WELLINGTON, New Zealand: Tonga began cleaning up Tuesday after a cyclone hit overnight, while some people in the nearby Pacific nation of Fiji began preparing for the storm to hit them.
Cyclone Gita destroyed homes and churches in Tonga and caused widespread power outages after it tore through the island nation just south of the capital, Nuku’alofa. There were no immediate reports of serious injuries or deaths.
The cyclone was packing winds of over 200 kilometers per hour (124 miles per hour) when it made landfall. The nation has declared a state of emergency.
The cyclone was continuing to intensify and was predicted to hit some southern Fiji islands Tuesday night. Experts predict the cyclone will miss Fiji’s major population centers, including the capital, Suva.
About 2,500 people living on two of Fiji’s islands were at risk, the nation’s National Disaster Management Office told Radio New Zealand. Director Anare Leweniqila said emergency supplies of food and water were being gathered and urged elderly and disabled people to begin moving into evacuation centers.
The storm has strengthened since hitting Samoa and American Samoa last week, where it caused damage to buildings, widespread power outages and flooding.
President Donald Trump on Sunday declared an emergency in American Samoa, a US territory. The declaration allows the Federal Emergency Management Agency to provide equipment and resources to help the 50,000 residents recover.
Chris Brandolino, a scientist at New Zealand’s National Institute of Water and Atmospheric Research, said flooding and coastal inundation would likely cause as many problems in Tonga as the damage from the winds.
New Zealand Prime Minister Jacinda Ardern said her government was on standby and ready to help Tonga, which is home to about 105,000 people.
On Monday before the storm hit, publisher Pesi Fonua said people were busy nailing boards and roofing iron to their homes to try to limit the damage from coconuts, trees and other debris.
Tonga begins cleanup while Fiji prepares for Cyclone Gita
Tonga begins cleanup while Fiji prepares for Cyclone Gita
Oil rises more than $1 a barrel on tighter supply outlook
NEW YORK: Oil prices jumped more than $1 a barrel on Thursday, closing out the month higher on the prospect of OPEC+ staying the course on production cuts, ongoing attacks on Russia’s energy infrastructure and a falling US rig count tightening crude supplies, according to Reuters.
Brent crude futures for May settled at $87.48 a barrel, its highest level since Oct. 27, after gaining $1.39, or 1.6 percent. The more actively traded June contract settled at $87 a barrel, rising $1.58, with the May contract expiring on Thursday.
US West Texas Intermediate crude futures for May delivery settled at $83.17 a barrel, rising $1.82, or 2.2 percent.
On the week, Brent rose 2.4 percent and WTI gained about 3.2 percent. Both benchmarks finished higher for a third consecutive month.
In the prior session, oil prices had come under pressure from last week’s unexpected rise in US crude oil and gasoline inventories, driven by an increase in crude imports and sluggish gasoline demand, according to Energy Information Administration data.
However, the crude stock increase was smaller than the build projected by the American Petroleum Institute, and analysts noted the increase was lower than expected for the time of year.
“We ... expect US inventories to rise less than normal in reflection of a global oil market in a slight deficit,” SEB analyst Bjarne Schieldrop said. “This will likely hand support to the Brent crude oil price going forward.”
US refinery utilization rates, which rose 0.9 percentage point last week, also supported prices.
The oil and gas rig count, an early indicator of future output, also fell by three to 621 in the week to March 28, according to energy services firm Baker Hughes.
The US economy, meanwhile, grew faster than previously estimated in the fourth quarter. Gross domestic product increased at a 3.4 percent annualized rate from the previously reported 3.2 percent pace, the Commerce Department’s Bureau of Economic Analysis said.
“The strength in the stock market suggests strong forward earnings that are, in turn, hinting at a surprisingly strong US economy conducive toward better than expected energy product demand,” said Jim Ritterbusch of energy consultancy Ritterbusch and Associates.
Inflation data also affirmed the case for the US Federal Reserve to hold off on cutting its short-term interest rate target, a Fed governor said on Wednesday, but he did not rule out trimming rates later in the year.
“The market is converging on a June start to cuts for both the Fed and the European Central Bank,” JPMorgan analysts said in a note. Lower interest rates typically support oil demand.
Investors will watch for cues from a meeting next week of the Joint Monitoring Ministerial Committee of producer group the Organization of Petroleum Exporting Countries.
Increased geopolitical risk has raised expectations of possible supply disruption, but OPEC+ is unlikely to make any oil output policy changes until a full ministerial gathering in June.
Attacks by Ukraine on Russian energy infrastructure have also boosted the sentiment around global crude supplies tightening and helped to support oil prices, said Again Capital LLC partner John Kilduff.
“It’s a prime target, and they appear to have not heeded the ask by the Biden administration to not attack Russian energy infrastructure,” Kilduff said.
Pakistan reviewing proposal for resumption of trade with India — Foreign Office
- Pakistan suspended trade with India after New Delhi’s revocation of special autonomy of Indian-administered Kashmir in 2019
- The rift has since impacted businesses on both sides who previously traded in textiles, agricultural products and medical supplies
ISLAMABAD: Pakistan’s Foreign Office said on Thursday it was reviewing a proposal from the business community to resume trade with India.
Pakistan downgraded its diplomatic relations and suspended bilateral trade with India after New Delhi’s revocation of the special constitutional status of Jammu and Kashmir in August 2019.
The geopolitical rift between the two countries has since impacted businesses on both sides who previously benefited from cross-border trade in textiles, agricultural products and medical supplies.
Speaking at a weekly press briefing, Foreign Office spokesperson referred to a statement by Foreign Minister Ishaq Dar and said the business community had expressed in review of trade with India.
“Examination of such proposals is a regular exercise in the Government of Pakistan, including the Ministry of Foreign Affairs, where we continue to consider all such requests and assess our policy,” she said.
Baloch, however, clarified that there was no change in Pakistan’s position at present.
The Muslim-majority Himalayan region of Kashmir has been a flashpoint between Pakistan and India since their independence from the British rule in 1947.
Both countries rule parts of the Himalayan territory, but claim it in full and have fought three wars over the disputed region.
Philippines observes Good Friday with crucifixions and whippings
- The extreme acts are frowned upon by the Catholic Church in the Philippines and health experts
SAN FERNANDO, Philippines: Catholic zealots in the Philippines re-enacting the last moments of Jesus Christ were nailed to wooden crosses while others whipped themselves bloody in extreme displays of religious devotion on Good Friday.
While most Filipinos went to church or spent the holiday with family, thousands gathered in villages around San Fernando city, north of Manila, to watch men punish themselves in a bid to atone for their sins or seek miracles from God.
Dozens of bare-chested flagellants wearing black shrouds and crowns made of vines walked barefoot through dusty, narrow streets, rhythmically flogging their backs with strips of bamboo tied to ropes, their blood soaking the top of their trousers and spattering onlookers.
Some lay face down on the ground to be whipped and beaten by others, razor blades sometimes used to draw blood.
“This is for my son, an epileptic,” said Joel Yutoc, who has his 13-year-old son’s name tattooed across his chest.
Yutoc, 31, said his son had not had seizures in the eight years since he began taking part in the Good Friday floggings.
The whippings are the opening act of street plays performed by devout residents.
In San Juan village, a short, wiry man with wild, white hair playing the role of Jesus Christ and two others were dragged by neighbors dressed as Roman centurions to a raised mound where wooden crosses lay on the ground.
As spectators filmed on their mobile phones, three-inch nails were driven into the men’s palms and the crosses were hoisted upright.
Several minutes later the crosses were lowered to the ground and the nails pulled out.
“I will keep doing this while I’m alive, for as long as my body is able to do it. That is my vow,” said retired fisherman Wilfredo Salvador, 67, who began playing the role of Jesus Christ in the mock crucifixions 16 years ago following a mental breakdown.
“This is nothing. Sometimes it heals after a day and I am able to wash dishes and bathe,” Salvador said of his wounds.
San Juan homemaker Marilyn Lovite, 41, said she watches the gruesome re-enactment every year to “learn about the suffering of Christ.”
“If you were to merely read it in the Bible you would not really understand. In action it is clearer for us to see how he suffered for us,” the mother-of-four said.
Ten people were nailed or strung up on crosses at three crucifixion sites, San Fernando city councillor Reginaldo David told reporters.
At the biggest event, veteran performer Ruben Enaje, 63, had his hands and feet nailed to a cross for the 35th time in his role as Jesus Christ.
Enaje remained nailed up for more than 10 minutes as storm clouds gathered overhead. It began to rain as he was carried on a stretcher to a medical tent where his wounds were bandaged.
“I feel no pain in my hands but my body as a whole feels sore,” Enaje said.
“The Passion Play was longer this year because we lengthened the script. Maybe that was why my body feels sore.”
Enaje said this year might be his last appearance as Jesus.
“I can’t say if I will still be able to do it again next year because my body feels like it is about to give in,” he said.
The extreme acts are frowned upon by the Catholic Church in the Philippines and health experts.
The Philippine health department urged the public this week to “avoid acts or rites that lead to physical wounds and injuries.”
“We join the pastoral guidance of our faith leaders, guiding all toward religious practices that are safe and healthy,” it said in a statement.
But for devotees like 23-year-old Ian Bautista, who has been taking part in the floggings since he was 15 and is one of four flagellants in his family, the suffering was for a good cause.
“It’s for my mother,” Bautista said, explaining that she had surgery for an ovarian cyst on Monday and that he believed taking part would help her recovery.
“It’s painful but I will do this until my body gives up.”
Jeddah-born artist Dana Awartani on making contemporary work that honors the past
- ‘Traditional arts are dying out,’ says Dana Awartani
DUBAI: At the Diriyah Art Biennale, Saudi-born artist Dana Awartani, who is of Palestinian heritage, has created a dreamy, otherworldly series of 10 silk fabrics in earthy hues of ochre, reds and greens placed on wooden frames and mounted on the wall as overlapping, semitransparent panels.
The installation — “Come, Let Me Heal Your Wounds” — was derived from research into Ayurvedic dyeing, which is used to create clothing with alleged healing properties. To create the work, Awartani collaborated with artisans in Kerala, India.
The artist also identified 355 cultural sites that have been destroyed because of conflict and violence since 2010 in Syria, Tunisia, Libya, Iraq, Egypt, and Yemen. She marked each location with a tear in the silk, creating her own intuitive map of loss. Together with local craftspeople, Awartani then repaired the fabric, mending each hole by hand.
The work hints at the fragility of cultural sites throughout the Middle East and North Africa region, and serves as a plea to safeguard ancient monuments and Arab culture and tradition in general.
“You have this erasure of history that’s happening in the Levant, in Gaza now, and I felt it was critical to use my traditional arts training and aesthetic language to talk about issues that are relevant to the region,” Awartani tells Arab News.
Awartani’s work, which covers a variety of mediums — including drawing, painting, textiles, multimedia installations, and film — is inspired by the rich heritage of Islamic art, particularly ‘sacred geometry’; abstraction; and traditional crafts. She combines these influences with contemporary styles to render works imbued with both alluring aesthetic qualities and philosophical depth. Much of her work uses locally sourced materials, as well as vernacular and ancient design styles to present a dialogue between the past and present of Arab culture.
“The memories and experiences of the people I collaborate with also become part of the work,” she says, adding that traditional arts “are dying out, people don’t use sacred geometry anymore; people don’t work with their hands anymore.”
Geometry is at the center of her animated film “Listen to my Words” — also on view in “After Rain.” In it, a gray background is gradually filled by a delicately rendered geometric pattern inspired by jali and mashrabiya — latticed screens used in traditional architecture to regulate light, airflow, and heat. Jalis were also used to shield women from the male gaze.
The film, Awartani explains, was inspired by the story of Nur Jahan, the wife of a Mughal emperor, who reportedly played a leading role in government in the 17th century from behind a jali, whispering commands to her husband. It is soundtracked by contemporary recitals of Arabic poetry written by women centuries ago — giving them a platform, and resonance, in the present.
The incorporation of traditional practices into contemporary artistic discourse is central to Awartani’s art — she is currently pursuing an Ijazah certificate in Islamic illumination. The work she created after earning her master’s degree from The Prince’s Foundation School of Traditional Arts in London focused heavily on sacred geometry; something that is still a major influence (as evidenced by “Listen to my Words”), but less so than it was — a shift she attributes to “recent events in the Middle East, with the ways the current wars have destroyed the heritage and culture of the region. This has really shifted my perspective.”
Of her earlier work, she says: “When I graduated from the Prince’s School, it was hard to snap out of the training because you’re continuing an art form that has been around for centuries, and there’s a certain level of responsibility that comes with that.
“There are many people who take something old, like traditional crafts, and innovate without understanding it. Sometimes I find that problematic. For the longest time, I was still trying to hone my skills and learn as much as I could about traditional arts while still using it in a contemporary way through concepts relating to Islamic geometric patterns.”
Awartani first became interested in sacred geometry, she says, as a way to “understand the world from a different perspective by seeing harmony in nature and the cosmos through the lens of geometry and numbers.” Sacred geometry is also a way to connect with her heritage.
“As Arabs, we’re raised around this fine art, we’re surrounded by it in every corner, but we’re not aware of it,” she told Arab News in a 2014 interview. “You can see geometry all around you, like in mosques for example. I was looking for a track to follow — deep down inside I felt a yearning for it. There is an inner and outer beauty telling a story behind every structured piece; there is no randomness when it comes to creating such pieces.”
It is not only the theoretical side of Awartani’s work that has shifted — the way she creates it has also changed in recent years.
“It’s a lot more collaborative now, involving different craft communities,” she explains. “Whereas, before, I used to predominantly do paintings and works on paper, now I incorporate the work of traditional craftsmen in my work.”
In last year’s “When The Dust of Conflict Settles,” for example, she worked with apprentice stonemasons from Syria who have been displaced by the war in their homeland and are living in Jordan.
“It’s this coming together of various craftspeople to foster an exchange of knowledge that I am really passionate about now,” she says. “This exchange of knowledge and exchange of culture.”
‘Oppenheimer’ finally premieres in Japan to mixed reactions and high emotions
- “Oppenheimer” has finally opened in the nation where two cities were obliterated by the nuclear weapons invented by the American scientist at the center of the film
- The film’s release in Japan had been watched with trepidation
TOKYO: “Oppenheimer” finally premiered Friday in the nation where two cities were obliterated 79 years ago by the nuclear weapons invented by the American scientist who was the subject of the Oscar-winning film. Japanese filmgoers’ reactions understandably were mixed and highly emotional.
Toshiyuki Mimaki, who survived the bombing of Hiroshima when he was 3, said he has been fascinated by the story of J. Robert Oppenheimer, often called “the father of the atomic bomb” for leading the Manhattan Project.
“What were the Japanese thinking, carrying out the attack on Pearl Harbor, starting a war they could never hope to win,” he said, sadness in his voice, in a telephone interview with The Associated Press.
He is now chairperson of a group of bomb victims called the Japan Confederation of A- and H-Bomb Sufferers Organization and he saw “Oppenheimer” at a preview event. “During the whole movie, I was waiting and waiting for the Hiroshima bombing scene to come on, but it never did,” Mimaki said.
“Oppenheimer” does not directly depict what happened on the ground when the bombs were dropped on Hiroshima and Nagasaki, turning some 100,000 people instantly into ashes, and killed thousands more in the days that followed, mostly civilians.
The film instead focuses on Oppenheimer as a person and his internal conflicts.
The film’s release in Japan, more than eight months after it opened in the US, had been watched with trepidation because of the sensitivity of the subject matter.
Former Hiroshima Mayor Takashi Hiraoka, who spoke at a preview event for the film in the southwestern city, was more critical of what was omitted.
“From Hiroshima’s standpoint, the horror of nuclear weapons was not sufficiently depicted,” he was quoted as saying by Japanese media. “The film was made in a way to validate the conclusion that the atomic bomb was used to save the lives of Americans.”
Some moviegoers offered praise. One man emerging from a Tokyo theater Friday said the movie was great, stressing that the topic was of great interest to Japanese, although emotionally volatile as well. Another said he got choked up over the film’s scenes depicting Oppenheimer’s inner turmoil. Neither man would give his name to an Associated Press journalist.
In a sign of the historical controversy, a backlash flared last year over the “Barbenheimer” marketing phenomenon that merged pink-and-fun “Barbie” with seriously intense “Oppenheimer.” Warner Bros. Japan, which distributed “Barbie” in the country, apologized after some memes depicted the Mattel doll with atomic blast imagery.
Kazuhiro Maeshima, professor at Sophia University, who specializes in US politics, called the film an expression of “an American conscience.”
Those who expect an anti-war movie may be disappointed. But the telling of Oppenheimer’s story in a Hollywood blockbuster would have been unthinkable several decades ago, when justification of nuclear weapons dominated American sentiments, Maeshima said.
“The work shows an America that has changed dramatically,” he said in a telephone interview.
Others suggested the world might be ready for a Japanese response to that story.
Takashi Yamazaki, director of “Godzilla Minus One,” which won the Oscar for visual effects and is a powerful statement on nuclear catastrophe in its own way, suggested he might be the man for that job.
“I feel there needs to an answer from Japan to ‘Oppenheimer.’ Someday, I would like to make that movie,” he said in an online dialogue with “Oppenheimer” director Christopher Nolan.
Nolan heartily agreed.
Hiroyuki Shinju, a lawyer, noted Japan and Germany also carried out wartime atrocities, even as the nuclear threat grows around the world. Historians say Japan was also working on nuclear weapons during World War II and would have almost certainly used them against other nations, Shinju said.
“This movie can serve as the starting point for addressing the legitimacy of the use of nuclear weapons on Hiroshima and Nagasaki, as well as humanity’s, and Japan’s, reflections on nuclear weapons and war,” he wrote in his commentary on “Oppenheimer” published by the Tokyo Bar Association.