Ukrainian Haiku Poet Finds Small Miracles in War

For Vladislava Simonova, haiku is a way of finding poetry in ordinary moments. Tetiana DZHAFAROVA / AFP
For Vladislava Simonova, haiku is a way of finding poetry in ordinary moments. Tetiana DZHAFAROVA / AFP
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Ukrainian Haiku Poet Finds Small Miracles in War

For Vladislava Simonova, haiku is a way of finding poetry in ordinary moments. Tetiana DZHAFAROVA / AFP
For Vladislava Simonova, haiku is a way of finding poetry in ordinary moments. Tetiana DZHAFAROVA / AFP

A temperamental lift leads to the apartment in central Ukraine of a 27-year-old poet celebrated in Japan but almost unknown in her own country.

With pink hair, fuchsia sweater and matching socks, Vladislava Simonova tells the story of her burgeoning career 7,800 kilometers (4,850 miles) away in a country she has never visited.

But here in the central Ukrainian city of Poltava, she lives near a trolleybus depot, which is just one of the sites targeted by Russian drones whose constant buzzing puts her on edge.

Just as she mentions the word "explosion" to describe the terror of Russian strikes, a drone whizzes overhead and explodes in the distance.

Next to her, a shelf holds 15 books with colorful spines -- a collection of contemporary Ukrainian poets -- two Japanese teapots, three religious icons and a figurine of Phoebe Buffay from the series "Friends".

"I never thought that I would be writing about war," she told AFP.

"With time, I somehow came to realize that ... tiny details can convey the tragedy of this great war much better than perhaps dozens of reports," she added.

Simonova is among a whole generation of artists bearing witness to the invasion that has devastated Ukrainian cultural life.

Simonova said she discovered haiku -- her preferred form -- in 2013, when she was a teenager.

The three-line poems, made up of 17 syllables in a 5-7-5 pattern, were codified in 17th-century Japan to capture the beauty of nature, daily life and fleeting moments with simplicity.

For years, she studied the Japanese masters -- Basho, Buson, Issa -- and wrote more than 600 haiku which, she said, gradually became less "clumsy":

He walks so proudly,

On soft apricot petals

This plump little cat.

24.04.2015

Not bothered by rain,

I tremble my way back home

With a pine sapling.

16.10.2014

- 'Communion' -

In 2018, Simonova won a competition organized by a Japanese foundation.

When Russia launched its full-scale invasion in February 2022, she was living in Kharkiv.

Russian forces tried to seize the northeastern city and have been shelling it constantly since being pushed back.

For three months when Russian troops first crossed the border, she survived by living in an underground shelter.

Instead of a storm --

The rumbling of explosions.

Springtime has arrived.

14.05.2022

A house in ruins.

Through the hole in the rooftop,

Stars are glimmering.

14.05.2022

In March 2022, from her shelter, Simonova gave a written interview to Japan's The Asahi Shimbun newspaper.

A few weeks later, renowned poet Madoka Mayuzumi got in touch.

She told AFP that Simonova has a "deep understanding" of the essence of haiku.

"Even in the midst of war, she gazes up at the moon and stars and admires flowers... her haiku reflect a communion with nature," Mayuzumi said.

"Despite the themes that tend to be sombre, her work possesses a sense of optimism," Mayuzumi added.

Bees oblivious

To the air-raid siren's sound.

Linden trees in bloom.

19.06.2022

With around 10 others, Mayuzumi helped Simonova translate and publish her first collection in Japan in 2023.

The book received "very high praise", Mayuzumi said.

Throughout Japan's history, she added, people have written haiku in dark times, including after the 1945 atomic bombings and the 2011 tsunami.

- 'Cherry blossoms' -

In August 2022, the underground shelter in Kharkiv where Simonova had lived was destroyed by a Russian missile. She moved to Poltava.

She published a second collection in Japan in 2024, followed by another in Denmark in early 2026.

She dreams of publishing one in Ukraine.

Before the war, she wrote in Russian. She later switched to Ukrainian.

The translation of the poems was complex. The two related languages often use words of different lengths -- "umbrella", for example, is one syllable in Russian, but four in Ukrainian.

Simonova does not read prose, "only poetry". And the Bible. She belongs to Poltava's tiny Catholic community.

During AFP's visit, she suggests going to the park, says goodbye to her husband -- who stays at home -- before hurrying down the stairs of her Soviet-era apartment block. The lift was not working.

It is a cold spring Sunday and the park is almost empty. She sits on a tree branch near a pond, wearing a multicolored puffer jacket.

Since childhood, Simonova has suffered from a serious heart condition that leaves her exhausted.

She discovered haiku in a hospital, in an anthology that also contained "Persian poems".

As the wind blows, she stands up and reads aloud for the first time in public, reciting each poem twice.

The first is for friends no longer around:

They scatter away

Like cherry blossoms in wind,

People I hold close.

The second is a memory of Kharkiv.

I clutch in my palm

Some fragments of a missile.

The pain stays with me.

She leafs through her pink-covered collection, then chooses one last poem.

What a sky it is!

And yet from that very sky

Missiles fall on us.



Saving Gaza's Past, One Artifact at a Time

Palestinian curators working to restore ancient artifacts amid the ruins of war-devastated Gaza. (AFP)
Palestinian curators working to restore ancient artifacts amid the ruins of war-devastated Gaza. (AFP)
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Saving Gaza's Past, One Artifact at a Time

Palestinian curators working to restore ancient artifacts amid the ruins of war-devastated Gaza. (AFP)
Palestinian curators working to restore ancient artifacts amid the ruins of war-devastated Gaza. (AFP)

Armed with paintbrushes and wearing surgical gloves, volunteers inside a large tent in Gaza delicately brushed dust from a stone mosaic before placing it into storage, part of an effort to preserve cultural heritage hit by war.

More than 160 historic and cultural sites across the Palestinian territory have been damaged during the conflict between Israel and Hamas, according to the United Nations.

Many of these artifacts date back thousands of years.

"Several mosaic artworks have been lost or destroyed, either completely or partially," said Mohammed Abu Lahia, a Palestinian visual artist taking part in the preservation efforts in the south Gaza city of Khan Yunis.

"It is important that we work to revive this art, remind our children and our community, and send a message to the world that we are committed to our heritage and our Palestinian cause."

Beyond archaeological treasures, more recent cultural artifacts are also at risk of being damaged or buried beneath rubble from shelling and airstrikes.

More than 90 percent of Gaza's buildings have been damaged or destroyed during the conflict, according to the UN.

Over the centuries, Persians, Greeks, Romans, Byzantines and Ottomans all left their mark on Gaza, creating a rich historical landscape of churches, mosques, ports and artifacts, many of which have suffered damage during the conflict.

"This stone is a piece called a mortar, and it was used for grinding grains and herbs. It is approximately 5,000 years old," said Muhannad Abu Lahia, a cultural heritage guide with the Mayasem Association for Culture and Arts, the NGO leading the preservation efforts.

Behind him, artifacts already catalogued for safekeeping were stacked on wooden shelves inside weatherproof plastic containers.

- Preserving the past -

With Israel maintaining tight controls over goods entering the Gaza Strip -- restrictions that have at times contributed to severe shortages of food and other supplies -- volunteers have had to work without professional conservation equipment.

Instead, they gently removed dust from mosaics using ordinary paintbrushes and built a makeshift scanning station by mounting a camera above a box lined with black craft paper.

The improvised scanner allowed volunteers to digitize old photographs and paper documents, which were then uploaded to a computer for preservation.

Not everything entering storage is ancient.

Many items date from the 20th century, including the late Ottoman period, the British Mandate and the Egyptian administration. Their owners sought to save them from destruction or loss after being displaced.

"This is a paper archive containing maps of Khan Yunis and structural maps of the Khan Yunis area from the time of the British Mandate," said 29-year-old volunteer Taghreed Hajjari.

At one table, three women painstakingly rearranged hundreds of fragments to recreate a contemporary mosaic, using a printed copy of the original artwork as a guide and trimming excess stone with carpenter's pincers.

Many artifacts, however, remain beyond the so-called "Yellow Line", which separates territory under Hamas control from areas held by the Israeli forces.

Israel says it now controls more than 60 percent of the Gaza Strip, up from about half when the ceasefire took effect in October last year.

Volunteers say retrieving artifacts from Israeli-controlled areas remains extremely difficult.

Meanwhile, Hajjari said efforts continue to preserve everything still within reach, including documents that chronicle centuries of Gaza's history.

"We also have newspapers and documents here from the British Mandate and the Egyptian era until the arrival of the Palestinian Authority," she said.

"They were collected through visits and conversations with elderly residents.

"We documented their oral histories so they can serve as a reference for future generations."


Face-to-Face with Ancient Rome: Exhibition in Hungary Brings Forgotten Faces to Life

Roman-era skulls and their facial reconstructions are on display at the Aquincum Museum's exhibition titled "Once we were like you" which showcases characters and the fictional life stories of those who once lived in the bustling Roman settlement of Aquincum, in Budapest, Hungary, Tuesday, July 7, 2026. (AP)
Roman-era skulls and their facial reconstructions are on display at the Aquincum Museum's exhibition titled "Once we were like you" which showcases characters and the fictional life stories of those who once lived in the bustling Roman settlement of Aquincum, in Budapest, Hungary, Tuesday, July 7, 2026. (AP)
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Face-to-Face with Ancient Rome: Exhibition in Hungary Brings Forgotten Faces to Life

Roman-era skulls and their facial reconstructions are on display at the Aquincum Museum's exhibition titled "Once we were like you" which showcases characters and the fictional life stories of those who once lived in the bustling Roman settlement of Aquincum, in Budapest, Hungary, Tuesday, July 7, 2026. (AP)
Roman-era skulls and their facial reconstructions are on display at the Aquincum Museum's exhibition titled "Once we were like you" which showcases characters and the fictional life stories of those who once lived in the bustling Roman settlement of Aquincum, in Budapest, Hungary, Tuesday, July 7, 2026. (AP)

A blacksmith, a stable boy, a soldier, a slave: The faces and stories of these and other residents of an ancient Roman city in modern Hungary have been brought to life in remarkable fidelity for a new exhibition in Budapest.

The display, which runs until Oct. 31, showcases highly detailed facial reconstructions from over a dozen skulls found in the ancient city of Aquincum, once a bustling Roman settlement on the empire's Danube frontier.

Visitors to the Aquincum Museum come face-to-face with hyper-realistic models of Roman-era individuals, each crafted using DNA analysis and other techniques from fields such as archaeology and anthropology to determine how the people may have looked in life nearly 2,000 years ago.

“Our main goal was to bring a few of these individuals closer to the people of today,” said Loránt Vass, an archaeologist and the exhibition's co-curator.

The title of the exhibition, “Once we were like you,” attempts to answer questions about ordinary people in ancient societies: What did they look like? What were their names? What was their fate?

Experts with the Aquincum Museum used DNA analysis of unearthed bones to reveal skin, hair and eye color and whether the person may have had freckles.

The shape, density and other characteristics of the skull revealed details of the structure of the face as well as the person's age and whether they had sustained any injuries or suffered from disease.

Based on the findings, curators came up with names, trades and biographical stories to each of the reconstructed faces, giving them new life.

Péter Vámos, another of the exhibit’s co-curators, said the invented details were “based on authentic historical foundations” as well as information gathered from analysis of the skulls, which are displayed under the reconstructions.

“We don’t even know their names, unfortunately, but we tried to incorporate everything that anthropology and genetic studies could tell us about their life history,” he said.

One character, a construction worker they named Respectus, is described as having made his living in Aquincum plastering walls and splitting stone blocks. The exhibit says the work took its toll on his bones, and in a wine-fueled skirmish in a local tavern, his nose was broken and one of his teeth knocked out.

The story and social status of Respectus is typical of many Aquincum residents depicted. Vass said their studies showed that the bones of almost all individuals show a “fairly high degree” of inflammation.

“They were subjected to regular physical labor, and in many cases they were exposed to starvation for a certain period of time,” he said. “Based on this, it can be concluded that most of them belonged to the lower middle class, which is the least remembered segment of Roman society.”

Of the 16 reconstructions, six are silicon moldings that have been painted and meticulously adorned with true-to-life hair, clothing and jewelry.

Emese Gábor, who handcrafted the silicon reconstructions, said that while artificial intelligence also can be used to model ancient faces, “they just appear on a screen.”

“The advantage of this kind of reconstruction is that it can be displayed in a museum, it can be viewed from all angles and is totally life-size,” she said. “I stick to scientific methods and combine classical and modern scientific methods in this work.”

Another valuable piece of information that DNA can reveal is the ethnic origin of the person — quite illuminating in Aquincum's diverse settlement.

Analyses showed the presence of not only Roman citizens with origins in the heart of the empire in modern-day Italy, but also people from as far away as today's Scotland and Syria, as well as members of the nomadic Sarmatian tribes of the Eurasian steppes.

Also among Aquincum’s residents were Celts, who inhabited the region in the Iron Age before Roman settlement.

Vass said that during typical excavations of Roman-era skeletons, artifacts are examined, documented and stored, meaning “the bodies have no weight, no life, no soul.”

But by confronting visitors with their ancient predecessors, the museum hopes to forge a connection.

The exhibition's title “suggests that they were like we are today. They had the same occupations, the same problems,” Vass said.

“They may have had different life conditions, different social status, but people are people,” he said. “I don’t think that has changed much across history.”


AI-Powered Cultural Programs to Transform Saudi Arabia’s Creative Sector

The Ministry of Culture and the Cultural Development Fund signed a memorandum of understanding with SDAIA to explore joint AI programs serving the cultural sector. Photo: Ministry of Culture
The Ministry of Culture and the Cultural Development Fund signed a memorandum of understanding with SDAIA to explore joint AI programs serving the cultural sector. Photo: Ministry of Culture
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AI-Powered Cultural Programs to Transform Saudi Arabia’s Creative Sector

The Ministry of Culture and the Cultural Development Fund signed a memorandum of understanding with SDAIA to explore joint AI programs serving the cultural sector. Photo: Ministry of Culture
The Ministry of Culture and the Cultural Development Fund signed a memorandum of understanding with SDAIA to explore joint AI programs serving the cultural sector. Photo: Ministry of Culture

Saudi Arabia is preparing to launch a new generation of AI-powered cultural initiatives aimed at reshaping innovation, boosting the efficiency of creative institutions, and helping Saudi artists expand their presence at home and abroad.

On Monday, the Ministry of Culture and the Cultural Development Fund signed a trilateral memorandum of understanding with the Saudi Data and AI Authority (SDAIA) to explore joint AI programs serving the cultural sector, creators, and cultural enterprises.

The move reflects a broader national drive to accelerate the adoption of advanced technologies across the cultural economy as the Kingdom prepares to designate 2026 the Year of Artificial Intelligence.

Building an Enabling Ecosystem

Raed bin Khalil Al Eid, a cultural innovation adviser and founder of the Cultural Management Platform, said the agreement reflects growing recognition of AI’s role in the future of culture.

Although the initiative comes some time after the launch of the Year of AI, he said the delay should not prevent institutions and practitioners from benefiting from the programs expected to emerge.

What matters most, he added, is effective implementation that translates the memorandum into projects with tangible impact.

Al Eid cited a specialized study by the Cultural Management Platform that documented AI applications across all 16 cultural sectors officially recognized in Saudi Arabia, including heritage, museums, libraries, literature, publishing, translation, music, theater, film, architecture, fashion, and culinary arts.

The findings showed that AI has become an enabling technology applicable across the entire cultural ecosystem rather than a tool limited to a single discipline, broadening investment opportunities and making its adoption in Saudi Arabia increasingly practical.

He argued that the Ministry of Culture’s primary role at this stage is to create an enabling environment for AI by establishing policies, regulations, professional standards, and governance frameworks covering intellectual property, data, and ethics.

This, he said, would allow private companies, nonprofit organizations, and community initiatives to develop AI solutions with confidence.

Culture in the Year of AI

Al Eid said cultural innovation is no longer optional but essential as audiences, cultural consumption habits, generational interests, and regional priorities continue to evolve.

He emphasized that coupled with AI, cultural innovation can do more than improve efficiency: it can broaden culture’s reach, engage new audiences, and create more diverse, interactive, and sustainable cultural experiences.

Saudi Arabia’s cultural sector is already undergoing a rapid digital transformation, with further momentum expected as the Kingdom marks 2026 as the Year of Artificial Intelligence. The Ministry of Culture and its affiliated commissions have launched competitions and hackathons to attract innovators and encourage the development of AI applications across the cultural sector.

For Saudi artists and cultural professionals, the initiative is expected to open new opportunities to combine human creativity with advanced AI capabilities across a wide range of creative fields.