold their breath as the robot lowers a pitcher into a case as gently as possible, so as not to break it.

A third of all ceramics extracted from sea digs end up breaking, Sadania says.

In total, the team hauls up several jugs and plates.

Back on land, in a laboratory in the southern port city of Marseille, Sadania runs water over one of the jugs.

Dark blue lines run across its rounded side, creating rectangles, some of which are colored in with turquoise blue or decorated with saffron-yellow symbols.

"It's one of the deepest objects ever recovered from a wreck in France," she says.


Philippine Museum Brings Deadly, Lucrative Galleon Trade to Life

This photo taken on April 23, 2026 shows visitors under the Galeon Espiritu Santo, a full-scale representation of a 17th century galleon, on display at the Museo del Galeon in Manila. (Photo by Jam STA ROSA / AFP)
This photo taken on April 23, 2026 shows visitors under the Galeon Espiritu Santo, a full-scale representation of a 17th century galleon, on display at the Museo del Galeon in Manila. (Photo by Jam STA ROSA / AFP)
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Philippine Museum Brings Deadly, Lucrative Galleon Trade to Life

This photo taken on April 23, 2026 shows visitors under the Galeon Espiritu Santo, a full-scale representation of a 17th century galleon, on display at the Museo del Galeon in Manila. (Photo by Jam STA ROSA / AFP)
This photo taken on April 23, 2026 shows visitors under the Galeon Espiritu Santo, a full-scale representation of a 17th century galleon, on display at the Museo del Galeon in Manila. (Photo by Jam STA ROSA / AFP)

A full-size replica of a Spanish galleon stares out into Manila Bay, the centerpiece of a museum that will transport visitors back to the 17th century, when conscripted Philippine mariners birthed the era of globalization.

The Museo del Galeon, which focuses on the hulking Espiritu Santo, aims to tell the story of Spain's 250-year-long Pacific galleon trade from the perspective of the Filipinos who built and crewed the towering vessels.

"This is a land with a great tradition of seafaring, but often under inhumane and degrading conditions," the museum's executive director Manuel Quezon told AFP, noting Filipinos still make up a quarter of the world's sailors.

"And it is one that we don't flinch from telling."

Built with forced labor in 1603, the Espiritu Santo was one of 181 treasure ships that made hundreds of trips between Manila and the Mexican port of Acapulco between 1565 and 1815 under harrowing conditions that historians say killed one in three crewmen.

"It was the first global trade, connecting three continents," said Francis Navarro, director of archives at the Ateneo de Manila University.

"It made the world smaller."

This photo taken on April 21, 2026 shows an interior view of the Galeon Espiritu Santo, a full-scale representation of a 17th century galleon, on display at the Museo del Galeon in Manila. (Photo by Jam STA ROSA / AFP)

Sailing west across the Pacific for three months, the ships brought silver coins from Spain's American colonies to Manila, where they would be exchanged for luxury goods like silk, porcelain and jade from China.

The return voyage lasted as long as a year, with cargo then transported across Mexico by mule before heading to Spain, completing a trade loop between the old and new worlds.

The galleons brought more than silver to the Philippines. They brought ideas, disease, food, religion, fashion and more -- the things that "made us who we are", Quezon said.

The colonial trade also ravaged the archipelago's forests and wrecked communities, with able-bodied men required to offer 40 days of unpaid service to fell trees and build ships under Spanish foremen.

Others were forced into service as sailors for up to 10 years at a time.

Cramped inside vessels overladen with precious cargo, crewmembers subsisted on a miserable diet of hardtack, an unleavened bread, and salted meat and fish that routinely spoiled and left many gravely ill.

"You had an astounding mortality rate of about 30 percent per voyage," Quezon said.

Deadly rebellions were sparked in some areas where galleons were built, Navarro added, including on the Cavite coast along Manila Bay.

The multi-continent trade would only end with Mexico's fight for independence from Spain.

Fourteen years after its conception, museumgoers will starting May 1 be able to walk the replica ship's decks, immersed in a giant, wrap-around LED display of star-studded night skies.

Artifacts from voyages line exhibits surrounding the vessel, including part of a Chinese tomb that once served as ballast in the hold of a galleon.

"We're filling the blanks in with this museum," Quezon told AFP on a tour ahead of its opening.

"The child who comes through, we want them to realize that many of the things that they take for granted have absolutely amazing stories behind them."

Funding for the "billion-peso" ($16.5 million) project came from the Philippines' wealthiest families after bids to secure financing from the government and a Mexican billionaire faltered.

But while the Espiritu Santo is a physical marvel, it will never set sail.

Early in the process, Quezon, a historian and grandson of a former Philippine president, learned to his dismay that the local hardwood and water-resistant species used to build the galleons had long been wiped out.

A wooden galleon of Espiritu Santo's size would have required 800 trees that could now only be found in the forests of Myanmar, said Quezon.

While the museum representation is scrupulously faithful to what is known of the original vessel's design and dimensions, it was built largely with fibreglass and other man-made materials.

"In those days, you would have levelled entire forests just to be able to produce a single galleon," he said.

"That would have been irresponsible, particularly because it wasn't meant to float."


Over 90 Countries Participate in the 5th Edition of Peoples’ Heritage Festival in Saudi Arabia

The cultural event reflected the diversity of global heritage and promoted cultural and knowledge exchange among peoples. SPA
The cultural event reflected the diversity of global heritage and promoted cultural and knowledge exchange among peoples. SPA
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Over 90 Countries Participate in the 5th Edition of Peoples’ Heritage Festival in Saudi Arabia

The cultural event reflected the diversity of global heritage and promoted cultural and knowledge exchange among peoples. SPA
The cultural event reflected the diversity of global heritage and promoted cultural and knowledge exchange among peoples. SPA

The fifth edition of the Peoples’ Heritage Festival, organized by Qassim University at the King Khalid Cultural Center in Buraidah, witnesses broad participation from more than 90 countries worldwide over six days, in a cultural event that reflects the diversity of global heritage and promotes cultural and knowledge exchange among peoples.

The festival presents live folkloric performances and traditional costumes that reflect the cultural identity of the participating countries, alongside international pavilions showcasing their most prominent popular heritage.

The scene blends authenticity with cultural diversity and features numerous events, including a children’s theater offering educational and entertaining shows, a classic car exhibition, and falconry displays that highlight an aspect of genuine Arab heritage.

Meanwhile, the Saudi pavilion illustrates the three stages of the Saudi state – first, second, and third – through informative content that sheds light on its history, development, and civilizational and cultural achievements.