Two rooms were filled with ivory-colored coffins, side by side, each draped with the Namibian flag. The mortal remains of 84 indigenous people had been held at the Iziko South African Museum for more than 100 years and were said to have been used for “scientific reasons.”
Chairperson of the Council of Iziko Museums of South Africa Marvin Mdhluli said: “They entered the South African Museums as objects of race-based pseudo-scientific research,” aimed at portraying indigenous communities as having inferior attributes and status.
In a separate room stood two coffins containing the remains of political prisoners Festus Nehale, who died in 1971, and Simon Petrus Nileng, who died in 1974. Both had been imprisoned on Robben Island, South Africa’s notorious prison where anti-apartheid and other political prisoners were detained during apartheid. They were buried in Cape Town.
Members of the Namibian delegation solemnly bowed their heads before the coffins before addressing guests at the ceremony.
The handover also included grave goods and body casts, including beads, ostrich eggs and jewelry with lineage to Namibia.
“For too many years, the remains of our freedom fighters and ancestors were kept far from the land they called home. This was an injustice to them, their families and their communities,” South African Minister of Sport, Arts and Culture Gayton McKenzie said in a statement.
“By bringing these political heroes and ancestors home, representing the Ovambo, Himba, San, Nama, Damara and Herero peoples, we restore their dignity, identity and rightful place in their homeland,” he said.
Namibia’s Minister of Education, Innovation, Youth, Sports, Arts and Culture Sanet Steenkamp said the liberation heroes will be reburied at Namibia’s Heroes’ Acre on August 24.
“Now they return to a free and sovereign Namibia,” she said. “Some of these ancestors were taken from their communities and became part of the colonial scientific and museum collections where they were treated as objects, rather as people.”
Two rooms were filled with ivory-colored coffins, side by side, each draped with the Namibian flag. The mortal remains of 84 indigenous people had been held at the Iziko South African Museum for more than 100 years and were said to have been used for “scientific reasons.”South African Minister of Sport, Arts and Culture Gayton McKenzie (R) speaks during a repatriation ceremony at the Iziko South African Museum in Cape Town, South Africa, August 19, 2026. Namibia’s Minister of Education, Innovation, Youth, Sports, Arts and Culture Sanet Steenkamp (R) speaks during a repatriation ceremony at the Iziko South African Museum in Cape Town, South Africa, August 19, 2026. TO GO WITH “South Africa returns ancestral remains to Namibia for colonial redress, healing”.
Before venturing into the creative industry, Dufatanye was a primary school teacher, where he taught English.
Speaking to IGIHE, he said he completed his education up to university level, where he trained as a teacher before joining the education sector.
When the Covid-19 pandemic disrupted economic activities and led to the loss of many jobs, Dufatanye was among those who were affected. Faced with the challenge of finding a new source of income, he began looking for a skill he could turn into a livelihood.
“I started by making face masks. I watched videos online to learn how they were made, then made them by hand. Fortunately, I found someone who ordered 1,000 masks from me at Rwf200 each. The money I earned from that work became the capital I used to start looking for something else to do,” he said.
She later turned to weaving, a skill he already had. Together with some of his relatives, she began making woven products from home and selling them to customers.
In 2021, Dufatanye established his own business, Izuba. He initially operated from premises used by other artisans before eventually seeking an independent workspace.
A major turning point came in 2026, when he secured financing from Numida Technologies, enabling him to establish a dedicated workplace and expand his operations.
“We met Numida when they found me where I was working. They explained their services to me, and I decided to give them a try. I took the loan and repaid it successfully. They later gave me another loan, which enabled me to move to this place and expand my business,” he said.
Today, Dufatanye has three permanent employees and works with about 30 casual workers whenever he receives large orders. All of them are women.
His ambition is to grow the business further and create more employment opportunities.
“Over the next five years, I hope to have the capacity to employ at least 300 women and to start exporting my products to international markets,” he said.
Numida supports small businesses
Hakizimana Cyprien, an employee of Numida Technologies, said the company provides financing to entrepreneurs at different stages of business development.
“At Numida, we provide loans to everyone, including men, women and young people who have businesses. We support businesses ranging from small and medium enterprises to those that are beginning to grow into larger businesses and want to expand further,” he said.
Numida Technologies was established in 2016. It expanded its operations to Uganda in 2023, entered Kenya in 2026 and began operating in Rwanda the same year.
The company provides loans ranging from Rwf100,000 to Rwf12 million, depending on the nature and stage of a borrower’s business.
First-time borrowers, however, can access loans of up to Rwf2 million, according to the company.
For Dufatanye, what began as a search for an alternative source of income during a period of economic uncertainty has grown into a business with ambitions of employing hundreds of women and reaching international markets.
Izuba craft shop showcases a wide range of locally made products from Rwanda.Karitasi Dufatanye creates a variety of locally made products in Rwanda.Dufatanye says she can provide work for up to 30 women when she receives large orders.Covid-19 inspired Karitasi Dufatanye to establish Izuba, a homegrown crafts business.Dufatanye says additional capital would enable him to expand his clothing production.
The vessel was found about 3 miles (5km) off Mazara del Vallo at a depth of around 46 metres (151ft), according to Italian authorities. It measures approximately 21 metres (69ft) long and 6 metres (20ft) wide.
The discovery followed a tip-off from fishermen, prompting Italy’s Carabinieri cultural heritage protection squad to send specialist divers to investigate the site using underwater cameras.
The wreck is believed to date from the second or first century BC and is loaded with hundreds of amphorae, ancient ceramic containers with narrow necks and two handles that were commonly used to transport goods across the Mediterranean.
Most of the cargo consists of Dressel 1A amphorae, which were widely used to transport wine. Archaeologists consider the containers particularly valuable because their distribution can help shed light on the commercial networks connecting Italy with other parts of the Mediterranean more than 2,000 years ago.
Italy’s Culture Minister Alessandro Giuli described the discovery as “one of the most important underwater archaeological discoveries of recent years”.
He said the wreck offered “precious fragments of our history” and provided further evidence of the trade routes and exchanges that made the Mediterranean a “crossroads of civilisations”.
Fisherman and free-diver Giacomo De Mola said he discovered the wreck while surveying the seabed near Mazara del Vallo. After noticing what appeared to be a large rock on his scanner, he decided to investigate.
“I get closer. And my heart stops. It wasn’t a rock,” De Mola wrote on Instagram, describing the moment he saw a vast area covered with amphorae.
“This is, without a doubt, the most incredible discovery of my life,” he said, adding that it was difficult to describe the feeling of being among the first people in nearly 20 centuries to see the site.
Footage he shared showed eels, snappers and other marine life living around the ancient containers.
Authorities are now preparing further investigations to establish the precise date of the wreck, the origin and destination of its cargo and the condition of the surviving material. Measures will also be introduced to protect the site during the research.
The discovery adds to a growing list of ancient shipwrecks found in Italian waters. A Roman vessel carrying wine amphorae was discovered off Palermo in 2021, while another Roman ship dating from the second century BC was found off the coast of Liguria in 2013.
Sicily’s strategic position along ancient maritime routes linking Europe, North Africa and the eastern Mediterranean has made its surrounding waters one of the region’s richest areas for underwater archaeology.
A 2,100-year-old Roman shipwreck carrying about 500 ancient amphorae has been discovered off the coast of Sicily, in what Italy’s culture minister has described as one of the most significant underwater archaeological finds in recent years.
This is the spirit behind Umuganura, one of Rwanda’s oldest cultural traditions.
Celebrated every year on the first Friday of August, Umuganura is commonly described as Rwanda’s harvest festival. But calling it only a harvest festival does not fully capture its meaning.
For generations, Umuganura has been a time for Rwandans to give thanks, celebrate achievements, share with others, strengthen relationships and reflect on what they hope to accomplish in the future.
In 2026, Umuganura is being celebrated today on Friday, August 7.
The meaning and origin of Umuganura
The word Umuganura is linked to the idea of enjoying and celebrating the results of one’s work. Traditionally, it referred to the first harvest and the moment when people gathered to appreciate what they had produced after months of effort.
For Rwandans of the past, agriculture was at the centre of life. A successful harvest meant food, security and prosperity for families and communities.
However, Umuganura was not only about crops. It represented gratitude, unity and responsibility. It reminded people that achievements were the result of commitment, cooperation and respect for one another.
The tradition dates back centuries in Rwanda. Historical accounts describe Umuganura as one of the most important ceremonies in the traditional Rwandan kingdom. At the national level, the celebration was led by the King together with Abiru, royal ritualists who played a significant role in preserving traditional practices.
During the ceremony, the first produce from the harvest was presented as a symbol of prosperity and appreciation. Crops such as sorghum held an important place because they were among the products that represented abundance and wellbeing.
The celebration connected the success of individual families and communities with the prosperity of the entire kingdom.
How Umuganura was celebrated traditionally
Although Umuganura was recognized as a national celebration, it was also deeply rooted in family and community life.
Families gathered together to prepare and share food made from their harvest. Relatives and neighbours came together, stories were shared and people celebrated the results of their collective efforts.
Traditional music and dance were important parts of the celebration, creating an atmosphere of joy and togetherness.
One of the most important values behind Umuganura was sharing. A good harvest was not meant to benefit only one person or one family. People were encouraged to share what they had with others, especially members of their community.
This spirit of sharing reflected the belief that prosperity should contribute to the wellbeing of everyone.
Beyond celebration, Umuganura was also a moment of reflection. People looked at what they had achieved during the year and considered what could be improved in the future.
It was a time to celebrate yesterday’s achievements while preparing for tomorrow’s goals.
Rwandans gather to celebrate Umuganura, a tradition rooted in harvest, gratitude and togetherness at a past event.
The interruption and revival of the tradition
Like many cultural practices, Umuganura experienced changes throughout Rwanda’s history.
During the colonial period, the traditional ceremony was interrupted and eventually abolished in 1925. Since the celebration was closely connected to traditional institutions and cultural identity, its disappearance represented a significant loss in public cultural life.
For many years, Umuganura was no longer celebrated as a national tradition.
However, Rwanda later revived Umuganura as part of efforts to preserve and promote cultural heritage. In 2011, the celebration was officially restored as a public holiday, giving it a new place in Rwanda’s national calendar.
The modern Umuganura maintains the spirit of the traditional celebration while adapting to the realities of today’s Rwanda.
Umuganura in modern Rwanda
Today, the meaning of harvest has expanded beyond agriculture.
While farmers continue to celebrate the fruits of their work, Rwanda also uses Umuganura to recognize achievements in different areas, including education, business, technology, sports, culture, tourism and community development.
For a farmer, the harvest may be crops collected from the land.
For a student, it may be completing an education journey.
For an entrepreneur, it may be building a successful business.
For a community, it may be completing a development project that improves people’s lives.
This broader understanding has allowed Umuganura to remain relevant in a changing society.
The celebration encourages Rwandans to appreciate progress while remembering the importance of teamwork and determination.
Why Umuganura remains important today
One of the reasons Umuganura continues to hold importance is because it represents values that go beyond one day of celebration.
First, it promotes gratitude. It encourages people to recognize the effort behind every achievement instead of taking success for granted.
Second, it strengthens unity. By bringing families and communities together, Umuganura reminds people that progress is often achieved through cooperation.
Third, it preserves cultural identity. As younger generations learn about the tradition, they gain a deeper understanding of Rwanda’s history and values.
For young Rwandans, Umuganura provides an opportunity to connect with their heritage while also celebrating the achievements of their own generation.
The tradition shows that culture is not only about remembering the past. It is also about giving meaning to the present and inspiring the future.
Fresh agricultural produce take centre stage during Umuganura, symbolising the fruits of hard work.Umuganura offers Rwandans a moment to appreciate their achievements, strengthen community bonds and celebrate together. Traditional Rwandan culture comes alive through music, dance and communal celebrations during Umuganura.
The designation followed the recommendation of the Joint Committee for the World Capital of Architecture.
Established jointly by UNESCO and UIA, the World Capital of Architecture program highlights the transformative role of architecture, urban planning, culture and heritage in advancing sustainable urban development. Every three years, UNESCO designates the host city of the UIA World Congress as the UNESCO-UIA World Capital of Architecture.
According to UNESCO, Beijing was selected for its “exceptional ability to bring together one of the world’s richest architectural heritages with a forward-looking vision of sustainable urban development.”
“Its historic urban fabric, successful regeneration projects and vibrant architectural culture demonstrate how heritage, innovation and community life can reinforce one another in shaping resilient and livable cities,” UNESCO said in a press release.
Looking ahead to Beijing 2029, UNESCO Director-General Khaled El-Enany expressed confidence in the press release that the city’s extraordinary architectural heritage, dynamic urban transformation and forward-looking vision would inspire new international dialogue on the power of architecture.
Rio de Janeiro, Brazil, became the first city to be designated the UNESCO-UIA World Capital of Architecture in 2020, followed by Copenhagen and Barcelona.
A rainbow appears in the sky after rain in Beijing, capital of China, Aug. 3, 2026. (Xinhua/Du Juanjuan)
The monument was unveiled at the historic Old Entebbe Terminal by Uganda’s Chief of Defence Forces, Gen. Muhoozi Kainerugaba, at the site where Yoni Netanyahu, the elder brother of Israeli Prime Minister Benjamin Netanyahu, was fatally shot while leading Israel’s elite Sayeret Matkal commandos during Operation Entebbe.
Addressing guests at the ceremony on Saturday, Gen. Kainerugaba said the memorial serves not only to honour Netanyahu’s sacrifice but also to celebrate the values of courage, duty and protecting innocent lives.
“It is a great honour and privilege to join you at this historic site as we unveil this monument to Lieutenant Colonel Yonatan ‘Yoni’ Netanyahu, the courageous commander of the Israeli rescue force whose leadership and ultimate sacrifice during the Entebbe raid of 4th July 1976 has become an enduring symbol of courage, duty, and selfless service,” he said.
He added that the monument reflects more than a historical event, describing it as a tribute to universal military and humanitarian values.
“Monuments are more than stone and bronze. They preserve memory, teach history, and inspire future generations,” Gen. Kainerugaba said. “This monument, therefore, carries significance far beyond commemorating one brave individual.”
The Ugandan military chief also paid tribute to the civilian hostages who lost their lives during the crisis, including Jean-Jacques Maimoni, Pasco Cohen, Ida Borochovitch and Dora Bloch. He also acknowledged the Ugandan soldiers who died during the confrontation, while drawing a distinction between the present-day Ugandan state and the regime of former dictator Idi Amin.
“The events that unfolded here in July 1976 remain one of the most significant episodes in modern history,” he said. “Today, however, Uganda is a constitutional democracy committed to peaceful coexistence and constructive engagement with the international community.”
Gen. Kainerugaba reaffirmed Uganda’s commitment to strengthening ties with Israel, saying the relationship between the two countries is built on mutual respect and practical cooperation.
“As we look to the future, we remain committed to deepening our cooperation across all areas of mutual interest while working together to advance peace, security, innovation and sustainable development,” he said.
Representing the Israeli delegation, businessman Barack Orland thanked Gen. Kainerugaba for championing the construction of the memorial. He described the monument as a lasting symbol of friendship between Uganda and Israel and said it reflected the two nations’ shared commitment to future generations.
Yoni Netanyahu was the commander of Israel’s elite Sayeret Matkal unit during Operation Entebbe, a daring mission launched after Air France Flight 139 was hijacked by Palestinian and German militants in June 1976 and diverted to Uganda with the backing of Idi Amin’s regime.
Israeli commandos flew more than 2,500 miles to Entebbe under cover of darkness, stormed the old terminal building and rescued 102 hostages. Netanyahu was the only Israeli soldier killed during the operation after being struck by gunfire as the assault began.
The mission was later officially renamed Operation Yonatan in his honour and remains one of the most celebrated hostage rescue operations in military history.
The monument was unveiled at the historic Old Entebbe Terminal by Uganda’s Chief of Defence Forces, Gen. Muhoozi Kainerugaba, at the site where Yoni Netanyahu, the elder brother of Israeli Prime Minister Benjamin Netanyahu, was fatally shot while leading Israel’s elite Sayeret Matkal commandos during Operation Entebbe.
Known for its distinctive geometric patterns and natural colours, Imigongo has been passed down through generations, preserving stories of Rwanda’s history while creating opportunities for local artists.
The tradition is believed to have started in the 18th century in the former Gisaka Kingdom, located in what is now Ngoma District in Rwanda’s Eastern Province.
According to Rwandan tradition, Imigongo was introduced by Prince Kakira, the son of King Kimenyi of Gisaka. It is said that he used cow dung mixed with natural materials to decorate the interior walls of his home, creating beautiful patterns that later inspired a wider artistic practice.
Although cow dung may appear unusual as an artistic material, it held great cultural value in traditional Rwandan society. Cattle were considered a symbol of wealth, dignity, and social importance, and products from cattle were commonly used in daily life. ‘
Turning cow dung into decorative art reflected the creativity of Rwandans and their ability to make meaningful things from available resources.
The process of creating Imigongo requires patience and skill. Artists traditionally mix cow dung with materials such as ash and soil before applying the mixture onto wooden boards or walls to form raised patterns.
Once the designs dry, they are painted using natural colours that were traditionally made from locally available materials. The colours and shapes often carry cultural meanings, with many artworks featuring carefully arranged lines, spirals, and diamond-like patterns.
For many years, Imigongo has been closely associated with Rwandan women, who have played a major role in keeping the tradition alive.
Mothers passed the skills to younger generations, ensuring that the craft remained part of Rwanda’s cultural identity. Over time, women’s cooperatives were established, allowing artists to preserve the tradition while also earning income to support their families.
Rwandan artists carefully create Imigongo, a traditional art form that has been passed down through generations as a symbol of culture and creativity.
Imigongo became an important source of empowerment for many women who were rebuilding their lives.
Through cooperatives, artists found opportunities to work together, develop their skills, and contribute to Rwanda’s economic recovery while protecting a valuable part of the country’s heritage.
Today, Imigongo has moved beyond traditional homes and has become recognised as one of Rwanda’s important cultural products.
The artwork can be seen in hotels, offices, galleries, and homes, while many visitors purchase Imigongo pieces as souvenirs that represent Rwanda’s creativity and traditions.
Modern artists have also introduced new techniques and colours, allowing Imigongo to adapt to changing tastes while maintaining its traditional roots. Despite these changes, the heart of Imigongo remains the same: telling Rwanda’s story through art.
More than just a decoration, Imigongo represents the creativity, strength, and cultural pride of the Rwandan people.
It is a reminder that even ordinary materials can be transformed into something beautiful and meaningful when combined with imagination and tradition. Through the dedication of artists who continue to practice and promote it, Imigongo remains a living heritage connecting Rwanda’s past, present, and future.
The unique geometric patterns and natural colours of Imigongo showcase Rwanda’s rich cultural heritage and artistic identity.From traditional homes to modern galleries, Imigongo continues to tell Rwanda’s story through creativity, resilience, and craftsmanship.
Instead, it greets you with the crisp, briny breath of the Yellow Sea, an omnipresent maritime horizon, and an urban landscape that feels simultaneously ancient, avant-garde, and deeply international. Walking through its streets, one is immediately struck by its unique, multi-layered identity.
It is a vibrant, fun, and extraordinary city, serving as a clean and green coastal destination that has systematically integrated ecological preservation with aggressive urban development.
As evening falls, the vibrant streetscapes come alive with a distinct maritime energy, echoing the dynamic rhythm of a city that has spent decades keeping its doors open to the world.
Returning this summer for the 2026 Qingdao International Beer Festival, my journey began in the historic core of the Old Town, standing before the red-roofed, granite-walled structures of the former German Governor’s Residence. The architectural relic stands as a quiet witness to a complex past.
A short walk away lies Daxue Road, where the iconic red walls of the old university campus are flanked by towering plane trees and an eclectic array of independent coffee shops. Transitioning to the contemporary, I found myself at the Qingdao Sailing Olympic Center. Built for the 2008 Olympics, the marina remains a bustling hub of international yachting events.
Yet, the city’s international openness is not confined to its coastline. Venturing into the suburban valleys nestled beneath the sacred peaks of Mount Lao, I explored Qingdao’s burgeoning boutique wineries. It was during these visits that the true mechanism of Qingdao’s global identity became crystal clear.
The red-roofed, granite-walled facade of the former German Governor’s Residence in Qingdao’s Old Town stands as a quiet witness to the city’s complex historical past.
Among all of Qingdao’s diverse symbols, the iconic green bottle of Tsingtao Beer has become the strongest vehicle carrying the city’s image to the world. The festival is not merely a celebration of beer; it is a strategic cultural and economic platform through which Qingdao has expanded its openness, strengthened its international identity, and created opportunities for global engagement, including emerging connections with Africa.
The timeless green bottle of Tsingtao Beer remains one of the world’s most recognizable cultural symbols, acting as a direct link between the coastal city and international consumers.
To understand the scale of the festival today, one must travel back to the late 1980s and early 1990s. China was deep in the throes of its transformative Reform and Opening-Up period. Across the country, local municipal governments were fiercely competing to attract foreign direct investment and boost tourism.
Qingdao found its signature urban celebration hiding in plain sight within the amber depths of Tsingtao Beer. On January 17, 1991, the Qingdao Municipal Government officially issued the notice to hold the event, and on June 23, 1991, the inaugural festival opened its gates at Zhongshan Park.
The decision-makers of the era explicitly laid out a two-pronged founding vision, stating that the goals were to further enhance the global reputation of Tsingtao Beer and to use the beverage as a medium to rapidly expand Qingdao’s openness to the outside world. Internationalization was deliberately embedded into the festival’s genetic code from day one.
Over the course of more than thirty-five years, the festival has evolved into a national-level mega-event. From an economic perspective, the growth trajectory is staggering. In its inaugural 1991 edition, the festival welcomed 300,000 visitors.
The sprawling West Coast venue of the 2026 Qingdao International Beer Festival, a mega-event drawing millions of visitors to celebrate global openness.
By the 35th edition held in 2025, the city received 22.48 million tourists over the course of the festival, generating 18.03 billion RMB in direct urban consumer spending. This economic engine drives the entire region, boosting hospitality, transit, restaurants, retail, and local industrial supply chains.
Beyond hard currency, the festival has fundamentally reshaped Qingdao’s international reputation. In 2005, the International Festivals and Events Association ranked the event first among China’s Top Ten Most Internationally Influential Festivals.
In 2021, Qingdao was formally awarded the prestigious title of China’s Beer Capital, standing shoulder-to-shoulder with world-renowned celebrations like Munich’s Oktoberfest as a tool for city diplomacy. At the same time, the festival has maintained a democratic, people-first ethos.
From the 11th to the 28th editions, ticket prices did not increase for 18 consecutive years, and since the 29th edition, admission has been completely free, ensuring the celebration belongs to ordinary citizens and visitors alike.
The summer of 2026 marks the historic 36th edition of the Qingdao International Beer Festival. The festival opened on July 17, 2026, and will run for 30 days until August 15, 2026, under the theme “Qingdao Cheers with the World.” To accommodate millions of visitors, this year’s edition is adopting a city-wide synergy model, featuring three main venues across the West Coast, Laoshan District, and Qingdao Old Town.
The scale is historic, bringing together over 2,300 domestic and international beer brands alongside more than 2,000 special events. The West Coast venue alone expects 7 million visitors, 3,000 tons of beer consumption, and an estimated 7.8 billion RMB in regional tourism revenue.
Guiding visitors through this massive footprint is the official zodiac mascot, Maxia, a playful horse design representing energy and the swift expansion of international friendship.
Built for the 2008 Summer Games, the Qingdao Sailing Olympic Center remains a premier marina and a physical manifestation of the city’s modern global ambitions.
Why does Qingdao continue to pursue the world, and why should the world pay attention? The festival creates a global cultural agora, an international space for brand participation, foreign tourists, and cross-cultural exchange. As early as the 5th edition in 1995, beer brands from every single continent except Africa were participating.
In 2019, Qingdao elevated its institutional diplomacy by establishing the International Beer Festival Alliance Cooperation Mechanism with representatives from the Munich, Denver, and Toronto beer festivals, turning the event into a global conversation.
In 2026, this openness has translated into highly practical, friction-free services. The festival executed a targeted campaign to bring 10,000 Korean tourists to the event, integrated 7 international e-wallet payment systems for foreign visitors, and provided comprehensive multilingual signage and tax refund services for departing international guests.
The most compelling dimension of the festival’s contemporary trajectory is its expanding connection with the African continent. In December 2019, the Tsingtao Beer Group launched the first stop of its Tsingtao Beer Festival Along the Silk Road initiative in Monrovia, Liberia.
The event attracted thousands of local participants, fostering people-to-people connectivity. Liberian officials expressed high hopes that it would serve as a permanent platform for future cultural and commercial cooperation between Liberia and China.
Conversely, the domestic festival grounds have long welcomed African participation. As early as the 20th edition in 2010, African Golden Antelope Beer was exhibited, and the festival has previously set up dedicated African zones to highlight continental brands.
In the current 2026 festival, international guests include an Ethiopian traveler named El, who joined visitors from Russia, Germany, and New Zealand on the festival floor. Looking ahead, Africa represents an emerging opportunity and growing connection for Qingdao.
Future cooperation can be strategically expanded through agricultural trade, food and beverage industries, tourism, youth exchange, and business partnerships within the Belt and Road framework.
The festival represents how a city can use culture, business, and shared experiences to expand its openness and build stronger connections with the world. Ultimately, the Qingdao International Beer Festival is not about beer alone. It is about openness, friendship, cooperation, and the profound belief that a city can communicate beautifully with the global community through culture.
Beyond its bustling international port, the city is celebrated as a clean, green coastal destination that balances rapid urban development with dedicated ecological preservation.Sleek boardwalks and luxury catamarans at the Olympic Sailing Center anchor Qingdao as a vibrant hub for international maritime events and contemporary trade.The crisp, briny breeze of the Yellow Sea sweeps across Qingdao’s coastline, offering a daily reminder of the city’s deep maritime roots and open horizons.Towering plane trees cast shade over the iconic red walls of Daxue Road, a bustling hub for Qingdao’s intellectual and creative youth.
The exhibition will immerse visitors in the world of Rwanda by highlighting its cultural heritage, traditions, breathtaking landscapes, and the many facets of its identity. Through his paintings, Ngaboyisonga offers an artistic perspective on the country’s history and the values that have shaped generations of Rwandans.
In an interview with IGIHE, the artist explained that this exhibition, his first solo exhibition, marks an important milestone in his artistic journey.
“It is a great honor and a great joy for me to present this collection of paintings at the Museum für Kunst in Rockenhausen. Every artwork on display is inspired by the history, traditions, landscapes, and cultural heritage of Rwanda, the ‘Land of a Thousand Hills,’” he said.
According to the artist, the collection tells stories of identity, dignity, resilience, and community.
“The symbols, colors, and cultural elements featured in my works reflect the deep respect I have for the values that have shaped generations of Rwandans and continue to inspire my artistic journey,” he added.
Ngaboyisonga also expressed his hope that the exhibition will give visitors not only the opportunity to discover his artistic universe, but also to gain a deeper appreciation of Rwanda’s rich cultural heritage and the universal values that bring people together.
The artist further emphasized that art is a powerful means of preserving memory, transmitting history, sharing knowledge, and fostering dialogue among people from different cultural backgrounds.
The official opening ceremony is scheduled for Sunday, August 2, 2026, from 11:00 a.m. to 1:00 p.m. at the Museum für Kunst. The event will feature traditional music and dance performances by Josée Uwamahirwe and Evelyne Uwase, accompanied by their group, offering visitors an immersive experience of Rwandan culture by combining visual arts with music.
The exhibition will remain open to the public until August 30, 2026, daily from 2:30 p.m. to 5:30 p.m.
The event is organized by Luise Busch in collaboration with Kahnweiler Arbeitskreis – Kultur Extra, with the support of the Mayor of Rockenhausen, Michael Vettermann.
Ngaboyisonga and the organizers have warmly invited art enthusiasts, admirers of Rwandan culture, members of the Rwandan diaspora in Germany and across Europe, as well as the general public, to visit the exhibition.
“Through this exhibition, I wish to introduce the true Rwanda to the German people, a country with a remarkable history, a rich culture, magnificent landscapes, and values that define us as Rwandans.
“The exhibition is also intended to serve as a bridge between cultures, reminding us that art remains a universal language capable of bringing people together, fostering dialogue, and strengthening friendship between nations,” the artist concluded.
Paintings inspired by Rwanda’s history, traditions, landscapes, and cultural heritage will be displayed throughout the month-long exhibition in Germany.The exhibition “Rwanda: The Land of a Thousand Hills, Home to a Thousand Stories” will present Rwanda’s cultural heritage through the works of Émile Ngaboyisonga.Rwandan artist Émile Ngaboyisonga will showcase paintings inspired by Rwanda’s history, culture, traditions, and landscapes during his solo exhibition in Germany.Evelyne Uwase and her group will perform traditional Rwandan music and dance during the opening of the exhibition at the Museum für Kunst.Traditional music and dance performances by Josée Uwamahirwe will be part of the official opening ceremony of the Rwanda-themed exhibition in Germany.Émile Ngaboyisonga says his first solo exhibition is intended to introduce audiences to Rwanda’s history, cultural heritage, and national values.The exhibition is intended to serve as a bridge between cultures, highlighting art as a universal language that brings people together and strengthens friendship between nations.The collection tells stories of identity, dignity, resilience, and community through art.The month-long exhibition will invite visitors to discover Rwanda’s rich cultural, historical, and human heritage through the paintings of Émile Ngaboyisonga.
According to UNESCO, the newly inscribed properties comprise 19 cultural sites, five natural sites and one mixed site, bringing the total number of World Heritage properties to 1,273.
Three properties were inscribed under an emergency procedure: the Boma-Badingilo Migratory Landscape in South Sudan, the Mount Amel Castles in Lebanon and Sebastia in Palestine. All three were also among the six sites added to the List of World Heritage in Danger this year.
“The use of this mechanism for three sites in a single session underscores the growing number of heritage properties under threat in regions affected by conflict and instability, and reflects the Committee’s determination to extend international protection and recognition before it is too late,” UNESCO said.
The session also marked the first World Heritage inscriptions for Comoros, Sao Tome and Principe, and South Sudan. As a result, the number of States Parties to the World Heritage Convention without a World Heritage property has fallen to 23 out of the Convention’s 196 States Parties.
One of the highlights of the session was the inscription of the Beaches of the D-Day Landings, Normandy, 1944, in France as a site of memory. Since 2023, the World Heritage List has included this category to recognize places associated with events that countries and their communities wish to commemorate. The serial property, comprising six component parts stretching about 80 km along the Normandy coast, was inscribed in recognition of its association with the Allied landings on June 6, 1944 — the opening phase of Operation Overlord, which marked the beginning of the liberation of Western Europe from Nazi occupation during World War II.
The Committee also inscribed several notable cultural properties, including China’s Jingdezhen Handicraft Porcelain Industry Sites. Located in east China’s Jiangxi Province, the property comprises five component areas that together illustrate the development of Jingdezhen’s handcrafted porcelain industry from the 10th to the 19th century. The inscription fills a long-standing gap on the World Heritage List for porcelain heritage and brings the total number of World Heritage properties in China to 61.
The World Heritage Committee is one of the two governing bodies of the Convention Concerning the Protection of the World Cultural and Natural Heritage. It is responsible for implementing the Convention, examining nominations for inscription on the World Heritage List, and monitoring the conservation status of inscribed properties.
Photo taken on March 22, 2017 shows a view of Nabi Yahyia mosque near the Roman historical site of Sebastia village, north of the West Bank city of Nablus. (Xinhua/Ayman Nobani)
