arts

RIYADH: The performing arts in the Kingdom is undergoing a transformation driven by cultural investment, new venues, international collaboration, and a growing network of local professional and academic institutions, making it tempting for young Saudis to pursue.

While academic study in the field is comparatively new, Saudi theatrical production is not. The Kingdom has long produced recognized theater throughout the Gulf and regionally, but many practitioners studied overseas.

Today, Saudi Arabia is localizing the education of its creative talent through academic and professional training in the country.

Since 2020, Saudi has dedicated a Theater and Performing Arts Commission to regulate and develop a sector encompassing theater, dance, circus, improvisational comedy, street performance, ballet and opera.

Not only through training but also national competitions and workshops.

Undergraduate programs are offered at King Saud University, Princess Nourah University and most recently the Riyadh University of Arts. While the Royal Institute of Traditional Arts provides postgraduate and diploma-level education, Scene Institute, and Ithra have further professional training.

As Saudi universities begin their academic year, many students are continuing their conventional degrees. Other creatives are pursuing their passions academically, making the most of the opportunities the Kingdom has to offer.

Osama Almutairi, a final-year Bachelor of Arts in Theater student at King Saud University, spoke to Arab News about the feasibility of his academic choice.

“My love and passion for the arts, particularly theater, naturally led me to this specialization.”

Theater was not his first choice. “I initially considered studying political science but was accepted into theater as part of the first cohort at the College of Arts,” he said.

“Despite my initial interest in pursuing a conventional degree in the humanities, the continuous development of Saudi Arabia’s arts sector encouraged me to take this step.”

Saudi Arabia has been taking proactive measures while localizing performing arts scholarships.

The Ministry of Culture has been running a fully funded Cultural Scholarship Program that supports creative specializations at 278 approved institutions across 15 countries, including performing arts.

One beneficiary is Majed Al-Muwallad, an actor and theater teacher at Afaq Academy, who completed his Bachelors in Theater Studies at Royal Holloway, University of London.

“I travelled to London in 2021. During my studies, I participated in several theatrical productions, ranging from small projects to larger, more academically oriented university productions.

“I had loved acting since I was about 14 years old. I loved films, acting, stories and dramatic texts. When the scholarship opportunity appeared, I thought: ‘Why should I let this opportunity pass?’ I decided to take it.”

Al-Muwallad said he left a job at Aramco to pursue his childhood dream, although members of his community were uncertain about his unconventional choice.

“They were not sure about the professional opportunities available or where such a career could lead,” he said.

“It was a major career change, and leaving Aramco to pursue acting was an unfamiliar idea. People do not usually leave Aramco to become actors,” he added.

Now that he has graduated and is teaching Saudi youth to act, Al-Muwallad believes it was a good decision.

He is even considering pursuing a master’s degree in the performing arts, specifically in performance design. For him, the opportunities are not limited to acting. He hopes to build on his studies in costume, lighting and set design.

“Every theatrical production needs design. It requires a set, costumes and lighting. Rather than limiting myself to the acting and performance side of theater, I would like to develop expertise in design and contribute to the audience’s overall visual experience.”

Almutairi believes perceptions will continue to change as Saudi artists demonstrate the value of academic training.

“The future is wide open for the arts and artists. Society’s perception will continue to change as academically trained Saudi artists demonstrate their ability to represent their communities and country.

“This change is already becoming evident, with society playing an increasingly important role in supporting the success of Saudi artists nationally and internationally.”

For Al-Muwallad, theater should be approached holistically — not only as a career or degree, but also as a journey of self-discovery.

“I learned a great deal before I even began teaching the students. I had to learn how to communicate theatrical knowledge and present information in a way students could understand.

“The experience has taught me a lot about communication and how to identify students’ talents. Theater teaches communication and helps students discover themselves.”

Al-Muwallad encourages young people in Saudi Arabia to pursue their passions academically. “My advice is not to treat university as merely a stage that you pass through and finish,” he said.

“Students should engage with the experience deeply and benefit from it in every possible way.”

He said soft skills can be learned through theater, including communication, emotional intelligence and teamwork.

“Another piece of advice we were always given in London was to always ask questions. A question produces an answer, and that answer often generates another question.

“Asserting that openness and eagerness to learn is vital to a good actor, theater itself is founded on curiosity.

“Students should watch a wide variety of theater and explore different traditions, including Arab, English, Greek and Russian theater, as well as influential approaches such as Russian (theatre practitioner Konstantin) Stanislavski’s.”

On Saudi having a relatively emerging academic orientation to performing arts, Almuwallad sees it as a big opportunity rather than a challenge or a barrier.

“Saudi Arabia is still developing in this field, which means students now have an opportunity to participate in shaping it. What they create can become visible and make an impact relatively quickly.”

“Students should recognize that they are important. They should not treat themselves as secondary characters in this development. They have the opportunity to play a central role because the field is still new.”

For Saudi youth choosing an arts degree over a safer, conventional path, there is an opportunity to turn passion into a profession, and ultimately shape the nation’s creative scene.

Art as propaganda

Chavez’s eyes still gaze from walls across Caracas. So too do the eyes of other figures, like Maduro and independence leader Simon Bolivar. Some images are faded. Others are accompanied by slogans like “To doubt is treason”.

Forastero has worked on government projects, including under Rodriguez. But he is critical of some of the newer images. He remembers a time when he painted murals of Chavez playing with children or riding a bicycle, not slogans.

“When Chavez was alive, people painted Chavez because we loved him very much. It’s as simple as that,” he said.

In recent decades, he argues that Venezuela’s public art has fallen increasingly under government control, with murals commissioned to carry explicitly political messages.

“Muralism is a story told on a wall,” Forastero said. “What we really see on the walls now are propaganda posters. I’m a chavista, and I’m disgusted by it.”

Still, the removal of the artwork is another form of propaganda, in Forastero’s eyes. He believes the Rodriguez government is seeking to project a more “neutral” appearance to better appeal to the US.

He also accuses Rodriguez of abandoning ideals key to the chavismo movement: namely, anti-imperialism and revolution. He pointed to the US’s role in shaping Venezuelan policy.

“The United States is forcing our government to behave this way,” Forastero said.

Rafael Araujo, a Venezuelan activist, has a different view of the changing landscape.

To him, there was something “jarring” about seeing chavista figures plastered across city walls, especially the leaders who have caused the country so much pain.

During their time in power, Chavez and Maduro both faced allegations of overseeing human rights abuses, including through the violent suppression of dissent. Venezuela’s last two presidential elections have been widely denounced as illegitimate.

Known in Caracas as Senor Papagayo, Araujo has used colourful, handmade kites to protest against government violence and economic policy.

He sees the Chavez murals as a form of oppression, an ever-visible reminder of a repressive government apparatus.

His kites are a way of sending a different message. His favourite carries aloft a single word: “Freedom”.

“Freedom is what all countries need. Democracy is the most balanced system a citizen can live under,” Araujo said.

When her home burned down in the Eaton fire, artist Susannah Mills felt lost and adrift — but never alone. Her home was part of an Altadena artists collective called JJU, or John Joyce University, named after a beloved carpenter who lived there for 26 years. And although the residents were forced to scatter in the wake of the January 2025 devastation, they remained in contact, looking for ways to support one another through what is still an ongoing process of recovery.

A few months after her loss, Mills was accepted into an artist residency at BKN, a retreat in the northern Stockholm Archipelago, where she expanded her watercolor practice from relatively small works to large scale, and explored installation. Like JJU, BKN prides itself on building community, and while there Mills began talking with BKN curator Anna Viola Hallberg about bringing other L.A. fire survivors to Sweden to experience the same sense of connection and relief Mills was feeling.

Hallberg had already been thinking along those lines and suggested they create another residency to do just that. In the fall of 2025, Mills and Hallberg, with the help of another L.A. artist, Rick Gradone, started an organization named Los Angeles Wildfire Survivors, or L.A.W.S., and raised the funds to send 13 Eaton and Malibu-based artists to BKN for two months.

The result was life-altering for the artists, most of whom were still working to rebuild from the devastating loss — and some of whom had been so occupied with the logistics of recovery that they had not been able to make time to work.

“It creates a network, and people who work together in the residency continue to help each other,” said Hallberg in a recent interview. “So there’s a really true new arts community that lingers beyond the residency.”

It soon became clear to the team behind L.A.W.S. that more needed to be done, and they solicited another round of applications for a residency, set to begin later this month at Pilchuck Glass School in Washington state. Eight Eaton fire survivors have been selected in a competitive process, and plans are in the works to bring another cohort of artists to Sweden next Spring.

“We want to expand this outside of Los Angeles ultimately, because there are fires everywhere and there is climate disaster everywhere,” Mills said, explaining that the group’s mission is growing as changing weather patterns result in escalating cataclysm and displacement of artists globally.

“The media focuses on the disaster really fast, and they don’t understand just how long the recovery takes,” Gradone said in a recent interview. “So this puts some kind of resource in place where people can continue to to get help, especially artists who lose everything that they’ve made, lose their studio spaces and homes. That can’t be recovered in six months.”

L.A.W.S. operates as a not-for-profit and has applied for official nonprofit status, a process that can take some time in California. It is also actively looking for fiscal sponsorship. Up until now the group has relied on its personal connections to raise money to support its artist residencies. Mills’ partner, Brian Huskey, is a comedian and actor who has rallied celebrity friends to auction off small pieces of art on cards in support of L.A.W.S. But there is a need for more help as the group grows.

“Word has really caught on with people who want to have this experience, which I’m really happy about,” said Mills.

I’m arts editor Jessica Gelt, wishing I could turn back time, Cher-like, to an era before the world fast-tracked climate change with its laissez faire approach to global warming. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Bruce Willis, left, talks with director M. Night Shyamalan on the set of the 2000 film “Unbreakable.”

(Frank Masi / Touchstone Pictures)

Unbreakable
M. Night Shyamalan’s 2000 superhero thriller with a twist stars Bruce Willis, Charlayne Woodard, Robin Wright, Samuel L. Jackson and Spencer Treat Clark.
7 p.m. Vidiots, The Eagle, 4884 Eagle Rock Blvd. vidiotsfoundation.org

SATURDAY

“the wheat leaping constantly from the shute,” Marley Freeman (2026). Oil, acrylic on linen, 58 by 54 inches.

(Marley Freeman / Parker Gallery)

Marley Freeman
The artist’s new exhibition of paintings, “worthless serpentine,” takes its title from the writings of Joan Didion.
Opening, 6-8 p.m. Saturday; 11 a.m.-6 p.m., Tuesday–Saturday, through Oct. 31. Parker Gallery, 6700 Melrose Ave. parkergallery.com

SUNDAY

Doyle Lane: Master Of Clay
The first major museum retrospective of the Los Angeles ceramic artist features more than 100 works from the 1950s through the 1980s, from functional pottery to monumental murals, as well as archival documents.
Through Feb 22. The Huntington, 1151 Oxford Road, San Marino. huntington.org

Marie Atoinette
A 20th anniversary screening of the semibiographical period film with a postpunk- and new wave-fueled soundtrack with writer-director Sofia Coppola and star Kirsten Dunst in person. Coppola and photographer Andrew Durham will sign copies of their new book, “Making Marie Antoinette,” at the Academy Museum Store in a separately ticketed event prior the screening.
6:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

TUESDAY

Andrea Bocelli performs live in Vienna on Aug. 22.

(Thomas Kronsteiner / Getty Images)

Andrea Bocelli
The Italian tenor arrives at the Hollywood Bowl for two nights on his Romanza 30th Anniversary World Tour. 8 p.m. Tuesday-Wednesday. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

WEDNESDAY

Elliott Hundley
“Book of Sand” is an exhibition of new paintings, sculptures and tapestries focusing on the artist’s “own exuberant internal universe” created through compiling paint, paper cutouts, string, encaustic and other found materials.
Artist led walk–through, 11 a.m.; opening reception, 6-8 p.m.; 10 a.m.-6 p.m. Tuesday-Saturday, through Oct. 24. Regen Projects, 6750 Santa Monica Blvd., Los Angeles. regenprojects.com

The Peterson Show
The world premiere of Janine Nabers’ play about a group of former child stars from a beloved TV show about a Black family come together after a scandal entangles their famous TV father. Directed by Michelle Bossy.
Previews, 8 p.m. Wednesday-Friday, opens, 8 p.m. Saturday (sold out), runs through Oct. 26. Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.com

THURSDAY

The Case-Book of C. Auguste Dupin
The world premiere of a new play adapted and directed by John Strysik, based on the stories of Edgar Allan Poe.
7:30 p.m. Thursdays-Saturdays, 2 p.m. Sundays, through Oct. 18. Mary Levin Cutler Theatre, 241 S. Moreno Drive, Beverly Hills. theatre40.org

The Ford/Hill Project
A Waterwell Production created by Lee Sunday Evans and Elizabeth Marvel, this documentary theater piece is based on the verbatim Senate testimony of Anita Hill and Christine Blasey Ford during Supreme Court confirmation hearings, 30 years apart. The cast includes Rosemarie DeWitt, Betty Gabriel, Dulé Hill and Jerry O’Connell.
8 p.m. Thursday-Saturday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org

The SoCal scene

A view of the Lucas Museum of Narrative Art in Los Angeles from a garden.

(Ariana Drehsler / For The Times)

Hey, have you heard? The Lucas Museum of Narrative Arts will open Sept. 22 and began member previews late last week. Just kidding. Of course you have heard, because hot takes currently abound on the new $1-billion museum. Love it or hate it, it’s here to stay, and Team Arts spent the week rolling out a spate of stories explaining how we got here, as well as what you can find in the shiny new 300,000-square-foot Ma Yansong-designed building.

Times film critic Amy Nicholson wrote about what “Star Wars” fans can expect from the new museum and contributed to a piece about 11 must-see things while you’re there. We also commissioned a handy artist-drawn map of the place that should help you navigate the 100,000 square feet of gallery space with its more than 30 discrete galleries arranged by theme. Finally, Times contributor Jane Horowitz wrote two stories: one about whether or not the museum’s disregard for established art hierarchies will upend the art world; and another on how the museum’s epic search for a forever home ended in L.A.’s Exposition Park.

I also wrote about a lawsuit that a contractor filed against the museum claiming unpaid work that shines fresh light on the Museum’s Exposition Park land deal.

Randolph Thompson, Desiree Mee Jung, Adam J. Smith, Nicole Javier and Julanne Chidi Hill in “Pericles” at Boston Court Pasadena.

(Brian Hashimoto)

Times theater critic Charles McNulty spent an evening at Boston Court Pasadena watching Ellen McLaughlin’s modern verse translation of Shakespeare’s “Pericles,” which takes place at a disaster relief center, where anxious evacuees improvise a play to escape their fear of the storm they are fleeing. “It’s hard to allow yourself to fully believe in the incredible turn of events when the prevailing attitude is so emphatically tongue-in-cheek,” McNulty wrote of the West Coast premiere.

McNulty also had lunch in Manhattan with playwright Samuel D. Hunter, who has two plays running in L.A.: “Grangeville,” which McNulty calls “Los Angeles’ most acclaimed theatrical offering of the summer” and has been extended at Ruskin Group Theatre through Sept. 21; and “A Case for the Existence of God,” in a recently opened Rogue Machine production at the Matrix Theater’s Henry Murray Stage. “Drama in Hunter’s hands is built around an encounter. He doesn’t force his characters to jump through hoops,” writes McNulty in a profile. “He listens to them, as they navigate their complicated feelings, closely tracking the way their intersecting paths lead them toward incremental revelation.”

Paintings from the private collection of the late music executive Clive Davis, estimated to fetch more than $35 million, are heading for auction at Christie’s in November.

Culture news

Lucien Smith attends the Hugo Boss Prize 2014 ceremony at Guggenheim Museum in New York City.

(Dimitrios Kambouris)

Lucien Smith, a Los Angeles–born multidisciplinary artist who garnered loads of attention in 2010s art scene, has died at 37.

IAMA Theatre Company is set to launch its ninth annual New Works Festival, which will take place Sept. 14-28 at Atwater Village Theatre, and will feature staged readings of six new plays. Tickets are $18 for each reading and can be found at iamatheatre.com. This year’s festival includes “The Half-Sibling Play” by Agyeiwaa Asante; “All Remaining Assets” by Serena Berman; “The Starters” by Laura Winters; “Betta Mus Come” by Alicia Carroll; “Werewolves” by Liba Vaynberg; and “The Great Florida Python Challenge” by John Lavelle.

Additional tumult is coming for the Smithsonian Institution as secretary Lonnie Bunch announced he will step down from his leadership position. The news comes in the midst of President Trump’s pressure campaign on the organization and his administration’s attempts to alter what Smithsonian museums include in their exhibitions.

— Jessica Gelt

And last but not least

Oh, no! In-N-Out is making tweaks to staples like buns and ketchup!

After oohing and aahing over “The Odyssey,” it’s time for the hot summer splash to make way for an intriguing fall lineup.

At the movies, Alexander Skarsgård plays a sexy wicker husband. Tom Cruise, a bizarro oil man. Jenna Ortega, a robot friend, and Kendall Roy, ahem, Jeremy Strong, is Mark Zuckerberg. Then we revisit classics of various stripes on the small screen, from a further-future “Blade Runner” to “A Different World” relaunch to “East of Eden” to “Pride and Prejudice.”

For new books, it’s an Emily fest. Emily St. John Mandel’s “Exit Party,” based in Los Angeles, is being called her best work since “Station Eleven.” And Emily Wilson, “The Odyssey” translator who launched 1,000 hot takes, lets us inside her process. As for arts, directors steal the spotlight: the Lucas Museum of Narrative Art opens with 20 inaugural exhibitions and a collection of David Lynch’s L.A. photography fills a local gallery.

Bookmark this page and come back daily this week as we share even more of the best of fall. — Brittany Levine Beckman

Celebrated artist Sliman Mansour, one of the founding figures of contemporary Palestinian art, has died at the age of 79 after a long illness, his family announced on Monday.

Born in Birzeit, near Ramallah, in 1947, Mansour rose to prominence in the 1970s as part of a generation of Palestinian artists, writers and poets seeking to rebuild a threatened identity through symbols rooted in land and memory. Over more than five decades, his paintings came to embody the story of Palestine: the farmer clinging to his soil, the stone house on a hill, the embroidered thobe and the smile of a young girl carrying the hope of return.

Mansour studied art in Beirut and Washington and went on to exhibit extensively, both in solo shows and group exhibitions across the Arab world and internationally. His works are held in museums and private collections worldwide, and he received numerous awards in recognition of his contribution to Arab and Palestinian culture.

His visual language drew deeply from the region’s ancient civilisations – Canaanite, Pharaonic and Assyrian – as well as Islamic and Arab art, particularly calligraphy and geometric motifs. At the same time, his upbringing in Birzeit anchored his work in the everyday life of Palestinian villages: the landscape, peasants, traditional homes and clothing. Mansour also absorbed influences from global art that carried messages of freedom and resistance, blending local forms with a universal appeal.

During the first Intifada, he helped found the New Vision group with fellow artists, turning to mud, straw, wood, leather, henna and natural dyes after Palestinian artists boycotted Israeli-made supplies. This shift, he later said, forged a vital link between post-Nakba art and the work of younger generations.

For many Palestinians, Mansour’s canvases were more than images; they were a visual archive of the cause itself. His brush, critics and admirers agree, carried the homeland.

Al Jazeera looks at some of his famous paintings.

Ahmed Krim spent 30 years teaching English in Algeria’s middle schools. Now retired, the 60-year-old watched the language he loved remain firmly behind French as the country’s second language.

English was less valued than French, which might have been the language of Algeria’s coloniser, but continues to be present in every dialogue, six decades after independence.

On July 25 , Algeria’s Education Minister, Mohamed Seghir Saadaoui, announced that English will become the sole foreign language taught in the third year of primary school in the new academic year for 2026-2027.

French would be pushed back to the fourth year, ending its domination of foreign language classes in Algerian schools.

From next month, eight-year-olds across Algeria will become the first to learn English before French.

“It is a very good decision. But it requires thinking, planning and resources,” Krim told Al Jazeera.

It is among the first steps in President Abdelmadjid Tebboune’s linguistic overhaul for Algeria, which he first outlined in 2022 with English being introduced to primary schools.

Since then, medicine and science faculties have begun switching from French to English.

The French language has been erased from some utility bills and Air Algerie tickets. Road signs are beginning to feature English alongside Arabic, while government ministers’ websites will also have English as an option.

The shift from French to English as Algeria’s secondary language is both sweeping and structural.

It comes amid the most serious diplomatic crisis between the two countries since Algeria’s independence from France in 1962.

In July 2024, French President Emmanuel Macron publicly backed Morocco’s sovereignty claim over Western Sahara.

Algeria, which supports the Sahrawi Polisario Front and hosts over 170,000 Sahrawi refugees, viewed that as highly provocative.

That, and other issues, saw Algeria expel French diplomats, and vice versa.

Algeria’s replacement of French as the country’s second language accelerated after the diplomatic crisis grew.

A classroom without enough teachers

A rethink of the whole education system in Algeria may be needed.

“First and foremost, specialised training centres must be restored and candidates must not be forced into the teaching profession without wanting it – we need people who genuinely want to do this work,” Krim said.

He refers to dedicated institutes established after independence, where primary and middle school teachers, like himself, trained via a model that combined classroom instruction with direct school placements to meet the gap in Arabic instructors.

The centres operated until the late 1990s, when an economic crunch replaced them with the fewer and more selective Ecoles Normales Superieures.

Most teachers today are university graduates, but lack the practical, classroom-first grounding that the older model provided.

Krim said that school curricula must be designed and entrusted to “a qualified body that includes both linguistic and pedagogical expertise, free from all ideology”.

But journalist and analyst Noureddine Bessadi said the ideological dimension matters in Algeria, which overthrew colonialism following a bloody and bitter struggle against the French.

“Since independence in 1962, every shift in language policy has been fought as much on political as pedagogical grounds,” Bessadi told Al Jazeera.

After independence, Algeria’s Arabisation drive, when French was displaced from government and education, was “part of state building and enforcing Algeria’s identity, centring Arabic and Islam”, Bessadi added.

Tamazight, a non-Semitic language spoken by around a quarter of Algeria’s population, was marginalised until 1995, Bessadi said, shaped by an “ideological perception of unity that prioritised linguistic and cultural harmony”.

Critics argue that the transition from French to English is happening faster than the system can keep up with. For one, it is believed that there are not enough qualified English teachers to make the language reforms work.

But one source familiar with the matter told Al Jazeera that there are enough teachers to roll out this programme in primary schools and that any shortage could be filled through contractors.

In February, Algeria’s education ministry reportedly recruited about 15,000 English language teachers for primary schools.

Rafik Laceb, a lecturer in English at Mouloud Mammeri University in Tizi Ouzou, is cautiously optimistic about the primary school reform. But he considers the parallel push to teach university subjects in English to be rushed and poorly executed.

“Frankly, and beyond any chauvinism, I believe this decision is positive… I believe there is, today, sufficient supervision and evaluation work from the first experience,” Laceb said, in reference to the previous introduction of English in later primary school years.

The university experiment that began in 2023-2024 produced insufficient contact hours, a lack of genuine assessment of students’ English levels and no tracking of their progress.

Around 50 percent of teaching at Tizi Ouzou University’s English department is by younger contract staff, which brings other challenges.

“A young contract teacher must first master the basic principles of medicine before attempting to teach medical terminology in English,” he said.

Levelling the playing field

Currently, children only begin learning a foreign language in the third year of state primary schools, whereas multiple languages are taught at private schools from kindergarten.

Djamel Merah, whose daughter attended private schools before transferring to public secondary school, studied Arabic, French and English simultaneously from kindergarten level.

Merah welcomes the government’s language reforms at state primary schools, which will provide more children with the opportunity to learn English.

“It addresses a question about the gap in opportunities between children who get multilingual education from the start and those in public schools who don’t get the same chance,” he said.

Shakespeare’s rising shelf space

There also appears to be a more organic response among the public that precedes the government’s promotion of the English language.

Krimo Taleb, a bookseller at the Libre Pensee bookshop in Tizi Ouzou, has seen a growth in English-language book sales, particularly among female readers.

“In my opinion, it has nothing to do with government decisions. The majority of young readers today speak three languages fluently,” he said.

His own daughter, a middle school student, reads fluently in Arabic, English and French.

Colleen Hoover, Ana Huang and J. K. Rowling are some of the best-selling authors at his shop.

“Previously, our bookshops provided for English literature students the works of Shakespeare,” Taleb says. “Today, there is a diverse range of English-language titles aimed at the general public.”

However, French remains Algeria’s most influential foreign language. According to the International Organisation of La Francophonie (OIF), Algeria has approximately 15 million French speakers, nearly a third of its population.

There is not a single newspaper published in English and written English by Algerians remains in its infancy.

But there are signs that former colonies are turning their backs on France’s linguistic legacy, particularly in Africa, where Paris’s military and political presence made a resurgence in recent decades.

In March 2025, Mali, Niger, and Burkina Faso withdrew from the OIF, accusing it of being a political instrument of Paris.

“Mali made its national languages official in 2023, demoting French to a working language. Burkina Faso followed the same year and Niger in 2025,” Bessadi added. “Even Senegal, which has not removed French as an official language, has begun encouraging local languages at its expense.”

For Krim, Algeria’s linguistic ambitions are not far-fetched, but for it to work, the country needs the “necessary resources… and transparency”.

AVROTROS says escalating international conflicts are undermining the event’s neutrality and fuelling divisions.

The public broadcaster in the Netherlands has announced it will not participate in next year’s Eurovision Song Contest because the event can “no longer be considered neutral” due to ongoing divisions over the war in Gaza.

“It is undeniable that international conflicts are increasingly affecting the Contest, undermining its neutral character. The Eurovision Song Contest has therefore become a platform for division,” said Taco Zimmerman, Director-General of AVROTROS, in a statement on Monday.

The widely-watched show has recently faced a series of boycotts over Israel’s participation. Organisers announced earlier this month that they would exclude any country involved in an armed conflict from hosting the competition.

“However, the recently announced changes… do not provide sufficient confidence that the independent and neutral character of the Eurovision Song Contest has been restored,” the AVROTROS statement added.

Israel finished second in the competition – the world’s largest live televised music event – in both 2025 and 2026.

Next year’s Eurovision is due to be held in Bulgaria’s Black Sea city of Burgas, after Bulgarian singer Darina Yotova, known as Dara, won this year’s contest in Vienna, Austria, with her catchy floor-filler ‘Bangaranga’. The contest on May 15 will be the first time the Balkan nation has hosted.

Since its launch in 1955, Eurovision has become the ultimate pop platform, catapulting Swedish icons ABBA to worldwide fame, while also boosting the careers of artists such as Celine Dion, Cliff Richard and Olivia Newton-John.

However, this year’s competition pulled in 131 million viewers, 35 million fewer than last year, after five countries boycotted over Israel’s participation. The Netherlands, Iceland, Spain, Ireland, and Slovenia all pulled out, with the latter three refusing to broadcast the show at all.

I’d like to pen an ode to the once-L.A.-based artist Mel Kadel on the occasion of the release of her first coloring book for women and girls, published by Secret Headquarters in Atwater Village. Titled “Dream Drops,” the detailed hand drawings allow blossoming artists to participate in Kadel’s elaborate, imaginative world of fragile, brave, timid, hopeful, brash, adventurous women — characters she’s drawn for decades now.

I first met Kadel more than 25 years ago when I moved to L.A. from Boston with my then-up-and-coming indie rock band called the Movies. The band moved into a two-bedroom triplex in Silver Lake that cost $845 per month and immediately fell in with a ragtag group of iconoclastic and wildly talented artists including Kadel, photographer Alex Prager, painter America Martin, artist Mercedes Helnwein and bands and musicians such as the Silversun Pickups, Jimmy Tamborello, the Jealous Sound, Earlimart, Radar Bros. and Irving.

Kadel and her then-partner Travis Millard — another prolific and accomplished artist — lived in a cabin near the wild mountainy edges of Echo Park, and friends would gather there to draw, drink and make music. Kadel always had her head bent over her work, page after page of detailed line drawings that later appeared on friends’ bedroom and living room walls and sometimes on fliers for shows at Spaceland or the Silverlake Lounge.

It was Kadel who encouraged many of us to try our hand at creating art, and she once staged a group show at an Echo Park record shop called Sea Level that was owned by a friend of ours. I painted a self-portrait on a piece of wood for the show that still hangs on my wall today.

Kadel created the album cover for the Silversun Pickups’ debut EP, “Pikul,” which was released on Dangerbird Records in 2005, and later, after the band and the label soared to new heights, she covered Dangerbird headquarters near Sunset Junction in Silver Lake with a building-sized mural featuring her otherworldly woman clad in blue stripes with forever flowing flowered hair.

In many ways it is Kadel whom I credit with opening a young me up to the magical world of art and the ideas that flow from it — Kadel and those early L.A. friends, many of whom I no longer see regularly, but whose accomplishments I relish in when they come to my attention. Which is just what I did when I saw that Kadel had released her coloring book — a project that she has worked on (no doubt in the same intentional, intense way that she always has) for the past year.

I’m arts editor Jessica Gelt, glad for what was and looking forward to what will be. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Eleanora Owen in “Being Piaf.”

(Doug Engalla )

Being Piaf
Written and performed by Eleanora Owen, this solo theatrical piece explores the life and songs of French singer and lyricist Edith Piaf. Directed by Tim Byron Owen.
8 p.m. Fridays and Saturdays; 4 p.m. Sundays; through Aug. 30. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com

Green Corridors
The West Coast premiere of Natalka Vorozhbyt’s darkly humorous drama about the plight of four Ukrainian women — refugees from the full-scale Russian invasion in 2022. Translated by John Freedman with Natalia Bratus. Directed by Frédérique Michel and produced by Charles A. Duncombe.
8 p.m. Fridays and Saturdays; 4 p.m. Sundays; through Sept. 27. City Garage Theater, Bergamot Station Arts Center, 2525 Michigan Ave T1, Santa Monica. citygarage.org

Tercera Raíz
The contributions of the African diaspora to Mexican culture are celebrated with dance and mariachi music. Produced in partnership with Grandeza Mexicana Folk Ballet Company.
8 p.m. The Ford, 2580 Cahuenga Blvd. East. theford.com

SATURDAY

New–Music Game Night!
Brightwork Ensemble and People Inside Electronics present an evening of game-inspired works by Cristina Lord, Isaac Schankler, Siobhán Dougall and Richard An, and audience participation.
8 p.m. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

SUNDAY

Eileen Cowin: Between Panic and Paradise
The Los Angeles–based photographer and artist’s 50-year career has produced visual narratives that incorporate cinema, literature, poetry and painting, erasing the boundaries between fiction and nonfiction.
Through Jan 3, 2027. Los Angeles County Museum of Art, 5905 Wilshire Blvd. lacma.org

Jamar Gilbert and Amber Liekhus in “Ma Rainey’s Black Bottom” at a Noise Within.

(Daniel Reichert)

Ma Rainey’s Black Bottom
A Noise Within opens its season with the seventh of the 10 plays in August Wilson’s Century Cycle to be produced by the company. Amber Liekhus stars as an iconic blues singer during a tempestuous recording session in 1927 Chicago. Directed by Gregg T. Daniel.
Previews, 2 p.m. Sunday; 7:30 p.m. Wednesday-Aug. 28; Aug. 29-Sept. 20. A Noise Within, 3352 E. Foothill Blvd., Pasadena. https://www.anoisewithin.org/play/ma-raineys-black-bottom/

TUESDAY

Beethoven’s Fifth with Anna Handler

Da-da-da-DUM. The Los Angeles Philharmonic’s incoming conductor-in-residence leads the orchestra in one of classical music’s most iconic pieces, along with the composer’s rarely heard Triple Concerto and the U.S. premiere of Grace-Evangeline Mason’s “Ablaze the Moon.”
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

Jeff Goldblum and the Mildred Snitzer Orchestra will play Blue Note LA on Tuesday and Wednesday.

(Blue Note LA)

Jeff Goldblum & the Mildred Snitzer Orchestra
As they’ve been doing for three decades, the actor-musician and his band perform contemporary arrangements of classic jazz and American Songbook standards.
7 and 9:30 p.m. Tuesday and Wednesday. Blue Note Los Angeles, 6372 Sunset Blvd. bluenotejazz.com

Looking West: How the Myth of the Western Frontier Got Its Start
Muse/ique takes a deep dive into the legends and reality of the American West through classic Hollywood film scores, folk songs and contemporary compositions that reclaim the era’s diversity. Led by artistic and music director Rachael Worby with Damon Daunno, Raye Zaragoza, Glynn Turman and Muse/ique Orchestra.
7:30 p.m. Tuesday and Wednesday. The Huntington, 1151 Oxford Road, San Marino; 3 pm. (premium RSVPs only) and 7:30 p.m. Aug. 30. Skirball Cultural Center, 2701 N. Sepulveda Blvd. muse-ique.com

WEDNESDAY

California African American Museum
The museum augments two of its ongoing shows with special events. On Wednesday, Justen LeRoy of Art + Practice offers a curatorial walkthrough of “The Sound of Gordon Parks,” an immersive exhibition highlighting the sonic dimension of the photographer, composer, author, poet and filmmaker’s work. Thursday night, poets Pam Ward, Luis Rodriguez and Lynne Thompson share original work inspired by “A New Song: Langston Hughes in the West.”
Gordon Parks, 2 p.m. Wednesday; Langston Hughes, 7 p.m. Thursday. CAAM, 600 State Drive, Exposition Park. caamuseum.org

“Conscience” by playwright Joe DiPietro will have its L.A. premiere at International City Theatre in Long Beach.

(Justin Patterson)

Conscience
The Los Angeles premiere of Tony Award-winning playwright Joe DiPietro’s drama about pioneering politician Margaret Chase Smith, who famously challenged Joseph McCarthy’s tactics and was the first woman to serve in both houses of the U.S. Congress. Directed by Caryn Desai.
Previews, 7:30 p.m. Wednesday and Thursday; 7:30 p.m. Thursdays-Saturdays; 2 p.m. Sundays; through Sept. 13. International City Theatre the Beverly O’Neill Theater, 330 E. Seaside Way, Long Beach. ictlongbeach.org

THURSDAY

Rachmaninoff & Adams
Gemma New conducts John Adams’ “Short Ride in a Fast Machine,” ahead of Sergei Rachmaninoff’s Second Piano Concerto (with Jeneba Kanneh-Mason in her L.A. Phil debut) and Symphonic Dances.
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

— Kevin Crust

Retrospective

L.A. Times arts coverage from the past …

Eisa Davis, playwright and actor, who appeared in Melissa Jane Gibson’s play “This” at the Kirk Douglas Theater in Culver City in 2011.

(Mel Melcon / Los Angeles Times)

A double life as actor, playwright

Aug. 14, 2011

“I’m in a play called ‘This.’ ”

“OK, what is it called?”

“No, no, it’s called ‘This.’ ”

“Yes? What? It’s called what?”

With a lighthearted laugh, Eisa Davis says she often encounters this response when revealing that she is in a new production of “This,” which recently opened at the Kirk Douglas Theatre. The perplexity may be fitting for the universe playwright Melissa James Gibson has created: a world of confusion in which close friends enter a vulnerable time of unforeseen circumstances testing their expectations — a time also known as middle age.

Davis’ work as an actor and a playwright has contributed to a textured career. She was a finalist for the Pulitzer Prize in drama in 2007 for her play “Bulrusher,” about a biracial orphan infant found in a basket and raised by a quiet schoolteacher. She went on to write and star in the autobiographical “Angela’s Mixtape,” which was among the New Yorker’s best plays of 2009. Other plays she has written include “Ramp,” as well as “The History of Light,” which is returning to the stage this fall in New Jersey. READ MORE

– Jasmine Elist

Culture news and the SoCal scene

Conservators examine “Portrait of Mai” by Joshua Reynolds at the Getty museum.

(Genaro Molina / Los Angeles Times)

A 250-year-old portrait by painter Joshua Reynolds recently arrived at the Getty and is being examined by conservators before going on view in its West Coast debut later next month. “The Portrait of Mai” was acquired by the Getty for $61 million in a rare joint purchase with the National Portrait Gallery in London and depicts a young, regal-looking Tahitian man who arrived in London with Capt. James Cook in 1774.

If you’ve seen the recent national tour of Disney’s “Beauty and the Beast” at the Hollywood Pantages Theatre, you may have wondered how on earth the actor playing the living chandelier Lumiere sings and dances for more than two hours while wearing lighted candles on both of his hands. The answer has arrived via this fun story written by Times contributor Jenelle Riley, who headed backstage during a recent performance to trail Danny Gardner as he donned the 7-pound props and went about the business of performing in the rigorous show.

The group show “To Share a Stomach” recently opened at the Brick in East Hollywood. Times contributor Sharon Mizota wrote a review that included her take on the unique and difficult-to-execute concept. The show was made manifest when 25 Iranian artists, working under challenging wartime conditions, sent instructions to artists counterparts in L.A. for how to create artworks using various levels of collaboration. Mizota found the results understandably uneven, but deeply touching and impactful.

The Kennedy Center’s National Symphony Orchestra performs at the Hollywood Bowl under musical director Gianandrea Noseda on Aug. 18.

(Carlin Stiehl / For The Times)

The newly homeless National Symphony Orchestra, whose fate has become uncertain as a court battle wages over whether or not the Kennedy Center will close down for two years, performed at the Hollywood Bowl earlier this week. Times classical music critic Mark Swed was there to watch, along with many effusive supporters of music director Gianandrea Noseda’s now wandering orchestra. Swed found the program lacking in imagination, but noted, “with its smooth strings, creamy brass, pungent winds and friendly percussion, Noseda’s NSO came across as a gracious orchestra meant to please, and, consequently, a seemingly marvelous anomaly in an otherwise divisive present-day D.C.”

Speaking of the Kennedy Center, last week proved a pivotal one for its fate. The Kennedy Center Board of Trustees voted late in the week to move forward with President Trump’s plan to close the building for renovations for two years. According to multiple news reports, the board also voted to inscribe Trump’s name on the building using the language “Restored and Renovated by President Donald J. Trump.”

Brett Littman has been named the new director and chief executive of the the Museum of Contemporary Art San Diego.

(Don Stahl)

The Museum of Contemporary Art San Diego announced earlier this week that it has appointed Brett Littman as its new director and chief executive. Littman is replacing Kathryn Kanjo, who left to become the new director of the UC Irvine Langson Orange County Museum of Art. Littman has previously served in a variety of leadership roles in the arts in New York City, including as director of the Isamu Noguchi Foundation and Garden Museum; executive director of the Drawing Center; and deputy director of MoMA PS1. He was also co-director of Dieu Donné Papermill and associate director of UrbanGlass. He will start at MCASD in early October as the fifth director and chief executive in the museum’s history.

The Perenchio Foundation has awarded a $2,040,000 grant to the Los Angeles Children’s Chorus, representing the largest grant in the Grammy-winning organization’s history. The 2026 General Operating Support grant, which aids many aspects of the organization’s programming and community offerings, will be distributed over three years, and arrives at LACC celebrates its 40th anniversary.

— Jessica Gelt

And last but not least

Here are 16 burger and drink deals for when you need an “adult happy meal,” from The Times food section. Who doesn’t?

As Messina celebrated the Sicilian holiday of Ferragosto, thieves struck the MuMe museum to steal the masterworks by Antonello da Messina.

Thieves have stolen four Renaissance masterworks by Antonello da Messina valued at up to 80 million euros ($93m) from the MuMe Regional Interdisciplinary Museum in the Sicilian city of Messina in Italy.

Cultural officials and Italian media reported the theft on Sunday, saying the heist occurred at about 9:50pm (19:50 GMT) the day before, during Sicily’s major Ferragosto holiday.

Italian news outlet Il Giornale dell’Arte said that the perpetrators had exploited the citywide distraction of the traditional Vara procession, which drew police and large crowds to central Messina.

Italian daily Corriere della Sera reported that the thieves cut through metal perimeter fencing along Viale Annunziata to gain access to the grounds. They then forced open a side door to enter the gallery halls. Once inside, the group breached an armoured glass display case to extract a small, double-sided tempera panel dating back to 1465-1474.

The portable devotional piece features the Virgin and Child with a Franciscan Monk on its front and Christ in Pieta on its reverse. Originally part of the Wilhelm Soldan collection from 1930, it was acquired by the Sicilian region at a Christie’s auction in 2003 following its formal attribution to Antonello.

The perpetrators also dismantled all five remaining tempera-on-wood panels of the historic San Gregorio Polyptych. Commissioned in 1473 by Abbess Fabria Cirino for the monastery of Santa Maria, which was subsequently destroyed in Messina’s 1908 earthquake, the altarpiece stands as the only surviving masterpiece by Antonello that remained in his hometown. The thieves made off with three key sections of the piece.

Italian outlet Repubblica reported that the thieves abandoned the remaining two panels depicting Saint Benedict and Saint Gregory resting against a wall near the museum grounds.

‘A real movie-style heist like at the Louvre’

“We are devastated by what happened. They were two of Antonello da Messina’s most important and best-known works,” museum director Marisa Mercurio told Italian news agency ANSA.

Local Culture Councillor Enzo Caruso told outlet Il Tirreno: “Nobody in Messina could have imagined a real movie-style heist like at the Louvre.”

Caruso said that international interest in Antonello’s oeuvre had expanded after Italy’s Culture Ministry purchased his Ecce Homo painting for $14.9m earlier in the year.

Lynda Albertson, CEO of the ARCA art crimes research association, told La Repubblica that “stealing an Antonello may be far easier than selling one” given the high visibility and historic footprint of the stolen panels.

She explained that high-profile art of this kind rarely gets sold, often spending years traded within the criminal underworld as leverage for other illegal activities.

Born in Sicily around the year 1430, Antonello da Messina stands as one of the defining masters of the early Italian Renaissance. Because few of his works survive today, his surviving paintings are considered irreplaceable cultural treasures.

The theft follows a separate case days earlier in Parma, northern Italy, where police recovered three stolen works by Renoir, Cezanne and Matisse valued at roughly $11.5m.