Arts and Culture

A 10-foot-tall golden trophy mocking US President Donald Trump for his ‘enthusiastic involvement in the Iran war’ appeared in New York’s Foley Square. The statue was created by anonymous art collective Secret Handshake.

Graffiti has marked the walls of Rome for millennia. Now, as one content creator builds a following cleaning spray-painted walls, his videos are fuelling a wider debate over heritage, street art and where the line between the two should be drawn.

At one point in the documentary, House of Hope, the protagonist, Manar Wahhab, breaks down in a classroom corner in the school she founded with her husband in the occupied West Bank. The cameras keep rolling.

“To step into someone’s life with a camera at the moment when they’re really down, it feels a little bit uncomfortable, but we made the choice together to keep filming during these moments. I wanted the audience to be there with them,” director Marjolein Busstra told Al Jazeera.

The film follows Wahhab, a Palestinian woman who established a Waldorf school with her husband, Milad Vosgueritchian, in al-Eizariya in the occupied West Bank.

House of Hope Vision Kindergarten & School teaches the Waldorf philosophy of non-violent resistance and offers children a space to express their emotions and cope with the trauma and difficulty of living under occupation.

“The school protects the children’s dignity in the present moment. It’s more about refusing to let occupation shape their inner world, so that they can actually be children and have agency,” Busstra said. “It’s in Waldorf philosophy that they make space to express the feelings.”

Working with a Palestinian crew, Busstra spent three years with Wahhab, travelling to the occupied West Bank nine times throughout the course of the documentary. She first met Wahhab 18 years ago during a film workshop in the West Bank.

Although the documentary centres around the elementary school, Wahhab is the story’s driving force. The story follows Wahhab and Vosgueritchian, both at the school and at home with their children.

“I started filming the school, but right away, I knew I wanted to do it about Manar’s inner life,” Busstra said. “I think hope is a difficult word at the moment, but I have a deep awe for Manar, who keeps creating and teaching even while carrying so much herself.”

For Wahhab, her respect for Busstra and their existing friendship helped her trust the film crew during vulnerable moments.

“We both believe deeply in education, in children’s creativity and freedom and in seeing the human being as something whole and beautiful in mind, soul and spirit. Those shared values created openness and trust between us and helped shape a film that is not only about events but also about humanity,” Wahhab told Al Jazeera.

The film was produced by Think-Film, the company behind The Voice of Hind Rajab, which tells the story of the five-year-old Hind killed by Israeli forces in 2024. Soldiers fired 335 bullets into the car carrying the girl and six of her family members – a story that became a symbol for the system failure to protect children in Gaza.

Although sometimes difficult, Wahhab said she made an effort to let the crew document multiple facets of her life.

“Over those three years, the crew met many versions of Manar. Sometimes they arrived, and I was fresh, energetic and cooperative. Other times, they found me exhausted, angry, overwhelmed, or ill,” she said. “I understood that I had to be as authentic as possible, because I was representing not only myself, but also my community, hope, peace and the voice of Palestinians.”

Wahhab and Vosgueritchian founded the school out of a desire to offer a different kind of education to Palestinian children and to provide a place where they felt safe and could share their emotions.

“The school was born many years ago when we saw the hardships surrounding our community and wanted to create something different, a space of love, safety, creativity and healing,” Wahhab said. “House of Hope is an idea, a mission and an energy that we carry wherever we go.”

In an increasingly violent Israeli occupation, Wahhab considers the Waldorf philosophy essential.

“I do not see nonviolence as weakness. Actually, I believe the opposite. Violence is easy. Nonviolence requires courage, awareness, patience and inner work. It asks us to see beyond our own pain and ego and to hold on to our humility even when circumstances are trying to pull us away from it,” she said.

“The world absorbs the energy that we create, and right now, there is so much fear, anger and violence in our world. I think we need more peace within ourselves, peace with one another and peace with nature,” Wahhab added.

After Hamas’s incursion into southern Israel on October 7, 2023, came Israel’s brutal military response. Life became increasingly difficult for Wahhab, Vosgueritchian and the children at House of Hope, but the crew continued to document their realities.

“The story I wanted to create with Manar stayed the same, but after October 7, everything became heavier. They were so down for a while. They were like different people, like they lost all hope,” Busstra said. “The school built this safe haven, but the occupation is always rattling at the door.”

Israel’s intensified military actions in the West Bank, including the shooting and killing of children, are a constant spectre. In another scene, Wahhab watches her son leave for school and checks to see if he has a phone charger and spare clothes in case he is held at a checkpoint for hours.

“The energy is so heavy now. I hope people understand that we are not asking for something extraordinary. We are asking for basic human rights, the right to live with dignity and freedom, the right to safety and the right to be fully human beings,” Manar said.

Busstra, who closely followed Wahhab for three years, said she wants audiences to go “beyond the framing of us vs them”.

“I hope that this stays with people, not as something distant that happens to others, but something they can locate within their own understanding of what it means to love someone in an unsafe world.”

Wahhab believes the film offers a more nuanced perspective of Palestinians.

“I think that in the West, many people see a very limited picture of Palestine and the Middle East. Sometimes they see us through stereotypes as terrorists, as people who are undeveloped or somehow less than themselves,” she said. “I hope this film helps people look beyond those images. The news does not tell the full reality. It often shows only violence and people killing one another. It doesn’t show the essence of people’s lives. It shows negativity,” she said.

Wahhab encouraged people to consider the documentary through a lens of shared humanity.

House of Hope won the best international feature documentary prize at the Hot Docs Canadian International Documentary Festival in May 2026 and was recently screened at UNESCO in Paris. It will soon be screened at the Jerusalem Arab Film Festival.

“Even though our story is deeply rooted in the West Bank, its message is universal. Our hope is that people everywhere can see our story and take something meaningful from it.”

Chaibasa, India – As the world celebrates Spain winning its second FIFA World Cup and the “GOATS” of football who headlined the month-long tournament, a remote Indian village has also joined in – albeit with an indigenous touch.

To coincide with the FIFA event, residents of Tirilbasa village in Chaibasa, a tribal-dominated district in eastern India’s Jharkhand state, organised a football tournament from July 14 to July 17, featuring teams from 64 nearby villages.

But the star attraction at the Rangila Star Tirilbasa tournament (“rangila” means “colourful” in Hindi), besides relatively handsome prize money, was a herd of goats to be handed as trophies to the best-performing teams.

The finals were played on Friday, with NCS Maudi beating Kumbaram 1-0, a dramatic prediction of what happened between Spain and Argentina two days later in New York.

NCS Maudi carried home prize money of 15,000 rupees ($156) and three male goats (locally known as “khassi” for their castration at a young age). Runners-up Kumbaram won 12,000 rupees ($125) and two khassis, while Kobra FC Nimdhi and Galubasa FC, the third and fourth rankers, won 9,000 rupees ($93) and one khassi each. There are also cash prizes for the man of the match, man of the series and the best goalkeeper, but they don’t get any khassi.

NCS Maudi’s captain Sachin Devam, whose team arrived on two-wheelers to play the game, told Al Jazeera he would have to arrange for an autorickshaw to carry the goats home, 10km (6 miles) away.

“It’s the first win for our team, and we are going to celebrate it with everyone in the village,” he said with a beaming smile. “It’s going to be a khassi picnic.”

‘Khassi important part of our culture’

This year was the fifth edition of the Rangila Star Tirilbasa tournament.

The organisers say they follow the FIFA rulebook and invite popular commentators and referees certified by the state football association to ensure compliance with the guidelines and “avoid fights as players can get aggressive on the field”.

But the rest of the setup is markedly different from the conventional game. Rather, it is adapted to the ancient tribal traditions of the Ho community, which is native to the Chaibasa region.

The Ho people, numbering a little more than a million across India, genetically belong to the Austroasiatic group and identify themselves as tribal (“aadivasi” in Hindi) people inhabiting the forests. The word “ho” in their language means “human” or “people” of the Kolhan region in Jharkhand, one of India’s poorest states despite being home to some of India’s biggest coal and mineral mines.

The Austroasiatic tribes such as Santhals, Ho and Munda organise their traditional, religious and sporting activities like a close-knit community. Football events are an opportunity to invite fellow tribal kin to celebrate their bond.

For the Ho people, no celebration is complete without the khassi. The animals are used for ceremonial sacrifices during religious events and rituals, and their meat is shared among the community members.

“Khassis are part of the prize as they are an important part of our culture. Their meat is tasty, and everyone loves good mutton. Most teams slaughter the goats, but some also keep them as livestock and trophy prize,” Manish Kudada, an 18-year-old player and one of the organisers of the tournament from Tirilbasa, told Al Jazeera.

Kudada has preserved the black khassi he won in another football tournament in February, but his friends joke that the goat is being fattened up for a feast. The khassi goats are prized for their meat quality. In Chaibasa, the goats can be spotted everywhere, especially during the weekly Tuesday markets, where a baby goat costs up to 8,000 rupees ($83).

“Without khassi, our celebrations are half-hearted. At weddings, even if the hosts serve double the amount of chicken and no khassi meat, it will upset the villagers,” Raj Keshri, goalkeeper for the Tirilbasa team and one of the organisers of the tournament, told Al Jazeera.

“We therefore decided to offer cash and goats as the prize. Players get to keep their money, but with the khassis, they also get to celebrate the victory with the entire village.”

The Ho practice what they call the Munda-Manki governance system, under which the hereditary head of a village upholds all social, legal and customary rights of the people. Their tribal codes and customs take precedence over the Indian government’s panchayat (village administration) and police systems.

The Rangila Star Tirilbasa tournament is conducted at the “ek munda” (“ek” means “one” in Hindi) level, which means that a team’s members must belong to the same village. Instead of 11 players, each team has nine, of which at least six must belong to the same village to qualify for the tournament. Organisers say the rule is strictly followed to reinforce a sense of unity among the players.

The rules of the game have also been modified. There is no offside, and players are free to score from anywhere on the field.

“This kind of match setup provides an opportunity for players like us from small villages who never get a chance to qualify in open tournaments which are dominated by seasoned players,” Sudarshan Tiu, who plays for Galubasa FC, told Al Jazeera.

Suvir Kumar Tanti, the commentator for the tournament, travels widely across the Kolhan region during the monsoon football season, when most male members return home for cultivation and agricultural festivals.

At the finals at Tirilbasa on Friday, his high-pitched, lyrical play-by-play commentary boomed through the loudspeaker, helping the spectators keep track of the fast-paced action on the football field.

“The Rangila Star tournament reflects the culture of the Ho community. And khassi goats as prizes make it even more unique. Very few tournaments in the region follow this and prefer to conduct events in a professional manner, with trophies and medals as rewards,” he told Al Jazeera.

The tournament offers entertainment for the villagers, who pour in and out of the grounds through the day, squatting by the sides of the field or finding a place on the trees.

Nearby, food stalls sell fried dough balls, potato chops, yellow peas, and hooch. Men sit in circles, taking a break in between the matches to drink “madia”, a fermented rice beer that locals say helps them stay cool in the hot and humid weather.

In the evenings after the matches, men also play a rooster-catching game, which spectators can bet their money on.

Keshri, goalkeeper for the Tirilbasa team, explains the spirit behind the tournament’s eccentric name: Rangila Star Tirilbasa.

“The name was chosen because it embodies the identity of our village. ‘Rangila’ [colourful] signifies our enthusiasm to do something unique while ‘Star’ represents talent. Through our football tournament, we hope Tirilbasa will become the ground for local talent.”

The tribal-dominated state of Jharkhand has been a sports powerhouse for decades. It has produced globally-awarded field hockey players and athletes, the most famous being India’s former cricket captain, Mahendra Singh Dhoni.

The state government helps local football and hockey clubs like Rangila Star with financial grants, resulting in the rise of some of football’s next generation of players. Many such clubs, including Rangila, also hold tournaments for female teams.

But until over a decade ago, Chaibasa was not on the sporting map.

Located among remote forests and hills, the district was cut off from mainland India due to the Maoist insurgency – a tribal-led armed revolt against the Indian state over large-scale felling of forests and selling of lands to private corporates for mining and related activities.

The government regained control of Chaibasa from Maoists only in 2011. Still, until last year, private vehicles avoided taking roads crossing the district at night. Commercial buses operated from 4am to 4pm, and the region remained on the government’s list of “sensitive areas”.

In March this year, India’s Home Minister Amit Shah declared the end of the armed Maoist rebellion after a series of top commanders were killed or arrested by the security forces in Jharkhand and the surrounding states, mainly Chhattisgarh.

As violence ebbed, Chaibasa turned into a busy town. Shops selling pizza, burgers and laptops, alongside offices and warehouses of mining companies extracting coal and iron ore, have come up. Christian missionary schools and colleges are dotted across the region, providing educational opportunities to tribal people.

Sporting activities are also thriving, with Chaibasa fast emerging as a football hot spot, producing players like female midfielder and forward Malati Munda.

Munda, who found national fame through local tournaments, ended up playing in league matches in Kolkata, the capital of neighbouring West Bengal state, where football is extremely popular.

“I had no coach to guide me or provide training. No one had even heard about me. After coming to Chaibasa town for higher studies, I met several brothers and sisters who taught me and improved my game,” Munda told Al Jazeera.

The weekly local tournaments gave Munda experience and skills to improve her game. They also brought rewards. “I have played at several such games where we won cash, and yes, khassi as well,” she said with a laugh.

Munda currently plays for the Home Guard paramilitary in Jharkhand’s capital city of Ranchi – a route many players from poorer families take to secure a government job in India.

Harish Hembram from Chaibasa began his career as a football content creator by covering local matches and uploading their videos on social media. His YouTube channel today has more than 211,000 subscribers, and livestreams key matches across Jharkhand.

“Football has always been popular in the villages, and many like me would attend matches at different venues. I started uploading the videos for fun for those fans who couldn’t attend. But soon the videos clocked high viewership, and I started my YouTube channel. Now organisers call me to cover their tournaments,” he told Al Jazeera.

Hembram said he earns about 20,000 rupees ($208) a month through his YouTube channel alone. He has moved to Ranchi, where he has also opened a sports shop selling football, jerseys, shoes and other accessories. Many players from Chaibasa visit his shop.

The grassroots football culture in Chaibasa defies the stereotype that India is not a football country.

Sandeep Menon, author of Sacred Grounds: A Journey Through People’s Football in India, says he has discovered and documented a football subculture across the country. He said while India does not figure prominently on the global football map, the love for the sport in the country is “unparalleled”.

“At the grassroots level, football is played with great interest across the country. And everyone has their own version of the game, to make it palatable and adaptable depending upon the availability of space, local geographical surroundings, weather and social conditions,” Menon told Al Jazeera.

Menon said hyper-local village tournaments like the Rangila Star Tirilbasa attract young players and provide them an opportunity for overnight fame. “There is a high emotional investment in playing for a village and representing it,” he said. “For some players, football becomes their identity and pride.”

Trump’s name was removed from the centre’s facade and signage last month, after a judge ordered its removal.

A US appeals court has ruled that President Donald Trump’s name must remain off the Kennedy Center for the Performing Arts, while the organisation appeals an earlier ruling that found a name change illegal.

Trump’s name was removed from the centre’s facade and signage last month after US District Judge Christopher Cooper ordered the removal and blocked Trump’s plans to close the centre for renovations. An appeal against this ruling was struck down by a three-judge panel on Wednesday.

It is another setback for the centre’s board of trustees, of which Trump is chairman, in a saga that began earlier this year when the Kennedy Center became: “The Donald J. Trump and The John F. Kennedy Memorial Center for the Performing Arts.”

The conspicuous addition, and ensuing legal battle, became symbolic of Trump’s broader push to imprint his legacy – and, in this case, his actual name – on the nation’s capital in his final term.

The decision by the US Court of Appeals for the District of Columbia Circuit denied the Trump administration’s request to pause the lower court order in a lawsuit brought by Democratic Representative Joyce Beatty, a Kennedy Center board member.

“Today’s ruling again affirms that this administration’s efforts to rename the Kennedy Center were unlawful,” Beatty said in a statement.

“His name no longer desecrates this sacred memorial, which belongs to the American people.”

The panel of judges wrote on Wednesday that the board of trustees’ request “failed to show how they will be irreparably injured” if Trump’s name remains off the building through the appeal process.

The board had argued that the removal “threatens to impede” fundraising efforts, but the judges found that claim came without the support of “specific facts or evidence”.

The Kennedy Center did not immediately respond to an emailed request for comment from the Associated Press news agency.

When Trump first took office in 2025, he replaced the Kennedy Center’s board of trustees, who then named him chairman. His name was quickly added to the building, but a federal judge then ruled that the name change was illegal, prompting the ensuing legal battle.

In many ways, Saturday was a typical July 4 holiday in the United States.

The country marked the anniversary of its Declaration of Independence with hotdog-eating contests, parades, fireworks and baseball games.

But this Independence Day was different, not least because it marked the country’s semiquincentennial: the 250th year since the US’s founding.

It also was one of the most politically charged Independence Day celebrations in recent memory.

President Donald Trump is expected to speak this evening from the National Mall in Washington, DC, right before what has been billed as the “world’s largest fireworks display”.

More than 850,000 fireworks are expected to launch from barges in the Potomac River, lighting up the sky above the capital.

But while Independence Day festivities have long been billed as non-partisan events, Trump has pledged to make the night’s celebration “the most spectacular TRUMP RALLY of them all”.

The event comes as Trump’s Republican Party seeks to defend its control of Congress in November’s midterm elections, with a heated primary season already under way.

Trump’s involvement in the semiquincentennial has long been controversial.

On January 29, 2025 — just nine days into his second term as president — Trump issued an executive order establishing a White House task force to oversee celebrations for the 250th anniversary. Trump named himself its chair.

That task force would eventually set the groundwork for Freedom 250, a public-private partnership that organised some of the biggest events of the semiquincentennial, including the Great American State Fair on the National Mall.

But Freedom 250 was accused of funnelling resources away from America250, a congressionally approved panel that had likewise been charged with planning semiquincentennial celebrations since its founding in 2016.

The existence of the two groups has also spurred confusion. In late May, for instance, a suite of performers dropped out of the Great American State Fair, alleging they had been misled about its affiliation with Trump.

Before Saturday’s events, Democrats in the House of Representatives released a report (PDF) accusing Trump of using Freedom 250 for political purposes, including by awarding contracts to Trump allies.

It also alleges that Freedom 250 has been “operating outside the transparency and accountability requirements” Congress imposes on such celebrations — and that it may even have committed wire fraud by redirecting “unsuspecting donors” away from America250 and towards its own programmes.

“Under President Donald Trump, this anniversary has been hijacked and perverted into a hotbed of corruption and self-enrichment,” the report reads.

But speaking at a naval parade in New York City on Saturday, Vice President JD Vance brushed aside the criticisms. He called on revellers to reject the “small but loud voices” that “speak obsessively” of the US’s “imperfections”.

“What I’d ask you to do, my fellow Americans, on our 250th birthday, is to reject the two-dimensional view of your fellow citizens and reject the two-dimensional view of your country,” he said.

“Reject that America is a place for zero-sum thinking because it is not. Our history is one of people carving a great civilisation out of the wilderness. Reject the view of your nation that sees only its sins but not its grace and its greatness.”

The Benin Bronzes are a broad term used for the carved ivory, wooden works, metal sculptures and plaques looted by British troops during the Punitive Expedition in 1897.

Scholars estimate that more than 5,000 artefacts were stolen, some of which were gifted to Queen Victoria, others sold in auctions, held in private galleries or donated to museums across Europe and elsewhere.

The call to return the art, which began in the 1930s, intensified in the recent decade, inspired by growing pressure, repatriation activism and the relentless effort of the Benin Dialogue Group, a multilateral stakeholders’ group.

As momentum built at the peak of the homecoming of these arts, Igun Street unexpectedly found itself in the global spotlight. Diplomats, state officials, museum curators and researchers began arriving in numbers local artisans say they had never witnessed before.

This noon, Double Chief’s voice brims with pride as he points to a recently completed sculpture resting on a wooden bench. The bronze figure, a man in a suit and tie, had received its final polish only that morning after months of work.

Yet for many bronze casters, the attention has done little to solve underlying concerns.

“We are struggling to keep the industry alive,” says Oriakhi Osazee, who sits on a wooden stool at the entrance of a store in Igun. A sculptor whose mediums are clay, fibre, brass and bronze, Osazee has been in the craft for more than 35 years. He speaks with depth and conviction, drawing from vivid dates and past events to reinforce his ideas.

Efforts to recruit apprentices have stalled, he says. Young people, on whom the future of the craft depends, are increasingly leaving in search of what he calls “quick money” in other professions, cities and countries.

When their ancestors began, he recalls, their craft extended beyond bronze casting. There were, among the Iguns, men who had a gift in ivory carving. Long before the global ban on ivory trade was made official, that layer of art, without heirs and hope of continuity, had died.

For Agbonmwenre Alex, the subject of heirship within the craft is a matter of personal pain.

Alex, who was taking a tour of his workshop, began learning the craft at the age of eight under the guidance of his father. He started with errands and light tasks before progressing to kneading clay pottery. Over time, he learned every stage of the casting process, from preparing moulds to the final polishing of finished works.

Today, he is the only one of his father’s seven sons who remains in the profession. But uncertainty now hangs over the next generation.

“I would like my sons to take after me,” Alex says. “Unfortunately, I started exposing them to this craft so late. They literally see this work as outdated, archaic, and dying. The zeal, the love for the job, is dead.”

I would like my sons to take after me. They see this work as outdates, archaic, and dying. The zeal, the love for the job, is dead.

by AGNONMWENRE ALEX, BRONZE CRAFTSMAN

His first son chose to study law. His second is pursuing a degree in healthcare. Despite repeated efforts to pique their interest, including offering workshop space, raw materials and financial support to start a business of their own, neither accepted.

“The number of youths is declining drastically. It [the craft] is at risk of going into extinction. Apprentices are so scarce,” says Osazee. “We used to have a lot of apprentices in the past.”

Russian artist Robert Kuzakov, known as Semyon Skrepetsky, was shot dead in Poland just three days after a performance protest in Berlin near the Russian embassy. He was known for his caricatures of politicians including Vladimir Putin and Alexei Navalny.

The US president has sought to reshape the capital city’s image and institutions through series of plans and projects.

President Donald Trump’s name is set to be removed from the facade of the Kennedy Center, an entertainment and cultural institution in Washington, DC, after a judge rejected a last-minute request to keep it in place.

US District Judge Christopher Cooper dismissed an effort by the centre’s board, whose members were handpicked by Trump, to reverse a previous order taking his name off the building by Friday.

The saga is yet another example of Trump’s effort to make changes to major sites and institutions across the nation’s capital, on which he has sought to impose himself through a series of planned projects that include an enormous triumphal arch and a White House ballroom.

Many of those efforts have faced legal challenges.

Trump dismissed the centre’s previous leadership and appointed a board that named him chairman.

Cooper had ruled last month that the addition of Trump’s name to the exterior of the John F Kennedy Center for the Performing Arts was illegal and ordered its removal.

“Unfortunately, Judge Cooper and the Radical Left would rather see it DIE than have President Trump transform it into something that everyone could be proud of,” Trump wrote in a 580-word social media post at the time, slamming the decision, referring to himself in third-person.

A June 4 memo from the centre’s Office of General Counsel had instructed staff to use the name “The John F Kennedy Center for the Performing Arts” or “Kennedy Center” in email signatures, letterhead and other documents. The centre’s website also dropped Trump’s name.

But the board attempted to salvage the change in an appeal on Thursday, appealing a previous ruling that denied their request for a stay. Cooper rejected that request on Friday.

A massive 850-square-meter street mural of football star Neymar da Silva, created by six artists over two days in Brazil’s Novo Hamburgo, is turning heads ahead of the highly anticipated FIFA World Cup.

A swarm of drones lit up the evening sky near Taiwan’s Taipei 101 skyscraper in a dazzling display depicting a giant robot, a sports car, and Earth. The light show was part of Computex Taipei, one of Asia’s largest technology exhibitions.

US President Donald Trump has announced he plans to withdraw his leadership from the John F Kennedy Center for the Performing Arts, after a federal judge ruled he could no longer have his name on the building.

On Friday, in a 580-word post, Trump blasted Judge Christopher Cooper as reckless. He also painted the performing arts centre as a dilapidated structure only he could restore.

“Unfortunately, Judge Cooper and the Radical Left would rather see it DIE than have President Trump transform it into something that everyone could be proud of,” Trump wrote, referring to himself in third person.

But Trump’s interventions at the Kennedy Center, a national performing arts centre in Washington, DC, have been controversial from the start.

Construction on the building began in 1964, shortly after President John F Kennedy was assassinated.

That year, his successor, Lyndon B Johnson, signed into law an act of Congress that established the site as a “living memorial” to the slain leader.

But since starting his second term, Trump has sought to reshape Washington, DC, in his own image, undertaking construction projects and erecting banners with his photograph.

Within weeks of his inauguration, in February 2025, he fired Democratic members of the Kennedy Center’s bipartisan board and replaced them with his picks.

He also terminated the leadership of the centre’s longtime president, Deborah Rutter. The board quickly elected Trump as chair instead.

But some of the biggest backlash came in December, when the board went a step further and voted to rename the building “The Donald J Trump and the John F Kennedy Memorial Center for the Performing Arts”.

Within a day, construction crews were seen outside the arts centre, adding Trump’s name to the outside of the edifice.

Critics immediately denounced the effort as a violation of the 1964 law, not to mention a sign of disrespect towards the late Kennedy.

Amid public pressure and a string of cancellations from performers, Trump announced in February he would shutter the arts centre for two years, starting in July. He cited renovations as his rationale for the sudden closure.

US Representative Joyce Beatty, a Kennedy Center trustee, sued to stop the closure from happening. She also sought the removal of Trump’s name.

Inside the court’s ruling

In Friday’s ruling, Judge Cooper — an appointee of former President Barack Obama — sided with Beatty’s requests.

He ordered that Trump’s name must be removed from the theatre’s facade, as well as any other signage or official materials, within 14 days, citing the 1964 law.

“The Kennedy Center’s organic statute makes crystal clear that the Center is to be named for President Kennedy, and it cannot bear any other formal name or public memorial based on the Board’s unilateral say-so,” Cooper wrote.

“Congress gave the Kennedy Center its name, and only Congress can change it.”

Cooper also overturned the Trump-led board’s decision to strip trustees like Beatty of the right to vote on Kennedy Center matters. Beatty is one of several bipartisan trustees who have a seat on the board by virtue of an act of Congress.

“If trustees presumptively possess the right to vote, what, if anything, authorizes the Board to unilaterally strip certain trustees of voting rights?” Cooper asked in his decision, striking down the Trump-era policy.

“Absent Congressional authorization, the Board may not deprive a duly-appointed Kennedy Center trustee of her right to vote on Board matters on which all other trustees are entitled to vote.”

In the last part of his 94-page decision, Cooper turned his attention to the Kennedy Center’s imminent closure.

He pointed to statements and plans from Trump administration officials touting the use of the performing arts facility before the July closure date, saying they undermined the assertion that the building was somehow hazardous.

“Former Kennedy Center President [Richard] Grenell emphasized that the Center would be one of the ‘premiere spots’ for America’s 250th celebration — quite a concerning idea if the Center is as dangerous as the Defendants now represent,” Cooper wrote, alluding to events scheduled for the coming weeks.

He later added, “Up until February 1, the Center was planning to proceed apace with some form of phased construction and cited no safety concerns about that plan.”

While closing the Kennedy Center is within the board’s powers, Cooper concluded that the board had likely violated its duty to administer the centre “as a prudent person would” under the law.

He therefore issued a temporary injunction against the centre’s closure. “The trustees might have assessed the propriety of closure in a number of prudent ways. This was not one,” he wrote.

Reactions to the ruling

The ruling prompted an incensed rebuttal from Trump on his Truth Social platform. The president pledged to transfer oversight of the facility to Congress, under whose mandate the centre already operates.

“We are going to be working with Congress to transfer this failing Institution back to them so they can make a determination as to what to do with it,” Trump wrote.

He also blasted Cooper as a partisan actor who had treated him “unfairly”, echoing similar criticisms he had levied against other judges.

“Judge Cooper should be ashamed of himself! I cannot be involved with a situation where danger to the Public is allowed to flourish in plain and open sight,” Trump said.

“Unless I am free to do what I do better than anyone else, bring this Institution back, physically, financially, and artistically, I have no interest in continuing what could only be a hopeless journey into ‘NEVER NEVER LAND.’”

Beatty, meanwhile, applauded the ruling as a victory against unchecked power, unfettered by the law.

“The Kennedy Center is an institution that belongs to the American people, not to Donald Trump,” she wrote.

“He has desecrated this sacred memorial for his own vanity. I am proud to have fought for the rule of law and to protect this sacred institution.”

This marks the second time that Romanian director Cristian Mungiu has won the prestigious Palme d’Or prize.

Fjord, a thought-provoking drama about a Christian family in Norway from Romanian director Cristian Mungiu, has won the best film prize at the Cannes Film Festival.

Mungiu won his second Palme d’Or at a star-packed closing ceremony at the festival on Saturday.

The ⁠drama starring Sebastian Stan and Renate ⁠Reinsve is centred around ⁠the clash ⁠of values that ensues when a religious family ‌relocates from Romania to a Norwegian ‌village.

It tells the story of evangelicals who move to Norway, but soon after have their children taken from them by child services for spanking them. Mungiu has called it a tale of “left-wing fundamentalism.”

The movie is based on true events and is notable for how it questions the supposedly progressive values of the Norwegians depicted in the film, as well as the child welfare system.

“This is a message about tolerance, inclusion, and empathy. These are wonderful values that we all cherish, but we need to put them into practice more often,” Mungiu told the audience.

Mungiu becomes just the 10th filmmaker to win the Palme d’Or twice. His, 4 Months, 3 Weeks and 2 Days, a Romanian abortion drama, won the award in 2007.

Russian war drama Minotaur, by Andrey Zvyagintsev, which depicts a callous businessman caught up in Russia’s invasion of Ukraine, won the Grand Prix second prize.

“Put an end to the carnage, the whole world is waiting for it,” Zvyagintsev, who now lives in exile in France, told the audience in a message addressed to Russian leader Vladimir Putin.

Belgium’s Virginie Efira and Japanese actor Tao Okamoto shared the best female performance award for their roles in nursing home drama, All of a Sudden, by Japan’s Ryusuke Hamaguchi.

Belgian duo Emmanuel Macchia and Valentin Campagne from gay World War I drama, Coward, also shared the male best actor award for their roles in the Lukas Dhont-directed movie.

Rwandan filmmaker Marie-Clementine Dusabejambo won the Camera d’Or for best first film for her genocide drama, Ben’Imana, which she dedicated to “the women of my country”.

Spain, Netherlands, Ireland, Iceland and Slovenia all withdrew in protest against Israel’s participation in the midst of its war on Gaza.

As the Eurovision Song Contest took to the stage for the Saturday night final in Vienna, thousands protested outside against Israel’s inclusion, and five countries boycotted the event over the genocidal war on Gaza.

Protesters marched through the Austrian capital to highlight what critics described as a double standard. The European Broadcasting Union (EBU) organisers refused to exclude Israel, despite banning Russia following its invasion of Ukraine four years ago.

Eurovision, which attracted 166 million viewers last year, is seeing the largest boycott in its 70-year history.

Spain, the Netherlands, Ireland, Iceland and Slovenia all withdrew because of Israel’s inclusion, with some of their national broadcasters refusing to air the show.

Spain’s Prime Minister Pedro Sanchez, who has emerged as one of Israel’s strongest critics in Europe, said on Friday that the decision puts Spain on “the right side of history”.

Last month, more than 1,000 artists called on fans to boycott Eurovision in an open letter against Israel’s participation. Among the artists were outspoken critics of Israel, Macklemore and Paloma Faith. Macklemore has released songs protesting against Israel’s war in Gaza.

Double standards

On Monday, Amnesty International Secretary-General Agnes Callamard denounced the EBU for allowing Israel to participate.

“The failure of the European Broadcasting Union to suspend Israel from Eurovision, as it did with Russia, is an act of cowardice and an illustration of blatant double standards when it comes to Israel,” she said.

Reporting from Vienna, Al Jazeera’s Charlie Angela said 2,000 demonstrators gathered in the city earlier on Saturday to protest against Israel’s participation.

Angela reported that protesters accused the competition of normalising Israel’s actions in Gaza, adding that Eurovision was “bending over backwards” to justify including Israel while excluding Russia.

Russia has faced a widespread cultural boycott following the Ukraine invasion. It is banned from international football tournaments, and FIFA and UEFA have excluded Russian domestic teams from all competitions, including the Champions League.

The winner of Eurovision will be selected by both a professional jury and TV viewers voting for their favourite act.

Austria won the competition last year, with Israel second.

The Israeli government was later accused of unfairly influencing voting. New rules have since been introduced.

British artist Matthew Collings says his exhibition “Drawings Against Genocide”, depicting Israeli violence against Palestinians, has been falsely portrayed as anti-Semitic. After outrage and protests, the London show has been cancelled.