Words are the tools I turn to, again and again, to make sense of events and shape them into narratives that do them justice. And yet, when it comes to the genocide in Gaza, my birthplace, language feels wholly inadequate.
There is a limit to what words can say. At a certain point, the instinct to describe, to explain and to make sense of what has unfolded begins to break down under the sheer scale of devastation and pain.
One scene from the start of the war has lingered in my mind: A bulldozer burying 111 unidentified bodies, wrapped in bright blue bags, in a mass grave. It appeared briefly in the endless scroll of social media before it disappeared again, replaced by yet another shocking scene. And another.
A hundred and eleven souls about whom we knew nothing; not their names, not their dreams or what their final moments were. A New York Times headline read: More Than 100 Bodies Are Delivered to a Mass Grave in Southern Gaza. Omission of the perpetrator aside, could that possibly capture the magnitude of such an event?
Every attempt to describe in words what Israel has inflicted on Gaza and its people has felt reductive, compressing something vast, ongoing and staggeringly lethal into language that cannot possibly hold it. What remains is a tension at the heart of the act of telling itself; knowing no account will ever be enough, how do you tell stories of such unspeakable horrors?
This tension lies at the heart of the Gaza Genocide Tapestry, which I am co-curating and which will be displayed at this year’s Venice Biennale. It is an art project that brings together Palestinian women in occupied Palestine and refugee camps in Lebanon and Jordan to document Gaza’s destruction in real time. They tell these stories in the way they know best: Needle and thread.
Mass grave. Embroidery by Nawal Ibrahim [Courtesy of Palestine Museum US]
Through 100 embroidered panels, each composed of 55,000 stitches, these women have created a testimonial that refuses to let the world forget what has been done and to whom.
Each panel tells a fragment of what has happened: A journalist weeping over his child’s dead body; young girls with empty pots being crushed at a soup kitchen; a child crying as her world crumbles around her.
Some of these images forced themselves into the public consciousness, if only for a moment; Khalid Nabhan hugging his dead granddaughter, the “soul of his soul”, for the last time before joining her a year later, or Dr Hussam Abu Safia walking towards a tank on the orders of Israeli soldiers, to then never be seen again.
But most images from Gaza are not granted that pause. They pass without names, context or farewell.
The tapestry defies this. To embroider is to decide something is worth the effort – hours, days and weeks of labour. This is to insist it is not lost to the sheer volume of images that pass briefly before our eyes.
An embroidery by Basma Natour of an illustration by Mahmoud Abbas of Dr Hussam Abu Safia heading towards an Israeli tank [Courtesy of Palestine Museum US]
A national archive in thread
The Gaza Genocide Tapestry is a new chapter of the award-winning Palestine History Tapestry Project, which I co-chair alongside Gaza-born designer Ibrahim Muhtadi. Following in the tradition of the famous Bayeux Tapestry and the Great Tapestry of Scotland, it is the largest body of Palestinian embroidery narrating the history of Palestine and its people.
The tapestry was started in 2011 in Oxford by Jan Chalmers, a British nurse who lived and worked in Gaza for two years in the 1960s. An avid embroiderer, Jan was previously involved with the Keiskamma History Tapestry, which chronicles the history of South Africa’s Xhosa people and now hangs in the South African parliament.
Recognising the centuries-old embroidery tradition of Palestinians, tatreez, Jan believed a Palestinian history tapestry was in order. I met Jan in 2013 in Oxford during my postgraduate studies. That is when I first joined this invaluable effort.
Tatreez, recognised by UNESCO in 2021, has long expressed Palestinian heritage and belonging. Its motifs encoded identity, place and social status. After the 1948 Nakba, it became a means of preserving Palestinian culture in the face of attempted erasure. Today it is something else again: Testimony.
Not long after Israel unleashed its devastating military assault on Gaza in 2023, the tapestry found new momentum by merging with the Palestine Museum US, an independent institution founded and led by Palestinian American entrepreneur Faisal Saleh. The tapestry is now housed at the museum in Woodbridge, Connecticut, and travels from there for exhibits worldwide.
An embroidery of Khalid Nabhan hugging his dead granddaughter [Courtesy of Palestine Museum US]
It was within this expanded framework that the Gaza Genocide Tapestry took shape. Jan, Ibrahim, Faisal, and I came together to discuss how best to document the genocide. We initially created two panels to mark this dark moment in Palestinian history – Gaza on Fire and The Palestinian Phoenix. Faisal then proposed we do 100 panels focused solely on Gaza.
The challenge of producing in a single year what had previously taken a decade was formidable, but it was an urgency dictated by an unfolding genocide and made possible by the scale, visibility and global reach the museum provided.
United in pain
Women in Gaza were initially among the most active contributors to the Palestine History Tapestry. Their work was vibrant and meticulous, and offered them a means of support. But as bombardment intensified, most became unreachable, often displaced multiple times. Materials could not enter Gaza, and finished panels could not leave.
Gaza’s women became the subjects of the story, rather than its narrators.
But the tapestry, at its core, is a kind of “lam shamel” (Arabic for family reunion), as one embroiderer put it. Despite borders and forced displacement, the labour of Palestinian women everywhere converges into a single visual record of the Palestinian experience.
For Iman Shehabi, Basma Natour and the dozen women in Ein el-Hilweh refugee camp, embroidery is how they make a living. But the tapestry project, they said, “restored” a part of their “dignity”.
“It was a space where heritage pulsed, and where our needles stitched both our pains and our hopes,” they wrote to us in a letter upon completion of their panels.
And it is not only the embroiderers who contributed. One of the panels in the Gaza Genocide Tapestry, embroidered by Shahla Mahareeq in Ramallah, was based on an image of Hind Rajab illustrated by London-based artist Khadija Said.
A Palestinian embroiderer stitches the panel ‘al-Shifa Hospital’ in Ein el-Hilweh refugee camp, Lebanon [Courtesy of Palestine Museum US]
A panel of blindfolded men, arbitrarily detained by Israeli soldiers in Gaza, was painted by Haifa-based lawyer and rights activist Janan Abdu, a Palestinian citizen of Israel. It was embroidered by Bothaina Youssef in Lebanon’s Ein el-Hilweh refugee camp.
Another artwork by Gaza-based artist Mohammed Alhaj, depicting displacement in Gaza, was also embroidered in Lebanon by Kifah Kurdieh, before a million people in southern Lebanon were themselves displaced.
The process of putting together the Gaza Genocide Tapestry has been painstaking. For more than a year, Faisal, Jan, Ibrahim and I held weekly meetings to research and select representative panels across various themes and coordinate the work. Each panel had to be translated by Ibrahim into a format that could be embroidered, then sent to a woman to stitch through field coordinators in each location.
There were constant questions, both ethical and practical. What do we choose to include, and what is left out? What does it mean to translate suffering into a stitched pattern?
At the Venice Biennale
Starting May 9, the Gaza Genocide Tapestry will be exhibited publicly at Palazzo Mora under the title: “- – – – – – – – – – -” * *Gaza – No Words – See The Exhibit
It will be available for viewing through November.
When we were informed in November last year that our biennale submission was selected, I felt a complicated kind of recognition. On one hand, it is an honour and a chance for this work, and the women behind it, to be seen on one of the world’s most prominent cultural stages.
On the other hand, it captured the paradox of a world increasingly willing to name what is happening in Gaza, to look it in the eye, call it a genocide, and yet remain unable or unwilling to stop it. What does it say about humanity when art becomes a primary site of real-time testimony because political systems have failed?
I have no simple answer. What I know is this: Palestinian women continue to tell these stories and demand accountability. Theirs is a collective response to my late mentor Refaat Alareer’s final instruction before he was killed: “If I must die, you must live to tell my story.”
A group of Palestinian embroiderers prepare panels to embroider in as-Samu, the occupied West Bank [Courtesy of Palestine Museum US]
At this year’s Venice Biennale, the story isn’t just about what’s on display—but what’s missing. Withdrawn countries, postponed ceremonies, and a fractured jury have turned the world’s oldest art exhibition into a stage for geopolitical tension.
Al Jazeera’s Karly Abou Samra explains.
The 61st Venice Biennale — the world’s most celebrated international exhibition of contemporary art — made headlines Thursday when its awards jury resigned amid a growing controversy over its April 23 decision to exclude countries charged with crimes against humanity by the International Criminal Court.
In the current moment, this specifically meant Israel and Russia, and an uproar ensued — particularly with regard to Israel. The Israel Foreign Ministry blasted the decision on social media, writing in an April 26 post that the boycott “is a contamination of the art world. The political jury has transformed the Biennale from an open artistic space of free, boundless ideas into a spectacle of false, anti-Israeli political indoctrination.”
The jury posted its brief statement of resignation online four days later “in acknowledgment” of its original decree, in which it wrote, “At this edition of the Biennale, we wish to set out our intention — to express our commitment to the defense of human rights,” before explaining it would not consider certain countries for awards.
The Biennale moved swiftly to reverse course after the jury’s resignation, issuing a news release that noted, “All National Participations included in the 61st Exhibition … are eligible … following the principle of inclusion and equal treatment among all participants. This is consistent with the founding spirit of La Biennale, based on openness, dialogue, and the rejection of any form of closure or censorship. La Biennale seeks to be — and must remain — a place of truce in the name of art, culture, and artistic freedom.”
To that end, the awards ceremony originally scheduled to take place on May 9 has been pushed to November 22 — the last day the exhibition is open to the public. There is precedent for “exceptional circumstances” delays, and the last one took place in 2021 as a result of the COVID-19 pandemic.
Without precedent, however, are the newly established awards, created to replace the coveted Golden Lion awards that the jury traditionally hands out to two winners each year. This year, instead of the Golden Lion for best national participation at the Biennale; and the Golden Lion for best participant in the Biennale’s central exhibition, the Biennale has established two Visitors’ Lions to be awarded in the same categories.
Instead of a jury deciding the winners this year, the honor will be left — as the new award name specifies — to the exhibition visitors.
“Visitors eligible to vote for the Visitors’ Lions are ticket holders who have visited both Exhibition venues,” the release reads.
“Visits to both venues will be verified through the ticketing system’s tracking. Each ticket holder may cast one vote for each of the two awards, in one single session.”
Whether Visitors’ Lions will become a Biennale mainstay remains to be seen — but I can imagine the democratic idea might keep its place when the Golden Lions make their return next year.
I’m Arts editor Jessica Gelt doing my best to tread water in difficult times. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
Quentin Lee and Justin Lin on the set of their debut feature, “Shopping for Fangs.”
(Margin Films)
Celebrating 30 Years of Margin Films Award-winning filmmaker Quentin Lee and his production company mark three decades in the business with a weeklong screening series. Lee’s breakout 1997 debut “Shopping for Fangs,” co-directed by Justin Lin, is the opening film. Also screening: “Ethan Mao,” Saturday; “The People I’ve Slept With,” Sunday; “The Unbidden,” Monday; “Rez Comedy,” Tuesday; “Last Summer of Nathan Lee,” Wednesday; and a sneak peak of three episodes of the Canadian TV series “Comedy InvAsian III,” Thursday. Selected screening includes a Q&A. Lee is also releasing a book, “Cinemasianamerica,” commemorating the occasion. Each film screens one day, 1:30, 4:30 and 7:30 p.m., through Thursday. Laemmle Royal, 11523 Santa Monica Blvd., West L.A. laemmle.com
Dvořák and Korngold Conductor Andrés Orozco-Estrada and the Los Angeles Philharmonic pay tribute to Michael Tilson Thomas, who died April 22, with his composition “Agnegram,” and perform Korngold’s “Concerto in D major for Violin and Orchestra” with violinist María Dueñas. The evening concludes with “Symphony No. 7 in D minor” by Dvořák. 8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Anna Van Valin, from left, Elias Scoufaras and Bruce Nozick in “Warsaw” at International City Theatre.
(Jordan Gohara)
Warsaw The world premiere of British playwright and “Selma” screenwriter Paul Webb’s drama about the fate of a woman whose life links two monumental historic moments, World War II and Sept. 11. 7:30 p.m. Thursdays, Fridays and Saturdays; 2 p.m. Sundays, through May 17. International City Theatre, 330 E. Seaside Way, Long Beach. ictlongbeach.org
SATURDAY
The Kronos Quartet, from left: Gabriela Díaz, David Harrington, Ayane Kozasa and Paul Wiancko.
(Danica Taylor)
Kronos Quartet The West Coast premiere of the group’s latest large-scale multimedia project, “Three Bones,” which combines live performance, video, visual art, recordings and environmental sound to explore the histories of Indigenous, Gullah Geechee and Chinese American communities in the United States. 6 p.m. UC Santa Barbara campus, Campbell Hall. artsandlectures.ucsb.edu
Michael Caine, from left, Scarlett Johansson and Hugh Jackman in the “The Prestige,” screening Saturday at the Aero.
(Francois Duhamel / Touchstone & Warner Bros. Pictures)
The Prestige Hugh Jackman and Christian Bale square off as rival magicians in a 20th anniversary 35mm screening of Christopher Nolan’s sci-fi thriller. 7:30 p.m. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com
The cast of “Carlota: Alhajero de Secretos,” opening Saturday at LATC.
(Teatro Alebrijes)
Carlota: Alhajero de Secretos Writer-directors Rodrigo García and Ugho Badú reimagine Federico García Lorca’s tragedy “The House of Bernarda Alba.” The co-production between San José-based LGBTQ+ ensemble Teatro Alebrijes and L.A.’s Latino Theater Company is in Spanish with English supertitles. 8 p.m. Thursdays, Fridays and Saturdays; 2 p.m. Sundays, through May 24. Los Angeles Theatre Center, 514 S. Spring Street, downtown L.A. latinotheaterco.org
SUNDAY
Henri Lubatti in “Exit the King” at A Noise Within.
(Daniel Reichert)
Exit the King Eugène Ionesco’s classic absurdist comedy about a desperate monarch who refuses to admit his time has come, translated by Donald Watson and directed by Michael Michetti. Previews, 2 p.m. Sunday; 7:30 p.m. Wednesday, Thursday and May 8; opening night, 7:30 p.m. May 9; runs through May 31. A Noise Within, 3352 E. Foothill Blvd., Pasadena. anoisewithin.org
Organist Anna Lapwood performs at Walt Disney Concert Hall on Sunday.
(Gerald Matzka / Getty Images)
Anna Lapwood The popular organist performs work from “The Da Vinci Code,” “The Hunchback of Notre Dame,” “The Lord of the Rings,” “Star Wars Episode I – The Phantom Menace,” “Flight” and “Pirates of the Caribbean,” as well as Olivia Belli’s organ solo “Limina Luminis,” in this recital. 7:30 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
TUESDAY
Willie Birch, “Uptown Memories (A Day in the Life of the Magnolia Project),” 1995. Painted papier-mâché and mixed media, 82 × 62 × 60 in. New Orleans Museum of Art.
(Roman Alokhin)
Willie Birch: Stories to Tell This career retrospective details Birch’s exploration of the Black American experience since the 1960s, posing difficult questions along the way in his work as an artist, community organizer and “cultural provocateur.” 10 a.m.to 5 p.m. Tuesdays to Saturdays; 11 a.m. to 5 p.m. Sundays, through Oct. 21. California African American Museum, 600 State Drive, Exposition Park. caamuseum.org
Lucía performs Tuesday at the Carpenter Center in Long Beach.
(Shervin Lainez)
Jazz in Long Beach Two jazz-influenced acts come to the Carpenter Center next week. Lucía brings her signature mix of traditional American jazz and Latin folk in a Spotlight Sessions concert on the Cabaret Stage. She’ll also be performing songs from her forthcoming album. “The Magic of Manhattan Starring Benny Benack III” is a tribute to the Big Apple and the songs and singers most associated with it, including Blossom Dearie, Frank Sinatra and Billy Joel. Lucía, 8 p.m. Tuesday; Benny Benack III, 7 p.m. Wednesday and Thursday. Carpenter Center, 6200 E. Atherton St., Long Beach. carpenterarts.org
Smith, Cabezas & Childs Molly Turner conducts the LA Phil New Music Group, with multi-instrumentalist and vocalist Gabriella Smith, cellist Gabriel Cabezas and jazz pianist Billy Childs in a program of eco-friendly music curated by Smith, including compositions by Smith, Childs, Michael Gordon, John Cage and Esa-Pekka Salonen. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
WEDNESDAY Andrés Jaramillo: A Journey of Immigrants, Part II The Colombian American pianist follows up on his January 2025 program with a celebration of the global cultural exchange created by immigrants, placing Latin American composers within the Romantic tradition. Featuring works by Chopin, Calvo, Mejía, Barber, Lecuona, Friedhoff-Calvo and Pinzón-Arroyo. Presented by Piano Spheres. 8 p.m. Wednesday. Thayer Hall at Colburn School, 200 S. Grand Ave., downtown L.A. pianospheres.org
Morgan Freeman, left, and Brad Pitt star in David Fincher’s 1995 film “Seven.”
(Robert Isenberg / New Line Cinema)
Seven A 4k screening of David Fincher’s 1995 thriller about two cops on the trail of a serial killer. Appearances by production designer Arthur Max and set decorator Clay Griffith. 7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
THURSDAY
“Dancing with Bob: Rauschenberg, Brown & Cunningham Onstage” at the Wallis, May 7 to 9.
(The Wallis Annenberg Center for the Performing Arts)
Dancing With Bob: Rauschenberg, Brown & Cunningham Onstage This kinetic retrospective captures the cross-disciplinary collaborations between vanguard artist Robert Rauschenberg and choreographers Trisha Brown (“Set and Reset,” with an electronic score by Laurie Anderson) and Merce Cunningham (“Travelogue,” created with John Cage). 7:30 p.m. Thursday and May 8; 2 p.m. May 9. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
The Physicists Albert Einstein and Isaac Newton are residents of an insane asylum beset by murder, mayhem, espionage and questions about the morality and ethics of science in this 1962 German satire by Friedrich Dürrenmatt. Directed by Brent Hinkley. 8 p.m. Thursdays and Saturdays; 2 p.m. Sundays, through June 20. The Actors’ Gang Theater, 9070 Venice Blvd., Culver City. theactorsgang.com
Arts anywhere
New and recent releases of arts-related media.
The Adding Machine Currently running at the Theater at St. Clement’s in Hell’s Kitchen, New York City, through May 17, this New Group production with a revised script by Thomas Bradshaw receives a one-time livestream next week. “[Elmer] Rice’s expressionist drama is known for being a tale of man vs. machine in an age of merciless efficiency, but inhumanity in a broader sense is its true core subject,” wrote Laura Collins-Hughes in a recent New York Times review. “The happy news about Scott Elliott’s handsome yet under-realized revival … is what a delight Daphne Rubin-Vega is to watch as Mr. Zero.” The cast also features Sarita Choudhury, Michael Cyril Creighton and Jennifer Tilly. The League of Live Stream Theater: 4 p.m. Tuesday. $40, includes 24-hour replay.
Art Work Photographer and writer Sally Mann weighs in on the creative process with stories, advice and life lessons, all illustrated with photos, journal entries and letters, making for a compelling, often surprising journey. Abrams Books: 272 pages, $35
“Insomnia & Seven Steps to Grace” by Joy Harjo.
(Smithsonian Folkways Recordings)
Insomnia and Seven Steps to Grace The new album by Joy Harjo, the first Native American to be named United States Poet Laureate, serving from 2019 to 2022, combines jazz, funk, rock and Native music sounds with her signature “vibration of love” as she boldly confronts injustice and draws inspiration from ancestral memory and the political turmoil of the moment. The double LP’s packaging features original art by Harjo and the poet’s extensive liner notes. Five-time Grammy winner Esperanza Spalding produced as well as contributed vocals and played bass on the project. Smithsonian Folkways: Double vinyl LP ($33), CD ($17), hi-res digital download ($13), digital download ($10).
— Kevin Crust
Culture news and the SoCal scene
Michael Tilson Thomas in 2018.
(Paul Marotta/Getty Images)
Times classical music critic Mark Swed wrote a lovely appreciation of conductor Michael Tilson Thomas, who died last week at the age of 81. Tilson Thomas, Swed wrote, “made music matter by making hope matter. He was, moreover, one of us. He achieved greatness though an epic amplification of a uniquely L.A. positivity in which grumpy became wistful.”
LA Opera music director James Conlon is preparing to step down after a record 20 seasons with the company, and in a recent story, Swed cataloged his impressive numbers: “More than 500 performances of 70 different operas at the Dorothy Chandler Pavilion and occasional neighboring venues, such as the Cathedral of Our Lady of the Angels.” Swed attended a recent farewell gala and noted some highlights, including excerpts from “The Marriage of Figaro.”
Times theater critic Charles McNulty spent a recent trip to New York almost entirely in various Broadway theaters, catching up on what he says is a “strange season by all accounts.” McNulty notes that Broadway is still the place acting powerhouses like Adrien Brody, John Lithgow and Laurie Metcalf go in search of the kind of depthy material increasingly unavailable onscreen. He looks at four such shows — and their epic leading actors — including “Death of a Salesman,” “Giant,” “The Fear of 13” and “Dog Day Afternoon.”
David Henry Hwang (book adapter, “Flower Drum Song”) and Alexandra Silber (book adapter, “Brigadoon”) at the James Irvine Japanese Garden in Little Tokyo.
(Jason Armond/Los Angeles Times)
Malia Mendez wrote a great piece about a trio of classic musicals running concurrently in L.A. She takes a closer look at “Flower Drum Song,” adapted for East West Players by David Henry Hwang; “Brigadoon,” adapted for Pasadena Playhouse by Alexandra Silber; and “The Sound of Music” at the Hollywood Pantages. All three were originally written by two of the 20th century’s most dynamic and celebrated writing duos: Rodgers and Hammerstein (“Flower Drum Song” and “The Sound of Music”) and Lerner and Loewe (“Brigadoon”). And all still resonate in modern times.
Mendez also wrote about a special event taking place this weekend called Night at the Library — held as part of the downtown Central Library’s centennial celebration. “The four-hour extravaganza Saturday will feature more than 200 artists and 25 to 30 activations peppered throughout the library campus, plus DJ sets and local food truck fare. Highlighted performers include Bob Baker Marionette Theater and Los Angeles Master Chorale,” Mendez writes.
Doug Chiang, Podrace Crash, production art for “Star Wars: Episode I – The Phantom Menace,” 1995-99.
(Lucas Museum of Narrative Art)
The Lucas Museum of Narrative Art unveiled its inaugural exhibitions this week — noting that all 20 were curated by George Lucas himself. The $1-billion museum will open to the public on the first day of fall and the exhibits will be shown in more than 30 galleries spread over 100,000 square feet of exhibition space. And, yes, “Star Wars” memorabilia will be part of the “cinema” exhibit with large-scale vehicle installations, production designs, props and costumes.
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Lincoln Clauss, center, as the Emcee in Asolo Repertory Theatre’s “Cabaret,” at the Old Globe.
(Courtesy of Cliff Roles)
The board of directors of San Diego’s Old Globe named Trish Santini as the theater’s new managing director. Santini joins Artistic Director Barry Edelstein as a co-chief executive, and enters her new role on July 1. Among other arts leadership posts, Santini was the inaugural executive director of Little Island in New York City, and led the launch of the $250-million public park and performance venue.
An estimated five million people travel from the UK to Italy on holiday each year – and chef Vincenzo Prosperi has named the one authentic city that should be on every traveller’s radar
15:01, 29 Apr 2026Updated 15:01, 29 Apr 2026
A chef says Bari is an ‘authentic’ Italian destination(Image: Getty)
An Italian chef has highlighted an “authentic” city worth visiting – and it’s not Milan, Venice or Florence. The recommendation comes as roughly five million Britons jet off to Italy for holidays each year.
While countless holidaymakers head for coastal spots like Puglia or Rimini, the nation is equally renowned for its stunning city escapes. According to chef Vincenzo Prosperi, known as Vincenzo Plates online, there’s one particular city that offers a genuine taste of Italy.
Vincenzo champions Bari on the Adriatic Sea as an “old town where the nonnas make pasta on the sea”. In a YouTube video, he said: “A really wonderful city.
“It has really improved in the last 10 years. It is one of the best places to see in the south of Italy. This is authentic, this is great.”
Boasting just over 315,000 residents, Bari ranks amongst the most significant cities in southern Italy. It serves as both a breathtaking Mediterranean port and a thriving university hub, reports the Express.
Bari divides into separate districts. The old town, known as Bari Vecchia, comprises a maze of ancient streets housing the historic Basilica of Saint Nicholas, which originates from the 11th century.
The delightful Piazza del Ferrarese gazes out over the Augusto Imperatore waterfront while its palm-lined avenues provide the ideal fusion of historic town and contemporary seafront. Its name derives from a Ferrara merchant who resided there during the 1600s and maintained his warehouses on the square.
Remnants of a Roman road stretching back to the 2nd century lie cordoned off on the piazza. Nowadays tourists can savour a peaceful moment while observing the vibrant boats gently rocking in the harbour.
Meanwhile, the Murak Quarter, constructed under Joachim Murat, serves as the pulsating centre of contemporary Bari. It’s renowned for its orderly grid pattern of streets, thriving retail area, and lively café scene.
Its energetic character stands in stark contrast to the ancient old town. Travel authority Mark Wolters advises that anyone visiting Bari must head to Strada Arco Bass where residents prepare orecchiette pasta right on the street.
In a YouTube video, he said: “When you come here, you’re going to see there’s a street where all these grandmas, all these ladies, are making orecchiette, they’re making a special kind of pasta from here.”
He added: “We bought two bags for like five euros and it was so worth it. We got to see the lady and she was making them and they had them out there, it was a really cool thing.”
Mark also urges travellers to Bari to try the focaccia barese – a bread crafted from mashed potato and semolina flour. He said: “Focaccia is like a really fluffy, almost like a pizza-bread dough bread, and in it they put tomatoes and olives and it is fantastic, it’s a really special one from here.”
The expert advises that anyone keen on embarking on a road trip around the wider Puglia region should pick up a hire car at Bari airport before exploring the surrounding area. He explains that you “don’t want to drive” in the city itself, particularly around the old town.
Flights from the UK to Bari start at around £70 on Skyscanner. During the summer months, temperatures can soar to as high as 30C, with May typically seeing highs of around 23C.
THE Cotswolds are a sought out holiday spot for lots of celebrities – with even the likes of Kourtney Kardashian visiting.
One of the most beautiful is Bourton-on-the-Water, considered the ‘Venice of the Cotswolds’ thanks to its riverside restaurants and little stone bridges across the water.
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This cottage in Bourton-on-the-Water has had a £50k makeoverCredit: AlamyKourtney Kardashian visited the Cotswolds in July last yearCredit: Instagram
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With it being one of the prettiest villages in the UK, it’s no wonder that celebs like Kourtney Kardashian are drawn to it.
The TV personality known for Keeping Up With the Kardashians revealed her stay on social media.
Posting pictures of a three-bedroom cottage, she said: “Dreamy storybook fairytale enchantment.”
Called Stepping Stones, the cottage has now undergone a £50,000 makeover – as part of a £100,000 refurbishment project of properties owned by Cotswold Cottages.
Stepping Stones sits right next to the River Windrush which flows through the village.
The three bedrooms sleep five with a private patio where guests can enjoy dinners outside.
Inside, there’s a modern kitchen, cosy lounge area with a fireplace, and bedrooms with new furnishings.
Cotswold Cottages announced that work on Stepping Stones was completed this week.
It was part of a wider project, of which the first stage focused on the four neighbouring one-bedroom cottages; Kestrel, Robin, Swallow and Skylark Cottage.
These were completely overhauled with new kitchens and bathrooms along with new furniture as well.
The three-bedroom Stepping Stones cottage has been refurbishedCredit: Boundless
For more hotels to stay in around the UK – here are some of our favourites…
*If you click on a link in this box, we will earn affiliate revenue.
Margate House, Kent
This stylish boutique hotel is in a seaside townhouse, a short walk from Margate’s coolest bars and restaurants. Decked out with plush velvet sofas, candles flickering and striking independent art, inside feels like a warm welcome home. Rooms are stunning, especially the ones that give you a glimpse of the sea.
The Alan looks extremely grand, being built into a beautiful Grade II listed building. Spread across six floors, with 137 rooms, each one looks like a fancy design magazine. From the concrete coffee tables to the pink plastered walls, the industrial-inspired designs perfectly replicate the history of the city.
This historic hotel has welcomed the likes of Charles Dickens and Lillie Langtry through its doors. Rooms have richly-patterned carpets with super soft bed linen and premium toiletries in the bathroom. Go for a superior room for extra goodies including bathrobes and snack boxes.
This Cambridge hotel is in the ideal spot, within walking distance to bars, shops and hotspots like the university colleges and Parker’s Piece. The inside couldn’t be prettier, with huge stained glass windows, grand chandeliers, and rooms with enormous clawfoot bath tubs.
Bourton-on-the-Water has lots of spots that draws in celebrity visitors, like its perfumery which was established in 1966.
It’s set inside a 300-year-old building and is known for creating bespoke scents – even the late Queen Elizabeth II was a former client.
It also operates a one-day perfume-making course which starts from £325.
The village has a Model Village too which is the only one of its kind in the country.
The Grade-II listed model village was built in the 1930s by the former owner of The New Inn pub.
When it comes to eating and drinking, the village is home to several riverside pubs and restaurants, including the Kingsbridge, which overlooks the River Windrush.
Other spots that make most of the riverside locations are the Green & Pleasant Tearooms and the Bourton Riverside Cafe.
![A Palestnian embroiderer stitches the panel 'Shifa Hospital'. Ain Al-Haleweh Refugee Camp, Lebanon [Courtesy of Palestine Museum]](https://i0.wp.com/www.aljazeera.com/wp-content/uploads/2026/05/A-Palestnian-embroiderer-stitches-the-panel-Shifa-Hospital.-Ain-Al-Haleweh-Refugee-Camp-Lebanon-Courtesy-of-Palestine-Museum-US1-1778316354.jpg?w=640&ssl=1)
