The Rohang Heritage Center, established in Camp 6 and funded by Bangladeshi authorities in February, was launched as more than 1.3 million Rohingya refugees continue to live across 33 camps in southeastern Bangladesh amid stalled efforts to repatriate them to Myanmar.

The center contains more than 200 items, including historical maps, newspaper clippings, books, photographs and recordings of the Rohingya language.
Mizanur Rahman, Bangladesh’s refugee relief and repatriation commissioner in Cox’s Bazar, said the collection was assembled from materials carried into Bangladesh by Rohingya refugees during successive waves of displacement from Myanmar.

“The items have been collected from old newspaper clippings, books published on Rohingya history, and various historical documents,” Rahman said, adding that the initiative aims to help younger Rohingya reconnect with their ethnic and cultural heritage.

The Rohingya, a predominantly Muslim minority from Myanmar’s Rakhine State, have faced decades of discrimination and statelessness. Hundreds of thousands fled to Bangladesh following a military crackdown in 2017, adding to earlier refugee populations that had crossed the border over previous decades.

Bangladesh and the United Nations have repeatedly sought to facilitate the voluntary return of refugees to Myanmar, but the process has remained largely frozen amid political instability and armed conflict. Conditions deteriorated further after Myanmar’s military seized power in 2021, while fighting between junta forces and the Arakan Army in Rakhine State has intensified since 2024.

Camp administrator Gazi Shariful Hasan, who initiated the heritage project, said a central objective was to collect official Myanmar documents issued before 1989 that identified holders as Rohingya, preserving evidence of state recognition before citizenship rights were effectively withdrawn.

According to Hasan, the center includes civil records, political archives and profiles of Rohingya figures who once participated in Myanmar’s national political life, including former members of parliament.
“Of course, no government would allow foreign nationals to serve in its parliament, which indicates that the Myanmar government previously recognized this ethnic population,” Hasan said.

The exhibits also document the community’s intellectual, religious and cultural history, including biographies of prominent Rohingya Islamic scholars and archival material related to mosques in Rakhine State.

One section features photographs of 25 mosques built in the early 19th century in Rakhine. Organizers said many of the structures have since been destroyed, making historical photographs among the few remaining records of their existence.

The center is operated by Rohingya volunteers and serves both as a cultural archive and an educational resource for younger refugees, many of whom have spent most or all of their lives in camps and have limited access to formal education.

Bangladeshi officials said preserving cultural memory remains important as uncertainty persists over the timing and conditions for any future repatriation process.

A series of documentary photography exhibitions presented through New York’s annual Photoville festival is drawing attention to themes of gender identity, immigration, incarceration and Indigenous cultural preservation, reflecting a broader shift toward socially engaged visual storytelling in contemporary photography.

The exhibitions, curated across multiple outdoor and gallery spaces, bring together photographers examining subjects ranging from transgender identity in the Netherlands to rehabilitation programmes inside maximum-security prisons in the United States. Organisers say this year’s projects place particular emphasis on human connection and emotional resilience at a time of political and social division.

One of the featured exhibitions centres on the late Dutch photographer Diana Blok Wolff, whose portraits documented transgender individuals and gender expression decades before such issues entered mainstream public debate. According to Wolff associate Brouwer, a commitment was made during the photographer’s lifetime to preserve and promote her work internationally.

Recent exhibitions in Amsterdam and New York City have introduced new audiences to Wolff’s archive, which Brouwer described as deeply focused on individual identity rather than social categorisation. “He really looked at people as individuals,” Brouwer said. “It was always the individual he wanted to photograph.

”Another exhibition, titled Point of View, combines self-portraits created by Dutch college students exploring gender identity with historical artworks from the archives of Rijksmuseum. Curator Barzilay said the project was intended both to encourage reflection on gender identity and to normalise the existence of transgender people within broader historical narratives.

Barzilay described the inclusion of transgender-related imagery in the Rijksmuseum collection as culturally significant because it demonstrated that gender diversity had long existed within Dutch society. “We’re still litigating a thing that people have already resolved,” he said.Questions surrounding gender identity and transgender representation have become increasingly politicised internationally in recent years, particularly in debates over education, healthcare and public policy.

Museums and cultural institutions across Europe and North America have expanded efforts to incorporate LGBTQ+ histories into permanent collections and exhibitions.Another project presented at Photoville, The Avillas by photographer Lexi Parra, examines the impact of immigration enforcement on a family after its matriarch self-deported from the United States amid fears linked to anti-immigration rhetoric during the administration of Donald Trump.

The series documents the family’s attempts to adapt after separation from a central parental figure, presenting the emotional and social consequences of immigration policies on mixed-status households. Barzilay described the project as an examination of “what happens when a beloved member of a family is torn away from it.

”Immigration policy during Trump’s presidency included stricter border enforcement measures, expanded deportation operations and heightened political debate over undocumented migration. Advocacy organisations have argued that these policies contributed to fear and instability among immigrant communities across the United States.

Among the most widely discussed exhibitions at the festival is Puppies Behind Bars, a collaborative project by photographers Ashley Gilbertson and Ava Pellor documenting a prison rehabilitation initiative inside Green Haven Correctional Facility, a maximum-security prison in New York state.

The programme allows incarcerated men to raise puppies that are later trained as service dogs. Gloria Gilbert Stoga, founder of the organisation Puppies Behind Bars, said she intentionally sought photographers experienced in conflict and crisis reporting because of the psychological intensity of prison environments.

Gilbertson is known internationally for his coverage of the Iraq War, while Pellor has documented wildfires and migrant border crossings in the Balkans. Their images capture daily life within the prison while focusing on emotional vulnerability and rehabilitation among inmates participating in the programme.

“The dogs humanize an environment that’s devoid of all humanity,” Gilbertson said, describing the programme’s effect on participants. He said caring for animals gave many inmates responsibility, emotional openness and continuity that had previously been absent from their lives.

Pellor recalled photographing a prisoner who became emotional after receiving a puppy for the first time. According to Pellor, the inmate remained physically close to the dog throughout the day after breaking down in tears during an outdoor walk.

Criminal justice researchers in the United States have increasingly studied animal-assisted rehabilitation programmes within prisons, with some studies suggesting they can improve emotional regulation, reduce disciplinary incidents and support reintegration efforts after release.

Another exhibition attracting attention is The Women’s Grass by Whitney Snow, which documents the cultural and spiritual significance of sweetgrass within the Blackfeet Nation community.

Sweetgrass has long held ceremonial and medicinal importance among Indigenous groups in North America, with harvesting traditions often passed between generations of women. Snow said women with extensive knowledge of the plant hold respected positions within Blackfeet society.

The photographer said she worked closely with tribal elders during production of the project to ensure sacred traditions were represented respectfully and without exploitation. Snow described her approach as an attempt to balance cultural education for outside audiences with the need to preserve community boundaries.

Her images focus on the landscapes, rituals and emotional connections surrounding sweetgrass harvesting, emphasising calmness and interconnectedness with nature rather than ethnographic spectacle.

Curators said many projects submitted to this year’s Photoville festival unexpectedly centred on joy, healing and emotional renewal despite addressing subjects often associated with trauma or political conflict.

Under trees, inside narrow sheds, and along dusty alleyways, artisans work for hours arranging colourful threads into narrow patterned strips that are later stitched together into wider cloth used for ceremonial wear, designer outfits, shoes, bags and accessories. Despite rising international demand and repeated attempts to modernise production, many weavers insist that aso-oke must remain handwoven to preserve its authenticity.

Located about 200 kilometres from Lagos, Nigeria’s commercial and fashion hub, Iseyin is widely recognised as the historic centre of aso-oke production. The fabric, whose name roughly translates to “cloth from up country,” has long been associated with Yoruba identity and social prestige.

Traditionally worn by wealthy families and ruling elites during weddings, festivals and major ceremonies, aso-oke has expanded far beyond formal occasions. It now appears in contemporary fashion collections across Nigerian cities and on international runways in London and Paris, reflecting both the influence of Nigeria’s fashion industry and the visibility of its diaspora abroad.

Its growing global presence was highlighted when Meghan Markle wore an aso-oke wrapper and shoulder shawl during her 2024 visit to Nigeria with Britain’s Prince Harry, bringing renewed international attention to the textile.For many weavers in Iseyin, however, the craft remains less about fashion visibility and more about livelihood.

Waliu Fransisco, 34, sits at his wooden loom weaving a cream-and-blue fabric, the repetitive click of the machine filling the workshop. A decade ago, he left his job as a nightclub singer in Lagos to learn the physically demanding work of weaving.

“Now I earn a decent living from weaving aso-oke and I’m satisfied,” he told AFP.Like many younger artisans entering the trade, Fransisco represents a generational shift in an industry traditionally dominated by middle-aged men.

Rising unemployment and limited formal job opportunities have drawn young people, including university graduates, back to Iseyin to learn the craft.The work remains labour-intensive. Historically, artisans prepared threads from raw cotton or silk by cleaning, spinning and dyeing fibres manually before setting them on wooden looms.

Colours were limited, and production was slow.Today, many weavers use pre-prepared threads in a wider range of colours, often imported from China, allowing for more varied designs while preserving the manual weaving process.

According to 42-year-old weaver Abdulhammed Ajasa, imported loom-ready thread has made it easier to experiment with patterns and respond to changing market preferences without abandoning traditional production methods.Still, the weaving itself remains entirely manual.Artisans spend hours arranging and tightening threads before weaving narrow, densely patterned strips.

The final product depends heavily on precision, rhythm and experience, qualities many say machines cannot replicate.“This is what Iseyin is known for,” said Kareem Adeola, 35, speaking from behind his loom. “We inherited it from our forefathers.

”Efforts to mechanise aso-oke production have largely failed, according to local weavers, who argue that machine-made versions lose the texture, strength and visual depth associated with authentic handwoven fabric.“If you use a machine to weave aso-oke, it won’t come out as nice as if it was handwoven,” Adeola said while working on a yellow-and-olive design.

“People have tried it before, and it did not work. It is meant by God to be handwoven.”That resistance to mechanisation reflects both economic and cultural concerns.Handweaving creates jobs in Iseyin, where much of the local economy depends directly or indirectly on textile production.

It also preserves a cultural identity tied closely to Yoruba history and craftsmanship.The physical cost, however, is significant. Long hours of sitting at wooden looms can cause chronic pain and other health problems, particularly for older weavers. Yet many continue to accept the strain as part of preserving the craft.For designers, aso-oke’s international rise presents both opportunity and concern.

Ayomitide Okungbaye, creative director of Lagos-based fashion label Tide Chen, has exhibited aso-oke designs in London and sees its growing global appeal as a positive development.“There is nothing wrong with your culture being worn by other people,” the 31-year-old designer said.But she warned that global recognition also raises questions about ownership and misuse.

“Where we start to have a problem is when there’s misappropriation or people start to claim ownership,” she said.The concern is not theoretical. Another Yoruba textile tradition, adire — produced using tie-dye techniques — has already faced challenges from counterfeit versions manufactured abroad, particularly from China. Designers fear aso-oke could face similar risks if demand continues to grow without stronger protections for local artisans.

At the same time, the expansion of aso-oke into mainstream and international fashion has changed how the fabric is used within Nigeria itself.“It is no longer reserved for special occasions,” said Isiaq Yahaya, a 45-year-old mathematician observing the shift in consumer behaviour.

Today, aso-oke appears not only at weddings and traditional ceremonies but also in everyday fashion, adapted into shoes, handbags, purses and contemporary ready-to-wear collections.This evolution has helped sustain the craft economically while keeping it visible to younger generations who may otherwise see traditional textiles as outdated.

In Iseyin, finished rolls of brightly coloured cloth are stacked in small shops waiting for buyers from Lagos, Abuja and overseas markets. Some weavers now collaborate with graphic artists and fashion designers to develop new patterns that appeal to younger customers without losing the fabric’s traditional identity.

The balance between innovation and preservation remains delicate.For artisans here, the question is not whether aso-oke should evolve, but how far that evolution can go before the fabric loses the very qualities that made it valuable in the first place.

As global demand grows, Iseyin’s weavers continue to work under open skies and wooden sheds, preserving a process that has survived generations not because it was the easiest method, but because it carried something machines could not reproduce.

In the narrow lanes near Jama Masjid, one of the capital’s oldest neighborhoods, practitioners such as Azhar Udeen release more than 100 pigeons from rooftop enclosures, guiding them through coordinated flights and endurance exercises.

The practice, known as Kabootarbaazi, derives its name from the Hindi-Urdu word for pigeon and was historically patronised by Mughal Empire rulers, who used trained birds for communication and sport.

Participants train pigeons over several months to navigate long distances and return to their roosts, often using sound cues to condition flight patterns. The birds are also occasionally raced, with handlers monitoring their formations and endurance.

Beyond the technical aspects, practitioners say the activity serves as a social and emotional outlet. Kahlifa Mohsin described the gatherings as a way to relieve stress and build community ties in the densely populated city.

Despite rapid urbanisation and changing lifestyles, small groups of enthusiasts continue to preserve the tradition, maintaining rooftop aviaries and informal training routines that reflect a cultural practice rooted in India’s historical past.

An exhibition opening this weekend at Brodsworth Hall examines the life and influence of Sylvia Grant-Dalton, whose long residence at the Victorian property helped preserve it in an unusually unaltered state.

Located near Doncaster in South Yorkshire, the house is now managed by English Heritage, which attributes its survival in part to Grant-Dalton’s decision not to modernise the building during her lifetime.Grant-Dalton lived at Brodsworth Hall from 1931 until her death in 1988, a period spanning more than five decades.

Despite her personal dislike of Victorian architecture, she did not undertake major renovations, leaving original features such as wallpaper, carpets and fixtures largely intact, even as they deteriorated.

According to Eleanor Matthews, a curator at the site, this lack of intervention ultimately contributed to the building’s historical value, preserving it as a “time capsule” of Victorian domestic life.The exhibition focuses on Grant-Dalton’s personal interests rather than the structural condition of the house, with particular emphasis on her engagement with gardening and floral design.

Curators have drawn on her collection of decorative objects, horticultural materials and artworks to present a narrative centred on her creative pursuits. Matthews said the exhibition aims to highlight an aspect of Grant-Dalton’s life that contrasts with the physical decline of the house, offering visitors a more personal perspective.

Grant-Dalton’s association with the property stemmed from her marriage to Charles Grant-Dalton, who inherited the estate. While she reportedly preferred Georgian interiors, she remained committed to maintaining the house after her husband’s death in 1952.

The estate was later held in trust for their daughter, Pamela, and Grant-Dalton viewed its upkeep as a long-term responsibility despite the financial and practical challenges associated with managing a large historic property.Curators describe her as an independent and unconventional figure.

Accounts included in the exhibition depict a household that, while constrained by the building’s condition, retained an informal atmosphere. Family members visiting the house reportedly engaged freely with the space, and Grant-Dalton herself remained active within it into later life, using a mobility scooter to navigate its corridors.

Her primary focus, however, was the estate’s gardens. The exhibition documents her sustained interest in horticulture, including painting flowers, maintaining plant records and creating floral arrangements throughout the house.

This activity extended to improvised displays in various rooms, reflecting a continuous engagement with the natural environment surrounding the property.Among the items on display are restored decorative pieces such as gilt jardinières and 19th-century candelabras, alongside artworks linked to her interest in floral composition.

A reproduction of Flowers in a Terracotta Vase, originally held at the National Gallery, has been installed in the dining room, accompanied by a contemporary floral installation created by students from Doncaster College.

The exhibition also includes a reconstructed version of Grant-Dalton’s potting and preparation room, designed to evoke her daily routines. Sensory elements, including recorded garden sounds and floral scents, have been incorporated to provide context for her working environment.

Additional materials include archival photographs, recorded interviews and documentation of staff associated with the house during her residence.Following Grant-Dalton’s death, the property was transferred to public ownership by her daughter, subject to the condition that its contents be preserved. English Heritage assumed responsibility for the site in 1990, recognising the significance of its largely unaltered condition.

At a time when many Victorian houses in England were demolished or extensively redeveloped, Brodsworth Hall remained intact, in part due to the absence of modernisation during Grant-Dalton’s tenure.

The current exhibition situates her role within this broader context of heritage preservation, presenting her decisions whether intentional or circumstantial as central to the building’s survival.

By focusing on her personal interests and daily life, curators aim to connect the physical fabric of the house with the individual who maintained it over an extended period.

The exhibition will run as part of the site’s public programme, contributing to ongoing efforts to interpret the historical and cultural significance of Brodsworth Hall within the wider framework of Britain’s preserved Victorian estates.

The Navajo Nation, the largest Native American reservation in the United States spanning roughly 27,000 square miles across New Mexico, Arizona and Utah, is confronting the dual pressures of historical trauma and modern socio-economic challenges as its people work to preserve cultural identity.

Home to the Navajo, or Diné, meaning “the people,” the region faces persistent issues including inadequate housing, limited infrastructure and restricted access to technology. These challenges have shaped daily life for many residents while also influencing patterns of migration and cultural continuity.

Elders point to the long-term impact of U.S. assimilation policies, particularly the forced placement of Indigenous children in boarding schools during the 20th century. Virginia Brown, 69, recalled being taken from her family at the age of six and punished for speaking her native language. Such experiences contributed to the erosion of cultural practices and created generational gaps in language transmission.

The UNESCO classifies the Navajo language as “vulnerable,” with recent declines in fluency despite it remaining one of the most widely spoken Native American languages. In response, schools such as Holbrook High School have introduced language and culture programmes aimed at revitalising linguistic heritage among younger generations.

Younger community members express concern about shifting cultural priorities. Teenagers in towns such as Tuba City describe a growing influence of social media and mainstream culture, which some believe is reducing engagement with traditional practices.

At the same time, efforts to sustain cultural traditions continue across generations. Artisans like Drake Mace, who raises Navajo-Churro sheep and weaves rugs using techniques passed down within families, maintain longstanding practices tied to identity and livelihood.

Economic and infrastructural constraints remain significant. Around 30% of households lack running water, requiring residents to transport water from communal sources. These conditions have led some families to relocate to nearby towns, while others balance traditional lifestyles with modern employment.

Tara Seaton, 48, works remotely for Texas State University while living on the reservation, using satellite internet services to maintain connectivity. Such arrangements illustrate the blending of traditional living with contemporary economic opportunities.

Community leaders emphasise that cultural evolution does not necessarily equate to loss. Residents note that practices and values have adapted over time while maintaining continuity with ancestral traditions.

Cultural preservation initiatives include public performances by groups such as the Diné Tah Navajo dance troupe, which present traditional dances in schools and community events. Organisers describe these performances as a means of reconnecting younger generations with heritage while addressing historical trauma.

Entrepreneurs and activists are also working to strengthen cultural and economic resilience. Ira, a community member involved in agricultural and textile initiatives, described efforts to revive traditional weaving while integrating sustainable practices such as hemp cultivation. He also highlighted mentorship programmes and Indigenous farming cooperatives aimed at strengthening community networks and trade.

These initiatives reflect a broader trend in which Navajo cultural practices extend beyond reservation boundaries. Migration to urban and border areas has contributed to a diaspora where traditions such as weaving, silversmithing and language use continue in new settings.

Community members say the concept of Hózhó, which emphasises balance, harmony and beauty, remains central to Navajo identity. As cultural practices evolve alongside changing economic and social conditions, efforts to preserve language, traditions and community ties continue across generations.

While the incident raised concerns, it has also prompted a sweeping plan to strengthen the protection of one of the world’s greatest cultural institutions.

The review found that the burglars were able to take advantage of a 30-second delay in surveillance visibility, giving them just enough time to flee before police arrived.

Officials emphasized that this momentary lapse offered important lessons and has accelerated the modernization of security systems across the museum.

The heist took place in October, when four individuals used a crane to access an upper window of the Apollo Gallery.

The break-in exposed vulnerabilities in older glass structures and highlighted the need for updated materials capable of resisting forced entry for longer periods.

Culture ministry officials noted that outdated surveillance screens and limited angles from exterior cameras contributed to delays in spotting the intrusion.

The museum is already acting on the findings, preparing to install upgraded technology and ensure that security feeds are monitored live at all times.

The Louvre, with its vast network of galleries and storage spaces, functions almost like a self-contained city.

With nearly 2,200 employees and millions of yearly visitors, coordinating security across such a large area requires constant adaptation and investment.

The inquiry underscored the importance of faster communication between control rooms responsible for monitoring museum activity.

Plans are underway to enhance information flow so alerts can be relayed instantly to guards and responding officers.

Officials emphasized that the theft, though serious, has ignited a renewed commitment to safeguarding France’s cultural treasures.

The museum is preparing for a major upgrade that will include advanced glass reinforcement, real-time surveillance capabilities, and expanded exterior camera coverage.

Security experts expressed confidence that these improvements will significantly increase response times and reduce blind spots.

They also praised the museum’s quick decision to review and overhaul existing systems rather than delay corrective measures.

The Louvre remains one of the world’s most visited museums, drawing nearly 9 million people in 2023 alone.

Its reputation as a global cultural landmark makes the protection of its collections a top priority for French authorities and the international art community.

The inquiry described the museum’s vast infrastructure as comparable to managing a small urban center.

This complexity requires coordinated procedures, modern tools, and a highly trained team to maintain safety without disrupting the visitor experience.

Officials stressed that despite the theft, the museum’s long-term preservation mission remains strong.

The upgrades being introduced will allow the Louvre to continue welcoming millions of visitors while protecting priceless artworks and historical treasures.

The review also inspired discussions on enhancing collaboration with international museums to share best practices in cultural security.

Such cooperation can help institutions worldwide address evolving threats and prevent similar incidents in the future.

French cultural authorities view this moment as an opportunity to invest not just in equipment but also in training.

Future plans include strengthening staff preparedness, reducing response times, and integrating new technologies designed specifically for large cultural sites.

The Louvre’s leadership expressed strong determination to rebuild confidence and reinforce the museum’s global standing.

Visitors can expect an even safer and more technologically advanced experience as improvements are put into place.

This renewed focus on preservation and modernization demonstrates France’s dedication to protecting its heritage for future generations.

The incident, rather than diminishing the museum’s prestige, has sparked a transformative effort that will result in stronger, more resilient security systems.

The gathering brought together scholars, cultural leaders and researchers committed to strengthening the Arab narrative in a rapidly changing world.

The two-day event, themed “From Orientalist Narrative to Arab Narrative,” aimed to reshape how Arab culture is represented by emphasizing authentic roots and intellectual contributions.

Its purpose was to encourage renewed appreciation of Arab civilization while fostering constructive dialogue about the region’s past and present.

Prince Turki Al-Faisal inaugurated the event, recalling how the Arab aesthetic emerged from the vast silence of the desert, where clarity and imagination inspired early expressions of poetry and art.

He noted that beauty first appeared through sound and script, shaping a consciousness that later became central to Arab identity.

He emphasized the transformative moment when the Arabic language rose to prominence with the revelation, marking the beginning of a linguistic and artistic renaissance.

Arabic calligraphy, he said, became a vessel for sacred expression and helped launch a tradition of creativity that continues today.

The King Faisal Center for Research and Islamic Studies was praised for its role in documenting and preserving Arab cultural heritage.

Its collections, research programs and exhibitions were highlighted as essential tools for strengthening historical understanding and cultural awareness.

Partnership with the Arab League Educational, Cultural and Scientific Organization further enriched the event’s mission.

This collaboration supports knowledge initiatives designed to promote language, heritage and the Arab narrative on regional and international platforms.

Mohamed Ould Amar, ALECSO’s director-general, described the event as a beacon for cultural preservation and intellectual advancement.

He said that its goals align with broader efforts to protect Arab heritage and ensure its relevance in contemporary society.

He added that rebuilding the Arab narrative requires critical engagement with history and creative re-thinking of identity.’

This process links past achievements with present aspirations, shaping a modern narrative grounded in authenticity.

Arab Narrative Days builds on earlier editions that explored classical Arab storytelling, scientific contributions and the influence of the desert in shaping imagination and values.

The event continues the journey of understanding how cultural layers form identity and how they can be preserved for future generations.

The first edition in 2023 examined classical narration and the exchange of scientific knowledge between civilizations, emphasizing the importance of historical awareness.

The second edition, held in 2024, focused on the desert as a cultural archive, drawing from Bedouin traditions and early literary expressions.

This year’s edition expands these themes by addressing the evolution of the Arabic language and its centrality in shaping cultural and intellectual life.

Speakers emphasized that language remains a key pillar of identity, creativity and collective memory.

The event encourages participants to reflect on the powerful connection between language, art and history.

It highlights how understanding this relationship can strengthen cultural pride and inspire new generations to engage with their heritage.

As the discussions continue, the gathering underscores the importance of protecting and promoting Arab identity in an interconnected world.

It reaffirms that cultural preservation is not just a responsibility but a source of strength, offering a foundation for future creativity and regional unity.

The event closes with a renewed focus on building bridges between the past and the future.

Its message is clear: sustaining the Arab narrative requires active engagement, informed dialogue and a shared commitment to cultural continuity.

The program forms part of the Global Harmony 2 initiative, designed to promote cultural exchange and support broader development goals.

Organized by the Ministry of Media and the General Entertainment Authority, the cultural week aligns with national efforts to enhance quality of life and expand cultural engagement across communities.

Officials said the initiative also reflects long-standing cooperation and shared heritage between Yemen and the Kingdom.

Al-Eryani noted that the strong turnout demonstrates the value of such initiatives, which aim to bring people together through artistic expression and cultural storytelling.

He emphasized that the warm reception of Yemeni visitors reflects an enduring spirit of brotherhood and mutual support.

The minister also commended ongoing humanitarian and social initiatives that have benefited hundreds of thousands of Yemenis in recent months.

He said these contributions underscore the deep relationship connecting both countries and highlight the cultural week’s wider significance.

The visiting delegation included senior international representatives, among them Japan’s Ambassador to Yemen Yoichi Nakashima, US Embassy Charge d’Affaires to Yemen Jonathan Peccia, Chinese Embassy Charge d’Affaires to Yemen Zhao Cheng, and Turkiye’s Deputy Ambassador to Yemen Jihad Kocsuk.
Their presence underscored the global interest in Yemen’s cultural heritage and the value of cultural diplomacy.

Delegates and attendees praised the rich variety of displays, which featured traditional performances, handcrafted artifacts, and exhibitions showcasing Yemen’s regional diversity.

Many noted that the event offered an immersive experience that brought the country’s history and artistic traditions to life.

Pavilions throughout the venue recreated scenes from Yemeni villages and cities, providing visitors with a glimpse into local customs, architecture, and daily life.

Traditional attire from different regions was displayed, offering insight into Yemen’s cultural identity and environmental influences.

Visitors also enjoyed a range of musical performances and cultural showcases presented by more than 80 artists, highlighting Yemen’s distinctive rhythms, dances, and storytelling traditions.

The live showcases created an engaging atmosphere and allowed audiences to connect directly with the performers.

Craft pavilions featured silverware, bamboo products, traditional garments, and other handmade items that celebrated the skills of Yemeni artisans.

Demonstrations by craftspeople showed how local techniques have been passed down through generations.

Many Yemeni residents living in the Kingdom expressed their appreciation for the event, saying it provides an important space to reconnect with their heritage.

They noted that such cultural gatherings help reinforce identity while also introducing Yemen’s traditions to wider audiences.

Organizers said the event aims to support community cohesion and foster intercultural understanding at a time when cultural preservation remains essential.

They highlighted the collaborative nature of the initiative, which brings together government bodies, international partners, and cultural institutions.

Yemen Culture Week will continue until Nov. 28, featuring daily programs that include folk performances, interactive cultural workshops, and exhibitions dedicated to showcasing the depth of Yemeni culture.

Visitors can expect expanded displays, storytelling sessions, and activities that highlight historical narratives, artistic practices, and regional diversity.

As the event progresses, officials expect attendance to grow, reflecting increasing public interest in cultural exchange initiatives and community-centered events.

They said the cultural week stands as a meaningful platform for dialogue, creativity, and celebration of shared heritage.

In a world driven by rapid change, Saudi Arabia’s creative community is demonstrating that heritage is not a limitation but an inspiration.
Across industries — from jewelry to architecture and beauty — innovation is being redefined as an evolution of tradition rather than a departure from it.

At the heart of this movement are women innovators who are weaving cultural heritage into modern design. Their message is clear: the future of creativity lies in honoring the past while embracing the possibilities of tomorrow.

Princess Nourah Al-Faisal, founder of Nuun Jewels, captured this spirit at the Creative Women Forum. She emphasized that cultural roots give creativity its identity, while innovation gives it direction and strength.

Institutions like the Royal Institute of Traditional Arts, known as Wrth, are leading this transformation. Dedicated to merging preservation with progress, Wrth ensures that traditional arts form the foundation for modern education.

Suzan Alyahya, CEO of Wrth, highlighted the dynamic nature of Saudi heritage. “We see traditional arts as a moving, dynamic force, not a static remnant of the past,” she said, describing how students are encouraged to link identity with innovation.

Founded in 2021, Wrth’s programs empower citizens in crafts and design, supporting sustainable cultural growth. Courses range from pottery and Sadu weaving to master’s degrees in product development and digital heritage.

Technology, often seen as a rival to human creativity, is being reimagined as a partner in artistic expression. In Wrth’s philosophy, innovation through digital tools is not about replacing heritage but enhancing it.

Amal Abduljabbar, general manager of education and research, believes technology extends rather than threatens cultural authenticity. “Technology is not a threat to authenticity in any way. It’s an extension of our human story,” she explained.

She described how AI and virtual reality can protect and promote heritage. From monitoring historical sites to creating immersive storytelling experiences, digital tools amplify the emotional power of culture.

Abduljabbar added that identity itself evolves through values that must remain embedded in education and research. By nurturing these values, Saudi creatives are ensuring their innovations stay true to their roots while embracing modern perspectives.

Innovation also extends beyond education and technology into lifestyle and design sectors. The beauty industry, for instance, is showcasing how local inspiration can lead to global relevance.

Asteri Beauty, founded by Sara Alrashed, is pioneering products tailored to the region’s climate and culture. Her brand challenges global norms by crafting makeup suited for Arab women’s unique features and the desert environment.

“In the beauty industry, there is nothing that truly caters to Arab women, not just for their features, but also for the weather,” Alrashed said. Her approach merges scientific innovation with cultural storytelling, giving beauty a sense of place and identity.

These efforts show how Saudi entrepreneurs are turning tradition into a platform for sustainable creativity. Whether through design, craftsmanship, or technology, they are proving that cultural heritage remains the ultimate muse.

The broader consensus emerging from these creative voices is deeply optimistic. Authenticity is no longer viewed as an anchor holding innovation back but as a compass guiding it forward.

Saudi Arabia’s cultural evolution is reshaping global conversations about creativity and identity. By bridging the gap between past and future, the nation is crafting a model of progress that values memory as much as imagination.

The movement demonstrates that when innovation and heritage walk hand in hand, creativity becomes limitless. It is a future where every design, product, and idea carries the essence of culture — alive, dynamic, and endlessly inspiring.