China to Replace Australia's Popular Giant Pandas

ADELAIDE, AUSTRALIA - JUNE 16: Wang Wang the panda chews a box as South Australian Premier Peter Malinauskas and China's Premier Li Qiang listen to a Zoo ranger at Adelaide Zoo on June 16, 2024 in Adelaide, Australia. Asanka Ratnayake/Pool via REUTERS
ADELAIDE, AUSTRALIA - JUNE 16: Wang Wang the panda chews a box as South Australian Premier Peter Malinauskas and China's Premier Li Qiang listen to a Zoo ranger at Adelaide Zoo on June 16, 2024 in Adelaide, Australia. Asanka Ratnayake/Pool via REUTERS
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China to Replace Australia's Popular Giant Pandas

ADELAIDE, AUSTRALIA - JUNE 16: Wang Wang the panda chews a box as South Australian Premier Peter Malinauskas and China's Premier Li Qiang listen to a Zoo ranger at Adelaide Zoo on June 16, 2024 in Adelaide, Australia. Asanka Ratnayake/Pool via REUTERS
ADELAIDE, AUSTRALIA - JUNE 16: Wang Wang the panda chews a box as South Australian Premier Peter Malinauskas and China's Premier Li Qiang listen to a Zoo ranger at Adelaide Zoo on June 16, 2024 in Adelaide, Australia. Asanka Ratnayake/Pool via REUTERS

China will loan Australia new "adorable" giant pandas to replace a popular pair that failed to produce offspring in more than a decade together, visiting Premier Li Qiang announced Sunday.

Adelaide Zoo has been home to Wang Wang and Fu Ni since 2009 when they were loaned by China as part of a global preservation scheme that also serves as a tool of "panda diplomacy".

Breeding panda cubs is a notoriously difficult task for the low-sexed creatures and hopes of a pregnancy in Adelaide, including through the use of artificial insemination, have been repeatedly dashed.

As one of the furry giants played with a strip of tree in the background, Li delivered the news that they will be going home.

"Wang Wang and Fu Ni have been away from home for 15 years -- I guess they must have missed their home a lot -- so they will return to China before the end of the year," the premier said, according to Agence France Presse.

"But what I can tell you is that we will provide a new pair of equally beautiful, lovely and adorable pandas as soon as possible."

China would provide Australia with candidates to choose from, said Li, who landed in Adelaide on Saturday on a four-day fence-mending trip after Beijing withdrew a string of trade sanctions on major Australian exports.

The announcement is a nod to Foreign Minister Penny Wong's efforts to stabilize Australia's relationship with China, following a diplomatic rift with the former conservative government.

Li said he remembered the Australian foreign minister had twice reminded him during a visit to Beijing last November that the panda loan agreement would expire later this year.

"We have made this announcement to fulfil the wishes of the minister," he said.

Adelaide is Wong's hometown, and she said her own children would be "very happy" at the news.

"It's good for the economy, it's good for South Australian jobs, it's good for tourism and it's a symbol of goodwill, and we thank you," she said.

There are an estimated 1,860 giant pandas left in the wild, according to environmental group WWF.

But the animals, which were removed from the International Union for Conservation of Nature's endangered species list in 2016, still face serious threats from loss of habitat and fragmentation.



War Takes Center Stage as Lebanon's Theatres are Back

An actor performs in 'When I Saw the Sea', a play by Lebanese director Ali Chahrour, at a theater in Beirut. Joseph EID / AFP
An actor performs in 'When I Saw the Sea', a play by Lebanese director Ali Chahrour, at a theater in Beirut. Joseph EID / AFP
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War Takes Center Stage as Lebanon's Theatres are Back

An actor performs in 'When I Saw the Sea', a play by Lebanese director Ali Chahrour, at a theater in Beirut. Joseph EID / AFP
An actor performs in 'When I Saw the Sea', a play by Lebanese director Ali Chahrour, at a theater in Beirut. Joseph EID / AFP

As Lebanon suffered a war last year, Ali Chahrour was determined to keep making art, creating a performance inspired by the plight of migrant workers caught up in the conflict.

Months after a ceasefire largely halted the fighting between Israel and the Lebanese militant group Hezbollah, Chahrour's work premiered in Beirut in early May with plans to take it to stages across Europe including at France's famed Avignon Festival, AFP said.

"This project was born during the war," said the 35-year-old playwright and choreographer.

"I did not want to stop making theater, because I don't know how to fight or carry weapons, I only know how to dance."

On stage, two Ethiopian domestic workers and a Lebanese Ethiopian woman speak, sing and dance, telling stories of exile and mistreatment in "When I Saw the Sea", directed by Chahrour.

The play pays tribute to the migrant women who were killed or displaced during the two-month war between Israel and Hezbollah which ended in November, and the year of hostilities that preceded it.

Hundreds of migrant workers had sought refuge in NGO-run shelters after being abandoned by employers escaping Israeli bombardment.

Others were left homeless in the streets of Beirut while Lebanon's south and east, as well as parts of the capital, were under attack.

Chahrour said that "meeting with these women gave me the strength and energy to keep going" even during the war, seeking to shed light on their experience in Lebanon which is often criticized for its poor treatment of migrant workers.

'Escape and therapy'

The war has also shaped Fatima Bazzi's latest work, "Suffocated", which was shown in Beirut in May.

It was revised after the 32-year-old playwright was displaced from her home in Beirut's southern suburbs, a Hezbollah stronghold heavily bombarded during the war.

The play originally portrayed a woman dealing with her misogynistic husband, and was reshaped by Bazzi's own experience, forced to escape to Iraq until the ceasefire was finally reached.

Determined to continue the project the moment she returned to Lebanon, Bazzi had kept in contact with the cast in video calls.

"We took advantage of this in the performance, the idea of separation and distance from each other, how we worked to continue the play," she told AFP during a recent rehearsal.

At one point in the play, the characters are suddenly interrupted by the sound of a bomb and rush to their phones to see what was hit this time, with their reactions becoming scenes of their own.

To Bazzi, working on the play has allowed her and the cast to "express the things we felt and went through, serving as an escape and therapy".

'Children of war'

Theater stages across Lebanon did not lift their curtains during the war, and though they are now back, the local scene is still burdened by the effects of a devastating economic crisis since 2019.

"We postponed an entire festival at the end of last year due to the war," said Omar Abi Azar, 41, founder of the Zoukak collective.

The group runs the theater where Bazzi's latest piece was performed.

"Now we have started to pick up the pace" again, said Abi Azar, whose own play was postponed by the war.

"Stop Calling Beirut", which Abi Azar created with his collective, tells the story of the loss of his brother more than a decade ago and their childhood memories during Lebanon's civil war, which ended in 1990.

Zoukak itself was born out of a crisis during a previous war between Hezbollah and Israel in 2006.

"We are children of war. We were born, raised and grew up in the heart of these crises," said Abi Azar.

To him, "this is not a challenge, but rather our reality".

"If this reality wanted to pull us down, it would have dragged us, buried us and killed us a long time ago," he added, seeking hope in art.