BEIJING — Lunar New Year festivals and prayers marked the start of the Year of the Snake around Asia and farther afield on Wednesday — including in Moscow.

Hundreds of people lined up in the hours before midnight at the Wong Tai Sin Taoist temple in Hong Kong in a bid to be among the first to put incense sticks in the stands in front of the temple’s main hall.

“I wish my family will be blessed. I hope my business will run well. I pray for my country and wish people peace. I hope this coming year is a better year,” said Ming So, who visits the temple annually on the eve of the Lunar New Year.

The holiday — known as the Spring Festival in China, Tet in Vietnam and Seollal in Korea — is a major festival celebrated by diaspora communities around the world. The snake, one of 12 animals in the Chinese zodiac, follows the just-ended Year of the Dragon.

The pop-pop-pop of firecrackers greeted the new year outside Guan Di temple in Malaysia’s capital, Kuala Lumpur, followed by lion dances to the rhythmic beat of drums and small cymbals.

Ethnic Chinese holding incense sticks in front of them bowed several times inside the temple before sticking the incense into elaborate gold-colored pots, the smoke rising from the burning tips.

Many Chinese who work in bigger cities return home during the eight-day national holiday in what is described as the world’s biggest annual movement of humanity. Beijing, China’s capital, has turned into a bit of a ghost town, with many shops closed and normally crowded roads and subways empty.

Traditionally, Chinese have a family dinner at home on New Year’s Eve and visit “temple fairs” on the Lunar New Year to watch performances and buy snacks, toys and other trinkets from booths.

Many Chinese take advantage of the extended holiday to travel in the country and abroad. Ctrip, an online booking agency that operates Trip.com, said the most popular overseas destinations this year are Japan, Thailand, Hong Kong, Malaysia, Singapore, Australia, the United States, South Korea, Macao and Vietnam.

Russians cheered, waved and took smartphone photos of a colorful procession with drummers, costumed dancers and large dragon and snake figures held aloft that kicked off a 10-day Lunar New Year festival in Moscow on Tuesday night.

Visitors shouted “Happy New Year” in Russian and expressed delight at being able to experience Chinese food and culture in Moscow, including folk performances and booths selling snacks and artwork.
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TAIPEI, TAIWAN — As pet parents in China usher in the Year of the Snake and host Lunar New Year’s Eve dinners with their loved ones, some are also making sure that their fur babies, or “mao hai zi,” are not left out.

Over the past month, a growing number of consumers have been ordering pet-friendly versions of the traditional New Year’s Eve reunion dinner, ranging from freshly made meals to gift boxes of dried food.

A search for “dogs’ and cats’ Lunar New Year’s Eve dinner” on Douyin, the Chinese version of Tiktok and the most popular short-video app in China, lists dozens of choices.

‘Lucky’ dumplings

Some vendors even tout traditional Chinese delicacy dishes such as “Buddha jumps over the wall,” which includes seafood and meats, and “eight treasures duck rice” in addition to common ones such “lucky” dumplings and rice cake, adapted for dog palates.

The prices range from 19.9 to 168 yuan ($2.8 to $24) per set.

One vendor on Douyin, LAOTOU Pet Bakery, told VOA in a written reply Monday that it sold out of the special holiday pet meals more than a week before the Lunar New Year, which starts on Wednesday this year.

Lou Yu, vice president of Favor Pets Company in Beijing, also that the pet service firm has seen a boom year in holiday sales of pet food.

Business peaked during the Dragon Boat Festival in June, Mid-Autumn Festival in September and the Christmas holidays in December, when, respectively, rice dumplings, moon cakes and special Christmas treats were offered for pets, he said.

Booming holiday sales

“For [pets’] reunion dinner on Lunar New Year’s Eve, we’ve probably seen a 45% to 50% growth in sales this year, compared to a year ago, when sales were still tepid,” Lou told VOA by phone on Monday.

The company ran out of stock before the eight-day-long holiday began this week as a growing number of owners splurge on their pets.

Festive Fido and feline food have become an emerging and “under-supplied” niche market that is bucking the trend despite China’s economic slowdown. China’s “cat and dog parents” total more than 120 million, more than double from a decade ago, according to Lou.

Last year, there were some 9.54 million babies born in China. Pets are expected to outnumber children under 4 years of age by a ratio of 2 to 1 by 2030 — a shift that will likely create a substantial $12 billion market for pet food in China, U.S. investment bank Goldman Sachs forecasted in a report late last year.

Authorities in China ended the country’s one-child policy in 2016 and started encouraging young couples to have three children in 2021 as the country’s population ages and the number of newborns declines.

Pets over kids

By contrast, many couples who find it too expensive to raise children are instead choosing pets over kids.

On Saturday, 11 dogs were treated with plates of shredded chicken and lettuce — a special Lunar New Year meal — in a Shanghai restaurant. Their owners were all female.

“He’s my soulmate! He gives me a lot of emotional support … and he’s a good friend that I’d like to be with and enjoy the New Year atmosphere together,” attendee Momo Ni told Reuters news agency, referring to her border collie, Yakult.

Daisy Xu, another 28-year-old owner, said her dog, named Niu Niu, is already a beloved member of the family.

“We will make her another dog meal. … When it comes to New Year gifts, I think my parents will probably give their granddaughter a red envelope,” Xu told Reuters. Adults traditionally give red envelopes containing money to children during the Lunar New Year.

Rich people’s world

While some Chinese social media users share postings of their pets’ special holiday treats, some users were not as enthusiastic, with several complaining that “these dogs and cats are better fed than I am.”

A Guizhou province-based Weibo user named “magnolia0526” said, “The luxurious lifestyle of cats and dogs highlights the uneven distribution of resources in human society, which is not cute at all.” The post was in response to the hashtag “sales of reunion dinner and dumplings for pets has seen a 480% growth.”

Another Shandong province-based user mocked the trend, saying “this is the world of the rich people.”

Aside from pet food, Favor Pet’s Lou said China has experienced a booming pet economy in recent years with growing business opportunities from pet grooming and sitting services, especially during holiday seasons.

He said that a growing number of job seekers have signed up for the company’s training programs as they shift career paths to find opportunities in the pet service sector.

This article originated in VOA’s Mandarin Service.
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The Kansas City Chiefs and Philadelphia Eagles are set to face off in the National Football League’s Super Bowl, with the Chiefs looking to become the first team to win three consecutive championships and the Eagles trying to avenge their loss from two years ago.

The Chiefs reached the Feb. 9 championship game in New Orleans with a 32-29 win on Sunday night over the Buffalo Bills.

Kansas City’s star quarterback Patrick Mahomes ran for two touchdowns and threw for another score to reach his fifth Super Bowl in six years. That included the 2023 Super Bowl in which the Chiefs defeated the Eagles 38-35.

The Eagles earned their Super Bowl spot with a resounding 55-23 win Sunday over the Washington Commanders.

Philadelphia outscored Washington 21-0 in the game’s final quarter to secure the victory.

Eagles quarterback Jalen Hurts ran for three touchdowns and added another through the air, while running back Saquon Barkley added three rushing touchdowns.

Oddsmakers made Kansas City the narrow early favorite for the game.

Some information for this story was provided by The Associated Press
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NEW YORK — For author Percival Everett, libraries have long been a source of knowledge and discovery and pleasure, even of the forbidden kind.

“I remember making friends at age 13 with the librarian at the University of South Carolina, and she used to let me go through the stacks when I wasn’t supposed to,” Everett, who spent part of his childhood in Columbia, said during a telephone interview Sunday.

“One of the wonderful things about libraries is that when you’re looking for one book, it’s surrounded by other books that may not be connected to it. That’s what you get (online) with links, but (in libraries) no one’s decided what the links are.”

Everett’s latest honor comes from the country’s public libraries. On Sunday, the American Library Association announced that Everett’s “James” was this year’s winner of the Carnegie Medal for Excellence in Fiction, which includes a $5,000 cash award. Kevin Fedarko’s “A Walk in the Park: The True Story of a Spectacular Misadventure in the Grand Canyon” was chosen for nonfiction.

Everett’s acclaimed reworking of Mark Twain’s “The Adventures of Huckleberry Finn” from the perspective of Jim, Huck Finn’s enslaved companion, has already received the National Book Award and the Kirkus Prize and is a finalist for a National Book Critics Circle award. “James” has even topped The New York Times fiction hardcover list, a rare feat in recent years for a literary work that wasn’t a major book club pick or movie tie-in.

“Percival Everett has written a modern masterpiece, a beautiful and important work that offers a fresh perspective from the eyes of a classic character,” Allison Escoto, chair of the award’s selection committee, said in a statement. “Kevin Fedarko’s unforgettable journey through the otherworldly depths of the Grand Canyon shows us the triumphs and pitfalls of exploration and illuminates the many vital lessons we can all learn from our precious natural world.”

Fedarko is a former Time magazine correspondent whose work also has appeared in The New York Times and Esquire. A Pittsburgh native fascinated by distant places, Fedarko has a long history with libraries — Carnegie libraries. He remembers visiting two while growing up, notably one in the suburb of Oakmont near the hairdressing salon his parents ran. He would read biographies of historical figures from George Washington to Daniel Boone, and otherwise think of libraries as “important threads running through his life,” windows to a “wider world.”

Now a resident of Flagstaff, Arizona, Fedarko says that he relied in part on the library at the nearby Northern Arizona University campus for both “A Walk in the Park” and its predecessor, also about the Grand Canyon, “The Emerald Mile.”

“The library has an important and unique collection about the Grand Canyon, and it’s the backbone of the kind of history that helps form the framework of both books,” he says. “Neither of them could have been done without the library.”

Previous winners of the medals, established in 2012 with a grant from the Carnegie Corporation of New York, includes Donna Tartt’s “The Goldfinch,” Colson Whitehead’s “The Underground Railroad” and Doris Kearns Goodwin’s “The Bully Pulpit.”

This year’s finalists besides “James” in the fiction category were Jiaming Tang’s “Cinema Love” and Kavin Akbar’s “Martyr!”

Adam Higginbotham’s “Challenger: A True Story of Heroism and Disaster on the Edge of Space” and Emily Nussbaum’s “Cue the Sun! The Invention of Reality TV” were the nonfiction runners-up.

All three fiction nominees were published by Penguin Random House and all three nonfiction finalists by Simon & Schuster.
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New York — Critics lambasted it and audiences didn’t grade it much better. But despite the turbulence, Mel Gibson’s “Flight Risk” managed to open No. 1 at the box office with a modest $12 million, according to studio estimates Sunday. 

On a quiet weekend, even for the typically frigid movie-going month of January, the top spot went to the Lionsgate thriller starring Mark Wahlberg as a pilot flying an Air Marshal (Michelle Dockery) and fugitive (Topher Grace) across Alaska. But it wasn’t a particularly triumphant result for Gibson’s directorial follow-up to 2016’s “Hacksaw Ridge.” Reviews (21% fresh on Rotten Tomatoes) and audience scores (a “C” CinemaScore) were terrible. 

President Donald Trump recently named Gibson a “special ambassador” to Hollywood, along with Jon Voight and Sylvester Stallone. 

Going into the weekend, Hollywood’s attention was more focused on the Sundance Film Festival and on Thursday’s Oscar nominations, which were twice postponed by the wildfires in the Los Angeles region. 

The weekend was also a small test as to whether the once more common Oscar “bump” that can sometimes follow nominations still exists. Most contenders have by now completed the bulk of their theatrical runs and are more likely to see an uptick on VOD or streaming. 

But the weekend’s most daring gambit was A24 pushing Brady Corbet’s “The Brutalist” a three–and-a-half-hour epic nominated for 10 Academy Awards, into wide release. Though some executives initially greeted “The Brutalist,” which is running with an intermission, as “un-distributable,” Corbet has said, A24 acquired the film out of the Venice Film Festival and it’s managed solid business, collecting $6 million in limited release. 

In wide release, it earned $2.9 million — a far from blockbuster sum but the best weekend yet for “The Brutalist.” 

The audience was downright miniscule for another best-picture nominee: RaMell Ross’ “Nickel Boys.” Innovatively shot almost entirely in first-person POV, the Amazon MGM Studios release gathered just $340,171 in 540 locations after expanding by 300 theaters. 

Coming off one of the lowest Martin Luther King Jr. weekends in years, no new releases made a major impact. 

Steven Soderbergh’s “Presence,” a well-reviewed horror film shot from the perspective of a ghost inside a suburban home, debuted with $3.4 million in 1,750 locations. The film, released by Neon and acquired out of last year’s Sundance, was made for just $2 million. 

The top spots otherwise went to holdovers. The Walt Disney Co.’s “Mufasa: The Lion King,” in its sixth weekend of release, scored $8.7 million to hold second place. After starting slowly, the Barry Jenkins-directed film has amassed $626.7 million globally. 

“One of Them Days,” the Keke Palmer and SZA-led comedy from Sony Pictures, held well in its second weekend, dropping just 32% with $8 million in ticket sales. In recent years, few comedies have found success on the big screen, but “One of Them Days” has proven an exception. 

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday. 

1. “Flight Risk,” $12 million. 

2. “Mufasa: The Lion King,” $8.7 million. 

3. “One of Them Days,” $8 million. 

4. “Sonic the Hedgehog 3,” $5.5 million. 

5. “Moana 2,” $4.3 million. 

6. “Presence,” $3.4 million. 

7. “Wolf Man,” $3.4 million. 

8. “A Complete Unknown,” $3.1 million. 

9. “Den of Thieves 2: Pantera,” $3 million. 

10. “The Brutalist,” $2.9 million. 
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TAIPEI, TAIWAN — As the Year of the Snake approaches, a pet store in Taipei is offering adventurous customers an opportunity to enjoy the company of snakes while sipping coffee, hoping to break down some of the prejudice against the animal.

Taiwan has been plastered with images of the reptile ahead of the start of the Lunar New Year, which starts on Wednesday and whose zodiac animal this year is the snake.

The snake has a mixed reputation in traditional Taiwanese and Chinese culture as a symbol of either good or bad.

Some of Taiwan’s Indigenous peoples venerate snakes as guardian spirits, and while the island is home to species potentially deadly to humans, including vipers and cobras, deaths are rare given the wide availability of anti-venom.

Luo Chih-yu, 42, the owner of the Taipei pet shop Pythonism which opened in 2017, is offering potential snake owners the chance to interact with snakes over a cup of coffee.

“I provide a space for people to try and experience, finding out whether they like them without any prejudice,” he said.

Liu Ting-chih took his daughter to the shop, who looked curiously at the animals in their cages.

“Through this activity she can learn how to take care of small animals and cherish them,” Liu said.

Sub-tropical and mountainous Taiwan is home to some 60 native snake species. 
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JAKARTA, INDONESIA — Centuries-old stone Buddha statues and precious jewelry repatriated by the Dutch government to its former colony are on display at Indonesia’s National Museum, providing a glimpse into the country’s rich heritage that the government had struggled to retrieve.

The collection is part of more than 800 artifacts that were returned under a Repatriation Agreement signed in 2022 between Indonesia and the Netherlands, said Gunawan, the museum’s head of cultural heritage. The objects are not just those looted in conflict but also those seized by scientists and missionaries or smuggled by mercenaries during the four centuries of colonial rule. 

“I was so amazed that we have all of these artifacts,” said Shaloom Azura, a visitor to the museum in Jakarta. She hoped other historical objects can be repatriated too, “so we don’t have to go to the Netherlands just to see our own cultural heritage.”

The agreement to return cultural objects was inspired by the new era of global restitution and repatriation efforts.

In 2021, France said it was returning statues, royal thrones and sacred altars taken from the West African nation of Benin. Belgium returned a gold-capped tooth belonging to the slain Congolese independence hero Patrice Lumumba.

Cambodia in 2023 welcomed the return of priceless stolen artifacts that had been seized during periods of war and instability. Many of the items returned so far have come from the United States. And the Berlin museum authority said it would return hundreds of human skulls from the former German colony of East Africa.

The Dutch government announced the same year the return of the Indonesian treasures and looted artifacts from Sri Lanka.

Few objects made it back before deal was struck

The repatriation “is not something out of the blue” but followed a lengthy process, said I Gusti Agung Wesaka Puja, former Indonesian ambassador to the Netherlands who also headed the government’s team tasked to recover the objects.

He said negotiations with the Dutch government have been ongoing since Indonesia’s independence in August 1945, but it was only in July 2022 that Indonesia formally requested the return of its cultural objects with a list of specific items.

“This repatriation is important for us to reconstruct history that may be lost or obscured or manipulated,” Puja said. “And we can fill the gap of the historical vacuum that has existed so far.”

The Dutch government in 1978 returned the famous 13th-century statue of Princess Pradnya Paramita from the Javanese Singhasari Kingdom. During the same visit to Indonesia, then-Queen Juliana also returned a saddle and spear seized from Prince Diponegoro, a Javanese nobleman considered a national hero for his struggle against colonial rule in the 19th century.

The prince’s scepter was returned in 2015. In 2020, Dutch King Willem-Alexander handed over Diponegoro’s gold-plated kris dagger in his first state visit to Indonesia.

Also pending is the return of the “Java Man” — the first known example of homo erectus that was collected by Dutch paleoanthropologist Eugene Dubois in the 19th century.

“The importance of the most recent repatriation is knowledge creation, that will give society a more complete knowledge of our past history,” said Puja.

He said the recent repatriation efforts seem to also be motivated by practical considerations, such as when the Delf city administration sent back 1,500 objects in 2019. They were part of the bankrupted Nusantara Museum collection.

Focus on protection of repatriated artifacts

However, Marc Gerritsen, the Dutch ambassador to Indonesia, said the repatriation would only focus on cultural objects that are requested, rather than emptying out European museums.

“There is a huge interest from the Dutch public in Indonesian history and Indonesian culture, so we do know that if Dutch museums put these objects on display, there will be an interest,” Gerritsen said, “But again, the heart of the matter is that the colonial collections artifacts that were stolen during the colonial period are returned on the basis of this process that was established.”

He said the Netherlands, the largest investor from the European Union in Indonesia, has a unique relationship with Southeast Asia’s biggest economy.

“Of course, we have elements of which we are not proud, but we are really grateful for the fact that Indonesia is so much attached to preserving that history,” Gerritsen said.

To support its former colony in safeguarding its repatriated cultural heritage, the Dutch government has offered to assist in improving museum storage conditions and staff expertise.

Some researchers have criticized Indonesia, the world’s largest archipelago nation of 17,000 islands, for a lack of legal framework to protect its rich cultural heritage and natural conservation.

At least 11 cases of museum theft were reported between 2010 and 2020, according to a 2023 report by Rucitarahma Ristiawan, a lecturer of cultural science at Gajah Mada University, and two other researchers.

In 2023, dozens of ships dredged the bottom of the Batanghari River in Jambi province, and the crews looted archaeological objects including porcelain, coins, metal and gold artifacts, which are believed to have been sold abroad, the report said.

“I think there is a lot to be reviewed from our historical works that are still kept in other countries,” said Frengky Simanjuntak, who marveled at the Repatriation Exhibition at the National Museum, on display since October. “So it’s not just about bringing them back home, but how to protect them.”
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In 2016, Herschel Hepler was browsing Google Images to practice his paleography — the study of historical writing systems — when he stumbled upon an eerily familiar photo that would lead to a groundbreaking discovery.

“I recognized it immediately and said, ‘That’s a manuscript in our collection,’” Hepler, a curator at the Museum of the Bible in Washington, recalls.

The museum had recently acquired the manuscript — a rare Jewish prayer book — believing it to be part of the famous Cairo Geniza, a trove of ancient Jewish documents uncovered in a Cairo synagogue in the late 19th century.

But the black and white picture in Tablet magazine described the manuscript as a “16th to 17th century Hebrew book of Psalms, said to be from the Bamiyan area” of central Afghanistan.

Stunned by the revelation, Hepler set out to verify it. Tracking down the author of the Tablet article, British historian and archaeologist Jonathan Lee, Hepler confirmed that Lee had in fact found the book in an Afghan warlord’s possession in 1998 and photographed the cover and two inside pages.

“Without Jonathan’s documentation from his trip to Bamiyan in 1998, we would still be assuming this is probably from the Cairo Geniza,” Hepler said.

But if Hepler was surprised to learn about the book’s origin in the remote mountains of Afghanistan, Lee was equally stunned when Hepler revealed that the manuscript had been carbon-dated to the 8th century.

“At that point, I realized that the discovery was of major importance,” Lee said via email.

Recognizing their combined expertise — Hepler in Hebrew manuscripts and Lee in Afghan history — the duo joined forces and invited in other experts.

Their yearslong research not only established the manuscript as the oldest-known Hebrew book but also unearthed evidence that Jews had lived in Afghanistan — and along the ancient Silk Roads — for longer than historians previously believed.

But the thrill of discovery was dampened by the realization that the manuscript had probably been smuggled out of war-torn Afghanistan and bought on the antiquities market.

At the time, the museum, founded by the Green family, owners of the Hobby Lobby arts and craft company, was still reeling from its acquisition of artifacts smuggled from Iraq and Egypt.

The museum faced a significant challenge: Before it could showcase it to the world, it needed to legitimize its ownership of the manuscript. This required years of delicate negotiations with New York’s small Afghan Jewish community and an Afghan government teetering on the brink of collapse. The stakes were high, and the path to secure the manuscript’s rightful place in the museum would prove be too complex and demanding.

Lee’s discovery

Lee, who has spent the better part of the last five decades researching and writing about Afghan history and archaeology, discovered the book by chance.

In April 1998, he was guiding a Japanese TV crew in Bamiyan and was on the lookout for a Bactrian language inscription and gold coins looted from an ancient Buddhist shrine.

At the time, the Bamiyan Valley, with its famed Buddha statues still standing, was controlled by a local Shiite insurgent group, while the Taliban ruled most of the rest of the country.

The anti-Taliban group’s leader, Karim Khalili, kept a collection of antiquities, among them the cache of gold coins Lee had been looking for. Lee photographed them.

“Then, his [Khalili’s] advisers brought in a miscellaneous collection of other antiquities that included the ALQ,” Lee said, using the acronym for the “Afghan Liturgical Quire,” the Hebrew book in the Bible Museum’s collection.

A local man affiliated with the Shiite insurgent group had found the book under a collapsed roof in a cave the prior year and given it to Khalili.

Unversed in Hebrew, Khalili apparently showed the book to other foreigners visiting Bamiyan, trying to figure out what it was.

“I was told it had been found in Bamiyan, but then everything is found in Bamiyan,” Lee said.

As Lee recalls, the pocket-size book looked remarkably well-preserved for its age.

“The cover was somewhat bent, damaged and watermarked, but the folios were relatively well-preserved, and most of the texts readable,” he said.

To Lee, that suggested the manuscript was “not that old.” He left Afghanistan and for years didn’t give it much thought.

How and when the manuscript left Afghanistan remains unknown.

The 1990s were a dark period for Afghanistan’s rich cultural heritage. As armed groups fought over territory, their men — often directed by their commanders and guided by traffickers — plundered the country’s vast archaeological sites and ransacked its museums. Seventy percent of the national museum’s treasures vanished, according to one estimate, many ending up in private collections and some reputable institutions.

“There is a long history of illicit export of antiquities from the country that goes back for decades but ultimately back to colonial times,” said Cecilia Palombo, a University of Chicago professor who has researched the plunder of Afghan antiquities.

A leading researcher with extensive experience in Afghanistan said the manuscript was likely taken out of the country after the Taliban overran Bamiyan in late 1998. The researcher spoke on condition of anonymity.

Research by the Bible museum found that an unnamed Khalili deputy made multiple sales attempts in the United States and Europe between 1998 and 2001 before “apparently” offloading it to a private collector in London in fall 2001. The collector kept it for a decade or more before Hobby Lobby bought it in 2013 and donated it to the museum.

The office of Khalili, who later served as a vice president, declined a VOA interview request.

The Tablet article

Although Lee had found the book in Afghanistan, he didn’t know how significant it was. On returning to England, he showed his photographs to a Hebrew specialist, who thought it was from the 16th or 17th century.

Then, after a cache of ancient documents dubbed the “Afghan Geniza” surfaced on the international art market, Lee decided to publish his photograph, along with an article about Afghan Jewish history. Citing the book as an example of “Jewish material [turning up] occasionally” in Afghanistan, he wrote that the “whereabouts of this manuscript is now unknown.”

He would find out four years later. That’s when, “out of the blue,” Hepler contacted him via LinkedIn and told him the manuscript was not the Book of Psalms but a prayer book, comprising Sabbath prayers, poetry and a partial Haggadah, the Jewish text recited at the Passover seder.

The Green family bought the book from an Israeli antiquities dealer in 2013 during a buying spree of ancient artifacts. Some of these items were later returned after it was discovered they had been illegally taken out of Iraq and Egypt.

The Afghan Liturgical Quire came with a forged provenance of its own, tracing the manuscript to collectors in London in the 1950s, masking any ties to Afghanistan. With Lee’s documentation, the museum was able to correct its provenance.

The museum had initially thought the book was from the 9th century, but a second carbon-dating test performed in 2019 showed it dates to the 8th century, making it two centuries older than the previous oldest-known Hebrew book in the world.

The discovery electrified experts.

For Hebrew scholars, the discovery offered the earliest evidence of a bound Hebrew book.

For Afghanistan specialists, it highlighted “how significant this region was in respect of the history of the Middle East, Inner Asia and Northern India, and Afghanistan’s ancient connectivity with cultures and religious traditions,” Lee said.

Yet the realization that it had been smuggled out of Afghanistan cast a cloud over its legitimacy.

Afghan laws and the 1970 UNESCO Convention make it illegal to export cultural artifacts and heritage items without government approval.

To legitimize its custody of the manuscript, the museum adopted what it calls a “human rights-based approach” to cultural heritage.

Invoking the Universal Declaration of Human Rights, the museum argued that the Afghan people and Afghan Jews living in New York have a right to access the manuscript.

“One of the things this project is focused on is on access — so, access to the Afghan Jewish community, access to the people of Afghanistan,” Hepler said.

To get the backing of both stakeholders, the museum initiated discussions with officials of the former Afghan government and members of the Jewish community in New York.

These efforts culminated in the signing of a memorandum of understanding in 2021 with the Afghan embassy in Washington before the Taliban takeover, ensuring the document would be held in custodianship.

The Afghan ambassador at the time, Roya Rahmani, did not respond to a request for an interview. Another former Afghan ambassador wrote a letter of support for the project.

Jack Abraham, head of the Afghan Jewish Federation who was born in Afghanistan, said his group offered its full support for keeping the manuscript in the United States.

“I told [Hepler], ‘What you have in your hands is our heritage. It belongs to us. It could be any of our forefathers,’” Abraham said.

But some Afghans see it as equally part of their heritage.

“This is the property of Afghanistan and must be returned to Afghanistan,” a senior former government official said, speaking on condition of anonymity.

Barnett Rubin, a leading Afghanistan scholar and an advisor on the ALQ project, said both communities can legitimately lay claim to the book.

“The museum wanted to have the approval of any one of the two main entities that might have a claim on it to their custody of it,” Rubin said.

With a custodianship agreement secured, the museum launched an exhibit in September, celebrating the project as an interfaith collaboration among Jews, Christians and Muslims.

A second exhibit is planned for New York starting this month.

While the Bible Museum technically owns the manuscript, Hepler said Afghanistan and the Afghan Jewish community “have a lot of agency in this custodianship.” To that end, the museum plans to provide one high-quality replica to the Jewish community and three to major cultural institutions in Afghanistan.
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China’s annual mass migration ahead of the Lunar New Year will peak with billions of trips anticipated during this year’s holiday, which begins Tuesday.

An estimated 9 billion trips are expected. This year’s holiday lasts from Jan. 28 through Feb. 4 and marks the arrival of the Year of the Snake. Authorities in China extended the annual break an extra day, so the public holiday will last eight days this year.

During the holiday, travel is expected to pick up domestically and internationally. The government said it expects trips by train to surpass 510 million, with 90 million more traveling by air. Inside the country, most will travel by car.

For trips overseas, travel to Southeast Asia has surged, with ticket volumes to Vietnam, Singapore and Indonesia rising by more than 50%, according to data from the World Travel and Tourism Council. Additionally, demand for travel to Hong Kong has nearly doubled, and Japan is seeing a 58% increase in airline ticket purchases.

While the Lunar New Year is known as a festive time characterized by colorful lanterns, parades and lion dances, it holds more than just cultural significance to Chinese authorities who see the period as an opportunity to boost a sluggish economy.

That is one key reason authorities increased the holiday to eight days. They also launched several efforts to help revive weak consumer spending, such as promoting winter-themed holiday destinations and ensuring affordable airfares, according to officials at a State Council press conference in Beijing.

Despite the efforts, Reuters reported businesses and consumers appear to be spending less than usual during the holiday season, citing concerns over a prolonged property slump and worries over job security.

Throughout the past year, China has implemented a series of measures aimed at addressing those concerns, including stimulus measures such as cutting interest rates, increasing pensions and widening trade-in programs for consumer goods.

One industry that appears to have gotten a boost from the festival season is cinema.

The film industry in China had struggled recently, seeing a 22.6% decrease in total box office revenue in 2024. However, according to data from Maoyan, a Chinese ticketing platform, movie tickets exceeded $55 million by Jan. 23, the fastest presales for the Lunar New Year season.

A large part of that increased demand has been from the film “Legends of the Condor Heroes,” starring Xiao Zhan, an actor and singer who is also a brand ambassador for luxury goods companies such as Gucci and Tod’s.

Shops and restaurants also hope to see an increase in spending that mirrors the film industry over the course of the holiday.

Some information in this report came from Reuters and The Associated Press.
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In the Rocky Mountain state of Colorado, the National Western Stock Show hosts nearly 30 professional rodeo events. VOA Correspondent Scott Stearns takes us to a stock show competition for younger riders. And sheep.
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Hu Ge, a Chinese actor who is well-known in China for dramas including Flowers, was recently confirmed to serve as the deputy director of the Central Propaganda Committee of the China Democratic League. He was invited to Taiwan in June 2024 to participate in a film exchange activity.

Click here for the full story in Mandarin.
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LOS ANGELES — Transgender cartel musical “Emilia Perez” topped this year’s Oscar nominations, earning 13 nods in an announcement on Thursday postponed by the devastating Los Angeles wildfires.

French director Jacques Audiard’s Mexico-set musical, released by Netflix, shattered the record for the most Academy Award nominations for a non-English-language movie.

It was followed by epic immigrant saga “The Brutalist” and show-stopping musical adaptation “Wicked,” which each picked up 10 nominations.

Bob Dylan biopic “A Complete Unknown” and Vatican thriller “Conclave” bagged eight nods apiece.

Voting deadlines had to be extended this month, as Los Angeles — the home city of the Academy Awards — was devastated by multiple blazes that have killed more than two dozen people and forced tens of thousands to flee.

Nominees were unveiled in subdued circumstances, as a town that typically fixates on the Oscars race was instead fixated on new fires burning north of the city.

Even so, the glitzy Oscars ceremony itself is still set for March 2, and the stars and studios who have spent months and millions of dollars campaigning learned if they have made the coveted final shortlists.

“Emilia Perez,” in which a narco boss transitions to life as a woman and turns her back on crime, picked up nods for best picture, best director and best international film, as well as multiple song, score and sound nods.

Its star, Karla Sofia Gascon, became the first openly trans acting nominee in best actress, and Zoe Saldana was nominated for best supporting actress.

Their more famous co-star, Selena Gomez, who has been criticized for her Spanish-language dialogue, missed out.

Even so, the Netflix film easily surpassed the most nominated non-English-language movie ever — a record previously held by “Crouching Tiger, Hidden Dragon” and “Roma,” each with 10.

In best actor, firm favorite Adrien Brody was nominated for “The Brutalist” along with Timothee Chalamet (“A Complete Unknown”), Ralph Fiennes (“Conclave”) and Colman Domingo (“Sing Sing”).

But in an unexpected pick sure to ruffle a few feathers in the new White House, the fifth and final spot went to Sebastian Stan, for his unsettling transformation into a young Donald Trump in “The Apprentice.” The movie drew threats of lawsuits from Trump’s attorneys, particularly for a scene in which the new U.S. president is shown raping his wife.

In arguably the morning’s biggest surprise, Jeremy Strong, who plays the youthful Trump’s sinister mentor Roy Cohn, was also nominated in his supporting role.

He edged out the likes of Denzel Washington (“Gladiator II”).

Meanwhile, in an intense race for best actress, A-listers Angelina Jolie and Nicole Kidman — who went all-out with their performances in “Maria” and “Babygirl,” respectively — missed out entirely.

Instead, comeback queen Demi Moore, who charmed the industry with her Golden Globes acceptance speech for body horror-satire “The Substance,” was nominated and is seen as the favorite.

Her rivals include Gascon, “Anora” star Mikey Madison, “Wicked” lead Cynthia Erivo and Brazil’s Fernanda Torres for “I’m Still Here.”
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An Afghan author’s latest book is a generational call to remember the country’s recent violent past, he says. But Taliban rules mean publishers and bookstores are wary of stocking it. From Peshawar, Pakistan, Muska Safi has the story, narrated by Bezhan Hamdard. Roshan Noorzai contributed to this report.
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Los Angeles — The U.S. film industry’s first big gathering since fires devastated Los Angeles will begin Thursday at the Sundance festival, where highlights include a glitzy new Jennifer Lopez musical and a dark Benedict Cumberbatch drama.

Hollywood’s annual pilgrimage to the Rocky Mountains to premiere the coming year’s most-anticipated indie films is taking place in somber circumstances, after the blazes that killed at least 27 people and brought the entertainment capital to a halt.

Festival chiefs held lengthy talks with filmmakers, including those “who lost homes or were displaced” by the blazes, before deciding to press ahead, said Sundance director Eugene Hernandez.

Organizers heard “harrowing stories of people running out of their homes, evacuating… with their hard drives under their arms” to ensure their films survived, he told AFP.

“Everybody to a person just wants to look forward and wants to look ahead… it’ll be a nice moment of reunion and community.”

Among the 88 features being screened in Utah’s Park City is “Rebuilding,” about a rancher who loses everything in a wildfire.

“It takes on an added poignance, for those who will watch it next week,” said Hernandez.

Josh O’Connor, known for “The Crown” and “Challengers,” plays the lead role. 

“It’s an incredible film, and one that we felt was important to show, based on that spirit of resilience,” said Sundance programming director Kim Yutani.

“I think it will be a particularly moving one for people to see.”

J-Lo, Cumberbatch

A-lister Lopez brings her first film to Sundance, with “Kiss of the Spider Woman.”

From “Dreamgirls” director Bill Condon, the film is based on the Broadway adaptation of Argentine author Manuel Puig’s famous novel.

Lopez plays Aurora, a silver-screen diva whose life and roles are discussed by two mismatched prisoners as they form an unlikely bond in their grim cell. 

While harking back to grand Golden Age Hollywood musicals with its fabulous costumes and Lopez’s “knockout musical performance,” the film is a more dramatic and independent take on the genre, said Hernandez.

Cumberbatch stars in another literary adaptation, “The Thing With Feathers,” based on Max Porter’s experimental and poetic novel about a grieving husband and two young sons.

“It’s one of these juicy roles that big actors relish taking a bite out of,” said Yutani.

Family tragedy and fatherhood are also the themes of “Omaha,” with John Magaro (“Past Lives”) delivering “an emotional gut punch of a role” that could spell awards, according to Yutani.

Elsewhere, Olivia Colman plays a mother taking her non-binary teen to visit their gay grandfather (John Lithgow) in “Jimpa.”

Rapper A$AP Rocky and late-night host Conan O’Brien make up the eclectic cast of mystery “If I Had Legs I’d Kick You.”

And “The Bear” star Ayo Edebiri teams up with John Malkovich for thriller “Opus,” about a young writer investigating the mysterious disappearance of a legendary pop star.

Music, politics

Music is also a prominent theme of Sundance’s documentary selection, which has launched several of the most recent Oscar-winning non-fiction films.

A new “must-see” Jeff Buckley documentary features never-before-seen footage from “three very important women in his life, including his mother,” said Yutani.

Elegance Bratton explores the Chicago roots of house music with “Move Ya Body: The Birth of House,” while Oscar-winning director Questlove examines funk pioneer Sly Stone in “Sly Lives! (aka The Burden of Black Genius).”

Politics will again be prominent.

Former New Zealand leader Jacinda Ardern is expected in town to promote behind-the-scenes documentary “Prime Minister.”

“The Jinx” director Andrew Jarecki explores violence and corruption in the U.S. prison system with “The Alabama Solution.” 

And, days after the Gaza ceasefire agreement took effect, Palestinian-American director Cherien Dabis will unveil her “groundbreaking” new film “All That’s Left of You,” which has been given a highly prominent Saturday evening premiere at Sundance’s biggest venue.

“That is not an accident. This is a really special one,” said Yutani.

“I have not seen a film about a Palestinian family told in quite this way.”

The 2025 Sundance Film Festival runs from Jan. 23 through Feb. 2. 
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WASHINGTON — The Keke Palmer buddy comedy “One of Them Days” opened in first place on the North American box office charts on a particularly slow Martin Luther King Jr. holiday weekend. 

The R-rated Sony release earned $11.6 million from 2,675 theaters, according to studio estimates Sunday, beating Disney’s “Mufasa: The Lion King” by a hair. By the end of Monday’s holiday, “Mufasa” will have the edge, however. 

“One of Them Days” cost only $14 million to produce, which it is expected to earn by Monday. The very well-reviewed buddy comedy stars Palmer and SZA as friends and roommates scrambling to get money for rent before their landlord evicts them. Notably it’s the first Black female-led theatrical comedy since “Girls Trip” came out in 2017 and it currently carries a stellar 96% rating on Rotten Tomatoes. 

But the marketplace was also quite weak overall. The total box office for Friday, Saturday and Sunday will add up to less than $80 million, according to data from Comscore, making it one of the worst Martin Luther King Jr. holiday weekends since 1997. 

“For an individual film like ‘One of Them Days’ this was a great weekend,” said Paul Dergarabedian, the senior media analyst for Comscore. “You can still find success stories within what is overall a low grossing weekend for movie theaters.” 

The Walt Disney Co.’s “Mufasa” was close by in second place with $11.5 million from the weekend, its fifth playing in theaters. Globally, the Barry Jenkins-directed prequel has made $588 million. It even beat a brand-new offering, the Blumhouse horror “Wolf Man,” which debuted in third place with $10.6 million from 3,354 North American theaters. 

Writer-director Leigh Whannell’s monster tale starring Christopher Abbott and Julia Garner did not enter theaters with great reviews. It currently carries a 53% on Rotten Tomatoes. Reviews don’t generally affect the success of horror movies in their first weekend, but audiences also gave it a lackluster C- CinemaScore in exit polls. The Blumhouse production and Universal Pictures release cost a reported $25 million to make and is expected to reach $12 million by the close of Monday’s holiday. 

“Sonic the Hedgehog 3″ was in fourth place with $8.6 million and “Den of Thieves 2” rounded out the top five with $6.6 million. 

In specialty releases, Brady Corbert’s 215-minute post-war epic “The Brutalist” expanded to 388 screens where it made nearly $2 million over the weekend. A24 reported that it sold out various 70mm and IMAX showings. The studio also re-released its Colman Domingo drama “Sing Sing” in theaters and prisons, where over 1 million incarcerated people in 46 states were able to view the film. 

The Martin Luther King Jr. holiday weekend has seen major successes in the past. Dergarabedian noted “Bad Boys for Life,” which had a three-day opening of $62.5 million in 2020, and “American Sniper,” which earned $89.3 in its first weekend in wide release in 2016. 

“This is a year that’s going to get a big boost starting with ‘Captain America: Brave New World’ and ‘Paddington in Peru’ in February,” Dergarabedian said. 

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday. 

1. “One of Them Days,” $11.6 million. 

2. “Mufasa: The Lion King,” $11.5 million. 

3. “Wolf Man,” $10.6 million. 

4. “Sonic the Hedgehog 3,” $8.6 million. 

5. “Den of Thieves 2: Pantera,” $6.6 million. 

6. “Moana 2,” $6.1 million. 

7. “Nosferatu,” $4.3 million. 

8. “A Complete Unknown,” $3.8 million. 

9. “Wicked,” $3.6 million. 

10. “Babygirl,” $2 million. 
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It is one of the 20th century’s most memorable images: a naked girl, screaming, running from a napalm bombing during the Vietnam War. More than a half-century later, a new documentary is calling into question who took it — and the retired Associated Press photographer long credited for the photo insists it was his, while his longtime employer says it has no evidence of anyone else being behind the camera. 

The film about the Pulitzer Prize-winning picture, “The Stringer,” is scheduled to debut next week at the Sundance Film Festival. Both photographer Nick Ut and his longtime employer are contesting it vigorously, and Ut’s lawyer is seeking to block the premiere, threatening a defamation lawsuit. The AP, which conducted its own investigation over six months, concluded it has “no reason to believe anyone other than Ut took the photo.” 

The picture of Kim Phuc running down a road in the village of Trang Bang, crying and naked because she had taken off clothes burning from napalm, instantly became symbolic of the horrors of the Vietnam War. 

Taken on June 8, 1972, the photo is credited to Ut, then a 21-year-old staffer in AP’s Saigon bureau. He was awarded the Pulitzer a year later. Now 73, he moved to California after the war and worked for the AP for 40 years until retiring in 2017. 

The film’s allegations open an unexpected new chapter for an image that, within hours of it being taken, was beamed around the planet and became one of the most indelible photographs of both the Vietnam War and the turbulent century that produced it. Whatever the truth, the film’s investigations apparently relate only to the identity of the photographer and not the image’s overall authenticity. 

The dispute puts the filmmakers, who call the episode “a scandal behind the making of one of the most-recognized photographs of the 20th century,” at odds with Ut, whose work that day defined his career. It also puts them at cross purposes with the AP, a global news organization for whom accuracy is a foundational part of the business model. 

How did the questioning of the photo begin? 

It’s difficult, so many years later, to overestimate the wallop that this particular image packed. Ron Burnett, an expert on images and former president of the Emily Carr University of Art and Design, called it “earth-shattering.” 

“It changed the way photos have always been thought about and broke the rules for how much violence you can show to the public,” Burnett said. 

The photo sat unchallenged for much of its 53-year existence. All these years later, a counter-narrative has emerged that it was instead taken by another person, someone who worked for NBC News at the time and also lives now in California. The person allegedly had delivered his film to the AP’s office as a “stringer,” a non-staff member who provides material to a news organization. 

The husband-and-wife team of Gary Knight, founder of the VII Foundation, and producer Fiona Turner are behind the film. On his website, Knight described “The Stringer” as “a story that many in our profession did not want told, and some of them continue to go to great lengths to make sure isn’t told.” 

“The film grapples with questions of authorship, racial injustice and journalistic ethics while shining a light on the fundamental yet often unrecognized contributions of local freelancers who provide the information we need to understand how events worldwide impact us all,” Knight wrote. 

Knight did not return a message seeking comment from the AP on Thursday. A representative from Sundance also did not return a message about a cease-and-desist letter from Ut’s lawyer, James Hornstein, trying to stop the film’s airing. Hornstein would not make Ut available for an interview, saying he anticipated future litigation. 

Knight and Turner met with AP in London last June about the allegations. According to the AP, filmmakers requested the news organization sign a non-disclosure agreement before they provided their evidence. AP declined. 

That hampered the AP’s own investigation, along with the passage of time. Horst Faas, chief of photos for AP in Saigon in 1972, and Yuichi “Jackson” Ishizaki, who developed Ut’s film, are both dead. Many of the Saigon bureau’s records were lost when communists took over the city, including any dealings with “the stringer.” Negatives of photos used back then are preserved in AP’s corporate archives in New York, but they provided no insight for the investigation. 

Still, the AP decided to release its own findings before seeing “The Stringer” and the details of the claim that it is making. “AP stands prepared to review any evidence and take whatever remedial action might be needed if their thesis is proved true,” the news organization said. 

Some who were there are sure about what happened 

The AP said it spoke to seven surviving people who were in Trang Bang or AP’s Saigon bureau that day, and all maintain they have no reason to doubt their own conclusions that Ut had taken the photo. 

One was Fox Butterfield, a renowned longtime New York Times reporter, who also said that he was contacted by Turner for the documentary. “I told them what my memory was and they didn’t like it, but they just went ahead anyway,” Butterfield told AP. 

Another was photographer David Burnett, who said he witnessed Ut and Alexander Shimkin, a freelance photographer working primarily for Newsweek, taking photos as Kim Phuc and other children emerged from smoke following an attack. Shimkin was killed in Vietnam a month later, according to the investigation. 

A key source for the story in “The Stringer” is Carl Robinson, then a photo editor for the AP in Saigon, who was initially overruled in his judgment not to use the picture. AP reached out to Robinson as part of its probe, but he said he had signed an NDA with Knight and the VII Foundation. Knight followed up, saying Robinson would only speak off the record, which the AP concluded would have prevented the news organization from setting the record straight. 

Robinson did not immediately reply to an email seeking comment on Thursday. 

On duty that day in Saigon, Robinson had concluded that Ut’s picture could not be used because it would have violated standards prohibiting nudity. But Faas overruled him, and senior AP editors in New York decided to run the picture for what it conveyed about war. 

The AP questioned Robinson’s long silence in contradicting Ut’s photo credit, and showed a photo from its archives of Robinson with champagne toasting Ut’s Pulitzer Prize. In a 2005 interview with corporate archives, Robinson said he thought AP “created a monster” when it distributed the photo because much of the world’s sympathies were focused on one victim, instead of war victims more broadly. 

Former AP correspondent Peter Arnett, who believes Ut made the image, said Robinson wrote to him after Faas’ death in 2012 to make the allegation that Ut had not taken it; he said he did not want to do it while Faas was still alive. According to the AP investigation, Arnett said Robinson told him that Ut had “gone all Hollywood” and he didn’t like it. 

Hornstein characterized Robinson, who was dismissed by AP in 1978, as “a guy with a 50-year vendetta against the AP.” He also questioned the long silence by the man supposedly identified in the documentary as the person who really took the photo. 

The lawyer also produced a statement from Kim Phuc, who said that while she has no memory of that day, her uncle has repeatedly told her that Ut took the picture and that she had no reason to doubt him. Ut also took her to the nearest hospital after the photo was taken, she wrote. 
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NABEUL, Tunisia — For years, Tunisians have been picking bright red peppers, combining them with garlic, vinegar and spices and turning them into a saucy spread called harissa. The condiment is a national staple, found in homes, restaurants and food stalls throughout the coastal North African nation.

Brick-red, spicy and tangy, it can be scooped up on bread drizzled with olive oil or dabbed onto plates of eggs, fish, stews or sandwiches. Harissa can be sprinkled atop merguez sausages, smeared on savory pastries called brik or sandwiches called fricassées.

In Nabeul, the largest city in Tunisia’s harissa-producing Cap Bon region, local chef and harissa specialist Chahida Boufayed called it “essential to Tunisian cuisine.”

“Harissa is a love story,” she said at a festival held in honor of the chili paste sauce in the northeastern Tunisian city of Nabeul earlier this month. “I don’t make it for the money.”

Aficionados from across Tunisia and the world converged on the 43-year-old mother’s stand to try her recipe. Surrounded by strings of drying baklouti red peppers, she described how she grows her vegetables and blends them with spices to make harissa.

The region’s annual harissa festival has grown in the two-plus years since the United Nations cultural organization, UNESCO, recognized the sauce on a list of items of intangible cultural heritage, said Zouheir Belamin, the president of the association behind the event. He said its growing prominence worldwide was attracting new tourists to Tunisia, specifically to Nabeul.

UNESCO in 2022 called harissa “an integral part of domestic provisions and the daily culinary and food traditions of Tunisian society, adding it to a list of traditions and practices that mark intangible cultural heritage including Ukrainian borscht and Cuban rum.

Already popular across North Africa as well as in France, the condiment is gaining popularity throughout the world from the United States to China.

Seen as sriracha’s North African cousin, harissa is typically prepared by women who sun-dry harvested red peppers and then deseed, wash and ground them. Its name comes from “haras” – the Arabic verb for “to crush” – because of the next stage in the process.

The finished peppers are combined with a mixture of garlic cloves, vinegar, salt, olive oil and spices in a mortar and pestle to make a fragrant blend. Variants on display at Nabeul’s Jan. 3-5 festival used cumin, coriander and different spice blends or types of peppers, including smoked ones, to create pastes ranging in color from burgundy to crimson.

“Making harissa is an art. If you master it, you can create wonders,” Boufayed said.
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