The display includes embroideries created by 200 artisans from all 32 federal entities, using a wide range of techniques such as cross stitch, drawn thread and pedal loom weaving. Each piece incorporates multiple colours and reflects both ancestral and contemporary textile traditions.

Every state contributed designs linked to local identity, from urban symbols like the Mexico City metro, axolotls and lucha libre masks, to animals regarded as sacred by indigenous communities in regions such as Nayarit.

Guinness World Records validated the exhibition as a first-of-its-kind achievement, confirming that it met all criteria before awarding the title. Organisers said the recognition gives the initiative international visibility, and authorities are considering preserving the entire collection as a single permanent installation at the cultural complex.

Drawing on his own upbringing, Abumba’s work documents everyday survival in an environment marked by recurring violence and natural danger. Through photography, installations and sketches, the exhibition turns lived experience into visual testimony, focusing on resilience, identity and the lives of people displaced by war.

ArtReview’s Power 100 is an annual ranking that identifies the individuals considered most influential in shaping the contemporary art world. Compiled by the UK-based magazine ArtReview, the list reflects impact across artistic practice, institutions, markets and cultural debate, rather than commercial success alone.

Images from Accra show sacks filled with coloured rocks and stones, labourers assembling large textile installations, and visitors moving through museum spaces where Mahama’s work is on display. His work is best known for monumental textile-based pieces made from repurposed jute sacks and industrial materials, which frequently address themes of labour, history and exploitation.

Mahama has argued that producing ideas from Africa inevitably shapes how those ideas resonate globally. He noted that while artists and students have traditionally looked towards the West for knowledge, the conditions on the continent also generate forms of understanding that cannot be created elsewhere.

The art ist said his decision to base his practice in Tamale was deliberate. Using a metaphor, he compared art to sugar that attracts ants wherever it is placed, explaining that building his studio there was less about location and more about contribution, learning and long-term engagement.

At 38, Mahama climbed from 14th place in the 2024 ranking to the top position this year. Over the past decade, his large-scale installations have brought him international attention, positioning his work at the centre of discussions about labour, responsibility, memory and the social implications of artistic production.

“SNI will strengthen consumer confidence and expand markets,” Agus said in a statement. “Improving batik quality is both cultural protection and economic strategy.”

The Ministry of Industry is working closely with the National Standardisation Agency (BSN) and the Big Workshop for Standardisation and Service of Craft and Batik Industry (BBSPJIKB) to encourage batik makers to meet SNI 0239:2019,  the official benchmark for authentic batik.

The standard outlines the distinctions between hand-drawn batik, stamped batik, and combination batik, defining authentic batik through the use of hot wax and traditional tools such as the canting. The motifs and craftsmanship are also key elements recognised under the standard. 

Director General for Small, Medium, and Miscellaneous Industries Reni Yanita said standardisation is crucial not only for preserving cultural values but also for helping artisans compete fairly.

“SNI allows consumers to distinguish genuine batik from mass-produced printed fabrics,” she said. “Quality standards protect small and medium industry players and ensure the correct production process.”

Batik is an ancient Indonesian art form of dyeing fabric by applying wax to create intricate, colourful patterns.

Disclaimer: The image used in this article is AI-generated

The extensive conservation effort involved the biological treatment of the tomb’s walls, the restoration of its vivid ancient paintings and carvings, and the structural reinforcement of its pillars. 

“The restoration project spanned more than two decades of meticulous conservation work, including photogrammetry and detailed documentation,” said Mohamed Ismail, head of Egypt’s Supreme Council of Antiquities. “Thankfully, the final phase was completed last year, allowing the tomb to reopen to visitors. This milestone enhances Egypt’s cultural tourism landscape, adding a new highlight to the Valley of the Kings,” he added.

“Notably, a colony of bats had taken up residence in the tomb, and the restoration team worked tirelessly to remove all traces of their presence,” Ismail told Viory.

Originally discovered in 1799, the tomb contains a grand burial chamber for Amenhotep III, flanked by two adjoining chambers believed to have been built for his wives. Each chamber is adorned with intricate stone columns, hieroglyphs, and motifs celebrating the pharaoh’s reign. The restoration, supported by Japan, Italian experts, and UNESCO, began in 2004 and was completed in 2024.

The festival’s name is a portmanteau of cinema and laya — “freedom” in Filipino — reflecting its mission to champion filmmakers who “boldly articulate and freely interpret the Filipino experience.” It also aims to position the Philippines as “the cinematic centre of creativity and free artistic expression” in Asia. 

For more than 20 years, Cinemalaya has done just that. 

But its 21st edition arrived with unusual challenges. Two years ago, it was forced to move out of its longtime home at the CCP, now under renovation. Funding setbacks then forced a delay, moving its usual August run to October. 

This year’s theme, “ Layag sa Alon, Hangin, at Unos ” — in English, “Sail through the Waves, Winds, and Storms” — acknowledges this turbulence.

“We thought everything would be smooth sailing,” festival director Chris Millado admitted during Cinemalaya’s September 3 press conference. “But no. Cinemalaya, as you might have heard, almost capsized.” 

Despite setbacks, the festival pressed ahead. From October 3 to 12, 20 films will be screened at Shangri-La Mall cinemas in Metro Manila, continuing Cinemalaya’s tradition of presenting independent voices to wider audiences.

“Remember, 21 years ago, the whole Filipino industry was caught in the doldrums. There were no waves. It was stagnant,” Millado recalled. “And through Cinemalaya, it started to persevere and soften until it started harnessing the direction of this wave after wave of a new breed of filmmakers and their storytelling.”

Among this year’s entries is “ Republika ng Pipolipinas ,” the full-length directorial debut of Renei Dimla. The film tells the story of a disillusioned farmer who renounces her Filipino citizenship and establishes her own micronation to resist a government project that threatens to seize her land. 

The premise resonates strongly in a country where agriculture remains central to livelihoods, and where recent investigations into flood-control infrastructure have exposed deep-seated corruption.

“It’s a mockumentary because it brings together people from all walks of life — a mother whose child was killed during the drug war, an artist without government support. They all form the republic,” Dimlai told Global South, noting the social commentary aspect of the film.

Transgender struggles take the spotlight in Kevin Alambra’s “ Warla ,” a crime drama loosely inspired by real events. It follows a 19-year-old transgender woman who finds the family she longs for in a gang of trans sisters that kidnaps foreign men to fund gender-affirming surgeries.

The Philippines is home to the largest trans population in Asia — about 239,000 people, according to World Population Review. Yet in a predominantly Catholic country, queer communities continue to face stigma and discrimination.

“I felt the need to tell it and to humanise trans women because real people are behind this story,” Alambra told Global South World. “We hope that people start to be more active in understanding transgender lives, because it’s their lives we’re discussing.” 

Another feature, “ Paglilitis ” (The Trial) by Cheska Marfori, focuses on an employee persuaded by a determined lawyer to file charges against her powerful former boss, who had sexually harassed her in the workplace.

Set in the Philippines — dubbed the “social media capital of the world,” where nearly three-quarters of the population is online — the film examines how support and backlash collide in a digital space shaped by the rise of so-called woke culture.

“The patriarchy is deeply embedded in the office in this story, along with the power structures that sustain it,” Marfori told Global South World. “The office becomes a representation of the Philippines and, on a larger scale, the world.”

Other full-length features in the competition are “Bloom Where You Are Planted" by Nonilon Abao, "Child No. 82" by Tim Rone, "Cinemartyrs" by Sari Dalena, "Habang Nilalamon ng Hydra ang Kasaysayan" by Dustin Celestino, "Padamlágan" (Night Light) by Jenn Romano, "Open Endings" by Nigel Santos and Keavy Vicente, and "Raging" by Ryan Machado.

Screenings will primarily be held at Shangri-La Plaza, with Ayala Malls Cinemas and Gateway Cineplex also serving as festival venues.

“We are handing over 133 cultural assets to the Ministry of Culture. This is a task that the Ministry of Foreign Affairs routinely performs, recovering pieces found abroad, assets that belong to Peru's cultural heritage and are recovered to be returned to the Ministry of Culture,” Amezaga said.

The collection spans several of Peru’s iconic ancient cultures, including Nazca, Tiahuanaco, Lambayeque, Chancay, Chimu, and Inca. “The recovered pieces we deliver belong to various cultural styles that reflect the richness and diversity of our cultural heritage,” Amezaga added.

Among the most notable items is the Cusco altar, which was purchased in 1971 by Swedish economist Kurt Gripmar at a public auction.

In 2024, Gripmar’s heirs voluntarily returned the altar to Peru to fulfil the family’s wish to see it restored to its place of origin. “Among the most notable recovered assets, we cannot fail to mention an impressive Cusco altar... Its heirs decided to fulfil the family's wish for the altar to return to its place of origin and voluntarily returned it to Peru,” Amezaga explained.

Amezaga also revealed that the illegal trade of Peruvian artefacts continues to thrive, with most items being smuggled to the United States and Europe. “They generally go to the United States and Europe, which are the main destinations. In many European countries, including Belgium, France, Germany, the Netherlands, and Switzerland. And generally, in the United States. That’s where the collectors who usually buy this kind of goods are,” he noted.

The value of these cultural assets varies, depending on their condition and historical importance. “There are very varied costs, but I've seen pieces, let's say, ceramics, that are around €6,000 to €8,000 ($7,048 - $9,397). And sometimes much more. They're actually very, very varied,” Amezaga said.

Bruce Ykanji, the founder of Juste Debout, explained the tournament's unique focus: “This stage aims to identify top dancers who will advance to the world finals.” The competition exclusively celebrates upright dance styles, including popping, locking, house, and hip-hop new style.

French-Tunisian organiser Syhem Belkhodja reflected on the significance of the event’s name and its resonance with the Arab world. “‘Juste Debout’ [was launched] because we needed to stand up, whether in Tunisia or in any other Arab country. It was this term that really struck a chord with me as a young person,” she said.

The minstrel carnival, often referred to as the "Kaapse Klopse" or "Cape Town Minstrel Festival," has its roots in the city's history of slavery. The parade honours the heritage of Cape Town's mixed-race community, many of whom are descendants of slaves brought to the city from Africa, Southwest Asia , and Indian Ocean territories during Dutch colonial rule in the 1650s.

Participants don flamboyant costumes, face paint, and carry umbrellas as they march through the streets, performing lively songs and dances. The New Year parade, a highlight of the festival, serves as a powerful symbol of resilience and cultural pride for the community.

"It's a celebration of freedom and our unique identity," one participant, adorned in a sparkling purple suit and golden hat, told the AFP.

For Cape Town's residents, the carnival is more than just a spectacle; it's a deeply personal tradition passed down through generations, blending music , art, and storytelling to keep the spirit of the past alive.

The first formal parade was held in 1907, Muneeb Gambeno, director of the Kaapse Klopse Karnival Association that organises the event, told broadcaster SABC, with slavery abolished in Cape Town in 1834. 

On December 5, 2024, President Bassirou Diomaye Faye of Senegal visited the Sheikh Zayed Grand Mosque in Abu Dhabi, accompanied by a delegation of ambassadors and senior officials. Wam.ae reports that the visit allowed the delegation to engage with the mosque's core themes of coexistence, tolerance, and cultural communication, alongside an exploration of its Islamic architectural history. Culminating the visit, President Faye received a special publication titled "Sheikh Zayed Grand Mosque: Lights of Peace," which features award-winning photography of the mosque's striking architecture.

National mass vaccination

In a public health initiative, Senegal has embarked on a national mass vaccination campaign against measles and rubella, targeting children aged nine months to 14 years between December 2 and 11. Health Minister Ibrahima Sy has set an ambitious goal of achieving at least 80% vaccination coverage, following an evaluation that indicated a heightened risk of measles outbreaks, particularly among vulnerable age groups, GNA reports. The campaign is essential for protecting children from vaccine-preventable diseases amidst concerns of potential epidemics.

African arts and culture

The Dakar Biennale of Contemporary African Arts, a prominent cultural event established in 1989, is currently in progress, France 24 reports. Notably, this year marks the first participation of local artisans from Dakar, with five craftsmen collaboratively presenting an exhibition that creatively interprets the theme of the hippopotamus, highlighting local craftsmanship and artistic expression.

Senegal-UAE bilateral relations

In a significant diplomatic engagement, President Sheikh Mohamed bin Zayed Al Nahyan of the UAE met with Senegalese President Bassirou Diomaye Faye in Abu Dhabi to discuss enhancing bilateral relations. Key areas of cooperation identified include investment, trade, economy, and development. Dubai Eye reports that during the meeting, President Faye congratulated the UAE on its recent Eid Al Etihad celebration and reaffirmed his commitment to strengthening ties. Sheikh Mohamed underlined the UAE's strategic aim of building partnerships with African nations for mutual benefit, with discussions involving several senior UAE officials and members of the Senegalese delegation.

Health

Additionally, Senegal and Rwanda have attained Maturity Level 3 (ML3) in the World Health Organization's (WHO) global classification of national regulatory authorities. This milestone places them in an elite group alongside Egypt, Ghana, Nigeria, South Africa, Tanzania, and Zimbabwe. According to WHO , the assessment, which concluded in October 2024 in collaboration with WHO, evaluated the countries' regulatory systems against over 250 indicators. Dr. Matshidiso Moeti underscored that this achievement is pivotal for enhancing public health and signifies a progressive step towards establishing resilient health systems across Africa, with robust regulation being vital for ensuring access to quality medicines, vaccines, and health products.

In the past, women like 67-year-old Hannou Mouloud proudly bore these tattoos, passed down through generations. “When I was six, we were told that henna tattoos were pretty adornments, especially when we went to the Ahidus,” she told AFP, referring to a traditional Berber performance. The tattoos, often applied using charcoal and needles, were a painful yet deeply meaningful ritual symbolising womanhood and community.

However, this practice has largely vanished in recent decades. Morocco, home to the largest Amazigh population in North Africa, has seen shifts in religious attitudes that discourage body modifications like tattoos. 

Abdelouahed Finigue, a geography lecturer and researcher, points to the growing influence of Salafist interpretations of Islam, which reject tattoos, as a major factor. "Salafist thinking wrongly asserts that any woman who gets a tattoo will go to hell, a claim that has no basis in the Koran or religion ," he explains.

The tattoos once held deeper meaning beyond their aesthetic value. Like the traditional Berber Handira, a unique garment, tattoos were often tied to specific tribes, serving as markers of identity. "Tattoos are distinguished by their symbols and shapes, expressing membership of a specific community and their own identity," says Bassou Oujabbour, a member of the local development association AKHIAM.

Now, women like Hannou Mouloud and Hannou Ait Mjane, who are in their twilight years, carry the legacy and memories of a practice that once defined their sense of belonging and womanhood.

Taiwo Oguntoye, the 39-year-old organiser of the festival, explained the cultural significance of twins in Yoruba tradition. "Twins bring favour, fame, and wealth to their parents in unique ways. In Yorubaland, we celebrate their birth, which might be why we have the highest number of twins in the world ," he said.

Oguntoye also emphasised the strong bond shared by twins, describing it as a destiny beyond their control.

A visiting traditional king from Ogun State, Oba Kehinde Gbadewole Olugbenle expressed his belief that the festival has global potential. "By the grace of God, I believe this festival will soon attract twins from all over the world to Nigeria, to Igbo-Ora, to celebrate themselves," he said.

The festival’s organisers are planning to host the world's largest gathering of twins next year, hoping to build a dedicated "twins village."

His show, titled "Mort en exercice à Makala" to wit, 'Death in Exercise at Makala', portrays prison as a place where convicts are "buried alive."

Malafi was recently released after serving a one-month sentence in Makala. He was imprisoned for publicly defending a group of dancers jailed for "indecent exposure." Reflecting on his experience with the AFP, he expressed shock at being arrested for advocating artistic expression.

"For me, it's a shock," he said. "To be arrested because you're a cultural centre, to be arrested because you want to defend artistic expression... I went into prison, and it's like dying in action, dying in what you're doing."

Malafi’s performance wants his performance to be a call for justice for collaboration between the Ministry of Justice and the Ministry of Culture to protect artists. He argues that artists are the "guardians" of community education and deserve better legal protections.

A director and actor in the show Bavon Diana, praised Malafi’s powerful use of religious symbolism, noting that his portrayal of Jesus speaks to the suffering he endured in Makala. "You can feel it's Jesus, and it tells us what he experienced in prison," he remarked 

Congo’s largest prison, Makala was built with a capacity for only about 1,500 inmates, however now, it hosts over 12,000 inmates. 

"The return of the sacred Tupinamaba mantle marks the beginning of a new history of conquest for Indigenous peoples," said Lula, adding that many lawmakers remain more aligned with large landowners than with Indigenous communities, the AFP reports.

The symbolic cloak, adorned with red feathers from the scarlet ibis bird and measuring nearly 1.8 meters (6 feet), arrived in Rio in early July. It will be displayed at the national museum, where President Lula led Thursday's event. Tupinamba community members celebrated its return but expressed frustration that the cloak has not yet been fully returned to its rightful owners. 

" It (the cloak) has finally returned to its origin, Brazil. But the dominant power structures do not allow it to return to its true owners," said Yakuy, a member of the Tupinamba Indigenous community. 

The Brazilian government has over the years made efforts to retrieve other Indigenous artefacts from museums in France, Japan, and other parts of the world .

Wood painting has deep roots in Moroccan culture and is often seen in the decoration of private homes, palaces, and sacred spaces. Cities like Fez, Marrakech, and Chefchaouen are renowned for their exquisite painted wooden works.

Despite its beauty, traditional wood painting faces challenges in the modern era. There is the rise of mass-produced items and a decline in the number of skilled artisans threatening the survival of this craft.

However, artisans like Mustapha Laaroussi are dedicated to preserving this craft. By teaching the younger generation and promoting the cultural significance of wood painting, they hope to keep this tradition alive.

"This craft is in danger of disappearing, for want of a new generation to carry the torch that we hold today. In my workshop, I also work as a trainer to prepare new generations. However, I've noticed a growing lack of interest in many traditional crafts such as plastering and handmade zellige. We want to train new apprentices to ensure that these skills live on and prevent them from disappearing," he said.

Initially, Dozier thought the vase was old, perhaps by a few decades, but not ancient. As a human rights advocate working with Christian Solidarity Worldwide, and with experience among Indigenous communities in Mexico, she felt a connection to the vase, suspecting it might have origins in Mexico.

The period from which the vase originates is often regarded as the pinnacle of the Maya civilization, a society that experienced a decline due to various factors, including drought, internal strife, and the impact of European conquest.

The circumstances of how the vase came to rest at a Maryland thrift store are still a mystery. However, the recovery of the vase has been officially acknowledged by Mexico’s cultural institute in Washington DC.

Dozier, in an interview with the local CBS affiliate WUSA after the ceremony said, “I am thrilled to have played a part in its repatriation story. Giving it back feels so much better than it would if I put it [up for sale online] and I got a bunch of money.”

Egypt's National Council for Childhood and Motherhood (NCCM) complained about a German school in Cairo, accusing it of purportedly endorsing homosexuality through biology lessons. The Ministry of Education has initiated an investigation into these allegations, firmly rejecting any advocacy for ideas that oppose societal norms. The backdrop for this controversy includes a wider context of ongoing discrimination and governmental crackdowns on the LGBTQ+ community within Egypt, The New Arab . The country's stance is evident in its ban on films featuring homosexual themes, with any perceived promotion of such content sparking considerable backlash. Despite the religious authorities' disapproval of same-sex relationships in Egypt, there is a growing openness to discussing the topic both within the country and across the Arab world.

Ancient Egypt and the Milky Way galaxy connection

A recent study, reported by LADbible , reveals that ancient Egyptians possessed knowledge of the Milky Way galaxy and its association with the sky-goddess Nut. Conducted by an astrophysicist from the University of Portsmouth, this research sheds new light on the intricate relationship between Nut and the cosmos. In ancient Egyptian artwork, Nut was often depicted as a celestial figure adorned with stars, with her role in safeguarding Earth from floods intricately linked to the portrayal of the Milky Way in the night sky. Furthermore, the study unveils connections between Nut's significance in the afterlife and the annual migration patterns of birds, findings that resonate with how various cultures interpret the Milky Way. This research underscores the universal language of astronomy, showcasing its ability to bridge humanity's understanding across diverse cultures, geographical boundaries, and epochs of time.

Egypt reclaims stolen statue of King Ramses II

Egypt celebrates the return of a 3,400-year-old statue of King Ramses II, which had been stolen and smuggled out of the country three decades ago. According to CTV News , the artefact will undergo restoration before being exhibited at the Egyptian Museum in Cairo. Originally taken from the Ramses II temple in Abydos, Southern Egypt, in the late 1980s or early 1990s, the statue resurfaced for sale in 2013. With the assistance of Swiss authorities, Egypt successfully reclaimed the piece, establishing its rightful ownership through collaborative efforts with Switzerland and ensuring its repatriation.

Migration governance

On April 22, Foreign Minister Sameh Shoukry emphasised Egypt's commitment to implementing a comprehensive strategy for migration governance. In a meeting with the Director-General of the UN International Organisation for Migration (IOM), Amy Pope, Shoukry sought the organisation's assistance in supporting this approach. As reported by Ahram Online , Shoukry articulated Egypt's vision for a multifaceted approach that extends beyond security considerations to encompass development factors and the underlying causes of illegal immigration. Ministry spokesperson Ahmed Abu Zeid elaborated that Egypt's strategy aims to address the full spectrum of migration issues. In January, Egypt signalled its intent to commence the documentation of refugees and immigrants residing in the country, estimated at 8-9 million individuals hailing from 133 different nations.

‘False Israeli allegations’ about smuggling weapons

Egypt has strongly denied Israeli allegations of smuggling weapons into Gaza from Egyptian territory. Diaa Rashwan, the head of Egypt's State Information Service (SIS), declared in a statement on April 22 that all such allegations, including claims about the existence of tunnels between both sides of the border, are entirely false. The statement also called on Israel to stop making false accusations and to respect the peace treaty. As reported by Egypt Today , Rashwan explained that: ‘All countries of the world know well the extent of the efforts made by Egypt in the last 10 years, to achieve security and stability in Sinai and enhance security on the border between Egyptian Rafah and the Gaza Strip, as Egypt itself had suffered greatly from these tunnels during the fierce confrontation with terrorist groups in Sinai after the overthrow of the Brotherhood regime in June 2013 and until 2020, it represented a means for smuggling fighters and weapons to Sinai to carry out terrorist operations that claimed the lives of more than 3,000 martyrs from the army, police, and civilians, and more than 13,000 injured.

“I was first introduced to Gilliam’s important work as a student by my mentor, Kąrî'kạchä Seid'ou, and it has been greatly influential on me ever since. The most important aspect of any community is to share their many gifts, even if they are born out of precarity, for within that point do we expand freedom for all life forms,” Mahama is quoted.

Mahama was chosen by a panel of five individuals, which comprised Gilliam's widow and head of his foundation, Annie Gawlak; Courtney J. Martin, the director of the Yale Center for British Art and other notable personalities .

“Mahama champions collaboration in his work, and, just like he gives renewed purpose to the materials he collects and recycles into art works, he revitalises his communities, turning castoff structures into institutions for convening, learning, art making , and collective growth,” Jessica Morgan, Dia’s director, said in a statement.

Mahama's works have been showcased in major international exhibitions, including the recent Desert X AlUla in Saudi Arabia and other events like the Sharjah Biennial and the 2023 Venice Architecture Biennale, as well as his contribution to the Ghanaian pavilion at the 2019 Venice Biennale.

The Dia Art Foundation introduced the Sam Gilliam Award, last year as an annual honor presented to an artist from any part of the world whose impact on the art world has been transformative. Recipients of the award receive a $75,000 prize, along with the chance to showcase their work through a public program organized by Dia.