Venezuela’s national currency, the Bolivar, has lost almost all its value over the past 10 years. That has prompted artists in neighboring Colombia to use the almost worthless bills as a canvas. For VOA News, Jair Diaz has the story from Bogota.
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Ukraine’s deputy minister of culture said Friday that her country’s heritage is under attack by Russia and must be protected.

“The president of Russia, Mr. Putin, announced that Ukrainian culture and identity is a target of this war,” Kateryna Chueva, deputy minister of Culture and Information Policy of Ukraine, reminded an informal meeting of the U.N. Security Council.

She said the Russian bombs and missiles that have damaged and destroyed Ukrainian cities also have hit scores of important cultural sites.

The U.N. Educational, Scientific and Cultural Organization (UNESCO) has verified damage to 163 cultural sites since Russia’s Feb. 24 invasion. They include religious sites, a dozen museums, 30 historic buildings, 17 monuments and seven libraries. More than half are in the Kharkiv and Donetsk regions. UNESCO says cultural sites in the capital, Kyiv, have also sustained considerable damage.

Chueva says the figure is much higher. She told the council her ministry has verified damage and destruction to at least 423 objects and institutions of cultural heritage.

Destruction of cultural heritage is a potential war crime and a violation of the 1954 Hague convention for the protection of cultural property in conflict, of which Russia is a signatory.

Chueva noted that destruction of cultural heritage is not limited to structures and objects.

“Every single person is a bearer of culture, of knowledge and traditions,” she said.

The director of UNESCO’s World Heritage Center, Lazare Eloundou Assomo, urged Russia to take precautions to protect cultural heritage sites. He said from Paris that the agency has also worked with Kyiv to take steps to clearly mark protected sites and is verifying reports of damage, including through satellite imagery.

“The verification on the ground will enable UNESCO to unveil the scale of damage to cultural sites, as well as to verify the impact of the war on movable cultural property and to prepare for future recovery,” he said.

UNESCO is also providing technical and financial support to the cultural sector and plans to help Ukraine train law enforcement officials in the prevention of trafficking of cultural heritage.

Russia’s representative at the meeting, Sergey Leonidchenko, denied that Moscow targets heritage sites and says coordinates are provided to their military in advance in order take precautions.

He accused Kyiv of targeting Russian culture and language even before the February invasion.

“Demolition of monuments to Russian writers, poets, musicians and World War II heroes, renaming streets devoted to them, confiscation of school textbooks, Russian language and Russian literature in general,” Leonidchenko said. He said the Kyiv regime wants to “rewire people” to forget who they are.

Several Ukrainian cities did rename some streets and squares associated with Russia following the invasion, and a Soviet-era monument symbolizing friendship between Russia and Ukraine was dismantled in Kyiv.

The U.S. representative said Moscow has been destroying parts of Ukraine’s heritage in an effort to rewrite history, dating back to its invasion of eastern Ukraine and the annexation of Crimea in 2014.

“This campaign has been in motion since 2014, when Russia began to remove artifacts, demolish grave sites, and shutter churches and other houses of worship in the Donbas region and Crimea,” Lisa Carty said. “Even before Russia’s 2022 full-scale invasion of Ukraine, Russia reportedly illegally exported artifacts from Crimea, conducted unauthorized archaeological expeditions, demolished Muslim burial sites, and damaged cultural heritage sites.”

Ireland’s deputy ambassador underscored the importance of accountability.

“When protection cannot be insured, it is necessary to build an evidence base so that accountability can be pursued when conditions allow,” Cait Moran said.
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Iran has arrested an internationally renowned filmmaker, several newspapers reported Tuesday, the third Iranian director to be locked up in less than a week as the government escalates a crackdown on the country’s celebrated cinema industry.

The arrest of award-winning director Jafar Panahi and wider pressure on filmmakers follows a wave of recent arrests as tensions escalate between Iran’s hardline government and the West. Security forces have detained several foreigners and a prominent reformist politician as talks to revive Tehran’s nuclear accord with world powers hit a deadlock and fears grow over the country’s economic crisis.

Panahi, one of Iran’s best-known dissident filmmakers, had gone to the prosecutor’s office in Tehran on Monday evening to check on the cases of his two colleagues detained last week, when security forces scooped him up as well, the reports said.

A colleague of Panahi, who spoke on condition of anonymity because of fear of reprisals, told The Associated Press that authorities sent him to Iran’s notorious Evin Prison to serve out a prison term dating back years ago.

In 2011, Panahi received a six-year prison sentence on charges of creating anti-government propaganda and was banned from filmmaking for 20 years. He was also barred from leaving the country.

However, the sentence was never really enforced and Panahi continued to make underground films — without government script approval or permits — that were released abroad to great acclaim.

Panahi has won multiple festival awards, including the 2015 Berlin Golden Bear for “Taxi,” a wide-ranging meditation on poverty, sexism and censorship in Iran, and the Venice Golden Lion in 2000 for “The Circle,” a deep dive into women’s lives in Iran’s patriarchal society.

The Berlin International Film Festival said it was “dismayed and outraged” to hear of Panahi’s arrest, calling it “another violation of freedom of expression and freedom of the arts.”

His detention came after the arrest of two other Iranian filmmakers, Mohamad Rasoulof and Mostafa al-Ahmad.

Authorities accused Rasoulof and al-Ahmad of undermining the nation’s security by voicing opposition on social media to the government’s violent crackdown on unrest in the country’s southwest.

Following the catastrophic collapse of the Metropol Building that killed at least 41 people in May, protests erupted over allegations of government negligence and deeply rooted corruption. Police responded with a heavy hand, clubbing protesters and firing tear gas, according to footage widely circulating online.

Rasoulof won the Berlin Film Festival’s top prize in 2020 for his film “There Is No Evil” that explores four stories loosely connected to the themes of the death penalty in Iran and personal freedoms under tyranny. In 2011, Rasoulof’s film “Goodbye” won a prize at Cannes but he was not allowed to travel to France to accept it.

Cannes sharply condemned the arrests of the three filmmakers and “the wave of repression obviously in progress in Iran against its artists.”

PEN America, a literary and free speech organization, said their detention marks a “brazen violation of their human right to free expression and speech.”

Several foreigners have also landed in Iranian prison in recent weeks, including two French citizens, a Swedish tourist, a Polish scientist and others, spurring concerns that Iran is trying to leverage them as bargaining chips in negotiations.

It’s a tactic Iran has used in the past, including in 2014 when authorities arrested Washington Post reporter Jason Rezaian. He was released a year and a half later in a prisoner swap with the United States as the landmark nuclear accord took effect.

On Monday, the family of a Belgian humanitarian worker being held in Iran, Olivier Vandecasteele, appealed to Brussels to do “everything” to secure his release from Evin Prison. They said he was arrested in late February after working for more than six years in Iran to help its Afghan migrant community.

The Belgian Ministry of Foreign Affairs told the AP on Tuesday it had asked Iran for his release on “several occasions” and still had “no information on the reasons of his arrest.” It said the government was providing him with consular assistance.
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“Succession” received a leading 25 Emmy nominations Tuesday, but the satirical drama about the rich and ruthless has a landmark rival in “Squid Game,” the first non-English language series to vie for television’s top honor.

“Squid Game,” a South Korea-set drama in which the poor are fodder for brutal games, earned a best drama nomination and 13 other bids for September’s Emmy Awards. “Succession” captured the best drama trophy and eight other awards when it last vied for Emmys, in 2020.

“Ted Lasso” was the top comedy series nominee with 20 bids and has the chance to earn its second consecutive best comedy trophy, as with academy voters proved undeterred by its sophomore season turn to the emotional dark side.

Other top nominees included the tropical resort-set anthology dramedy “The White Lotus,” which also received 20 nominations; the comedies “Hacks” and “Only Murders in the Building” with 17 bids each, and teenage dysfunction drama “Euphoria.” Its star, Zendaya, was crowned best actress in 2020 was nominated again.

The nominees for best drama series are: “Better Call Saul”; “Euphoria”; “Ozark”; “Severance”; “Squid Game”; “Stranger Things”; “Succession”; “Yellowjackets.”

The nominees for best comedy series are: “Abbott Elementary”; “Barry”; “Curb Your Enthusiasm”; “Hacks”; “The Marvelous Mrs. Maisel”; “Only Murders in the Building”; “Ted Lasso” and “What We Do in the Shadows.”

 

The nominees for best comedy series actress are: Rachel Brosnahan, “The Marvelous Mrs. Maisel”; Quinta Brunson, “Abbott Elementary”; Kaley Cuoco, “The Flight Attendant”; Elle Fanning, “The Great”; Issa Rae, “Insecure”; Jean Smart, “Hacks.”

The nominees for actor in a comedy series are: Donald Glover, “Atlanta”; Bill Hader, “Barry”; Bill Hader, “Barry”; Nicholas Holt, “The Great”; Jason Sudeikis, “Ted Lasso” Steve Martin, “Only Murders in the Building”; Martin Short, “Only Murders in the Building.”

The nominees for drama series actor are: Jason Bateman, “Ozark”; Brian Cox, “Succession”; Lee Jung-jae, “Squid Game”; Bob Odenkirk, “Better Call Saul”; Adam Scott, “Severance” and Jeremy Strong, “Succession.”

The best drama series actress nominees are: Jodie Comer, “Killing Eve”; Laura Linney, “Ozark”; Melanie Lynskey, “Yellowjackets”; Sandra Oh, “Killing Eve”; Reese Witherspoon, “The Morning Show” and Zendaya, “Euphoria.”

The limited series nominees are: “Dopesick”; “The Dropout”; “Inventing Anna”; “The White Lotus”; “Pam & Tommy.”

The nominees for variety talk series are: “The Daily Show with Trevor Noah”; “Jimmy Kimmel Live”; “Last Week Tonight with John Oliver”; “Late Night with Seth Meyers” and “The Late Show with Stephen Colbert.”

Television Academy President Frank Scherma kicked off the nomination announcement by saying that a record number of shows had been submitted, which reflects that series production was an all-time high after being drastically reduced during the pandemic.

The Emmys once were dominated by broadcast networks and then cable, with the rise of streaming services changing the balance of power and perhaps the awards themselves. Netflix’s “Squid Game” joining the Emmy mix is the result of streaming’s global marketplace focus.

“The Crown,” which dominated the 2021 drama awards, wasn’t televised within the eligibility period and is sitting this year out.

The Emmy ceremony is set for Sept. 12 and will air on NBC, with a host yet to be announced.
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Nicktar Benedito, an artist in south-central Mozambique, has physical disabilities that have limited the use of his hands but honed his determination and empathy. Andre Baptista reports from Chimoio, capital of Manica province, in this story narrated by Carol Guensburg. Camera: Andre Baptista
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The red on beige sign outside La Torre shop advertises the kind of underwear earlier generations might have worn, mostly knickerbockers and girdles.

The shop — known as The Tower in English — has been a standard in Barcelona for more than 120 years, preserving a glimpse into the city’s past.

La Torre has withstood the relentless march of Starbucks, McDonald’s, and other international corporate chains which, critics say, have eaten up the souls of downtowns. Other period shops, cinemas or libraries have not been so fortunate and have been forced to close.

Campaigners in Spain are determined to safeguard a form of heritage which they say is increasingly under threat: the shop signs which advertise small businesses often run by families.

Described as the “Indiana Jones of the Lost Shop Signs” by the Spanish newspaper ABC, they advocate for everything from the Art Deco cinema signs, old-fashioned flashing Buy Easy signs and the ornate golden shoe shop signs.

The commercial signs outside shops that have long shaped the identity of cities, towns and villages are a part of our past, said volunteers from the Iberian Network in Defense of Graphic Heritage, a collective of about 50 projects across Spain.

Heritage

To most people, heritage sums up the idea of castles, priceless paintings, and royal jewels. But these campaigners contend that the urban landscape which most people inhabit every day is as much a part of our treasured past too.

Heritage legislation in Spain protects everything from cathedrals to castles to bullfighting but not shop signs – so far. So, campaigners must first convince local councils to protect these symbols of everyday life.

“We are against nostalgia because it says that the past is better than the present or the future. We want to preserve these shop signs because they represent something from the past that we can use to learn about for the future,” Alberto Nanclares, of the Iberian Network, told VOA in an interview.

Nanclares said the organization began in 2014 after the then government abolished a law which guaranteed cheap rents to companies, driving many small shops out of business. He said they plan to open a museum to show off the signs they have saved.

“It should be very popular because it will attract designers, architects, elderly people who want to see the past and people who want to take their grandparents to see the place where they grew up,” he added.

Laura Asensio is a graphic designer who has been working for an organization called Valladolid with Character. They hope to stop Valladolid, a northern Spanish, from becoming a bland version of many other cities across Europe.

Volunteers are mapping out the old shop signs which have been saved or at risk from being lost.

Asensio said she hopes to convince the city council to change local laws to preserve this part of the city’s heritage. A book will be published with photographs in December detailing this part of the city life for future generations.

“The reason we started this organization is to stop shop signs from being lost to globalization. All over Europe, city centers are being dominated by McDonalds, Zara, or Burger King,” she told VOA.

Laura Aseguradade, an interior designer, and member of the Iberian Network, said younger people may not appreciate the value of the architectural heritage of their own cities.

“But if you don’t value traditions and distinctiveness of your cities then Madrid ends up looking much like Barcelona or London with the same chains springing up due to globalization,” she told VOA from her home in Madrid.

“We are not against globalization, but the architectural heritage brings value to your city because it makes it different to other places which is important for tourism and the quality of life.”
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Public health officials say one of the effects of the coronavirus lockdowns was that more people drank alcohol more heavily, with the World Health Organization warning of exacerbated health concerns and an increase in risky behaviors. As more bars reopen, Svitlana Prystynska takes us to one with a novel approach to drinking.
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Tehran residents accustomed to seething at slow-moving traffic, sweltering in summer heat and suffocating in smog may be surprised to find a growing number of outdoor painters reveling in the Iranian capital’s historic charm.

The overcrowded metropolis may be dusty and in need of beautification, but the honeycomb of alleyways that make up old Tehran is drawing throngs of artists out of their cramped studios and into the open streets — a trend that accelerated during the lockdowns of the coronavirus pandemic.

These devotees aim not only to capture Tehran’s vanishing old neighborhoods, but also help preserve them. Many areas have been bulldozed. Cranes punctuate the skyline as storied 19th-century quarters make room for modern high-rises.

“The paintings link us to past designs and feelings that are disappearing,” said Morteza Rahimi, a 32-year-old carpenter, art aficionado and resident of downtown Tehran. “They help us remember. … See how many old beautiful buildings have turned to rubble.”

Beside him, painter Hassan Naderali used loose brushstrokes and bright colors to capture the play of light and flicker of movement in an impressionist style. With a passion for painting en plein air, French for “in the open air,” Naderali seeks to depict the beauty in his dilapidated surroundings.

Population growth transforms city

Tehran has transformed into a teeming city of over 10 million people from just 4.5 million at the time of the 1979 Islamic Revolution.

The young theocracy’s population surge coincided with mass migration to Tehran after Iraqi dictator Saddam Hussein’s invasion in the 1980s. As job and education opportunities lured even more people to the capital, the government responded to an emerging housing crisis with massive real estate developments.

Some of the city’s 19th-century gems, built by the Qajar kings not long after they moved Iran’s capital to Tehran in 1796, have been lost to new apartment towers in the past few decades.

Through social media, however, artists and historians have sought to counter the cultural amnesia amid escalating demolitions.

“Social media has caused awareness among people about the risks that jeopardize historic, old buildings,” said art expert Mostafa Mirzaeian, referring to the decadent palaces of the Qajars, best known for their elaborate mirrored mosaics. “People are learning about the value of older places and paying attention to their cultural and artistic dimensions.”

‘Our roots, our heritage’

For open-air painting fan Somayyeh Abedini, a government employee and resident of Tehran’s historic Oudlajan neighborhood, the conservationist thrust is personal. The arched horizons, leafy alleys and walled villas of Oudlajan serve as her muse, she said, evoking the spirit of her father who spent his entire life in the neighborhood.

“The old places in the neighborhood are our roots, our heritage,” Abedini said. “It’s a pity many of them were destroyed.”

The practice of outdoor painting in Tehran thrived during the pandemic, artists say, as many found solace and inspiration under the open sky when galleries and museums shuttered for months, and construction projects sputtered to a halt. The health crisis exacted a devastating toll on Iran, infecting over 7.2 million and killing over 141,000 people — the worst death toll in the Middle East.

As the chaos eased on Tehran’s streets, 58-year-old Naderali set up his studio outside. Venturing out with brushes, pencils, paint, a portable easel and papers, he painted away where he felt most alive — under the sun, feeling the breeze.

“I went out every day. Outdoor places were not so crowded, and I found more access to the places I liked to paint,” he said of his pandemic experience.

Naderali sells dozens of his paintings, many depicting old Persian palaces and traditional Tehran homes, to domestic and foreign clients.

A yearning for bygone eras drives high demand among Iranian buyers abroad, he said — excitement about a time when Achaemenids carved bas-reliefs into the walls of Persepolis in 500 B.C. and Isfahan thrived as a blue-tiled jewel of Islamic culture in the 17th century.

That nostalgia has sharpened as Iran, devastated by sanctions and cut off from the world economy, seethes with public anger over rising prices and declining living standards.

Talks to revive Tehran’s nuclear deal, which former President Donald Trump abandoned four years ago, have made no progress in the past year. The country’s poverty has deepened. But in many ways, Iran’s contemporary art scene has flowered despite the challenges.

For years after Iran’s 1979 Islamic Revolution ousted the Western-backed monarchy and brought Shiite clerics to power, hard-liners outlawed modern art and even sought to ban painting. The Tehran Museum of Contemporary Art’s extensive collection, worth billions of dollars, sat in its vaults.

But the clerical establishment came to appreciate the art form during the grisly Iran-Iraq war that began in 1980. Paintings that paid tribute to the war-dead and lionized the leaders of the Islamic Revolution sprung up on the city’s drab walls.

Western art exhibited again

Many of the contemporary art museum’s works — including Monets, Picassos and Jackson Pollocks bought during Iran’s oil boom under the reign of Shah Mohammad Reza Pahlavi — have been brought out in recent decades as cultural restrictions eased.

Last summer, just days before the election of President Ebrahim Raisi, a hardline cleric hostile to the cultural influence of the West, the museum reopened with a retrospective of American pop artist Andy Warhol.

Today, successful Iranian artists — including stars who exhibit abroad — have helped transform Tehran’s once-staid art market into a dynamic scene. Auction houses across the city fetch high prices for homegrown painters. An auction last Friday recorded sales of more than $2.2 million for 120 works.

Iranian state TV regularly broadcasts paint-along lessons, including the late American painter Bob Ross’ beloved PBS show “The Joy of Painting,” inspiring amateurs to create their own masterpieces.

Iran’s art schools are flourishing, with a majority of female students. Although exhibits require government licenses, swanky Tehran galleries showing new work by Iranian painters bustle with young crowds.

“Once a passerby told me, ‘Art gives birth in poverty and dies in wealth,'” remarked Naderali.
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Tony Sirico, who played the impeccably groomed mobster Paulie Walnuts in The Sopranos and brought his tough-guy swagger to films including Goodfellas, died Friday. He was 79.

Sirico died at an assisted living facility in Fort Lauderdale, Florida, said his manager, Bob McGowen. There was no immediate information on the cause of death.

A statement from Sirico’s family confirmed the death of Gennaro Anthony “Tony” Sirico “with great sadness, but with incredible pride, love and a whole lot of fond memories.”

McGowan, who represented Sirico for more than two decades, recalled him as “loyal and giving,” with a strong philanthropic streak. That included helping ex-soldiers’ causes, which hit home for the Army veteran, his manager said.

Steven Van Zandt, who played opposite Sirico as fellow mobster Silvio Dante on The Sopranos, saluted him on Twitter as “legendary.”

“A larger-than-life character on and off screen. Gonna miss you a lot my friend,” the actor and musician said.

Michael Imperioli, who portrayed Christopher Moltisanti on The Sopranos, called Sirico his “dear friend, colleague and partner in crime.”

“Tony was like no one else: he was as tough, as loyal and as big hearted as anyone I’ve ever known,” Imperioli said on Instagram.

Sirico was unconcerned about being cast in a string of bad guy roles, McGowan said, most prominently that of Peter Paul “Paulie Walnuts” Gualtieri in the 1999-2007 run of the acclaimed HBO drama starring James Gandolfini as mob boss Tony Soprano. (Gandolfini died in 2013 at age 51).

“He didn’t mind playing a mob guy, but he wouldn’t play an informant,” or as Sirico put it, a “snitch,” McGowan said.

Sirico, born July 29, 1942, in New York City, grew up in the Flatbush and Bensonhurst neighborhoods where he said “every guy was trying to prove himself. You either had to have a tattoo or a bullet hole.”

“I had both,” he told the Los Angeles Times in a 1990 interview, calling himself “unstable” during that period of his life. He was arrested repeatedly for criminal offenses, he said, and was in prison twice. In his last stint behind bars, in the 1970s, he saw a performance by a group of ex-convicts and caught the acting bug.

“I watched ’em and I thought, ‘I can do that.’ I knew I wasn’t bad looking. And I knew I had the (guts) to stand up and (bull) people,” he told the Times. “You get a lot of practice in prison. I used to stand up in front of these cold-blooded murderers and kidnappers — and make ’em laugh.”

Sirico also was cast outside the gangster mold, playing police officers in the films Dead Presidents and Deconstructing Harry. Among his other credits were Woody Allen films including Bullets over Broadway and Mighty Aphrodite, and appearances on TV series including Miami Vice and voice roles on the Family Guy and American Dad!

Sirico is survived by daughter Joanne Sirico Bello; son Richard Sirico; his brother, Robert Sirico, a priest; and other relatives. 
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Elena Rybakina dropped the first set but roared back to defeat No. 3 seed Ons Jabeur and win the women’s singles title at Wimbledon on Saturday.  

Rybakina, the No. 17 seed who was born in Moscow but has represented Kazakhstan since 2018, triumphed 3-6, 6-2, 6-2 over the Tunisian at the All England Club in London.

Saturday’s clash marked the first Wimbledon title match between two first-time Grand Slam finalists in the Open Era.

Jabeur, who entered as the heavy favorite, jumped out to a 2-1 lead when she broke Rybakina’s serve early in the first set. With Rybakina serving to stay in the set at 3-5, Jabeur broke once again.

But the second set was a different story.  

After winning points on just 53 percent of her first serves in the first set, Rybakina changed her strategy, serving primarily to Jabeur’s backhand. It paid off as she won 73 percent of the first points on her serve and hit 13 winners to seven unforced errors.

And as frustration set in for Jabeur in the second set, so did the miscues. Her percentage of points won on first serve dropped from 80 percent in the first set to 59 percent, and her serve was broken twice by Rybakina, who saved all four of her break points. Jabeur had seven winners against nine unforced errors.

Jabeur dropped serve in the first game of the third set but had a chance to turn the momentum. With the 23-year-old Rybakina serving up 3-2, Jabeur quickly put her down 0-40 and had a triple break point to tie the match.  

But Rybakina fought back, winning five straight points to take a commanding 4-2 lead and then the title.

In her on-court interview, Rybakina said her goal was just to last until the second week of Wimbledon. Her win shocked even her.

“I’m gonna be honest. In [the] second week of Grand Slam at Wimbledon to be a winner, I mean it’s just amazing,” she said.

Asked later about her low-key reaction to the victory, Rybakina said that’s just her personality.

“I’m always very calm. I don’t know what should happen,” she said. “When I was giving [my] speech in the end I was thinking, ‘I’m going to cry right now,’ but somehow, I hold it. Maybe later when I’m going to be alone in the room, I’m going to cry nonstop. I don’t know.

“Maybe because I believe that I can do it deep inside. But [the] same time it’s, like, too many emotions. I was just trying to keep myself calm. Maybe one day you will see [a] huge reaction from me, but unfortunately not today.” Jabeur, 27, was the first Arab woman and the first woman from Africa to play for a Grand Slam title.

“I love this tournament so much and I feel really sad, but I mean it’s tennis,” she said after receiving her runner-up trophy from Kate Middleton, the Duchess of Cambridge. “There is only one winner. … I’m trying to inspire, you know, many generations from my country. I hope they’re listening.”
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There is public outrage in India over the depiction of a Hindu goddess that critics say disparages the religious figure.

The image appears in a poster promoting the new short film Kaali by Canadian-based Indian filmmaker Leena Manimekalai. The poster depicts Hindu goddess Kaali smoking a cigarette and holding an LGBTQ+ flag.

After filmmaker Leena Manimekalai shared the poster in a tweet Saturday, the day a museum in Toronto hosted the film’s first showing, the image of the smoking goddess sparked a furor in India with angry Hindus demanding a ban on the film and legal action against the filmmaker.

Monday, the Indian High Commission in Canada said it had received complaints from Hindu community leaders over the “disrespectful depiction of Hindu gods” in the poster, and it urged the Canadian authorities and the event organizers to withdraw all “provocative” materials related to the film.

A day later, the museum issued an apology, saying the film was no longer being shown there, and that it regretted having “inadvertently caused offense to members of the Hindu and other faith communities.”

Manimekalai wrote and directed Kaali as an academic project in her graduate study program at Toronto Metropolitan University. In the film, Manimekalai is an incarnation of the goddess Kaali. Living as a queer female filmmaker in Toronto, she attempts to find belonging in a land stolen from its rightful inhabitants— the First Nations.

As the goddess of death, time and change, the dilemma of the reincarnated goddess in the film finds a resolution only at the end, when it dawns on her that ultimately, the land can be owned by no one; the universe is in a state of constant flux. The promotional poster shows a scene in which, dressed as the goddess Kaali, Manimekalai shares a cigarette with a homeless man.

“When I embody Kaali, I am Kaali myself. My Kaali is queer. She is a free spirit. She spits at the patriarchy. She dismantles Hindutva. She destroys capitalism,” Manimekalai told VOA. “She embraces everyone with all her thousand hands.”

Death threats

Manimekalai’s tweet of the poster went viral Saturday with tens of thousands of members of the Hindu community retweeting it with a hashtag reading “Arrest Leena Manimekalai.”

Police cases were filed against her in several states for “hurting the religious sentiments” of Hindus.

One Hindu group said in a police complaint that the depiction of the goddess Kaali in the poster was “completely unacceptable to Hindus” and Manimekalai “deliberately distorted the Hindu religion and culture with malicious intent to insult Hindu religious feelings.”

Manimekalai said she and her family members received death and rape threats from more than 200,000 social media accounts. In a video that surfaced online, a Hindu priest from the north Indian temple town Ayodhya threatened: “Do you want your head to be severed from your body?”

In the southern state of Tamil Nadu, Manimekalai’s native state in India, police arrested the female leader of a Hindu right-wing group for allegedly threatening her with death. The leader allegedly posted a video online in which she condemned her using strong words and threatened to kill her.

Twitter on Wednesday removed Manimekalai’s poster tweet.

Reacting to Twitter’s action, she said in a tweet, “Will @TwitterIndia withhold the tweets of the 200000 hate mongers?! These lowlife trolls tweeted and spread the very same poster that they find objectionable. Kaali cannot be lynched. Kaali cannot be raped. Kaali cannot be destroyed. She is the goddess of death.”

The filmmaker said that the reaction in India against her film cannot be termed just an “outrage.”

“If a person in the street pounces upon you, it is a crime. If a person violates your body in a public place, it is sexual harassment. If a person throws acid on your face, it is an attempt of murder. If a person uses foul language against you, it is abuse. If a person goes after your family and friends and supporters and threatens them, it is violence. If all this is done by a mob, how can you call it just an ‘outrage’?” she asked.

“How can I report 200000 ids? Where should I report? Who is going to take action? There is no law in India. The Constitution of the country is dead.”
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American actor James Caan, known best for his role as the hot-headed Sonny Corleone in the classic 1972 film, “The Godfather,” has died at the age of 82.

A message posted to the actor’s Twitter account on Thursday read “It is with great sadness that we inform you of the passing of Jimmy on the evening of July 6. The family appreciates the outpouring of love and heartfelt condolences and asks that you continue to respect their privacy during this difficult time. End of tweet.”

“End of tweet” became a signature phrase for the actor as he became more active on the social media platform in recent years.  

The Associated Press reports Caan’s manager, Matt DelPiano, confirmed that Caan died at his home in Los Angeles late Wednesday. No cause was given.

Caan was nominated for an Academy Award for his role in “The Godfather,” playing the oldest sibling in the Corleone crime family.

He told an interviewer earlier this year — the 50th anniversary of the film’s release — that he knew the film would be something special when he made it, largely because of the rapport he had with fellow cast members.

Caan was born in the New York City borough of the Bronx in 1940 and was raised in the New York City area.  

 

According to his biography on the IMDB website, Caan studied economics and played football at Michigan State University. That experience would serve him well in one of his first big roles, the 1971 television movie “Brian’s Song,” a drama about professional football player Brian Piccolo who had died of cancer the year before at age 26.

After “Brian’s Song” and “The Godfather,” Caan became one Hollywood’s busiest actors, appearing in “Hide in Plain Sight” (which he also directed), “Funny Lady” (opposite Barbra Streisand), “The Killer Elite” and Neil Simon’s “Chapter Two,” among others. He also made a brief appearance in a flashback sequence in “The Godfather, Part II.”

In later years, he starred in the Stephen King thriller “Misery” and the Christmas holiday comedy “Elf.”

Caan was married and divorced four times and has a daughter, Tara, and sons Scott, Alexander, James and Jacob.

Some information for this report came from The Associated Press and Reuters.
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An American basketball player held in Russia since February for possession of cannabis oil pleaded guilty in a Russian court Thursday.  

“I’d like to plead guilty, your honor. But there was no intent. I didn’t want to break the law,” Brittney Griner, 31, said, speaking English, which was then translated into Russian for the court.  

“I’d like to give my testimony later. I need time to prepare,” she added.  

The WNBA star, who also played in Russia, could face 10 years in prison.  

She is due back in court on July 14.  

The trial began Friday, July 1, and resumed Thursday.  

On Monday, Griner sent a letter to U.S. President Joe Biden asking him to “do all you can” for her and other Americans detained or held hostage in Russia.  

White House press secretary Karine Jean-Pierre said Tuesday that Biden has read the letter.  

Griner’s representatives shared parts of the letter Monday.  

“As I sit here in a Russian prison, alone with my thoughts and without the protection of my wife, family, friends, Olympic jersey, or any accomplishments, I’m terrified I might be here forever,” Griner wrote.  

The White House said Wednesday that Biden and Vice President Kamala Harris spoke with the detained basketball player’s wife, Cherelle Griner, to stress that the administration is working to secure her release from Russia as soon as possible.    

Russian officials have maintained a hard line toward Griner.  

“This is a serious offense, confirmed by indisputable evidence. … Attempts to present the case as if the American was detained illegally do not hold up,” Foreign Ministry spokesman Alexei Zaitsev said Wednesday.  

In a tweet, U.S. Secretary of State Antony Blinken said officials with the U.S Embassy in Moscow attended Brittney Griner’s trial “and delivered to her a letter from President Biden.”   

“We will not relent until Brittney, Paul Whelan, and all other wrongfully detained Americans are reunited with their loved ones,” he added. 

 

Some information for this report came from The Associated Press, Agence France-Presse and Reuters.  
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The Canadian government said Monday it had signed a $15.5 billion agreement to compensate First Nations children and families harmed by chronic underfunding of child welfare. 

The Assembly of First Nations and plaintiffs in two class action lawsuits agreed to the deal. 

Indigenous Services Canada, a government agency, said the settlement is the largest in Canadian history. 

“The parties have agreed on a plan for settling compensation claims to recognize the families and people who have suffered tremendously through discriminatory and systemically racist child-welfare practices,” said Patty Hajdu, the Indigenous services minister. 

The settlement accounts for half of an overall $31.1 billion deal that aims to reform Canada’s child welfare system, including five-year funding for the First Nations Child and Family Services program. 

The settlement must still be approved by the Canadian Human Rights Tribunal and the Federal Court. 

Cindy Woodhouse, the Manitoba regional chief at the Assembly of First Nations, praised the deal. 

“And after three decades of advocacy and months of negotiations, I’m proud to say on behalf the AFN that we have reached another historic milestone for our children and their families,” she said in a statement. 

The First Nations Children and Family Caring Society and the Assembly of First Nations filed a complaint under the Canadian Human Rights Act in 2007, arguing that Indigenous child welfare services were chronically underfunded compared with services provided to children in other communities. 

Data from the 2016 census shows that less than 8% of Canadian children under age 15 are Indigenous, but Indigenous youths make up more than half the children under 15 in foster care. 

The Canadian Human Rights Tribunal ruled in 2016 that the federal government had discriminated against First Nations children. The government appealed the ruling, but the court upheld the decision.
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Peter Brook, one of the world’s most innovative theater directors who perfected the art of staging powerful drama in bizarre venues, has died aged 97, his publisher said Sunday.

The British director used the world as his stage mounting productions ranging from challenging versions of Shakespeare through international opera to Hindu epic poems.

Brook put on plays in gymnasiums, deserted factories, quarries, schools and old gas works in towns around the world.

His 1970 Stratford production of Shakespeare’s “A Midsummer Night’s Dream,” played all in white and with a huge, garlanded swing, secured his place in the annals of theater history.

According to Le Monde, Brook – who had been based in France since 1974 – died in Paris Saturday.

A statement from his publisher confirmed his death Sunday.

Although Brook was regarded with awe in theatrical circles, he was less well known among the wider public because of his refusal to bow to commercial taste. He left Britain to work in Paris in 1970.

He often shunned traditional theatrical buildings for the “empty space” which could be transformed by light, words, improvisation and the sheer power of acting and suggestion.

“I can take any empty space and call it a stage,” he wrote in his ground-breaking 1968 book The Empty Space.

His quest for inspiration took him as far afield as Africa and Iran and produced a variety of original improvised plays marked by his eye for detail and challenging approach.

Born in London March 21, 1925, his father was a company director and his mother a scientist. He left school at 16 to work in a film studio and then went to Oxford University and took a degree in English and Foreign Languages.

In 1970 he transferred from Britain to work in Paris, founding the International Center of Theater Research which brought together actors and designers of many different nationalities.

Brook continued working into his 90s.

“Every form of theater has something in common with a visit to the doctor. On the way out, one should always feel better than on the way in,” he wrote in his 2017 book Tip of the Tongue.
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London Saturday celebrated the 50th anniversary of its first Pride parade, marking half a century of progress in the fight for equality and tolerance but with warnings that more still needs to be done. 

Several hundred people took part in the first march July 1, 1972, just five years after homosexuality was decriminalized in the U.K. 

Fifty years on, more than 600 LGBTQ+ groups danced, sang and rode floats along a similar route to the original protest, in the first Pride since the coronavirus pandemic, watched by huge cheering crowds. 

London Mayor Sadiq Khan told reporters the event, which organizers said was the “biggest and most inclusive” in its history, was a celebration of community, unity and progress. 

But he said it was also a reminder of the need to “campaign and never be complacent” and the need for “an open, inclusive, accepting world.” 

“We saw this time last week an attack in Oslo just hours before that parade, where two people lost their lives and more than 20 were injured,” he said. 

“So, we’ve got to be conscious of the fact that there’s still a danger to this community of discrimination, bias and violence.” 

Khan’s predecessor as mayor, Prime Minister Boris Johnson, said it gave him “the greatest pride to lead a country where you can love whomever you choose to love and where you can be free to be whoever you want to be.” 

The 50th anniversary was a “milestone,” he said, paying tribute to the bravery of those who did it first. 

Peter Tatchell, a veteran gay rights campaigner who took part in the 1972 march, said some from the original event have boycotted the modern-day sponsored version as “depoliticized and commercialized.” 

Campaigning 

In 1972, “Gay Pride,” as it was then known, was a demand for visibility and equality against a backdrop of lingering prejudice, discrimination and fear among many gay men and women about coming out. 

In the 1980s, Pride became a focal point for campaigning against legislation by prime minister Margaret Thatcher’s Conservative government against the “promotion of homosexuality” in schools. 

It also helped to raise awareness and support for people with HIV/Aids. 

Now, with the rainbow flag of inclusion and tolerance spread ever more widely over the spectrum of human sexuality and gender, Pride in London is more celebration than protest. 

Tatchell said that despite victories such as same-sex marriage, “we are still fighting to ban LGBT+ conversion practices which seek to change a person’s sexual orientation or gender identity.” 

“We’re still fighting to secure trans people’s right to change their legal documents with ease by a simple statutory declaration. And of course, we are standing in solidarity with a global LGBT+ movement,” he told AFP. 

Julian Hows, now 67, was at the first march. He said, “progress is always incremental,” criticizing curbs on LGBTQ+ rights around the world. 

“We have to be vigilant. The price of liberation and to keeping people’s human rights intact is vigilance,” he added. 

 

Visibility 

Padraigin Ni Raghillig, president of Dykes on Bikes London, a motorcycle club for gay women, said the event retained part of its original campaigning spirit. 

“It’s still important, I think, to at least once a year to be out and about, and to say, ‘we’re here, we’re queer, and we’re not going shopping,'” said Ni Raghillig, astride a Harley Davidson. 

Among those marching was a contingent from Ukraine, who criticized homophobia in Russia.  

This year’s Pride saw warnings for people with monkeypox symptoms to stay away, after public health officials said many cases in the U.K. were reported among gay and bisexual men. 

LGBTQ+ campaign group Stonewall said everyone had a part to play to stop the spread of monkeypox, which is passed through close contact regardless of sexual orientation.  
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Canadian rock legend Randy Bachman’s long search came to an end Friday when he was reunited in Tokyo with a cherished guitar 45 years after it was stolen from a Toronto hotel.

“My girlfriend is right there,” said Bachman, 78, a former member of The Guess Who and Bachman-Turner Overdrive, as the Gretsch guitar on which he wrote “American Woman” and other hits was handed to him by a Japanese musician who had bought it at a Tokyo store in 2014 without knowing its history.

He said all guitars are special, but the orange 1957 Gretsch 6120 Chet Atkins he bought as a teenager was exceptional. He worked at multiple jobs to save money to buy the $400 guitar, his first purchase of an expensive instrument, he said.

“It made my whole life. It was my hammer and a tool to write songs, make music and make money,” Bachman told The Associated Press before the handover at the Canadian Embassy in Tokyo.

When it was stolen from the Toronto hotel in 1977, “I cried for three days. It was part of me,” he said. “It was very, very upsetting.” He ended up buying about 300 guitars in unsuccessful attempts to replace it, he said.

Bachman talked frequently about the missing guitar in interviews and on radio shows, and more recently on YouTube programs on which he performed with his son, Tal.

In 2020, a Canadian fan who heard the story of the guitar launched an internet search and successfully located it in Tokyo within two weeks.

The fan, William Long, used a small spot in the guitar’s wood grain visible in old images as a “digital fingerprint” and tracked the instrument down to a vintage guitar shop site in Tokyo. A further search led him to a YouTube video showing the instrument being played by a Japanese musician, TAKESHI, in December 2019.

After receiving the news from Long, Bachman contacted TAKESHI immediately, and recognized the guitar in a video chat they had.

“I was crying,” Bachman said. “The guitar almost spoke to me over the video, like, ‘Hey, I’m coming home.’”

TAKESHI agreed to give it to Bachman in exchange for one that was very similar. So, Bachman searched and found the guitar’s “sister” — made during the same week, with a close serial number, no modifications and no repairs.

“To find my guitar again was a miracle, to find its twin sister was another miracle,” Bachman said.

TAKESHI said he decided to return the guitar because as a guitar player he could imagine how much Bachman missed it.

“I owned it and played it for only eight years and I’m extremely sad to return it now. But he has been feeling sad for 46 years, and it’s time for someone else to be sad,” TAKESHI said. “I felt sorry for this legend.”

He said he felt good after returning the guitar to its rightful owner, but it may take time for him to love his new Gretsch as much as that one.

“It’s a guitar, and it has a soul. So even if it has the same shape, I cannot say for sure if I can love a replacement the same way I loved this one,” he said. “There is no doubt Randy thought of me and searched hard (for the replacement), so I will gradually develop an affection for it, but it may take time.”

Bachman said he and TAKESHI are now like brothers who own guitars that are “twin sisters.” They are participating in a documentary about the guitar on which they plan to perform a song, “Lost and Found,” together.

They also performed several songs at Friday’s handover, including “American Woman.”

Bachman said he will lock the guitar up in his home so he will never lose it again. “I am never ever going to take it out of my house again,” he said.
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June is Lesbian, Gay, Bisexual, Transgender and Queer Pride month. In the Western U.S. city of Denver, a museum exhibition features fashions from the gender-inclusive DCR Studios. VOA correspondent Scott Stearns caught up with designer Darlene Ritz at the show.
Videographers: Scott Stearns, Jodi Westrum
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The National Football League (NFL), the top league in American-style football, has hosted its first African developmental camp in Ghana’s capital, Accra. The weeklong program was aimed at finding fresh talent and building the sport’s popularity across Africa. Senanu Tord reports from Accra, Ghana.
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Held for the first time since the pandemic, the world’s biggest transgender pageant pulled contestants from as far apart as Honduras and India to Thailand, a country where gender equality law is under the spotlight. For VOA, Vijitra Duangdee has this story from Pattaya, Thailand.
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Shackled and looking wary, WNBA star Brittney Griner was ordered to stand trial Friday by a court near Moscow on cannabis possession charges, about 4 1/2 months after her arrest at an airport while returning to play for a Russian team. 

The Phoenix Mercury center and two-time U.S. Olympic gold medalist also was ordered to remain in custody for the duration of her criminal trial. Griner could face 10 years in prison if convicted on charges of large-scale transportation of drugs. Fewer than 1% of defendants in Russian criminal cases are acquitted, and unlike in the U.S., acquittals can be overturned. 

At Monday’s closed-door preliminary hearing at the court in the Moscow suburb of Khimki, Griner’s detention was extended for another six months. Photos obtained by The Associated Press showed the 31-year-old in handcuffs and looking straight ahead, unlike a previous court appearance where she kept her head down and covered with a hood. 

Her detention and trial come at an extraordinarily low point in Moscow-Washington relations. She was arrested at Sheremetyevo Airport less than a week before Russia sent troops into Ukraine, which aggravated already-high tensions with sweeping sanctions by the United States and Russia’s denunciation of U.S. weapon supplies to Ukraine. 

Amid the tensions, Griner’s supporters had taken a low profile in hopes of a quiet resolution, until May, when the State Department reclassified her as wrongfully detained and shifted oversight of her case to its special presidential envoy for hostage affairs — effectively the U.S. government’s chief negotiator. 

Griner’s wife, Cherelle, urged President Joe Biden in May to secure her release, calling her “a political pawn.” 

Her supporters have encouraged a prisoner swap like the one in April that brought home Marine veteran Trevor Reed in exchange for a Russian pilot convicted of drug trafficking conspiracy. 

Russian news media have repeatedly raised speculation that she could be swapped for Russian arms trader Viktor Bout, nicknamed “The Merchant of Death,” who is serving a 25-year sentence on conviction of conspiracy to kill U.S. citizens and providing aid to a terrorist organization. 

Russia has agitated for Bout’s release for years. But the discrepancy between Griner’s case — she allegedly was found in possession of vape cartridges containing cannabis oil — and Bout’s global dealings in deadly weapons could make such a swap unpalatable to the U.S. 

Others have suggested that she could be traded in tandem with Paul Whelan, a former Marine and security director serving a 16-year sentence on an espionage conviction that the United States has repeatedly described as a set-up. 

U.S. Secretary of State Antony Blinken, asked Sunday on CNN whether a joint swap of Griner and Whelan for Bout was being considered, sidestepped the question. 

“As a general proposition … I have got no higher priority than making sure that Americans who are being illegally detained in one way or another around the world come home,” he said. But “I can’t comment in any detail on what we’re doing, except to say this is an absolute priority.” 

Any swap would apparently require Griner to first be convicted and sentenced, then apply for a presidential pardon, Maria Yarmush, a lawyer specializing in international civil affairs, told Kremlin-funded TV channel RT. 
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 Step into Yuet Tung China Works, Hong Kong’s last remaining hand-painted porcelain factory, and you find yourself surrounded by stacks of dinnerware, each piece painstakingly decorated by hand with vibrant motifs of flowers, fruits and animals. 

Joseph Tso, the third-generation owner of the factory, and his small team are among the few people in Hong Kong who have mastered the traditional technique of painting “guangcai,” or Canton porcelain. 

It is a fading art in this modern metropolis, as fewer young people are willing to put in the time and effort required to master the craft or to work at the factory full-time. 

“The business environment in Hong Kong is not suitable for labor-intensive industries,” Tso said. “Hong Kong’s traditional handicraft industry is gradually declining. It will eventually disappear.” 

Guangcai, which comes from the nearby Chinese city of Guangzhou, is characterized by an overglaze technique in which the painter sketches a design on white porcelain and then fills it in with color using thin brushes before firing the piece in a kiln. 

Tso’s grandfather established the factory in Hong Kong’s Kowloon City in 1928. It rose to prominence over the years, becoming famous for its delicate craftmanship and custom dinnerware. 

The factory is known for its Canton rose porcelain painted with a pigment called “xihong,” which means “Western red.” Its ingredients include lead oxide, quartz and gold dust. 

“Hong Kong’s export sector was booming from the 1960s to the 1980s, and many well-known department stores came to buy products,” Tso said. “Foreign trade firms would bring us business from (American) department stores.” 

The factory sometimes paints family crests on dinnerware for foreign customers. 

Chris Patten, the last British governor of Hong Kong before the city was returned to China in 1997, visited Yuet Tung China Works to buy some porcelain before returning to Britain. 

The factory is an important part of Hong Kong’s history, said Yim Wai-wai, founding president of The Hong Kong Ceramics Research Society. 

“The porcelain factory breathed at the same pace as the development of Hong Kong,” said Yim. “If it ceases to exist, it will be an immeasurable loss.”
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