Month: August 2022

Wolfgang Petersen, the German filmmaker whose World War II submarine epic “Das Boot” propelled him into a blockbuster Hollywood career that included the films “In the Line of Fire,” “Air Force One” and “The Perfect Storm,” has died. He was 81.

Petersen died Friday at his home in the Los Angeles neighborhood of Brentwood after a battle with pancreatic cancer, said representative Michelle Bega.

Petersen, born in the north German port city of Emden, made two features before his 1982 breakthrough, “Das Boot,” then the most expensive movie in German film history. The 149-minute film (the original cut ran 210 minutes) chronicled the intense claustrophobia of life aboard a doomed German U-boat during the Battle of the Atlantic, with Jürgen Prochnow as the submarine’s commander.

Heralded as an antiwar masterpiece, “Das Boot” was nominated for six Oscars, including for Petersen’s direction and his adaptation of Lothar-Günther Buchheim’s best-selling 1973 novel.

Petersen, born in 1941, recalled as a child running alongside American ships as they threw down food. In the confusion of postwar Germany, Petersen — who started out in theater before attending Berlin’s Film and Television Academy in the late 1960s — gravitated toward Hollywood films with clear clashes of good and evil. John Ford was a major influence.

“In school, they never talked about the time of Hitler. They just blocked it out of their minds and concentrated on rebuilding Germany,” Petersen told the Los Angeles Times in 1993. “We kids were looking for more glamorous dreams than rebuilding a destroyed country, though, so we were really ready for it when American pop culture came to Germany. We all lived for American movies, and by the time I was 11, I’d decided I wanted to be a filmmaker.”

“Das Boot” launched Petersen as a filmmaker in Hollywood, where he became one of the top makers of cataclysmic action adventures in films spanning war (2004’s “Troy,” with Brad Pitt), pandemic (the 1995 ebola virus-inspired “Outbreak”) and other ocean-set disasters (2000’s “The Perfect Storm” and 2006’s “Poseidon,” a remake of “The Poseidon Adventure,” about the capsizing of an ocean liner).

But Petersen’s first foray in American moviemaking was child fantasy: the enchanting 1984 film “The NeverEnding Story.”

Arguably Petersen’s finest Hollywood film came almost a decade later in 1993’s “In the Line of Fire,” starring Clint Eastwood as a Secret Service agent protecting the president of the United States from John Malkovich’s assassin. In it, Petersen marshaled his substantial skill in building suspense for a more open-air but just as taut thriller that careened across rooftops and past Washington, D.C., monuments.

“In the Line of Fire” was a major hit, grossing $177 million worldwide and landing three Oscar nominations.

“You sometimes have seven-year cycles. You look at other directors; they don’t have the big successes all the time. Up to ‘NeverEnding Story,’ my career was one success after another,” Petersen told The Associated Press in 1993. “Then I came into the stormy international scene. I needed time to get a feeling for this work — it’s not Germany anymore.”

After “Outbreak,” with Dustin Hoffman, Rene Russo and Morgan Freeman, Petersen returned to the presidency in 1997’s “Air Force One.” Harrison Ford starred as a president forced into a fight with terrorists who hijack Air Force One.

“Air Force One,” with $315 million in global box office, was a hit, too, but Petersen went for something even bigger in 2000’s “The Perfect Storm,” the true-life tale of a Massachusetts fishing boat lost at sea. The cast included George Clooney and Mark Wahlberg, but its main attraction was a 100-foot computer-generated wave. With a budget of $120 million, “The Perfect Storm” made $328.7 million.

For Peterson, who grew up on the northern coast of Germany, the sea long held his fascination.

“The power of water is unbelievable,” he said in a 2009 interview. “I was always impressed as a kid how strong it is, all the damage the water could do when it just turned within a couple of hours and smashed against the shore.”

Petersen followed “The Perfect Storm” with “Troy,” a sprawling epic based on Homer’s The Iliad that found less favor among critics but still made nearly $500 million worldwide. The big-budget “Poseidon,” a high-priced flop for Warner Bros., was Petersen’s last Hollywood film. His final film was 2016’s “Four Against the Bank,” a German film that remade Petersen’s own 1976 German TV movie.

Petersen was first married to German actress Ursula Sieg. When they divorced in 1978, he married Maria-Antoinette Borgel, a German script supervisor and assistant director. He’s survived by Borgel, son Daniel Petersen and two grandchildren.
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Rising teenager Emma Raducanu came out on the winning side of a generational clash against tennis icon Serena Williams with a 6-4 6-0 win in their first-round meeting at the Cincinnati Open on Tuesday. 

After a sluggish start, the 23-time Grand Slam champion finally gave the supportive sold-out crowd something to cheer about when she crushed back-to-back aces to cut Raducanu’s lead to 4-3. 

But the English reigning U.S. Open champion fired an ace of her own to snag the first set and followed that up with a break of serve to open the second. 

Raducanu rolled from there, smacking an unreturnable serve on match point to end their first career meeting. 

“I think we all just need to honor Serena and her amazing career,” Raducanu said in an on-court interview. 

“I’m so grateful for the experience of getting to play her and for our careers to have crossed over. Everything she has achieved is so inspirational, and it was a true honor to get to share the court with her.” 

Williams, 40, was world number one and had already won four major titles when Raducanu was born in November 2002. 

Williams won her last major in 2017 while pregnant with her daughter Olympia, who was in attendance. 

With the loss, Williams has just one professional tournament remaining before she drops the curtain on her historic career – the U.S. Open, which begins August 29. 

Osaka out 

Earlier in the day, Naomi Osaka’s U.S. Open preparations suffered another setback as the former world number one was swept aside 6-4 7-5 by China’s Zhang Shuai. 

It was only Osaka’s third tournament back from an Achilles injury, and it has been a stuttering return to action for the twice U.S. Open champion, who also exited in the opening round in Toronto last week, retiring with lower back pain. 

For Zhang, doubles champion in Cincinnati last year, it was her first singles win at the event since 2014. 

“Naomi, she is amazing, but I don’t know she is maybe not really feeling good today,” said Zhang. “But for sure today – not her best today.” 

Gauff hurt, Venus Williams falls 

American teenager Coco Gauff rolled her left ankle late in the first set in her match against qualifier Marie Bouzkova, and she eventually retired from the match while trailing 7-5 1-0. 

The newly crowned world number one in doubles will look to recover ahead of the U.S. Open where she will hope to compete for a first Grand Slam title. 

This year’s major at Flushing Meadows starts August 29. 

Venus Williams was defeated by 14th seed Karolina Pliskova. 

Venus Williams was bidding for her first win over a top-20 ranked opponent since overcoming Kiki Bertens in Cincinnati three years ago. 

 
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After an extensive joint investigation by the United States and Cambodia, about 30 Cambodian cultural artifacts were returned to their homeland. As VOA’s Chetra Chap reports, it turns out that some of the people who looted the antiquities helped bring some of them back to the Southeast Asian nation.
Videographer: Chetra Chap 
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The fatal film-set shooting of a cinematographer by actor Alec Baldwin last year was an accident, according to a determination made by New Mexico’s Office of the Medical Investigator following the completion of an autopsy and a review of law enforcement reports. 

The medical investigator’s report was made public Monday by the Santa Fe County Sheriff’s Office along with numerous reports from the FBI on the revolver and ammunition collected after the shooting. 

Prosecutors have not yet decided if any charges will be filed in the case, saying they will review the latest reports and were awaiting cellphone data from Baldwin’s attorneys. 

Baldwin was pointing a gun at cinematographer Halyna Hutchins when it went off on Oct. 21, killing Hutchins and wounding the director, Joel Souza. They had been inside a small church during setup for filming a scene. 

While it’s too early to say how much weight the medical investigator’s report will carry with the district attorney’s office, Baldwin’s legal team suggested it was further proof that the shooting was “a tragic accident” and that he should not face criminal charges. 

“This is the third time the New Mexico authorities have found that Alec Baldwin had no authority or knowledge of the allegedly unsafe conditions on the set, that he was told by the person in charge of safety on the set that the gun was ‘cold,’ and believed the gun was safe,” attorney Luke Nikas said in a statement. 

Baldwin said in a December interview with ABC News that he was pointing the gun at Hutchins at her instruction on the set of the Western film “Rust” when it went off after he cocked it. He said he did not pull the trigger. 

An FBI analysis of the revolver that Baldwin had in his hand during the rehearsal suggested it was in working order at the time and would not have discharged unless it was fully cocked and the trigger was pulled. 

With the hammer in full cock position, the FBI report stated the gun could not be made to fire without pulling the trigger while the working internal components were intact and functional. 

During the testing of the gun by the FBI, authorities said, portions of the gun’s trigger sear and cylinder stop fractured while the hammer was struck. That allowed the hammer to fall and the firing pin to detonate the primer. 

“This was the only successful discharge during this testing and it was attributed to the fracture of internal components, not the failure of the firearm or safety mechanisms,” the report stated. 

It was unclear from the FBI report how many times the revolver’s hammer may have been struck during the testing. 

Baldwin, who also was a producer on the movie “Rust,” has previously said the gun should not have been loaded for the rehearsal. 

Among the ammunition seized from the film location were live rounds found on a cart and in the holster that was in the building where the shooting happened. Blank and dummy cartridges also were found. 

New Mexico’s Occupational Health and Safety Bureau in a scathing report issued in April detailed a narrative of safety failures in violation of standard industry protocols, including testimony that production managers took limited or no action to address two misfires on set prior to the fatal shooting. 

The bureau also documented gun safety complaints from crew members that went unheeded and said weapons specialists were not allowed to make decisions about additional safety training. 

In reaching its conclusion that the shooting was an accident, New Mexico’s medical investigator’s office pointed to “the absence of obvious intent to cause harm or death” and stated that there was said “no compelling demonstration” that the revolver was intentionally loaded with live ammunition on the set. 
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Nearly 50 years after Sacheen Littlefeather stood on the Academy Awards stage on behalf of Marlon Brando to speak about the depiction of Native Americans in Hollywood films, the Academy of Motion Pictures Arts and Sciences apologized to her for the abuse she endured.

The Academy Museum of Motion Pictures on Monday said that it will host Littlefeather, now 75, for an evening of “conversation, healing and celebration” on September 17.

When Brando won best actor for “The Godfather,” Littlefeather, wearing buckskin dress and moccasins, took the stage, becoming the first Native American woman ever to do so at the Academy Awards. In a 60-second speech, she explained that Brando could not accept the award due to “the treatment of American Indians today by the film industry.”

Some in the audience booed her. John Wayne, who was backstage at the time, was reportedly furious. The 1973 Oscars were held during the American Indian Movement’s two-month occupation of Wounded Knee in South Dakota. In the years since, Littlefeather has said she’s been mocked, discriminated against and personally attacked for her brief Academy Awards appearance.

In making the announcement, the Academy Museum shared a letter sent June 18 to Littlefeather by David Rubin, academy president, about the iconic Oscar moment. Rubin called Littlefeather’s speech “a powerful statement that continues to remind us of the necessity of respect and the importance of human dignity.”

“The abuse you endured because of this statement was unwarranted and unjustified,” wrote Rubin. “The emotional burden you have lived through and the cost to your own career in our industry are irreparable. For too long the courage you showed has been unacknowledged. For this, we offer both our deepest apologies and our sincere admiration.”

Littlefeather, in a statement, said it is “profoundly heartening to see how much has changed since I did not accept the Academy Award 50 years ago.”

“Regarding the Academy’s apology to me, we Indians are very patient people — it’s only been 50 years!” said Littlefeather. “We need to keep our sense of humor about this at all times. It’s our method of survival.”

At the Academy Museum event in Los Angeles, Littlefeather will sit for a conversation with producer Bird Runningwater, co-chair of the academy’s Indigenous Alliance.

In a podcast earlier this year with Jacqueline Stewart, a film scholar and director of the Academy Museum, Littlefeather reflected on what compelled her to speak out in 1973.

“I felt that there should be Native people, Black people, Asian people, Chicano people — I felt there should be an inclusion of everyone,” said Littlefeather. “A rainbow of people that should be involved in creating their own image.”
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Scotland’s police said Sunday they are investigating a report of an “online threat” made to the author JK Rowling after she tweeted her condemnation of the stabbing of Salman Rushdie. The Harry Potter creator said she felt “very sick” after hearing the news and hoped the novelist would “be OK.”

In response, a user said, “don’t worry you are next.”

After sharing screenshots of the threatening tweet, Rowling said: “To all sending supportive messages: thank you police are involved (were already involved on other threats).”

A spokeswoman for Scotland’s police said: “We have received a report of an online threat being made and officers are carrying out enquiries.”

Rushdie, 75, was set to deliver a lecture on artistic freedom Friday in western New York when a man rushed the stage and stabbed the Indian-born writer, who has lived with a bounty on his head since his 1988 novel “The Satanic Verses” prompted Iran to urge Muslims to kill him.

Following hours of surgery, Rushdie was on a ventilator and unable to speak as of Friday evening. The novelist was likely to lose an eye and had nerve damage in his arm and wounds to his liver.

The accused attacker, 24-year-old Hadi Matar of Fairview, New Jersey, pleaded not guilty to charges of attempted murder and assault at a court appearance Saturday.

Rowling has in the past been criticized by trans activists who have accused her of transphobia. 
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Some of the world’s most prized works of contemporary Western art have been unveiled for the first time in decades — in Tehran.

Iranian President Ebrahim Raisi, a hard-line cleric, rails against the influence of the West. Authorities have lashed out at “deviant” artists for “attacking Iran’s revolutionary culture.” And the Islamic Republic has plunged further into confrontation with the United States and Europe as it rapidly accelerates its nuclear program and diplomatic efforts stall.

But contradictions abound in the Iranian capital, where thousands of well-heeled men and hijab-clad women marveled at 19th- and 20th-century American and European minimalist and conceptual masterpieces on display this summer for the first time at the Tehran Museum of Contemporary Art.

On a recent August afternoon, art critics and students were delighted at Marcel Duchamp’s see-through 1915 mural, “The Large Glass,” long interpreted as an exploration of erotic frustration.

They gazed at a rare 4-meter (13-foot) untitled sculpture by American minimalist pioneer Donald Judd and one of Sol Lewitt’s best-known serial pieces, “Open Cube,” among other important works. The Judd sculpture, consisting of a horizontal array of lacquered brass and aluminum panels, is likely worth millions of dollars.

“Setting up a show with such a theme and such works is a bold move that takes a lot of courage,” said Babak Bahari, 62, who was viewing the exhibit of 130 works for the fourth time since it opened in late June. “Even in the West these works are at the heart of discussions and dialogue.”

The government of Iran’s Western-backed shah, Mohammad Reza Pahlavi, and his wife, the former Empress Farah Pahlavi, built the museum and acquired the multibillion-dollar collection in the late 1970s, when oil boomed and Western economies stagnated. Upon opening, it showed sensational works by Pablo Picasso, Mark Rothko, Claude Monet, Jackson Pollock and other heavyweights, enhancing Iran’s cultural standing on the world stage.

But just two years later, in 1979, Shiite clerics ousted the shah and packed away the art in the museum’s vault. Some paintings — cubist, surrealist, impressionist, even pop art — sat untouched for decades to avoid offending Islamic values and catering to Western sensibilities.

But during a thaw in Iran’s hard-line politics, the art started to resurface. While Andy Warhol’s paintings of the Pahlavis and some choice nudes are still hidden in the basement, much of the museum’s collection has been brought out to great fanfare as Iran’s cultural restrictions have eased.

The ongoing exhibit on minimalism, featuring 34 Western artists, has captured particular attention. Over 17,000 people have made the trip since it opened, the museum said — nearly double the footfall of past shows.

Curator Behrang Samadzadegan credits a recent renewed interest in conceptual art, which first shocked audiences in the 1960s by drawing on political themes and taking art out of traditional galleries and into the wider world.

The museum’s spokesperson, Hasan Noferesti, said the size of the crowds coming to the exhibition, which lasts until mid-September, shows the thrill of experiencing long-hidden modern masterpieces.

It also attests to the enduring appetite for art among Iran’s young generation. Over 50% of the country’s roughly 85 million people are under 30 years old.

Despite their country’s deepening global isolation, and fears that their already limited social and cultural freedoms may be further curtailed under the hard-line government elected a year ago, young Iranians are increasingly exploring the international art world on social media. New galleries are buzzing. Art and architecture schools are thriving.

“These are good works of art, you don’t want to imitate them,” said Mohammad Shahsavari, a 20-year-old architecture student standing before Lewitt’s cube structure. “Rather, you get inspiration from them.”
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Acclaimed author Salman Rushdie remained hospitalized on Saturday with serious injuries a day after he was repeatedly stabbed at a public appearance in New York state, while police sought to determine the motive behind an attack that drew international condemnation. 

Hadi Matar, 24, of Fairview, New Jersey, was arraigned late Friday, accused of attempted murder in the second degree and assault in the second degree, the county’s district attorney, Jason Schmidt, said in a statement. Matar entered a not guilty plea at a court appearance on Saturday, his court-appointed lawyer, Nathaniel Barone, told Reuters. 

Rushdie, 75, was set to deliver a lecture on artistic freedom at Chautauqua Institution in western New York when police say Matar rushed the stage and stabbed the Indian-born writer, who has lived with a bounty on his head since his 1988 novel “The Satanic Verses” prompted Iran to urge Muslims to kill him. 

Following hours of surgery, Rushdie was on a ventilator and unable to speak as of Friday evening, according to his agent, Andrew Wylie. The novelist was likely to lose an eye and had nerve damage in his arm and wounds to his liver, Wylie said in an email. 

The stabbing was condemned by writers and politicians around the world as an assault on freedom of expression. In a statement on Saturday, President Joe Biden commended the “universal ideals” that Rushdie and his work embody. 

“Truth. Courage. Resilience. The ability to share ideas without fear,” Biden said. “These are the building blocks of any free and open society.” 

Police seek a motive 

Police said on Friday they had not established a motive for the attack. 

An initial law enforcement review of Matar’s social media accounts showed he was sympathetic to Shiite extremism and Iran’s Islamic Revolutionary Guard Corps (IRGC), although no definitive links had been found, according to NBC New York. 

The IRGC is a powerful faction that controls a business empire as well as elite armed and intelligence forces that Washington accuses of carrying out a global extremist campaign. 

Asked to comment on the case, Matar’s lawyer Barone said, “In cases like this, I think the important thing to remember is people need to keep an open mind. They need to look at everything. They can’t just assume something happened for why they think something happened.” 

A preliminary hearing in the case is scheduled for Friday, he said. 

Suspect born, raised in U.S. 

Matar was born in California and recently moved to New Jersey, the NBC New York report said, adding that he had a fake driver’s license on him. He was arrested at the scene by a state trooper after being wrestled to the ground by audience members. 

Witnesses said he did not speak as he attacked the author. Rushdie was stabbed 10 times, prosecutors said during Matar’s arraignment, according to The New York Times. 

FBI officials went to Matar’s last listed address, in Fairview, a Bergen County borough just across the Hudson River from Manhattan, on Friday evening, NBC New York reported. 

Police in New York declined to comment on the report. New Jersey police did not immediately respond to a request for comment on the report. 

There was no visible police presence on Saturday at the house, a two-story brick-and-mortar home in a largely Spanish-speaking neighborhood. A woman who entered the house declined to speak to reporters gathered outside. 

Bounty on his head 

Rushdie, who was born into a Muslim Kashmiri family in Bombay, now Mumbai, before moving to Britain, has long faced death threats for “The Satanic Verses,” viewed by some Muslims as containing blasphemous passages. The book was banned in many countries with large Muslim populations. 

In 1989, Ayatollah Ruhollah Khomeini, then Iran’s supreme leader, pronounced a fatwa, or religious edict, calling on Muslims to kill the author and anyone involved in the book’s publication for blasphemy. Hitoshi Igarashi, the Japanese translator of the novel, was stabbed to death in 1991 in a case that remains unsolved. 

There has been no official government reaction in Iran to the attack on Rushdie, but several hardline Iranian newspapers praised his assailant. 

Iranian organizations, some linked to the government, have raised a bounty worth millions of dollars for Rushdie’s killing. Khomeini’s successor as supreme leader, Ayatollah Ali Khamenei, said as recently as 2019 that the fatwa was “irrevocable.” 
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Iranians reacted with praise and worry Saturday over the attack on novelist Salman Rushdie, the target of a decades-old fatwa by the late Supreme Leader Ayatollah Ruhollah Khomeini calling for his death.

It remains unclear why Rushdie’s attacker, identified by police as Hadi Mattar of Fairview, New Jersey, stabbed the author as he prepared to speak at an event Friday in western New York. Iran’s theocratic government and its state-run media have assigned no motive to the assault.

But in Tehran, some willing to speak to The Associated Press offered praise for an attack targeting a writer they believe tarnished the Islamic faith with his 1988 book The Satanic Verses. In the streets of Iran’s capital, images of the late Ayatollah Ruhollah Khomeini still peer down at passers-by.

“I don’t know Salman Rushdie, but I am happy to hear that he was attacked since he insulted Islam,” said Reza Amiri, a 27-year-old deliveryman. “This is the fate for anybody who insults sanctities.”

Others, however, worried aloud that Iran could become even more cut off from the world as tensions remain high over its tattered nuclear deal.

“I feel those who did it are trying to isolate Iran,” said Mahshid Barati, a 39-year-old geography teacher. “This will negatively affect relations with many — even Russia and China.”

Khomeini, in poor health in the last year of his life after the grinding, stalemate 1980s Iran-Iraq war decimated the country’s economy, issued the fatwa on Rushdie in 1989. The Islamic edict came amid a violent uproar in the Muslim world over the novel, which some viewed as blasphemously making suggestions about the Prophet Muhammad’s life.

“I would like to inform all the intrepid Muslims in the world that the author of the book entitled ‘Satanic Verses’ … as well as those publishers who were aware of its contents, are hereby sentenced to death,” Khomeini said in February 1989, according to Tehran Radio.

He added: “Whoever is killed doing this will be regarded as a martyr and will go directly to heaven.”

Early on Saturday, Iranian state media made a point to note one man identified as being killed while trying to carry out the fatwa. Lebanese national Mustafa Mahmoud Mazeh died when a book bomb he had prematurely exploded in a London hotel on Aug. 3, 1989, just over 33 years ago.

At newsstands Saturday, front-page headlines offered their own takes on the attack. The hardline Vatan-e Emrouz’s main story covered what it described as: “A knife in the neck of Salman Rushdie.” The reformist newspaper Etemad’s headline asked: “Salman Rushdie in neighborhood of death?”

But the 15th Khordad Foundation — which put the over $3 million bounty on Rushdie — remained quiet at the start of the working week. Staffers there declined to immediately comment to the AP, referring questions to an official not in the office.

The foundation, whose name refers to the 1963 protests against Iran’s former shah by Khomeini’s supporters, typically focuses on providing aid to the disabled and others affected by war. But it, like other foundations known as “bonyads” in Iran funded in part by confiscated assets from the shah’s time, often serve the political interests of the country’s hardliners.

Reformists in Iran, those who want to slowly liberalize the country’s Shiite theocracy from inside and have better relations with the West, have sought to distance the country’s government from the edict. Notably, reformist President Mohammad Khatami’s foreign minister in 1998 said that the “government disassociates itself from any reward which has been offered in this regard and does not support it.”

Rushdie slowly began to reemerge into public life around that time. But some in Iran have never forgotten the fatwa against him.

On Saturday, Mohammad Mahdi Movaghar, a 34-year-old Tehran resident, described having a “good feeling” after seeing Rushdie attacked.

“This is pleasing and shows those who insult the sacred things of we Muslims, in addition to punishment in the hereafter, will get punished in this world too at the hands of people,” he said.

Others, however, worried the attack — regardless of why it was carried out — could hurt Iran as it tries to negotiate over its nuclear deal with world powers.

Since then-President Donald Trump unilaterally withdrew America from the accord in 2018, Tehran has seen its rial currency plummet and its economy crater. Meanwhile, Tehran enriches uranium now closer than ever to weapons-grade levels amid a series of attacks across the Mideast.

“It will make Iran more isolated,” warned former Iranian diplomat Mashallah Sefatzadeh.

While fatwas can be revised or revoked, Iran’s current Supreme Leader Ayatollah Ali Khamenei who took over after Khomeini has never done so.

“The decision made about Salman Rushdie is still valid,” Khamenei said in 1989. “As I have already said, this is a bullet for which there is a target. It has been shot. It will one day sooner or later hit the target.”

As recently as February 2017, Khamenei tersely answered this question posed to him: “Is the fatwa on the apostasy of the cursed liar Salman Rushdie still in effect? What is a Muslim’s duty in this regard?”

Khamenei responded: “The decree is as Imam Khomeini issued.”
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A painter in orange overalls touches up the image of a hand holding a rifle while an artist perched on scaffolding painstakingly places bits of colorful ceramic in a mosaic of a guerrilla fighter.

The artists aren’t just decorating a wall: Together, they are helping to revive muralism, a movement that put Mexico at the vanguard of art a century ago.

Just as their famous predecessors did shortly after the Mexican Revolution, teachers and students of the Siqueiros School of Muralism are on a mission to keep alive the practice of using visual imagery to share messages of social and political importance.

The mural in progress is on three walls of a municipal building in San Salvador, a small town of about 29,000 people north of Mexico City in Hidalgo state. The Siqueiros School is based in a converted elementary school in the nearby hamlet of Poxindeje, and one of its co-founders is Jesús Rodríguez Arévalo, a pupil of disciples of Mexico’s three muralism masters: Diego Rivera, David Alfaro Siqueiros and José Clemente Orozco.

“The school is small, a humble space, but it is very serious, and it is professional,” Rodríguez said.

One hundred years ago, Rivera, Siqueiros and Orozco also started out at a colonial-era school-turned art laboratory. It was 1922, and they were charged with fulfilling the then-Mexican education minister’s mission to take art out of the galleries and into public spaces. The plan, part of a national literacy campaign sponsored by the national government, transformed Mexico and permeated the entire continent.

The artists’ manifesto was to make “ideological propaganda for the good of the people” and give art “a purpose of beauty, of education and combat for all.”

They identified with the agrarian and proletarian revolutions and mingled with European artists who fled to Mexico from both world wars. Sponsored by the government, they had access to the country’s most majestic buildings and the necessary resources to experiment with new techniques. Eventually, they began to paint in other nations: Argentina, Chile, Cuba and the United States among them.

Despite the backing of Mexican political leaders, their work turned out to be too provocative in some places outside the country: A mural Rivera painted in New York’s Rockefeller Center was censured and then demolished because it glorified communism.

“We are a bit more cowardly,” said Ernesto Ríos Rocha, 53, a muralist who is currently trying to found Mexico’s first muralism university in the Pacific coast state of Sinaloa. “We talk more about peace.”

The murals being created in San Salvador and other small towns today still have much in common with those created in the early 20th century, however: They encapsulate themes of war, injustice and oppression — as well as 21st century issues such as climate change and violence against women.

But Rodríguez and his students don’t anticipate monumental reverberations from their work. Their aspirations are lower and their income more modest, coming mostly from local governments that commission them to paint murals and support from community members who donate meals and house foreign students.

The Poxindeje school bets on recycling and reusing discarded materials donated by glassmakers or flooring manufacturers, said Janet Calderón, who co-founded the Siqueiros School with Rodríguez five years ago. They’re even making murals from garbage.

Luz Asturizaga, a 36-year-old sculptor from Bolivia, has enjoyed every moment of her stay in the iconic home of muralism. She wasn’t able to learn much about the art form in her own country, where she said professional artists’ circles are very closed. In Mexico, “they give you opportunity, they teach you,” she said.

Few students have completed training at the school — about 40 since it opened five years ago — but all leave with clear ideas instilled by their instructors: “Go to the communities, teach, carry out a comprehensive work of historic themes, of social content, of criticism of everything that oppresses man,” Rodríguez said.

The first step for the artists is to decide what elements they want to include, what metaphors to lay out. Then they build a sort of collage of portraits and photographs of historical figures whom they want to immortalize.

Composition and perspective are key. Dressed in paint-splotched jeans, his black hair tied back in a ponytail, the 54-year-old Rodríguez closes one eye in front of the mural in progress in San Salvador, and with the other glances through a transparent sheet of paper containing sketches of figures intended for the wall. The goal is to calculate the right scale, taking into account from where and what distance people will be viewing the work.

“You have to know local history and then begin with the sketches,” said Luis Manuel Vélez, 52, a worker for Mexico’s national oil company who spends his weekends painting murals.

Sometimes models for the work come from the neighborhood. A 6-year-old girl passing by the mural in San Salvador pointed and smiled before exclaiming: “That’s me and my grandpa.”

Purists have long lamented that starting in the late 20th century, muralism was replaced by urban art or short-lived graffiti.

Ríos Rocha agrees but is still optimistic.

“Muralism is in intensive care, but it is not going to die,” he said.

Historian David Martínez Bourget is a researcher at the 88-year-old Bellas Artes Museum, a palatial art nouveau performing arts center in Mexico City whose interior walls are graced with famous murals by Rivera, Siqueiros and Orozco.

Martínez Bourget said the art movement that the fathers of muralism began in the 20th century is over, but its spirit remains — not just in Poxindeje and San Salvador — but also in marginalized Chicano communities in the western United States and in Zapatista villages in southern Mexico. In both places, public art displays capture the communities’ history and rebellion, he noted.

As long as people are fighting for social justice, this kind of artistic expression will exist, Martínez Bourget says, because in difficult moments “art is politicized.”
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Chinese state media has stopped promoting a short film that depicted the everyday struggles of a disabled man in rural China and drew tens of millions of views before prompting widespread online criticism of Beijing’s poor disability rights record.

Following the online criticism from Chinese people with and without disabilities, top Chinese video streaming website BiliBili removed the film from its recommended list as official promotion ceased.

The 11-and-a-half-minute film, titled How Erjiu Cured My Mental Friction after Being Back in the Village for Three Days, centers on a man identified as “Erjiu,” or second-eldest uncle. Erjiu’s relative, Tang Hao, shot the film after he visited his home at an undisclosed location in rural China. Tang said he would not release Erjiu’s name or location for privacy reasons. Erjiu himself does not speak in the film.

Released near the end of July, the film follows the 66-year-old man, who has a disability in his left leg. Institutional barriers prevented him from all but a limited education, so he turned to carpentry.

After years working as a skilled carpenter, Erjiu now takes care of his 88-year-old mother and works as a handyman for their village. The film emphasizes that Erjiu doesn’t complain or feel sorry for himself.

The narrative seems inspiring — but that’s part of the problem, according to Shixin Huang, a scholar who focuses on disability studies in China. In her field, disability is viewed as a social and political construction, which is far from how it is often considered in China, she said.

“This film perpetuates the stigma attached to disability as a form of personal tragedy instead of a societal problem,” Huang told VOA Mandarin in an interview. “It’s a form of personal tragedy that lies on the individual himself. This kind of perception of disability actually then justifies all the suffering and barriers that Erjiu encounters in his life.”

This view of disability essentially absolves the government of any responsibility to do more to help people with disabilities, according to Huang, who said that was one of the main critiques online. She pointed to Erjiu’s limited education and limited career opportunities as examples of real barriers that people with disabilities face in China.

In 2006, the China National Sample Survey on Disability found the country’s disabled population stood at just under 83 million, or 6.34% of the total 1.3 billion. The World Health Organization says 15% of the world’s population is disabled.

Zhang Jianping, an independent legal worker in Jiangsu province who has paraplegia, or paralysis in lower parts of the body, agrees with Huang. After state media outlets including the People’s Daily and Xinhua began promoting the film as a positive depiction of one man triumphing over adversity, viewers started to think more critically about what they were watching, he said.

Viewers grew frustrated that the government “seemed to have no responsibility for people with disabilities,” Zhang told VOA Mandarin in an interview. “State media originally wanted to promote it as positive, but then the film lost its value. It seemed like public opinion was changing, so they quickly removed it.”

This film is an example of a “supercrip” narrative, according to University of California, Santa Barbara professor Hangping Xu, referring to stereotypical stories about people who miraculously overcome their disability and succeed. These narratives are often intended to inspire able-bodied people, he added.

“In this film, suffering is fetishized and justified,” Xu told VOA Mandarin in an interview. “The story seems to suggest that with enough stamina and fortitude, suffering can lead to greater wisdom.”

China’s disability rights record parallels its broader human rights record — both of which are poor. In a July submission to the U.N. Committee on the Rights of Persons with Disabilities, Human Rights Watch (HRW) expressed concern about the Chinese government’s noncompliance with its obligations under the Convention on the Rights of Persons with Disabilities, which China ratified in 2008. Progress has been slow since.

The Chinese government still shackles people with psychosocial disabilities, according to HRW, and people with disabilities continue to face barriers to education. Over 40% of people with disabilities in China are illiterate, according to a 2013 HRW report.

“China attaches great importance to ensuring the basic livelihood of persons with disabilities, improving their quality of life and promoting their all-round development,” Liu Pengyu, the spokesperson for China’s embassy in Washington, told VOA Mandarin in an email.

“A special welfare system has been established at the national level, covering tens of millions of disabled people, including living allowances, nursing subsidies, and rehabilitation assistance for children,” he continued.

Pengyu also told VOA that the enrollment rate of disabled children and adolescents in compulsory education exceeded 95%. In 2013, HRW reported that about 28% of children with disabilities were not receiving compulsory basic education. The report is the most recently available research.

About 15 million people with disabilities live on less than $1 per day in the Chinese countryside, according to HRW.

In China, “it’s difficult for people with disabilities to survive,” said Zhang, who has paraplegia due to a traffic accident many years ago. To the government, “people with disabilities are nothing at all.”

Huang wasn’t surprised that the film prompted so much backlash online.

Central to the film is the concept of self-reliance, something Beijing values. The depiction of that theme appears to have struck a chord among Chinese viewers, Huang said.

“There’s a lot of social dissatisfaction,” Huang said, pointing to China’s economic downturn, rising unemployment rate and extreme COVID-19 restrictions as some recent factors. “So this film might be triggering people’s dissatisfaction about those social problems.”

Zhang, the legal worker, told VOA Mandarin that he thought state media initially hyped the film in an attempt to distract people from the country’s current economic troubles. Lockdowns to prevent the spread of COVID-19 as part of the official “Zero COVID” policy hobbled factories and exports and reduced consumer spending.

“State media had to use this seemingly positive story to make people feel hopeful. But state media did not expect people to reflect further,” Zhang said.

“It is normal for people from all walks of life to have their own comments and opinions on videos,” Pengyu of the Chinese embassy told VOA.

Despite the weight the Chinese government places on self-reliance, Huang said, Beijing also benefits from presenting itself as the protector of China’s people. Since this film threatens that narrative, Huang wasn’t surprised that state media worked to suppress it.

“The life story of Erjiu definitely does not fit into that state narrative of how well it protects the vulnerable portion of its population,” Huang said. “It damages the moral legitimacy of the paternalistic state.”
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Issey Miyake, who built one of Japan’s biggest fashion brands and was known for his boldly sculpted pleated pieces as well as former Apple CEO Steve Jobs’ black turtlenecks, has died. He was 84.

Miyake died August 5 of liver cancer, Miyake Design Office said Tuesday.

Miyake defined an era in Japan’s modern history, reaching stardom in the 1970s among a generation of designers and artists who reached global fame by defining a Japanese vision that was unique from the West.

Miyake’s origami-like pleats transformed usually crass polyester into chic. He also used computer technology in weaving to create apparel. His down-to-earth clothing was meant to celebrate the human body regardless of race, build, size or age.

Miyake even detested being called a fashion designer, choosing not to identify with what he saw as a frivolous, trend-watching, conspicuous consumption.

Again and again, Miyake returned to his basic concept of starting with a single piece of cloth — be it draped, folded, cut or wrapped.

Over the years, he took inspiration from a variety of cultures and societal motifs, as well as everyday items — plastic, rattan, “washi” paper, jute, horsehair, foil, yarn, batik, indigo dyes and wiring.

He sometimes evoked images of Jimi Hendrix and Janis Joplin or collaborated with Japanese painter Tadanori Yokoo in images of monkeys and foliage in vibrant, psychedelic hues.

He also collaborated with furniture and interior designer Shiro Kuramata, photographer Irving Penn, choreographer and director Maurice Bejart, pottery maker Lucie Rie and Ballet Frankfurt.

In 1992, Miyake was commissioned to design the official Olympic uniform for Lithuania, which had just gained independence from the Soviet Union.

Born in Hiroshima in 1938, Miyake was a star as soon as he hit the European runways. His brown top, which combined the Japanese sewn fabric “sashiko” with raw silk knit, was splashed on the cover of the September 1973 issue of Elle magazine.

Miyake was also a pioneer in gender roles, asking feminist Fusae Ichikawa in the 1970s — when she was in her 80s — to be his model, sending the message that garments must be comfortable and express the natural beauty of real people.

Although he made clothes that went beyond the mundane, appearing to reach for the spiritual, he made a point to never get pretentious, always approving of the T-shirt-and-jeans look.

“Designing is like a living organism in that it pursues what matters for its well-being and continuity,” Miyake once wrote in his book.

His office confirmed a private funeral had been held and other ceremonies will not be held in accordance with Miyake’s wishes. Miyake kept his family life private, and survivors are not known.
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The 72 artifacts that the Horniman museum agreed to return include 12 of the famous Benin Bronzes – symbolic of the ancient Benin Kingdom in southern Nigeria.

The museum said in a statement Sunday it was moral and appropriate to return the artifacts, stating the objects were taken by force during the British military invasion of Nigeria in 1897.

Nigerian authorities have praised the gesture. The National Commission for Museums and Monuments said it is a breakthrough after a meeting with the museum authorities in March this year, and they say they’re looking forward to loan agreements and collaborations with the museum.

Babatunde Adebiyi is a legal director at the museum commission.

“We’re simply very happy for Horniman museums and gardens to have kept their word. They have made a just determination of the issue by returning these antiquities. Some of these antiquities might be loaned to [the] Horniman museum for a period.”

For years Nigeria has been negotiating the return of thousands of looted artefacts to their cultural bases in the southern party of Nigeria.

The antiquities were mostly taken from the palace of the Benin Kingdom during the colonial era.

As more are returned, authorities aim to set up a museum in Benin to store them, says Adebiyi.

“We’re proposing and working hard toward having a royal museum in Benin city near the oba’s [king’s] palace. All these things are meant to house these antiquities. Apart from that, museums like the Lagos museum can provide adequate facilities.”

Nigeria center for Liberty’s Ariyo Dare Atoye welcomes the development.

“It’s a good development for arts and culture in our nation, in Africa. It’s a welcome idea that they decided to do this. A lot of people believe this ought to have been done decades ago, It is better late than never. It’s an opportunity to boost our culture and tourism sector.”

Abuja resident, Abdullahi Okugiya also welcomes the move.

“It will add value to our museum. Most of us read (about) it in the books, but we have not actually touched them or seen them.”

In July, German authorities signed an agreement with Nigeria and began the process to return up to 1,100 Benin Bronzes to Nigeria, the most by a European country.

However, Atoye raises concerns about Nigeria’s readiness and expertise to properly manage and preserve these artifacts.

He also calls for monetary compensation, as well.

“What have we benefited from the ones that we have recovered? Ordinarily,,the return of these artifacts ought to have come with [an] apology, number two, with reparation. Money has been made through these artifacts in some of these countries like the UK. If we’re unable to make good use of the ones we’ve recoverd,,even Nigerians will be disinterested in the recovery of the ones leftover in the UK or any part of the world.

Nigeria has more than 50 national museums and authorities are looking to set up more.

Authorities and citizens are hoping the returns trigger more museums around the world to do the same, especially the British museum in London, which holds by far the largest and most significant collection of Nigerian cultural artifacts.
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