cultural

In Kwara, a Muslim-majority state in north-central Nigeria where religious traditions govern daily life, some young women are defying cultural expectations through football.

They have discovered the camaraderie, competitive spirit, and emotional journey of the sport, while facing disapproval from those who question its appropriateness for modestly dressed women.

When 17-year-old Maryam Muhammed heads to practise at the Model Queens Football Academy in Ilorin, she endures the intense heat — made more challenging by her hijab and leggings — and community criticism.

“They tell me I will not achieve anything. But I believe I will achieve something big,” she says, despite regularly encountering taunts on her way to training.

Though sometimes uncomfortable, maintaining modest dress while playing is non-negotiable for her.

“Sometimes it feels like I want to open the hijab, but I must not expose my hair,” she explained. “I have to put it on as a good Muslim.”

FIFA initially banned hijabs in 2007 on safety grounds, resulting in Iran’s women’s team being excluded from a 2012 Olympic qualifier. The restriction was eased in 2012 and fully lifted in 2014. Morocco’s Nouhaila Benzina made history as the first hijab-wearing player at a senior women’s World Cup in 2023.

Kehinde Muhammed, Maryam’s mother, has weathered criticism for supporting her daughter’s passion. “So many people discouraged me,” she admitted. “But I respect my children’s decisions. I support her and keep praying for her.”

She creates custom hijabs matching team jerseys, emphasising: “I counsel her that this is the normal way you are supposed to be dressed as a Muslim.”

Model Queens coach Muyhideen Abdulwahab works to change community perceptions. “We go out to meet parents, to tell them there are laws in place for modest dressing,” he said. “Despite that, some still say no.”

Nineteen-year-old team member Bashirat Omotosho balances her love for football with family responsibilities. She often misses training to help her mother sell puff puff, a fried dough snack, at their roadside stall to support the family.

“Training is often in the morning, but I have to be here,” she explained while serving customers, watching her teammates sometimes jog past during practice. “I cannot leave my mum — this is how I earn money.”

Titilayo Omotosho, Bashirat’s mother, initially opposed her daughter’s athletic ambitions.

“Why would a lady choose football?” she questioned.

Omotosho’s stance softened after her husband’s approval and seeing successful Muslim players like Nigeria star Asisat Oshoala. “Seeing other Muslim girls succeed, like Asisat, encouraged us to let her play,” she said, referencing the record six-time African Women’s Footballer of the Year. Oshoala, who plays without a hijab, comes from Lagos in southwest Nigeria, where Islamic practices are less conservative.

According to local football administrator Ambali Abdulrazak, despite growing interest, female participation remains limited in Ilorin.

The Nigeria Women’s Football League (NWFL) ranks among Africa’s strongest, dominated by southern clubs from Lagos and Port Harcourt, where infrastructure and social support are more established. Northern and central regions face cultural and religious barriers, though grassroots initiatives are expanding.

Nationwide, women’s football is gaining popularity, driven by the national team’s success, increased sponsorships, and development programmes. Since 2020, NWFL viewership has increased by 40 percent, with match attendance rising 35 percent in 2024, according to Nigerian media company iTelemedia, which monitors audience trends across local leagues.

During a recent training session, Muhammed and her teammates practised on a sandy school pitch as the sun set, their voices mingling with the muezzin’s call to prayer from a nearby mosque.

On August 29, Muhammed captained the Model Queens in a youth tournament final, which they lost. She high-fived teammates and celebrated as they received runners-up medals, but later cried alone in her room over the defeat.

Her family’s support and faith sustain her determination. “I really love this sport. I have a passion for it,” she said. “Since my parents support me, there is nothing stopping me. Football is my dream.”

Russia’s foreign policy framework places emphasis on adopting a plurality of approaches, including serious dialogues through conventional diplomacy, to all kinds of disputes and has taken concrete steps to coordinate the resolution of those in the Arab world. After lengthy preparations toward hosting the “Russia-Arab world” summit, primarily aimed at discussing regional security and energy relations and showcasing Moscow’s enduring influence in the Middle East, the Kremlin abruptly put off the scheduled gathering, citing contradictory positions and extremely low interest among Arab leaders, including those in North Africa.

The Russia-Arab Summit was supposed to open and be decisive for advancing the agreements on the Gaza Strip, agreements that have been energetically promoted by Egypt and Qatar, considered friends of Russia. It was also meant to address aspects of the Palestinian issue, to stop the bloodshed as soon as possible, and to offer possible pathways for the grave humanitarian issues faced by the people.

Notably, the overwhelming majority in the Arab world showed little interest in Russia being the organizer. Later, considering the apathy towards participation, “President Vladimir Putin reached an understanding with Iraqi Prime Minister Mohammed Al Sudani and the Secretary-General of the League of Arab States to postpone the summit,” Foreign Minister Sergey Lavrov told Arab media reporters on October 13, during his media briefing.

“The final documents are practically ready, so we will still have the opportunity to get together, back for the summit,” Lavrov reassured. The relations with Arab countries are steadily progressing. The League of Arab States has demonstrated its value and is consolidating its role as a key pillar of the emerging multipolar world, authoritatively and actively participating in global affairs—in economics, finance, and increasingly contributing to the resolution of regional and, more broadly, political issues.

There is a noticeable sustained growth in trade turnover with the League’s member states, which has now exceeded $34 billion. Whilst this figure is modest compared to the trade volumes the United States and the People’s Republic of China maintain with the Arab world, it is several times greater than the trade turnover recorded two decades ago. That lapses, however—the growth dynamics are still positive. Arab partners are also showing keen interest in agricultural cooperation, including supplies of Russian food products and fertilizer.

Furthermore, in the sphere of cultural cooperation, Russia has traditionally maintained strong educational ties with many Arab states, a practice dating back to the Soviet era. Tourism is growing bilaterally. The fundamental trend remains the development of constructive relations grounded in mutual respect, the accommodation of each other’s interests, and the consolidation of a stable balance between them.

According to various reports monitored by Modern Diplomacy, the Kremlin was forced to shelve the gathering after only a handful of leaders, including Syria’s president, Ahmed al-Sharaa, and the head of the Arab League, Ahmed Aboul Gheit, confirmed their attendance. For nearly a decade, the Middle East served as the stage for Putin’s long-sought return to global prominence. But analysts say the Arab majority expressed little interest in participating in deliberations, geopolitics, and conflict settlement with Moscow.

Nevertheless, an aide to the president of Russia, Yury Ushakov, in mid-October explicitly explained that “naturally, the Russian side outlined its principled position in favor of a comprehensive Middle East settlement on a generally recognized international legal basis that would ensure lasting peace for all the peoples in that region.”

In particular, Ushakov noted that Vladimir Putin provided a detailed assessment of the current situation, stressing Russia’s interest in achieving a peaceful resolution through political and diplomatic methods in the region and other similar conflicts around the world. In this context, Putin congratulated Donald Trump on his successful efforts to normalize the situation in the Gaza Strip. The US president’s peace work has been duly appreciated in the Middle East, in the United States itself, and in most countries around the world.

In several frank exchanges of views, experts noted the essential political developments in the Middle East and stressed the growing significance of the necessity for establishing peace. “But Russia’s diplomatic role in the Middle East has declined as a result of the Ukraine war,” said Hanna Notte, a Berlin-based expert on Russian foreign policy. “When it comes to all the big developments, the major players in the region don’t look towards Moscow anymore.”

But, the fact remains for geopolitical reasons, the primary objectives and challenges, that the situation has been very difficult and the future trends are uncertain in the region—the Middle East and North Africa. Foreign Minister Sergey Lavrov, meeting with his Moroccan counterpart Nasser Bourita, also acknowledged Moscow’s readiness to work together with other interested countries to help resolve the issues facing the Middle East and North Africa.

“This certainly envisages continued cooperation as part of Russia’s interaction with the Arab League,” according to Lavrov. With Israel and Palestine, Russia hoped the agreements on Gaza reached through the mediation of Egypt, Qatar, the United States, and Turkey will be strictly and fully adhered to in every context and in the logically established international legal framework. 

On September 29, the White House released US President Donald Trump’s comprehensive plan to resolve the situation in the Gaza Strip. The 20-point document includes, among other measures, the establishment of temporary external administration in the Palestinian enclave and the deployment of international stabilization forces there. On October 9, Trump announced that Israeli and Hamas representatives had agreed on the first step of the peace plan after negotiations. According to Trump, the agreement included the release of all hostages and the withdrawal of Israeli troops to an agreed-upon line in Gaza.

Despite years of cultivating ties with the Arab countries, Putin called off, on 10th October, the Russia-Arab world summit, a clear sign of Russia’s dwindling influence in the Middle East. Notwithstanding that, Russia has been jostling to sustain its traditional relations across Central Asia and the Caucasus, and also with the former Soviet republics—including Kazakhstan, Armenia, and Azerbaijan.

Substantive steps have been taken on Gaza, for instance, during the summit held in Sharm el-Sheikh, Egypt, on October 13, and hopefully, the agreements on Gaza, reached with the mediation of Egypt, Qatar, the United States, and Türkiye, will be strictly and fully implemented. Key priorities include ensuring the unhindered delivery of humanitarian aid to all those in need, creating the necessary conditions for the return of displaced persons, and addressing the comprehensive destruction of the enclave’s civilian infrastructure. 

The UN Security Council and General Assembly resolutions can additionally bring a long-awaited and lasting peace to all the peoples of the Middle East—an outcome in which we are deeply invested, achieving long-term stabilization in the Palestinian-Israeli conflict zone and the wider Middle East.

Haworth, West Yorkshire

Bradford is 2025’s UK City of Culture, and Wild Uplands is part of the year-long celebration that involves four new installations on the moors above Haworth, 10 miles west of central Bradford. There are pink marble butterflies designed by Meherunnisa Asad. On the ridge above, Steve Messam’s 10-metre tower of locally quarried stone looks out over heather-purple hills. These works are dotted around the lake and abandoned quarries of Penistone Hill country park and a family-friendly guide charts a route around all four. While wandering over the moors, you can tune into a geolocated immersive soundscape, Earth & Sky, which includes music by Bradford-born composer Frederick Delius. The Brontë Bus from Hebden Bridge via Keighley stops three times an hour in Haworth, and it’s then a 15-minute stroll past the Parsonage to Penistone Hill. Haworth’s steep, cobbled Main Street is lined with pubs and cafes such as the Writers’ Bloc, which opened in November 2024 and serves cream teas inside a hollowed-out book. At the bottom of the street, Haworth Old Hall has a choice of locally distilled gins.
To 12 October, bradford2025.co.uk

Folkestone, Kent

The 2025 Folkestone Triennial, the UK’s biggest urban collection of contemporary outdoor artworks, features new site-specific works by artists from around the world. It is free and open daily until 19 October, and you can choose your own routes using the map in the digital guide. No 15 is an old Martello tower containing Katie Paterson’s extraordinary years-long project Afterlife. She has fashioned 197 amulets from matter embodying the harm caused by the climate crisis: fragments of charred wood from burnt forests, stones from islands menaced by rising seas … Walk past Jennifer Tee’s Oceans Tree of Life, a seaweed sculpture of brick and fused sea glass built into the grassy clifftop, to reach Sara Trillo’s chalky Urn Field. Down some steps off the harbour arm, don’t miss Red Erratic by Dorothy Cross, a waterside block of red Syrian marble carved with human feet. Stop off at Herbert’s for an ice-cream, where artist Emeka Ogboh has designed a lolly that tastes like lemon cheesecake and can be dipped (sherbet dip-dab-style) into a slightly salty-spicy coating that looks like sand. Ogboh’s choral sound installation Ode to the Channel is a few minutes’ walk away past Sunny Sands beach. Here you can sit on the steps with your ice-cream and listen to the music and the waves.
To 19 October, creativefolkestone.org.uk

Newquay, Cornwall

A series of new murals are appearing on walls around Newquay. There are colourful seaside abstracts, bouncing beachballs, a fisher mending nets by candlelight … Bus 56 from Newquay runs hourly up to Porth, where local artist Phil Strugnell has painted a big, colourful mural on the side of the SeaSpace aparthotel. From here, you can follow the coast path back to Newquay for a couple of miles. Skirting Lusty Glaze and Towan Beach, walk through the ancient burial site at the Barrowfields to reach the town. Stroll past the new murals, each one with a QR code to give you details about the artist, and end near Elle Koziupa’s chiaroscuro fisher opposite Sainsbury’s.
Muqy Street Art Trail, ovenqy.co.uk

Stoke-on-Trent, Staffordshire

The British Ceramics Biennial in Stoke-on-Trent runs until late October. More than 60 artists, including comedian Johnny Vegas, are involved in films, events and exhibitions in the Spode Works, a historic ceramics factory 10 minutes’ walk from Stoke-on-Trent station. There are regular trains from Crewe, London Euston and elsewhere. A bronze Josiah Wedgwood stands opposite the station, holding a copy of the Portland Vase. Spode is a maze of old factory buildings, storerooms and galleries. New commissions include Playscape, turning clay spoil into a playground, and Josie KO celebrating Black women in Stoke with a collaborative bottle kiln-inspired goddess. When you’ve finished exploring Spode Works, follow the new Living Heritage trail, which launched in April, and starts from Spode. There are Staffordshire oatcakes and deep-filled sarnies at the Quarter, while the Little Vintage Tea Room at Spode Museum has homemade cakes and a mosaic counter designed by artist Philip Hardaker, inspired by Spode’s blue Italian ceramics.
To 19 October, britishceramicsbiennial.com

Wolterton, Norfolk

Wolterton Hall and its 200-hectare (500-acre) estate have been closed to the public for decades. Now a new art and culture programme comes with a chance to explore the Palladian house and grounds during opening hours (generally Wed to Sun, 11am to 4pm) if you book a free ticket online. The inaugural exhibition, Sea State, includes tempestuous new North Sea-inspired works by Maggi Hambling and painted-steel wave-form sculptures by Ro Robertson in the Marble Hall. In the old Portrait Room, don’t miss Hambling’s moving tribute to her late partner of 40 years, Tory. This is less an art trail than a parkland stroll and indoor exhibition, but both are lovely. Maps available at Wolterton offer various routes around the lake and ponds, with views of the heronry and ruined round-towered church. There are more great walks at nearby Mannington. Norfolk-based bakery Bread Source has cafes in Wolterton Hall’s library and at Mannington too, serving cakes, drinks and huge flaky croissants.
Sea State runs to 7 December, wolterton.co.uk

Westminster, London

Author and journalist Juliet Rix’s new book, London Statues of Women, features interviews with artists and models. It covers the more obvious monuments, such as Queen Victoria at Kensington Palace and Millicent Fawcett in Parliament Square. But you can also find groundbreaking director Joan Littlewood outside the Theatre Royal in Stratford and Amy Winehouse in Camden Market. The book includes three statue safaris around Westminster, Bloomsbury and the City. The Westminster route starts with a dancing Anna Pavlova in gilded bronze on top of the Victoria Palace theatre and ends at Waterloo near Basil Watson’s National Windrush Monument. Look up on Horseferry Road to see Mary and Etienne Millner’s bronze figure of visionary mathematician Ada Lovelace, backed by gold computer punch cards. Or head to the riverside garden by St Thomas’ hospital to find nurse Mary Seacole.
London Statues of Women is published by Safe Haven Books

Wrexham, Clwyd

A new public art trail is part of Wrexham’s bid to be 2029 UK city of culture. Coordinated by local artist Liam Stokes-Massey, the trail includes 14 works so far and the city is planning a second phase this autumn. The Boss is Stokes-Massey’s tribute to Wrexham FC manager Phil Parkinson, and there are several football-themed works. Others celebrate the city’s industrial heritage, such as Josh Colwell’s monochrome miner with caged canary. The Art Bunny (AKA Rachel West) evokes Wrexham’s markets, where her mum and grandad worked. There’s a map to plot your route round the murals. Tŷ Pawb gallery, market and food court has homemade curry, pies from the Pie’d Pie’per and more.
Find out more at wcct.wales

There are certain first names that are also businesses that tap into the Angeleno collective unconsciousness and bring a smile of familiarity even to those who’ve never patronized the place.

Tommy’s Burgers, especially. Frederick’s of Hollywood. Phillippe the Original. Nate’n Al’s. Lupe’s and Lucy’s.

And, of course, Leonardo’s.

The nightclub chain with five spots across Southern California has entertained patrons since 1972. Its cumbia nights, Mexican regional music performances and a general air of puro pinche parri bridged the gap in the cultural life of Latino L.A. between the days of the Million Dollar Theater and today’s corrido tumbado stars.

Its namesake, Leonardo Lopez, came to Santa Monica from Mexico in the late 1960s, at age 17, to work as a dishwasher and proceeded to create a cultural empire.

On Friday, the Los Angeles City Council honored him in a celebration that reflected the joy and diversity — but especially the resilience — of Latino LA.

His family members count at least 40 businesses among them, including restaurants, banquet halls, concert venues, equestrian sports teams, political firms that work Southern California’s corridors of power, and the Pico Rivera Sports Arena, Southern California’s cathedral of Mexican horse culture. They were one of the main forces in the 2023 fight that carved out exemptions for traditional Mexican horse competitions such as charrería and escaramuza when the L.A. City Council banned rodeos.

“Our family is like a pyramid, with every person supporting each other at every level,” said Leonardo’s son, Fernando. “And my dad is at the very top.”

A resplendent celebration

He and about 40 other relatives went to Friday’s City Council meeting to see their patriarch recognized. They strode through City Hall’s august corridors in charro outfits and Stetsons, berets and hipster glasses, leopard-print blouses and sharp ties — the diversity of the Mexican American experience in an era where too many people want to demonize them.

Leonardo was the most resplendent of them all, sporting an outfit with his initials embroidered on his sleeves and his back. A silver cross on his billowing red necktie gleamed as much as his smile.

“You work and work and work to hope you do something good, and it’s a blessing when others recognize you for it,” Lopez told me in Spanish as we waited in a packed conference room for the council meeting to start. He gestured to everyone. “But this is the true blessing in my life.”

Sitting at the head of a long table, Lopez doted on his grandson but also greeted well-wishers like Esbardo Carreño. He’s a historian who works for the government of Durango, the state where Lopez was born in 1950.

“Don Leonardo came with a bigger vision than others,” Carreño said in Spanish. “But he never left his people back home,” noting how Lopez has funded restoration projects in Durango’s eponymous capital, a welcome arch at the entrance to the entrepreneur’s hometown of La Noria and more.

“My tío and dad and my other tíos made it in L.A. because there was no Plan B,” said Lopez’s nephew, Lalo Lopez. He was shepherding guests toward his uncle while also talking up a fundraiser later that evening at the Sports Arena for L.A. County Supervisor Lindsey Horvath. “That’s a lesson all us kids learned fast.”

Spanish-language reporters pulled Don Leonardo into the City Hall press room for an impromptu conference, where he talked about his career and offered child-rearing advice.

“Get them busy early,” he joked, “so they don’t have that free time to do bad things.”

Lopez motioned to Fernando and his son Fernando Jr. — both wearing charro suits — to join him at the podium.

“I got them to follow me” to be proud of their Mexican heritage. “Today, it’s the reverse — now I follow them!”

Councilmember Monica Rodriguez then grabbed Lopez. The meeting was about to start.

Always the sharpest-dressed member of the council, Rodriguez didn’t disappoint with a taupe-toned tejana that perfectly complemented her gray-streaked hair, black-framed glasses and white outfit.

Her introduction of Lopez was even better.

“His spaces have created a place where we [Latinos] can be authentically who we are,” said Rodriguez, who represents the northeast San Fernando Valley. She praised Lopez’s life’s work as an important balm and corrective “at a time especially when our community is under attack.”

“I want to thank you, Don Leonardo, for being that example of how we can really be the force of resilience and strength in the wake of adversity,” the council member concluded. “It’s a reminder to everyone who’s feeling down that we will persevere.”

Lopez offered a few words of thanks in English, tipping his sombrero to council President Marqueece Harris-Dawson, who had previously honored him in 2017 when each council member recognized an immigrant entrepreneur in their district.

Harris-Dawson returned the respect.

“You are such angels in this city — L.A. is not L.A. without the Lopez family,” he said, noting how two Leonardo’s stood in his South L.A. district and “y’all never left” even as other live music venues did. Harris-Dawson told attendees how the Lopez family had long catered jazz festivals and youth sports leagues without ever asking for anything in return.

“The only time I’ve seen you closed was that weekend of the terrible ICE raids,” Harris-Dawson said. “And you all were back the next week ready to go and you had security out. … Thank you all for treating us like family.”

The Lopez clan gathered around their jefe at the podium for one final photo op. Doctors and contractors, retirees and high schoolers: an all-American family and as Angeleno as they come. See ustedes soon at — where else? — Leonardo’s.

Today’s top stories

Colorado River water flows in the Central Arizona Project aqueduct beside a neighborhood in Phoenix.

(Kelvin Kuo / Los Angeles Times)

The dwindling Colorado River

• A group of experts say Western states urgently need to cut water use to avert a deepening crisis on the Colorado River.
• The river’s major reservoirs are less than one-third full, and another dry winter would push reservoirs toward critically low levels.
• They say the Trump administration should act to ensure reductions in water use.

Trump’s $1.2-billion call to remake UCLA

• A Times review of the Trump administration’s settlement proposal to UCLA lays out sweeping demands on numerous aspects of campus life.
• The government has fined UCLA nearly $1.2 billion to settle allegations of civil rights violations.
• Hiring, admissions and the definitions of gender are among the areas the Department of Justice seeks to change.

A looming fight over vaccines

• After Robert F. Kennedy Jr. ousted vaccine experts at the Centers for Disease Control and Prevention, California is now making its own vaccine guidance.
• The CDC is no longer a trusted source for vaccine guidance, some experts now say.
• California and medical groups are urging more people to get vaccinated against COVID-19 compared with the Trump administration.

Your utility bills

The Emmys were last night

What else is going on

Commentary and opinions

• There will be cooling in all L.A. rentals by 2032. Here’s how contributors Sophia M. Charan and Hye Min Park suggest you survive the heat until then.
• Wait, what happened to saving the children? California columnist Anita Chabria points out that California congressmen dodge the issue.

This morning’s must-read

Other must-reads

For your downtime

(Amir Mrzae / For The Times)

Going out

Staying in

And finally … your photo of the day

(Allen J. Schaben / Los Angeles Times)

Today’s great photo is from Times photographer Allen J. Schaben of ctor Kathy Bates on the red carpet at the 77th Primetime Emmy Awards. See Allen’s photos from the awards show here.

Have a great day, from the Essential California team

Jim Rainey, staff writer
Diamy Wang, homepage intern
Izzy Nunes, audience intern
Kevinisha Walker, multiplatform editor
Andrew Campa, Sunday writer
Karim Doumar, head of newsletters

How can we make this newsletter more useful? Send comments to [email protected]. Check our top stories, topics and the latest articles on latimes.com.

On August 19, 2025, the Library of Foreign Literature hosted the Southern African Development Community Day. The SADC’s primary goal, besides regional socio-economic cooperation and integration, is to cooperate to showcase the culture among 16 countries in southern Africa. In Moscow, the heads and representatives of the diplomatic missions of Angola, Brazil, Venezuela, the Democratic Republic of the Congo, Zambia, Zimbabwe, Kenya, Mozambique, Namibia, Senegal, Tanzania, and South Africa took part in the gala cultural event. 

“It is a great honor to host this important event right here, within the walls of an institution with more than a century of history. Our library has always been and remains a place where different cultures meet, where dialogue on friendship between countries grows stronger. I am confident to take Russian-African cultural relations to a qualitatively new cultural and diplomatic level,” Marina Zakharenko, Director General of the Library of Foreign Literature, said at the opening ceremony.

The Chairman of SADC in Moscow, Ambassador Extraordinary and Plenipotentiary of the Republic of Zimbabwe to the Russian Federation, Gray Mark Marongwe, noted the growing dynamics of relations between African countries and the Russian Federation. He also presented a certificate of gratitude to the library for its active participation and support in celebrating SADC Day in 2024 and 2025.

SADC emerged as a result of cooperation between countries at the forefront of the struggle against apartheid, such as Mozambique, Angola, Zambia, and Tanzania. These states provided comprehensive support to the independence movements in Zimbabwe, Namibia, and South Africa. That, however, Russia, China, Nigeria, and other countries with progressive views played an important role in this process. 

“We sincerely hope that our interaction here in Russia will also contribute to the development of economic and diplomatic ties and the strengthening of cooperation between the Russian Federation and the SADC member countries,” explained Gray Mark Marongwe.

Director of the Department of Partnership with Africa of the Ministry of Foreign Affairs of the Russian Federation, Tatyana Dovgalenko, said that Russia views Africa as an important and promising partner and intends to continue to strengthen and expand cooperation in all areas of mutual interest. Russia and the countries of Southern Africa are linked by long-standing ties of friendship and partnership. 

Russia and the countries of Southern Africa are linked by long-standing ties of friendship and partnership. During the period of decolonization, the Soviet Union provided comprehensive and selfless assistance to our African friends in the struggle for freedom and independence and consistently contributed to the formation of young states, strengthening their economies and defense capabilities, education, and healthcare systems. After the Soviet collapse, Russia has taken over the same role in Africa.

In the 21st century, after the breakthrough, as noted by Russian President Vladimir Putin at the Russia-Africa summits, Russia’s relations are developing on the rise. An important component of this cooperation is the expansion and deepening of interaction with the continent’s integration associations. This is one of the key tasks of the new Department of Partnership with Africa, created by the Ministry of Foreign Affairs in 2025. Tatyana Dovgalenko was appointed as the Director of the Department of Partnership with Africa of the Ministry of Foreign Affairs of the Russian Federation.

At the exhibition, deployed in the Atrium of the Library, guests were able to get acquainted with the rich cultural heritage and tourist diversity of the southern African region. The exhibition presented a unique fusion of tradition and modernity, reflected in works of art, decorative and applied arts, and household items.

The culmination of SADC Day was a concert, which featured musical and dance groups representing various countries of the region. The audience was able to enjoy the fiery rhythms of African music, see bright national costumes, and feel the unique atmosphere of Southern Africa. The Southern African Development Community (SADC) is an intergovernmental organization headquartered in Gaborone, Botswana.

A distinct farmyard smell lingers near the muddy Sheep Paintings. People walk slowly between two dense hedges of windfallen oak branches, or stand silently in a fragile cage of bulrush stems with light seeping through the mossy skylight overhead. I’m visiting the largest ever indoor exhibition of work by Andy Goldsworthy, one of Britain’s most influential nature artists. His recent installations have a visceral sense of rural landscape: hare’s blood on paper, sheep shit on canvas, rusty barbed wire, stained wool, cracked clay.

The show is a sensory celebration of earth – its textures and temperatures, colours, character. The seasons cycle through an ongoing multidecade series of photos featuring the same fallen elm. There are leaf patterns and delicate woven branches, crusts of snow, lines of summer foxglove flowers or autumn rosehips. Andy Goldsworthy: Fifty Years is a National Galleries of Scotland (NGS) exhibition in the neoclassical Royal Scottish Academy building.

After the exhibition, as a sort of cultural pilgrimage, I’m walking six miles across Edinburgh in search of works by the Dumfriesshire-based Goldsworthy and other artists who engage with the landscape. I start at the Royal Botanic Garden (free and open daily, rbge.org.uk), a short bus ride north of the National Gallery. Just inside the east gate, there’s a perforated sculpture by Barbara Hepworth with sunlight pouring through it.

“Art has made me look at the world … and engage with what’s around me,” Goldsworthy writes in the notes for Fifty Years. Walking up through shady beeches, blazing wildflowers and scented, bee-buzzing lavender, there’s a bronze girl in a waterlily pond, and a sundial by the Scottish artist and writer Ian Hamilton Finlay near the terrace cafe. Finlay’s best-known artwork is the garden he created with his wife, Sue, in the wild Pentland Hills (£15 over-16s, £10 for 10-15s, under-10s free, open Thursday to Sunday until 28 September, littlesparta.org.uk). He also built a stone temple in the rolling, wooded acres of Jupiter Artland, a few miles from Edinburgh, where Goldsworthy has put rocks in trees and trees in a stone-walled barn (£11.80 adults, £7.50 children). Celebrating both artists, Jupiter’s exhibition Work Begat Work runs until 28 September.

In the Royal Botanic Garden, Goldsworthy’s Slate Cone stands next to Inverleith House, where the gallery is showing feminist photomontages by Linder (free, until 19 October), who opened this year’s Edinburgh art festival (until 24 August). Enlarged images from her work (smiling mouths, bees, lilies) are dotted among ponds and flowerbeds.

Goldsworthy’s Slate, Hole, Wall, a round enclosure of stacked grey stones, stands in the gardens’ south-east corner, under a weeping silver lime tree sweet with honey-fragrant blossom. The Water of Leith Walkway runs close to the John Hope Gateway on Arboretum Place, and I follow it south-westwards. In Stockbridge, the Sunday market, shaded by whitebeam trees, offers loaves of artisanal bread, Perthshire strawberries and cakes made from insects. Almost hidden in branches under a bridge, a lifesize cast-iron figure stands in the river nearby, one of Antony Gormley’s 6 Times statues.

Another of the figures is buried chest-deep by the zebra crossing between National Galleries Scotland: Modern One and Two. Wandering past domed St Bernard’s Well, with its statue of the goddess of health, and picturesque Dean Village, crammed with fellow camera-wielding visitors, I detour to the Modern galleries up the riverside steps. Linking both museums is Charles Jencks’ huge Landform, with its grassy hills and curving pond. There are days’ worth of galleries, artists’ rooms and sculpture gardens to explore here, but the afternoon is passing and I have more miles and museums to cover.

Heading back along the leafy Water of Leith, I climb another steep flight of steps towards Haymarket. On the south lawn of St Mary’s Episcopal Cathedral, a labyrinth winds through aromatic yarrow and knapweed. Around this flowering meadow, as part of an installation called On Sacred Ground, there are rough benches elegiacally listing threatened Scottish species: corncrake, hawfinch, wryneck, ring ouzel, capercaillie. I walk on through Princes Street Gardens, back past the Royal Academy building, and drop into the National Gallery (free) next door to see Van Gogh’s impasto Olive Trees and William McTaggart’s stormy seascapes.

Up more steps, pausing to look back at distant views of the firth, and then down again across photogenic Victoria Street. Finally, I stroll through Greyfriars Kirkyard to reach the National Museum of Scotland (free, nms.ac.uk). In 1998, Goldsworthy installed four sunset-coloured blocks of split sandstone on the museum roof, with its panoramic city views. But the blue skies have turned stormy. “Our roof terrace is closed today – the weather is too dreich!” says a red sign by the lift.

Instead, I head to the basement, where more late-1990s works by Goldsworthy complement a brilliant gallery about Scotland’s early inhabitants. There’s Hearth, a burned circle on a platform of salvaged wood from the museum’s construction site. Stacked Whalebones is a pale ball of interlocking bones, the whole skeleton of a five-metre pilot whale found beached in Northumberland. Around golden bronze age torcs and silver Viking arm-rings, Roman carvings and flint arrowheads, the artist also designed Enclosure, two curving walls of reworked Edinburgh slates. Another backdrop is of stained Dumfriesshire clay like the Red Wall in the Fifty Years exhibition.

Outside, the Edinburgh fringe is in full swing (until 25 August). Among the crowds are buskers, jugglers, unicyclists. With just one night to sample its anarchic offerings, I plunge into dodgy cabarets and sweaty comedies in tiny underventilated venues. At 9pm, I’m back at the National Museum for an accomplished Lloyd-Webber-esque musical about Van Gogh. Towards midnight, I head to Summerhall for a strange, polyphonic prequel to Hamlet by the Polish choral-theatre group Song of the Goat.

The next day, as I walk to Edinburgh’s Waverley station, there’s a prismatic haze caught between the misty drizzle and breezy summer sun. It reminds me of Goldsworthy’s 1980s photo series with titles like Rainbow Splash Hit Water With Heavy Stick Bright, Sunny, Windy. As the train speeds south, through Northumberland and North Yorkshire, I see with new eyes the wave-pounded cliffs and bale-studded headlands, the dry-stone walls and sheep-scattered patchwork dales.

The trip was provided by Visit Scotland, NGS and LNER, York to Edinburgh from £23 each way, London to Edinburgh from £52 Andy Goldsworthy 50 Years runs until 2 November, £19 adults, £5 children, nationalgalleries.org).

Mexican officials say sportswear giant took design idea from Indigenous community in country’s southern Oaxaca state.

Mexico’s government is seeking compensation from Adidas, accusing the sportswear giant of cultural appropriation for launching a new shoe design strikingly similar to traditional Indigenous footwear known as huaraches.

Adidas’s new Oaxaca Slip-On was created by United States fashion designer Willy Chavarria, who has Mexican heritage.

But the footwear has drawn strong pushback from officials in Mexico’s southern state of Oaxaca, who say no authorisation was given by the Indigenous community, in the village of Villa de Hidalgo Yalalag, behind the original design.

“It’s collective intellectual property. There must be compensation. The heritage law must be complied with,” Mexico’s President Claudia Sheinbaum said during her regular news conference on Friday.

“Big companies often take products, ideas and designs from Indigenous communities,” Sheinbaum said.

“We are looking at the legal part to be able to support them,” she said.

The government said that Adidas representatives had agreed to meet with Oaxaca authorities.

In a public letter to Adidas, Oaxaca state governor, Salomon Jara Cruz, criticised the company’s design – which has a sneaker sole topped with the weave of huarache sandals – saying that “creative inspiration” is not a valid justification for using cultural expressions that “provide identity to communities”.

“Culture isn’t sold, it’s respected,” he said.

Mexican news outlet Periodico Supremo said the country’s National Institute of Indigenous Peoples will launch a legal challenge over the Adidas design, and asked followers on social media: “Are you going to buy them?”

🔴 Están “padres”….🩴

Gobierno de #México defiende propiedad intelectual indígena, en contra de la reconocida marca ADIDAS (@adidas)

El INPI (@INPImx) reclamará legalmente el uso indebido del diseño tradicional de guaraches originarios de Villa Hidalgo Yalálag, #Oaxaca

¿Vas a… pic.twitter.com/KPtrfZMLGC

— PERIÓDICO SupreMo 🔴 (@Diario_Supremo) August 8, 2025

Translation: The government of Mexico defends Indigenous intellectual property, against the well-known brand ADIDAS. The INPI will legally challenge the improper use of the traditional design of huaraches originating from Villa Hidalgo Yalalag, Oaxaca. Are you going to buy them?

The controversy is the latest instance of Mexican officials denouncing major clothing brands or designers using unauthorised Indigenous art or designs from the region, with previous complaints raised about fast fashion juggernaut Shein, Spain’s Zara and high-end labels Carolina Herrera and Louis Vuitton.

Mexico’s Deputy Culture Minister Marina Nunez confirmed Adidas had contacted Oaxacan officials to discuss “restitution to the people who were plagiarised”.

Neither Adidas nor the designer Chavarria, who was born in the US to an Irish-American mother and a Mexican-American father, immediately responded to requests for comment from reporters.

Chavarria had previously told Sneaker News that he had intended to celebrate his cultural heritage through his work with Adidas.

“I’m very proud to work with a company that really respects and elevates culture in the truest way,” he said.

Handicrafts are a crucial economic lifeline in Mexico, providing jobs for about half a million people across the country. The industry accounts for approximately 10 percent of the gross domestic product (GDP) of states such as Oaxaca, Jalisco, Michoacan and Guerrero.

For Viridiana Jarquin Garcia, a huaraches creator and vendor in Oaxaca’s capital, the Adidas shoes were a “cheap copy” of the kind of work that Mexican artists take time and care to craft.

“The artistry is being lost. We’re losing our tradition,” she said in front of her small booth of leather shoes.

When Tom and Ethel Bradley moved with their two young daughters into a modest three-bedroom home in Leimert Park in 1950, Black people were restricted from buying houses in the neighborhood. The Bradleys had to purchase the home through a white buyer likely affiliated with the American Civil Liberties Union, recalled their oldest daughter, Lorraine Bradley, who was almost 7 years old at the time.

“It was the very first time that a Black family moved into Leimert Park,” said Lorraine, explaining the immediate historic significance of the home, and adding that her parents were brave people who believed integration was essential to equality. “My parents understood the implications of that. They were willing to sacrifice themselves in many regards.”

For the first year, white children on the street wouldn’t play with Lorraine or her 5-year-old sister, but that slowly changed and the family became accepted in the neighborhood. It helped that Tom was a police officer, said Lorraine.

Tom and Ethel explained to their children that, “unless people understood and lived with you, they would only look at you racially and not as a person,” said Lorraine.

The 1,282-square-foot home — where the Bradleys lived until 1977, when Tom became the first Black mayor of Los Angeles and moved the family into the 10,000-square-foot Getty House — is among six buildings of deep importance to Black heritage in L.A. that have been designated Historic Cultural Monuments as part of a project led by the Getty in collaboration with the City of Los Angeles’ Office of Historic Resources.

“We are thrilled for everyone to recognize the courage that my parents took to move to that neighborhood,” said Lorraine. “Somebody had to, so my dad and mom decided it was them.”

The additional sites to receive landmark status are Stylesville Barbershop & Beauty Salon in Pacoima; St. Elmo Village and Jewel’s Catch One in Mid-City; the California Eagle newspaper in South L.A.; and New Bethel Baptist Church in Venice.

Jewel’s Catch One was the oldest Black-owned disco in the U.S. as well as one of the city’s first gay nightclubs to open its doors to LGBTQ+ people of color.

(Micaela Shea / J. Paul Getty Trust)

The designations are the culmination of ongoing work done by African American Historic Places, Los Angeles, which was launched by the city and Getty in 2022 with the goal of identifying, memorializing and protecting the city’s Black heritage and history.

Each site will receive its own plaque. Celebrations are set for later this month at the Bradley residence, St. Elmo Village and Jewel’s Catch One. Stylesville is planning a party for a later date.

AAHPLA hosted a kickoff event at St. Elmo Village in 2023, but work to create the project began in 2020 after the murder of George Floyd when many cultural organizations, including Getty, began reevaluating the ways they were highlighting and interacting with Black history, art and heritage, said Rita Cofield, associate project specialist at the Getty Conservation Institute and AAHPLA project leader.

St. Elmo Village in Mid-City is a thriving arts community, residence and activism hub.

(Elizabeth Daniels / J. Paul Getty Trust)

Getty soon decided to implement an initiative focused on African American heritage in L.A. and began looking for partners in the community who could help best identify each unique location.

In some cases, unless you have roots in a particular community, you won’t have the depth of understanding to realize that even though a particular building looks commonplace — or isn’t built in high architectural style — that it’s actually extremely important, said Cofield.

The plaques, in conjunction with the program, will help further establish the locations and their history in the popular imagination — and also serve to protect the sites from harm or demolition.

“If you see a plaque with the date and the importance of it, you’ll get some sense of just what this neighborhood was — what this building was or still is,” said Cofield. “So you connect with it on your own. You can investigate on your own at any time and it’s accessible.”

Stylesville Barbershop & Beauty Salon in Pacoima is the oldest Black-owned barbershop in the San Fernando Valley.

(Cassia Davis / J. Paul Getty Trust)

Angelenos and visitors to the city can now make a day out of touring the sites. In the process, they will learn about how the California Eagle — established by John J. Neimore in 1879 — was home to one of the oldest and longest-running Black-owned and operated newspapers in the country; how St. Elmo Village is still a thriving arts community and center for community activism; how Stylesville barbershop is the oldest Black-owned barbershop in the San Fernando Valley; how Jewel’s Catch One was the oldest Black-owned disco in the U.S., as well as one of the city’s first gay nightclubs to open its doors to LGBTQ+ people of color; and how the establishment of New Bethel Baptist Church marked the early days of Black migration to the Oakwood neighborhood.

Moving forward, AAHPLA will continue to seek out sites that would benefit from landmark status, while also investing in Pacoima, Oakwood and the Central Avenue corridor — famous for its vibrant jazz and music scene — in order to develop better cultural preservation strategies.

“We really want to celebrate intangible heritage too,” said Cofield. “How do we do that? Do we do it through schools, through murals? So we’re really working with those neighborhoods, to think of strategies to celebrate and highlight African American heritage.”

There’s a collective intake of breath as the curator slowly unzips the white garment bag to reveal the treasure within: a white military-style jacket embellished with gold buttons and epaulettes, worn by Elton John on his 1981 World tour. To my left, laid out on a table, are a gold Versace bag and a pair of daintily embroidered blue silk shoes dating from the 1720s. To my right, a Vivienne Westwood corset and a Balenciaga pink taffeta evening dress from the 1950s. It’s a fashion lover’s fever dream and it’s all here, at my fingertips.

I’m at the V&A East Storehouse in east London, a radical new museum experience that allows anyone to order up any item from the V&A’s vast collection – for free – and to examine it at close quarters. Housed in the former Olympics Media Centre, on the edge of the Queen Elizabeth Olympic Park, this lofty warehouse space gives unprecedented access to more than 250,000 objects, from an 11m wide stage cloth designed by Picasso to a cross-section of a maisonette from the Robin Hood Gardens council estate in Poplar. Gone are the glass cases, white walls and carefully curated exhibits of a traditional museum space. Instead, visitors are invited to look behind the scenes of a working museum, to wander among open shelves stacked high with deliriously eclectic objects and to peer into the workshops where conservators are at work. The effect is part Ikea showroom, part Victorian cabinet of curiosities. It’s bold, slightly bonkers and I love it.

The opening of this new V&A outpost marks the latest chapter in the reinvention of the Olympic Park as a “new cultural quarter” for London. At the time of the London 2012 games, I lived in Bow, on the edge of the Olympic Park. On the night of the opening ceremony we watched from the window of my flat as fireworks lit up the sky above the stadium. It was the culmination of one of the most ambitious regeneration projects that London had ever seen and we had a ringside seat as this brave new world rose up from a 560-acre brownfield site.

As well as providing a deprived area of east London with world-class sporting facilities, part of the Olympic legacy was the promise to build a new creative hub, somewhere that would inspire locals and visitors alike. We moved out of the area shortly after the games finished, so I was curious to see for myself whether that promise had been fulfilled.

On a bright spring morning the park is quietly humming with activity. Teenagers glide along wide boulevards on roller skates and toddlers play in the water fountains in front of the London Stadium. On the canal, families drift by in pedalos in the shape of white swans, watched over by Zaha Hadid’s imposing Aquatic Centre which carves a graceful arc in the blue sky.

My daughter and I make a beeline for a cluster of new buildings which are lined up along the canal. The East Bank project represents the largest single investment in culture by a London mayor since the Great Exhibition of 1851. The first phase launched in 2023 with the opening of cutting-edge new campuses for University College London (UCL) and the London College of Fashion. Both sites have been designed to be open and accessible to the public. So you can wander into the reception of UCL East and see public art installations – on our visit Luke Jerram’s “Gaia”, an inflatable replica of the Earth, was floating serenely above the atrium – or head to the cafe where your coffee will be delivered to you by a robot waiter.

At the London College of Fashion, the public areas host regular showcases of student work. We stroll around the lobby, all bare concrete and curving staircases, and admire a display of outlandish undergraduate creations – although my daughter is far more interested in what the fashion students themselves are wearing.

Next door is Sadler’s Wells East, a new outpost of the dance theatre which opened in February. The open-plan foyer is home to a light-filled bar, cafe and dance space – when we drop in for a coffee there’s a community dance class in mid-flow. The 550-seat auditorium will provide a home for visiting dance companies of every genre, from ballet to hip-hop. We have booked tickets for that evening’s show, a family-friendly performance of Snow White by the balletLorent.

Our next stop is the ArcelorMittal Orbit, the twisted red steel sculpture that towers over the Olympic Park. We take the lift up to the viewing platform, a dizzying 80m above the ground. Far below us the London Stadium, now home to West Ham football club, is laid out like a Subbuteo pitch. As a general rule of thumb, I try to avoid any activity that involves having to don an Australian Rules Football helmet and elbow protectors. And yet here I am, joining the queue of teenagers waiting to launch themselves feet first down the Helix, the high-speed helter skelter that snakes around the outside of Anish Kapoor’s look-at-me landmark. My teenage daughter takes one look at the foam helmet and refuses to go any further. “It’s just a big slide!” I tell her. “Come on, it’ll be fun!”

These words – and others that cannot be published here – ring in my ears as I corkscrew down the metal tube at terrifying speed, emerging 40 seconds later feeling like I’ve been flushed down the S-bend. My sensible daughter has taken the lift down and is waiting for me at the bottom. “Oh Mum,” she says.

One of the side-effects of this area’s transformation has been a burgeoning of the local food scene, from the world’s first zero-waste restaurant, Silo in Hackney Wick, to Barge East, a floating bar and restaurant moored in the shadow of the London Stadium. We’ve booked a table at Hera, one of the park’s newest openings, which has been winning accolades for its authentic Greek food.

It does not disappoint. From the basket of homemade bread and dip of smoked aubergine with thyme, honey and balsamic vinegar, to the elegant sea bass carpaccio and charcoal-grilled chicken skewers, everything is sensational. But the standout dish is the feta saganaki – feta cheese, wrapped in angel hair, deep-fried and drizzled with lemon honey. My daughter and I are still dreaming about it weeks later.

It’s the kind of lunch that needs to be followed by a long walk, so we trace the course of the canal, fringed with head-high whispering grasses, into the northern half of the park, eventually reaching the iconic Olympic rings – which have found a permanent home on a raised mound overlooking the Lee Valley VeloPark.

A group of women dressed head to toe in sequins shimmer past in the late afternoon sunshine, on their way to Abba Voyage. The virtual concert experience has attracted more than two million visitors since opening in a purpose-built arena on the edge of the Olympic Park in 2022. In September, they will be joined by an army of David Bowie fans when the V&A Storehouse becomes the new home of the David Bowie archive, comprising stage costumes, song lyrics, instruments, makeup charts and sketches. And there’s more to come. Next year will see the relocation of the BBC Music Studios from Maida Vale to Stratford and the opening of the V&A East museum in a striking new building inspired, apparently, by an X-ray of a Balenciaga dress.

I’ve enjoyed being a tourist on my old home turf. It may not have the gravitas of South Kensington, the architectural cohesion of the South Bank Centre or the neoclassical elegance of Covent Garden, but East Bank is an invigorating and inspiring addition to London’s cultural scene. And it’s fun. Where else can you slide down Britain’s tallest sculpture, handle vintage haute couture, or dance in front of an Abba avatar, all in one day?

The V&A East Storehouse opens to the public on 31 May. Information on visiting East Bank and the Queen Elizabeth Olympic Park: queenelizabetholympicpark.co.uk

Where’s the line between sharing a culture and stealing it? In a globalised world, borrowing is easy – but honoring is harder. We explore everything from re-branded recipes to re-imagined identities. What’s at stake when heritage becomes a trend?

Presenter: Stefanie Dekker

Guests:
Fadi Kattan – Chef and author
Richie Richardson – Professor at Cornell University
Nikki Apostolou – Content creator

Among the geopolitical dynamics of the Southeast Asian region, cultural heritage has become a battleground of identity that presents both challenges and opportunities for ASEAN regional solidarity. As a manifestation of national identity inherent in a nation’s collective identity, claims over cultural heritage often trigger diplomatic tensions when they intersect with nationalistic sentiments. The case of the Cambodia-Thailand dispute over Phra Viharn Temple is clear evidence of how cultural heritage can transform a simple conflict into a multidimensional sovereignty issue. But behind its destructive potential, nationalism also holds constructive power that can strengthen ASEAN cultural integration through respect for diversity and diplomacy based on cultural exchange. This article explores the complex role of nationalism in the dynamics of ASEAN cultural cooperation, offering perspectives on how such sentiments can be managed and directed to strengthen the region’s collective identity without compromising the cultural uniqueness of each member state.

Based on cases of conflict related to cultural heritage that have occurred in the ASEAN region, it can be said that nationalist sentiment has a major effect on exacerbating conflict. The reason is, as is known, that cultural heritage itself is the “identity” of a nation that represents the nation, which provides meaning for individuals and groups in understanding the world and their position in it. The presence of this culture also distinguishes it from other nations, which is the point of an identity itself. If the identity is claimed by other parties, of course this becomes a sensitive issue because the identity itself is already an ownership that reflects the characteristics of the nation.

Cultural heritage becomes a national identity, which will build its own pride for a nation. As happens in Indonesia, which consists of various provinces with their respective cultural identities, these differences make people from different cultures unite to represent Indonesia as a nation that has many cultures. This form of pride then creates a sense of “nationalism,” where a nation will love and preserve its identity.

Then what if the cultural heritage that is the identity of this nation is claimed by another party? It will certainly bring up feelings like losing self-identity. This feeling then triggers conflict when a nation fights for its identity in the form of cultural heritage, as in the Cambodia-Thailand dispute over the Phra Viharn Temple claim, where both parties have different views regarding the claimed cultural heritage. Preah Vihear Temple is located on Mount Dangrek, Preah Vihear Province, in the northern part of Cambodia and Sisaket Province in southwestern Thailand, which has led to unclear boundaries between the two countries. Preah Vihear Temple was named a world heritage site in 2007, triggering a territorial dispute over the temple’s claim. This claim issue then shifted into a more serious political issue that threatened national sovereignty with the support of nationalist demonstrations. Thus, nationalist sentiments can be influential in exacerbating conflicts and creating issues that spill over into the realm of politics and sovereignty for the reasons explained earlier.

Is nationalism always an obstacle to cultural cooperation in ASEAN? Not always. There will be a role for nationalism in both directions, either as an obstacle or a driver of cultural cooperation in ASEAN, depending on how the sentiment is “expressed.” If seen from the cases that have occurred, it is true that there are times when nationalism is an obstacle. Where the impact of this conflict affects cultural cooperation, such as the refusal to recognize sovereignty and cultural development, as done by Thailand against Cambodia. It also affects cultural exchange policies, which, as we know, can be a platform for diplomacy between countries. With cases related to nationalism, there can be a feeling of fear of pollution of national culture by foreign influences so that cultural exchanges are limited on the grounds of “protecting” local culture. In ASEAN itself, nationalism affects cultural cooperation, which is a regional vision, which in turn creates competition rather than cultural collaboration.

Considering these things, it is evident that nationalism is an obstacle. However, the role of nationalism as a driver cannot be denied and ignored. The existence of nationalism also plays a role in encouraging cultural cooperation in the ASEAN region, such as strengthening cultural cooperation itself by respecting mutual forms of identity between nations in the ASEAN region. Nationalism also strengthens cultural cooperation through cultural exchanges where the cultures of each country are introduced to each other. Within the ASEAN framework, this cultural exchange is a forum for cultural diplomacy, which is soft power. In addition, each country can also support cultural collaboration so as to create an ASEAN image that supports the preservation of ASEAN culture and identity diversity.

Because of the two-way influence of nationalist sentiment, it proves that it is not always an obstacle. What needs to be done is to have countries and nations turn the sentiment of nationalism into a driver of cultural cooperation in ASEAN, for example, by viewing the sentiment as a cultural interaction rather than a threat that must be limited to foreign cultures or by strengthening ASEAN integration, where its role is to facilitate cultural cooperation in the ASEAN region.

WASHINGTON — In the wake of the Murphy Brown uproar, Vice President Dan Quayle has delivered another double-barreled commotion. First, in the past 10 days, he has made two more fire-breathing speeches on family values, one to a convention of Southern Baptists and the other to a National Right to Life gathering. Second, he has demonstrated he does not know how to spell potato .

My West Coast sources say politically aware people in the entertainment industry have made up their minds about the vice president’s “values” theme: It will not play in Peoria. Quayle’s distasteful traditionalist fervor, in this view, simply does not reflect the ethics or concerns of most Americans. Besides, how can you take a man seriously who doesn’t know the names of his vegetables?

But Quayle’s critics are kidding themselves, trying to suppress the message by deriding the messenger. They may think the vice president’s misspelling marks him as an irredeemable jerk, but many of his fellow citizens are not so sensitive, and some will even sympathize with him. (Pop quiz: Is it potatos or potatoes ?)

The same critics are surely right in seeing considerable daylight between most Americans’ general moral posture and the pungency of some of Quayle’s stronger words. Nonetheless, the “values” card might not only help the Bush-Quayle reelection effort, it may even play a moderating role in the campaign.

In his speeches, Quayle again criticized the “cultural elite” that “flees from the consequences of its self-indulgence.” But he also expanded on the idea of this elite as an alien force in American life. The country is made up, he said, of “the cultural elite, and the rest of us.” The elite “mock us in the newsrooms, sitcom studios and faculty lounges,” but “we Americans” must “stand up for our values, stand up for America.” The American people are “playing David to the Goliath of the dominant cultural elite,” he exhorted, “but remember the final outcome” of that battle: “The Philistines fled.”

This is unattractive stuff. It says only the people on Quayle’s side of the argument can lay legitimate claim to the label “American.” One of our worst national characteristics in politics is the tendency to read our opponents out of the rolls of American citizenship–and parts of the Quayle speeches serve as fair examples of this nasty habit.

But the recent Quayle sorties, despite the rough language, are not the beginning of a crusade–which would fail–to Puritanize American life. Instead, speeches like his accomplish two other things.

First, such talk shores up the Bush Administration’s base among social conservatives. They are not a majority in America, but they constitute a Peoria in which the vice president’s ideas will play to standing-room-only crowds. Solidifying a core constituency is a prudent thing to do for an electorally weak Administration facing a three-way presidential race. In olden times, national politicians could do this type of cheerleading in obscurity, with their most inflammatory words heard only by the special groups they were addressing. But now, because of modern communications, we are constantly eavesdropping on each other’s private political conversations.

Second, Quayle’s theme promises benefits for the Administration’s campaign even among many who do not share his moral fervor but do share a general unease with TV, movies and a popular culture that seems out of control. Often these are the same people now lured, to the Administration’s discomfort, by the siren song of Ross Perot.

Perot, it is becoming clear, is a strange man. He has displayed an authoritarian temperament in his business and public life and in the preemptory ways he proposes to deal with problems ranging from entitlements to the cost of U.S. troops abroad. He is cavalier about constitutionally rooted civil liberties and about institutions with which the Constitution says a President must share power. The different versions he gives of his own life are starting to make Ronald Reagan’s lapses in this area look trivial and benign.

In short, Perot is dangerous. Moreover, his attitudes do not reflect the considered views of the electorate: Americans of all kinds remain massively attached to the basic features of the American system. Yet Perot maintains his political strength because he has succeeded in presenting himself as the ultimate outsider to a citizenry that has been brought to mistrust all insiders.

We know today’s citizens are increasingly alienated from their government and public officials. Many Americans have come to see today’s politics and government as one vast sinkhole of incompetence and corruption. Even with the large problems our nation faces, this despair is out of proportion.

There is more than one reason for this mistrust, which has been building for a quarter-century. But the “cultural elite” cannot deny having had a hand in shaping it. If popular culture has shaken tradition regarding sexual morality, parts of the elite have also mounted a challenge in the arena of conventional politics.

To take the largest example, the national press, since Watergate, has given news consumers an unending stream of political scandal. Yet national politics is, by most measures, far cleaner than it was 25 years ago. But there is no way that newspaper readers and TV viewers absorbing this reportage can escape thinking that today’s politicians are incorrigibly dirty.

The view we get from movies that deal with politics is even darker, ranging from simple corruption to grand conspiracies to steal the presidency from the American people. “The “faculty lounges” that Quayle cited are, like the sitcoms, a mixed bag, but some major university campuses have been seedbeds for critiques of the profound structural racism, sexism and imperialism said to infest our conventional social and political institutions.

Those who have purveyed this radical political disaffection may have hoped it would lead to a more just America. Instead, what they begot was Perot, and they should recognize him as their child.

By pounding away at the theme of the cultural elite vs. America’s traditional values, Quayle is asserting that the Administration should be seen not as a bunch of political insiders but as the champion of all those cultural outsiders who feel denigrated and ignored by the media and popular culture. In other words, he argued that voters should exempt him and President George Bush from the “insider” curse of 1992.

More important, in appealing to traditional values, Quayle took the quickest and most powerful route to generally delegitimizing what have been called the “chattering classes” and casting grave doubt on whatever comes out of their collective mouths. Once people are reminded of how little they trust the “cultural elite,” they can be persuaded to exercise this mistrust in other areas. If members of the elite are insensitive to issues of family values, there is no reason to think them trustworthy on general politics. If they say American politics stinks, they should not be believed any more than they should be trusted on the issue of sex.

But if American politics does not stink in the way Hollywood says it does, then Perot should not get credit for being the outsider who champions the people against the Establishment. To the contrary: Perot can be portrayed as a creature of the cultural elite and its cynical view of American political life. His contempt for other politicians and his insistence on his unique ability to save us are perhaps messages not from the majority of Americans, but from an elitist fringe. Quayle has actually started in on this idea, chiding Perot for not showing sufficient respect for the Constitution.

If this strategy works, the “family values” issue will have tapped into some of the same anti-Establishment voter anger to which Perot appeals and will shake Perot loose from his position as the embodiment of average people’s sentiments. Even for those who do not like some of Quayle’s recent speeches, this is probably a good trade.