Diva International

« Au Marché de la Poésie de Paris, la liberté fait entendre ses voix »

Marit Fosse — 2026-06-03T14:54:59Z

Chaque début d'été, la place Saint-Sulpice se métamorphose. Les terrasses bruissent de conversations littéraires, les livres s'ouvrent comme des fenêtres sur le monde et les poètes, venus de tous horizons, redonnent aux mots leur fonction première : celle de relier les êtres.

Du 3 au 7 juin 2026, le Marché de la Poésie a une nouvelle fois confirmé sa place unique dans le paysage culturel européen. Plus de quatre cents éditeurs, revues et acteurs de la création poétique y ont convergé, transformant le cœur historique de Paris en une véritable cité éphémère de la parole et de l'imaginaire. Dans un monde traversé par les tensions géopolitiques, les fractures identitaires et les bouleversements technologiques, ce rendez-vous annuel apparaît plus que jamais comme un espace de respiration. Ici, les langues dialoguent au lieu de s'affronter. Les cultures se rencontrent au lieu de se replier sur elles-mêmes. La poésie retrouve sa vocation essentielle : celle d'être un lieu de liberté. Cette édition, placée sous le signe de l'ouverture internationale, mettait à l'honneur la poésie irlandaise contemporaine. Sous la présidence de l'écrivaine et dramaturge Leslie Kaplan, le Marché a offert pendant plusieurs jours un panorama vivant de la création poétique mondiale, où les voix émergentes côtoyaient les auteurs confirmés.

Parmi les ouvrages présentés, une anthologie a particulièrement retenu l'attention « Liberté, quand les poètes veillent sur le monde », publiée aux Éditions L'Harmattan. Née d'un récital de poésie et de musique organisé à l'Institut du monde arabe et au Centre culturel égyptien dans le cadre du Printemps des Poètes, cette œuvre collective rassemble des écrivains venus de différents pays, langues et traditions culturelles. À travers leurs textes, ils interrogent ce que signifie aujourd'hui le mot « liberté », non comme un slogan, mais comme une expérience humaine fragile, toujours à défendre.

Les poètes réunis dans ce volume composent une constellation de sensibilités où se croisent la Méditerranée, l'Europe orientale, le Moyen-Orient, l'Afrique du Nord et la France. Amal Berrada, Anna Lebedeva, Michel Cassir, Hanen Marouani, Françoise Khoury El Hachem, Samih Choukeir, Nabil Shofan, Éric Sivry, Patrick Navaï, Tristan Cassir et leurs compagnons d'écriture donnent naissance à une polyphonie où chaque voix conserve sa singularité tout en participant à une même interrogation sur l'avenir du monde.

L'ouvrage est précédé de deux textes remarquables. Dans une préface intitulée La poésie comme veille du monde, Anne-Claire Legendre, présidente de l'Institut du monde arabe, rappelle que la culture demeure un rempart contre l'effacement et l'oubli. Faisant dialoguer les paroles de Leïla Shahid et de Mahmoud Darwich, elle inscrit la poésie dans cette tension féconde entre résistance et espérance qui traverse l'histoire des peuples.
Albert Dichy, spécialiste de Jean Genet et directeur littéraire de l'Institut Mémoires de l'Édition Contemporaine, prolonge cette réflexion dans une seconde préface intitulée Prendre ses libertés. Son constat est lucide : la liberté ne devient visible que lorsqu'elle est menacée. Dès lors, la poésie cesse d'être un simple exercice esthétique pour devenir un acte de vigilance.
Cette vigilance irrigue l'ensemble du recueil. Les textes réunis ne prétendent pas apporter de réponses définitives aux crises de notre temps. Ils proposent davantage : un espace de réflexion, de sensibilité et d'écoute. Dans un monde saturé de bruit et d'immédiateté, ils réhabilitent le temps long de la parole intérieure. La dimension musicale du projet participe pleinement à cette démarche. Les lectures de la comédienne Farida Ouchani, accompagnées par les musiciens Wassim Ben Chaouacha, Claudia Christiansen et Kirolos Sobhy, ont donné aux poèmes une résonance particulière, faisant dialoguer les langues, les rythmes et les traditions artistiques.

La couverture de l'ouvrage prolonge cette invitation au voyage intérieur. Réalisée par la peintre norvégienne Marit Fosse, l'œuvre intitulée Au Printemps des Poètes déploie une abstraction lumineuse où les couleurs semblent éclore comme des fleurs de lumière. Jaunes solaires, roses éclatants, bleus profonds et verts tendres composent un paysage mouvant qui évoque à la fois le renouveau du printemps et la puissance créatrice de l'imaginaire. Rien n'y est figé. Tout y circule, tout y respire. Comme les poèmes qu'elle accompagne, cette peinture affirme que la liberté est peut-être d'abord une disponibilité au monde, une capacité à accueillir l'inattendu, à préserver l'espérance et à faire confiance à la beauté.

Au-delà de la diversité des œuvres présentées, le Marché de la Poésie 2026 aura rappelé une évidence souvent oubliée : dans les périodes de doute, la poésie demeure l'un des rares espaces où les êtres humains peuvent encore se rencontrer sans se réduire à leurs appartenances, leurs frontières ou leurs différences. À l'heure où les discours de division gagnent du terrain, les poètes réunis à Paris nous rappellent que la littérature ne change peut-être pas le monde à elle seule, mais qu'elle contribue à préserver ce sans quoi aucun monde commun n'est possible : la liberté d'imaginer, de penser et d'espérer. Et c'est sans doute là sa plus précieuse mission.

Par Fatima Guémiah

LES POÈTES
NICOLE BARRIÈRE
Poète, essayiste, traductrice et éditrice, Nicole Barrière occupe une place reconnue dans le paysage de la poésie francophone contemporaine. Auteure de nombreux recueils et contributrice régulière à des revues et anthologies internationales, elle dirige la collection « Accent tonique » aux Éditions L'Harmattan. Son œuvre est portée par une réflexion constante sur la paix, la liberté et le dialogue entre les cultures. À l'origine de l'appel international « 1001 poèmes pour la paix et la démocratie en Afghanistan », elle affirme une conception de la poésie comme espace de solidarité et de résistance. Récompensée par plusieurs distinctions, elle poursuit un travail de création et de transmission où se rencontrent poésie, traduction, arts visuels et littératures du monde.

AMAL BERRADA
Poétesse, psychologue et professeure-chercheure marocaine, Amal Berrada développe une œuvre qui unit recherche, création littéraire et engagement culturel. Longtemps enseignante à Fès, notamment à l'Université Al Quaraouiyine, elle a construit un parcours où les sciences humaines nourrissent une écriture attentive aux mouvements de l'âme. Écrivant en arabe et en français, elle explore les territoires de la mémoire, de la solitude, de la transmission et des émotions humaines. Son œuvre, empreinte de délicatesse et d'introspection, s'attache à faire émerger l'universel à partir de l'expérience intime. Elle participe activement à de nombreuses initiatives culturelles et contribue au rayonnement de la francophonie sur la scène internationale.

MICHEL CASSIR
Né à Alexandrie en Égypte et ayant grandi au Liban, Michel Cassir appartient à cette génération d'écrivains méditerranéens dont l'œuvre se déploie entre plusieurs langues et plusieurs horizons. Scientifique de formation, poète par vocation, il dirige depuis 2001 la collection « Levée d'Ancre » aux Éditions L'Harmattan. Auteur d'une vingtaine d'ouvrages, il développe une poésie traversée par la mémoire, l'exil et les identités multiples. Publié dans de nombreux pays d'Europe et du bassin méditerranéen, il a reçu le prix « Jasmin d'Argent » pour l'ensemble de son œuvre. Installé à Paris, il poursuit un travail qui fait dialoguer les cultures du Levant et l'espace francophone contemporain.

TRISTAN CASSIR
Poète, architecte et enseignant, Tristan Cassir est né en France en 1991. Héritier d'une histoire familiale qui relie l'Argentine, le Liban, l'Égypte et la France, il inscrit son écriture dans une géographie intime où les lieux deviennent mémoire. Auteur des recueils Pointe Rouge, Écho des murailles du présent et Sarabande, il développe une poésie attentive aux paysages, aux traces du temps et aux circulations entre les cultures. Son regard d'architecte nourrit une œuvre où l'espace, la matière et la lumière dialoguent avec la quête poétique.

ANNA LEBEDEVA
Née au Kazakhstan et écrivant en langue russe, Anna Lebedeva partage aujourd'hui sa vie entre Genève et Paris. Son parcours nourrit une œuvre sensible où les thèmes de la mémoire, de l'exil et de la transformation intérieure occupent une place centrale. Sa poésie, épurée et méditative, interroge les liens entre identité, liberté et destin. À travers une écriture d'une grande sobriété, elle explore les fragilités du monde contemporain tout en cherchant les espaces de réconciliation intérieure. Ses textes ont été présentés lors de lectures publiques en Europe et aux États-Unis.

HANEN MAROUANI
Poétesse, traductrice, chercheuse et enseignante, Hanen Marouani construit son œuvre au croisement des langues et des cultures. Après avoir enseigné dans plusieurs universités tunisiennes, elle poursuit son parcours académique en Europe, notamment à Milan et à Strasbourg. Ses recherches consacrées aux écritures féminines nourrissent une création poétique où la mémoire, l'exil intérieur et la quête d'un langage commun se répondent. Auteure de plusieurs recueils et traductrice de poésie arabe contemporaine, elle participe activement à la circulation des œuvres entre les espaces culturels méditerranéens et européens.

ÉRIC SIVRY
Poète, essayiste et critique littéraire, Éric Sivry développe depuis plusieurs décennies une œuvre qui associe création poétique et réflexion sur la littérature. Auteur d'une douzaine de recueils traduits dans plusieurs langues, il s'intéresse également aux grandes figures de la modernité littéraire. Ses travaux consacrés à Marcel Proust, Guillaume Apollinaire ou Yves Bonnefoy témoignent d'une profonde connaissance de la poésie française. Cofondateur de la revue Intuitions, il a également animé pendant de nombreuses années l'émission radiophonique Le Pont des Arts, consacrée aux échanges entre littérature, musique et création contemporaine.

MOHAMED ISMAÏL
Né au Caire en 1974, Mohamed Ismaïl appartient à cette génération d'écrivains dont le parcours international nourrit la création littéraire. Formé à l'Université Aïn Shams puis à l'Université Paris-Dauphine, il a longtemps évolué dans l'univers des télécommunications avant de se consacrer pleinement à l'écriture. Auteur de plusieurs romans, il explore les questions de mémoire, d'identité, de migrations et de transmission. Son œuvre fait dialoguer les villes, les langues et les cultures dans une écriture où se rencontrent la précision de l'observation et le souffle du récit.

FRANÇOISE KHOURY EL HACHEM
Poète et écrivaine, Françoise Khoury El Hachem déploie une œuvre profondément habitée par les multiples visages de l'amour, de la mémoire et de la beauté. Sa poésie conjugue sensibilité intime et ouverture au monde. Invitée dans de nombreuses rencontres littéraires internationales, elle fait entendre une voix marquée par la douceur, la fidélité aux émotions et l'attachement à la culture du Levant. Elle a participé à plusieurs ouvrages collectifs consacrés à la poésie contemporaine et à la mémoire culturelle du Liban.
GHASSAN TARABAY
Romancier, poète, musicien et philosophe, Ghassan Tarabay est né au Liban. Docteur de la Sorbonne, il a consacré ses recherches à la pensée politique de Platon et d'Al-Farabi, établissant un dialogue fécond entre les traditions intellectuelles d'Orient et d'Occident. Auteur de romans, d'essais et de recueils poétiques, il développe une œuvre où se rencontrent réflexion philosophique, imaginaire littéraire et sensibilité musicale. Ses écrits interrogent les grandes questions de la liberté, de l'humanisme et de la coexistence des cultures.

NABIL SHOFAN
Poète, écrivain et journaliste né à Homs, en Syrie, Nabil Shofan appartient à cette génération d'auteurs dont l'œuvre est traversée par l'expérience du déplacement et de la mémoire. Installé en France, il participe régulièrement à des festivals et rencontres littéraires. Son écriture explore les blessures de l'histoire autant que les ressources de l'espérance. Son recueil The Last Diwan, publié en 2024, a rencontré un accueil remarqué et s'inscrit dans un renouvellement contemporain de la poésie arabe en exil.

PATRICK NAVAÏ
Poète, peintre, musicien et animateur d'ateliers d'écriture, Patrick Navaï revendique un héritage franco-persan qui irrigue l'ensemble de son œuvre. Ancien instituteur, correspondant culturel puis régisseur d'orchestre, il a toujours placé la transmission au cœur de son parcours. Sa poésie est nourrie par les traditions littéraires de l'Orient et de l'Occident, qu'il fait dialoguer avec humour et érudition. À travers ses textes, il célèbre les passerelles entre les imaginaires, les langues et les héritages culturels.

SAMIH CHOUKEIR
Né à Quneitra, en Syrie, en 1957, Samih Choukeir est l'une des grandes voix de la chanson engagée arabe contemporaine. Musicien, compositeur, chanteur et poète, il fait de la création artistique un espace de mémoire, de liberté et de résistance. Formé au Conservatoire de Kiev, il développe depuis les années 1980 une œuvre où la musique dialogue avec la poésie et les aspirations démocratiques. Ses chansons, souvent inspirées par les grands poètes arabes, accompagnent depuis plusieurs décennies les combats pour la dignité humaine et la liberté d'expression.

SYLVIE JACOBÉE
Poète, nouvelliste et universitaire, Sylvie Jacobée enseigne la littérature française tout en poursuivant une œuvre littéraire riche et diversifiée. Docteure ès Lettres, elle a consacré ses recherches aux récits du XIXᵉ siècle, notamment à Maupassant, Flaubert et Balzac. Auteure de recueils de poésie, de contes et de nouvelles, elle développe une écriture attentive aux chemins de l'imaginaire et aux métamorphoses de l'être. Son travail associe exigence littéraire, transmission du savoir et goût du récit.

MUSIQUE
CLAUDIA CHRISTIANSEN
Née à Córdoba, en Argentine, Claudia Christiansen est compositrice, musicienne, chanteuse et comédienne. Formée au hautbois, à la direction chorale et à la composition, elle a parcouru l'Amérique latine avant de s'installer en France. Son parcours se caractérise par une constante ouverture aux dialogues entre musique, théâtre et poésie. Interprète, pédagogue et créatrice, elle compose pour la scène et pour diverses formations instrumentales. Très engagée dans la vie culturelle, elle participe régulièrement à des projets poético-musicaux et contribue depuis plusieurs années au rayonnement du Printemps des Poètes.

WASSIM BEN CHAOUACHA
Luthiste virtuose, compositeur et musicologue, Wassim Ben Chaouacha figure parmi les artisans du dialogue entre les traditions musicales méditerranéennes et la création contemporaine. Soliste reconnu, il se produit sur de nombreuses scènes internationales aux côtés d'orchestres prestigieux. Parallèlement à son activité artistique, il mène des recherches sur l'évolution des formes orchestrales dans le monde arabe au XXᵉ siècle. Fondateur de l'École des Musiques Méditerranéennes de Paris, il œuvre à la transmission d'un patrimoine musical vivant et à son inscription dans les pratiques artistiques d'aujourd'hui.

LECTURE
FARIDA OUCHANI
Comédienne franco-marocaine, Farida Ouchani mène une carrière qui conjugue cinéma, télévision, théâtre et engagement culturel. Elle a notamment marqué le public par ses interprétations dans Présumé Coupable, Tata Bakhta ou encore La Daronne. Récompensée au Festival international d'Avanca au Portugal, elle développe également un important travail de transmission à travers l'Association du Verbe Irisé, qu'elle a fondée. Lectrice attentive des textes contemporains, elle accorde une place particulière à la poésie comme espace de partage et de rencontre.

MODÉRATION
FATIMA GUÉMIAH
Journaliste, écrivaine, éditrice et organisatrice d'événements culturels, Fatima Guémiah œuvre depuis de nombreuses années au dialogue entre les cultures et à la promotion de la création littéraire contemporaine. Membre de l'Association de la Presse Étrangère et correspondante de presse internationale, elle conjugue activité journalistique, écriture et médiation culturelle. Directrice de la collection « Le Scribe » aux Éditions L'Harmattan, elle accompagne de nombreux projets consacrés à la poésie et aux littératures du monde. À travers les anthologies qu'elle dirige et les rencontres qu'elle organise, elle contribue à faire circuler les voix, les langues et les imaginaires qui composent la richesse de la francophonie contemporaine.

Uzbekistan's Child Protection Reform: A New Legal Response to Digital Threats

Marit Fosse — 2026-06-01T12:20:52Z

In Uzbekistan, the promotion of human dignity, and in particular the reliable protection of children's rights and interests, has consistently been ensured as one of the priorities of state policy.

In recent years, large-scale reforms have been carried out to protect children from all forms of abuse and violence, create a safe environment for them, and strengthen legal guarantees.

As a logical continuation of this consistent policy, the Law of the Republic of Uzbekistan “On Amendments and Addenda to Certain Legislative Acts of the Republic of Uzbekistan in Connection with Improving the System of Protecting Children from Violence”, adopted on April 17, 2026 has become one of the important legal steps aimed at further improving the system of protecting children from violence.

This Law introduces a number of important amendments and additions to the Criminal Code, the Criminal Procedure Code, and the Code of Administrative Liability. It reflects a systematic approach aimed at comprehensively strengthening the legal mechanisms for child protection.

In particular, certain types of offences that had not been sufficiently covered in previous practice have now been given a clear legal assessment. Liability has also been strengthened for offences committed against children via the Internet and telecommunication networks.

These changes are particularly important because they respond to modern threats, especially the need to ensure children's safety in the digital environment.

One of the most important aspects of the Law is the introduction of a new Article 129¹ into the Criminal Code. This provision establishes specific liability for the possession of pornographic material depicting or describing a minor with the intention of distribution, where such depiction or description is known to the offender. Such liability applies if the act is committed after an administrative penalty has already been imposed for similar conduct.

This crime is punishable by a fine ranging from one hundred to six hundred times the base calculation amount, correctional labour for up to three years, restriction of liberty for a term of one to three years, or imprisonment for up to three years.

This will help ensure the inevitability of punishment for crimes against children and serve to prevent such offences.
Within the framework of the Law, the Code of Administrative Liability was also supplemented with new provisions. In particular, separate administrative liability was introduced for the possession of pornographic material depicting a minor with the intention of distribution. For such an offence, a fine ranging from twenty to one hundred times the base calculation amount is prescribed.

These measures constitute an important legal instrument aimed at producing a preventive effect before a crime is committed.

Another important aspect of the Law is the introduction of provisions regulating the participation of children in criminal proceedings. In particular:
the participation of a legal representative for a minor witness has been made mandatory;
the duration of questioning has been clearly limited depending on the age of the child.

These provisions serve to reduce procedural pressure on children, protect their psychological well-being, and ensure the principles of humanity.

Based on the content of this Law, it can be said that it is not limited merely to strengthening liability. On the contrary, it forms a comprehensive approach that includes elements of prevention, protection, and rehabilitation.
This demonstrates that the Law has been developed in line with the UN Convention on the Rights of the Child and other international standards.

At the same time, protecting children in the digital environment, strengthening procedural guarantees, and preventing offences at an early stage are becoming strategic priorities of state policy.
International practice shows that the most effective approach to protecting children from violence is a comprehensive system that combines criminal liability, prevention, and rehabilitation measures.

In particular, under the Barnahus model introduced in Scandinavian countries, criminal cases involving children are handled in a single centralized environment. Under this approach, the child is questioned only once, while psychologists and law enforcement authorities participate jointly in the process. This significantly reduces the risk of re-traumatizing the child.

In European countries, particularly Germany and France, liability for crimes committed against children via the Internet has been strengthened, and a zero-tolerance policy applies to pornographic material involving children.
In the United States, a multidisciplinary approach based on the Child Advocacy Center model is used when working with children. Questioning is conducted in a specially adapted environment, recorded on video, and repeated questioning is minimized.

These best practices show that, in protecting children, it is crucial not only to strengthen punitive measures but also to ensure children's rights at the procedural and institutional levels.

From this point of view, the adopted Law has been developed in harmony with international standards and represents an important step towards adapting national legislation to modern threats.

In conclusion, the Law marks a new stage in the field of child protection. By strengthening legal guarantees, introducing mechanisms responsive to modern threats, and prioritizing the interests of children in criminal proceedings, it forms a comprehensive and effective system.

Most importantly, these reforms are a practical expression of a humane policy aimed not only at the legal protection of children but also at ensuring their honour, dignity, and safety. After all, a society in which children are protected creates a solid foundation for stability, justice, and prosperity.

Farid Nazarov
Head of the Legal Department National Agency for Social Protection under the President of the Republic of Uzbekistan

The New Normal of Uncertainty and Escape by Marianne Rothmann

Marit Fosse — 2026-05-29T16:44:33Z

There is a growing sense in today's world that uncertainty is no longer temporary — it has become part of everyday life. People wake up scrolling through wars, economic fears, division, loneliness, rising costs, instability, and constant change. Even moments that once felt predictable now feel fragile. The future, for many, no longer feels guaranteed. It feels uncertain, shifting, and difficult to trust. Quietly and gradually, this has become the new norm.

In response, many people have learned to function while emotionally exhausted. They go to work, smile in conversations, post happy moments online, and continue their daily routines while carrying stress, fear, disappointment, or emptiness underneath. “Pretending to be happy” is often less about dishonesty and more about survival. People do not always have the energy, safety, or support to fully express what they are carrying internally. So they adapt. They perform stability while privately trying to hold themselves together.

At the same time, escapism has become deeply woven into modern life. People escape into social media, entertainment, shopping, relationships, politics, food, work, alcohol, fantasy, endless scrolling, self-help, travel, or constant productivity. Some escape into nostalgia. Others escape into outrage. Many simply search for anything that briefly silences anxiety or relieves emotional heaviness.

Escapism itself is not always negative. Sometimes it is necessary. Music can heal. Art can comfort. Travel can broaden perspective. Laughter can give people strength to continue. A quiet hobby, a good book, faith, nature, or meaningful human connection can provide moments of peace in a chaotic world. The danger appears when escape becomes permanent avoidance — when people become so consumed with distracting themselves that they stop confronting their inner struggles, grief, fears, or reality itself.

What makes this era especially complex is that people are more digitally connected than ever before, yet many feel emotionally disconnected. Human interaction is increasingly filtered through screens, reactions, appearances, and carefully curated versions of life. People compare their private pain to other people's public happiness. As a result, many begin believing they are alone in their confusion, when in reality countless others feel the exact same uncertainty.

This emotional pressure has created a culture of exhaustion. People are tired — not only physically, but mentally, emotionally, and spiritually. Tired of adapting. Tired of division. Tired of proving themselves. Tired of instability. Tired of pretending everything is fine because the world continues moving regardless of personal struggle.

At the center of all this quietly sits a deeper question many people carry within themselves: Can we ever return to what we once had?

For many, this question is not simply about the past itself, but about what the past represented — presence, simplicity, stronger human connection, trust, community, hope, and a slower pace of life. People miss conversations without distraction. They miss authenticity without performance. They miss feeling emotionally connected without constantly competing for attention, validation, or survival.

The truth is that society may never fully return to exactly what it once was. The world has changed socially, technologically, psychologically, and emotionally. Constant exposure to information, conflict, comparison, and instability has reshaped how people experience both life and one another.

Yet that does not mean everything meaningful has disappeared.

Human beings still long for the same things they always have: peace, belonging, love, understanding, purpose, and connection. No amount of technology or societal change removes those needs. Perhaps the challenge of modern life is not learning how to return backward, but learning how to rebuild what truly mattered within the reality of today.

Happiness was never meant to be constant. Peace is not found in escaping life completely, but in learning how to live honestly within uncertainty. Real strength may not come from pretending to have everything together, but from acknowledging vulnerability while continuing forward with humility and resilience.

Perhaps one of the greatest challenges of modern life is learning the difference between temporary escape and genuine fulfillment. One numbs the mind for a moment. The other nourishes the soul over time.

The new norm may be uncertainty, but uncertainty also reminds people of something deeply human: life has always been fragile, unpredictable, and changing. What matters is how individuals choose to meet that reality — with bitterness, denial, endless distraction, or with deeper self-awareness, human connection, gratitude, and meaning despite the uncertainty.

In a world increasingly teaching people to escape themselves, there is quiet courage in those who choose instead to understand themselves.

“Statement by H.E. Sadyr Zhaparov, President of the Kyrgyz Republic, Ahead of the Election of Non-Permanent Members of the United Nations Security Council for 2027–2028”

Marit Fosse — 2026-05-18T16:56:46Z

Dear Heads of State

I am addressing you ahead of the election of non-permanent members of the United Nations Security Council, to be held in New York on 3 June 2026.

Today, geopolitical rivalry is intensifying across the world, the universality of international law is being weakened and the risk of conflicts is growing day by day.

Current geopolitical dynamics clearly confirm this assessment.
Armed conflicts in various regions of the world, including Europe, the Middle East and Africa, continue to test the international system.

More than three trillion US dollars are being spent on military conflicts around the world.
This amount of resources could provide a decent life for all humanity.
If we directed them toward environmental protection and eliminating hunger in certain countries, the planet would become a blooming garden
Under these circumstances, the inclusive and equitable representation of United Nations Member States within the Security Council, as well as the Council's ability to preserve its legitimacy as the body entrusted with taking decisions on behalf of the entire international community, comes to the forefront.

The Kyrgyz Republic proceeds from the position that the continued imbalance in the composition of the Council, particularly the insufficient participation of small, developing and landlocked countries, undermines the resilience of the entire architecture of collective security.
Expanding the genuine representation of different groups of states in this key organ of the United Nations is not a matter of political choice, but an objective necessity.
Kyrgyzstan is not bound by any system of bloc commitments and is not involved into confrontational geopolitical configurations.

This enables us, within the framework of the Security Council, to uphold a balanced, independent and pragmatic position aimed at reducing polarization and restoring functional dialogue.
Our approach is based on the unconditional primacy of the Charter of the United Nations and on the inadmissibility of its selective application.
We consistently oppose the practice of double standards, the politicization of the humanitarian agenda, and the use of the Council's mechanisms for narrow interests.
The practical effectiveness of this approach is demonstrated by the experience of the Kyrgyz Republic in ensuring regional stability.

In the complex post-conflict and transformational environment of Central Asia, we have succeeded in bringing to completion all issues related to the delimitation of borders with neighbouring states exclusively by peaceful means.
This is not merely a declarative position; it is an implemented model showing that even the most sensitive security issues can be resolved on the basis of negotiations and mutual consideration of interests.

As a responsible member of the international community and a three-time member of the United Nations Human Rights Council, Kyrgyzstan is consistently working to strengthen democracy, human rights and the rule of law, and continues to fulfil its international obligations.

In accordance with the Law “On Elections of the President of the Kyrgyz Republic and Deputies of the Jogorku Kenesh — the Parliament of the Kyrgyz Republic,” adopted in 2025, quotas have been introduced for women, youth, ethnic minorities and persons with disabilities.
Our country provides women with the largest number of seats in parliament in the world.

We rank first.
In addition, legal norms regulating gender quotas in the executive and judicial branches of power have been adopted.

When forming the Cabinet of Ministers, selecting judges and appointing heads of local government bodies, the representation of one gender must now not exceed 70 percent.
If elected to the United Nations Security Council, the Kyrgyz Republic will act as an advocate of pragmatic, depoliticized and sustainable solutions.
Our priorities will include strengthening the role of preventive diplomacy; developing mediation mechanisms; promoting non-proliferation and nuclear disarmament and institutionalizing the interlinkage between climate and security.

Kyrgyzstan has consistently pursued its foreign policy on the basis of the principles of complete renunciation of weapons of mass destruction.

We stood at the origins of the establishment of the Central Asian Nuclear-Weapon-Free Zone and are a participant in major international initiatives in the field of disarmament.

Kyrgyzstan's signing in 2025 of the Treaty on the Prohibition of Nuclear Weapons reflects our conviction that a future free of nuclear weapons is the foundation of global security.
Our approach to sustainable development and security is comprehensive in nature.
Despite being a landlocked country, in 2025 our country acceded to the Agreement on the Conservation and Sustainable Use of Marine Biological Diversity of Areas beyond National Jurisdiction — the BBNJ Agreement — thereby reaffirming our commitment to the protection of global ecosystems.

As a mountainous country, we are promoting the concept “from mountains to the ocean”, based on the understanding that the resilience of the global ecological system is indivisible and that natural systems are deeply interconnected.

Kyrgyzstan intends to pay particular attention to the situation in Afghanistan.
We proceed from the position that the security of Central Asia is inseparable from the stability of that country.

We have been providing sustained humanitarian assistance to the Afghan people, including women and children, and we support Afghanistan's gradual economic and political integration into the international community.

The candidacy of the Kyrgyz Republic enjoys the unanimous support of the Central Asian states. This reflects a qualitatively new level of regional consolidation and confirms our readiness to speak in the Security Council with a coordinated and responsible position that takes into account the interests of a broad range of states.

Kyrgyzstan attaches special importance to membership in the Security Council and regards it as an increased responsibility for the fate of the peoples of our region.

What is at stake is concrete action at a time when the manageability of the international system directly depends on the effectiveness of the Security Council.
We proceed from the need for the Council to return to its original function: not the political management of conflicts, but the development of solutions based on law, a balance of interests and the prevention of conflicts.

Our country, alongside more than sixty other states, has never been a member of the Security Council, whereas our competitor — the Philippines — has already been elected to the Council four times.

The election of Kyrgyzstan would be evidence of the international community's political will to restore historical justice and to ensure equal rights for all countries to be elected to the leading organ of the United Nations.

If elected, we pledge to contribute to further enhancing the effectiveness and transparency of the work of the Security Council and to make a worthy contribution to the collective efforts of the international community in addressing global challenges and threats.
I deeply trust, Your Excellencies, that you will support the Kyrgyz Republic during the vote in June 2026.

Please accept, Your Excellencies, the assurances of my highest consideration and my sincere wishes of peace, well-being and prosperity to your peoples.

President of the Kyrgyz Republic Sadyr Zhaparov

Nearly 1 million foreign tourists from more than 50 countries are expected to visit the 65th International Flower Festival

Marit Fosse — 2026-05-14T12:12:54Z

Namangan is one of Uzbekistan's regions with a rich centuries-old history. The area has been continuously inhabited for more than two thousand years. The Namangan region was established as an administrative unit in 1941. Today, its population exceeds three million people. The area covers 7,900 km², and its administrative centre is the city of Namangan. The city is located at an altitude of about 450 metres above sea level.
Namangan is one of the most densely populated regions of Uzbekistan. As a result, public life is highly active, and economic, cultural, and educational processes are developing dynamically. The annual International Flower Festival is especially well known.

The Flower Festival was first held in Namangan in August 1961 as a flower exhibition. In 2018, it received international status, and since then it has attracted participants and guests from various countries. Today, it has become one of Uzbekistan's largest international cultural celebrations.

This year marks the 65th anniversary edition of the festival. Over the years, the event has gained recognition not only in the country but also internationally.

The festival attracts significant interest not only from residents of Uzbekistan but also from neighbouring countries, as well as international experts and specialists. Preparations for the event are currently in full swing.
According to organisers, around 1 million foreign tourists from more than 50 countries and over 7 million local visitors are expected this year. The 50-day festival will include more than 150 cultural, educational, and entertainment events.

A key feature of this year's festival may be its inclusion in the Guinness World Records. A process is currently underway to set a record for the largest-scale flower planting within a month. The process is being monitored for transparency by a representative of the organization in the UAE, Kanzy Defrawy, in accordance with international standards.

The festival will run from 24 May to 12 July. Its programme includes gala concerts, drone shows, car parades, open-air symphony concerts, fashion weeks, exhibitions, and international forums on tourism, investment, and business.
As part of the preparations, around 5 million seasonal flowers have been planted across the city and districts, giving the region a bright and festive appearance.

The opening ceremony will take place on 24 May at Babur Park in Namangan. On this day, a flower-decorated car parade will be held through the city streets, and in the evening a concert featuring local and international artists will take place at the amphitheatre of the “New Uzbekistan” Park.

Throughout the festival, daily programmes will include theatre performances, puppet shows for children, handicraft fairs, workshops, and regular concerts in parks.

In late May and early June, several major events are planned, including a symphony concert, a retro music evening, “Fashion Days” shows, a lavender festival, and a concert by Yulduz Usmonova. A drone show is also scheduled for 1 June.

Sports enthusiasts will be able to enjoy wrestling competitions, motocross events, international tournaments, and ethnosport games.

The festival will also host international conferences on biodiversity, artificial intelligence, tourism, and economics, highlighting its scientific significance.

In addition, gastronomic festivals, youth environmental campaigns, competitions, and special programmes for children are planned.

The festival will conclude on 12 July with a closing and award ceremony at the “New Uzbekistan” Park.
In summary, the International Flower Festival in Namangan is not only a celebration of flowers but also a large-scale international event that combines culture, art, sport, and science.
Dunyo IA

THE ROLE OF NOWRUZ IN FOSTERING CONNECTION AND INTEGRATION AMONG NATIONS by Rukniddini Lutfullo

Marit Fosse — 2026-05-06T10:56:52Z

In the contemporary global context, characterized by intensified transnational interactions and the increasing pluralism of identities, understanding cultural mechanisms that facilitate interethnic cohesion is of pivotal importance. This study employs a descriptive-analytical methodology and draws upon authoritative scholarly sources to elucidate how Nowruz, as an intangible cultural heritage, can contribute to strengthening intercultural bonds among nations. The theoretical framework of this research is anchored in the concepts of cultural memory, cultural capital, and transnational identity, which provide analytical tools for examining the role of shared cultural practices in promoting social integration and cross-cultural dialogue.

Historical and literary sources indicate that Nowruz, through the revival of shared cultural memory, the performance of communal rituals, and the use of universal symbols reflecting renewal, auspiciousness, hope, and reconciliation with nature, constitutes a form of transnational cultural capital. Accordingly, this article examines and analyzes the philosophy and historical evolution of Nowruz, its intersections with religions, customs, and traditional ceremonies, as well as its activities and elements that foster social cohesion. The study further explores the challenges and threats confronting Nowruz in its role as a unifying force among nations, alongside its significance in promoting global values and cultural diplomacy.

Keywords: Nowruz, interethnic cohesion, intangible cultural heritage, cultural integration.
In the contemporary era, characterized by rapid globalization and the increasing complexity of international relations, a central issue for social science researchers and cultural policymakers is how to foster sustainable bonds among nations while preserving cultural diversity and authenticity. Culture is not merely a collection of values, beliefs, customs, language, arts, and symbols; it also constitutes an active domain for shaping relationships and generating transboundary commonalities. Cultural rituals can serve as a unique instrument for reducing misunderstandings and reinforcing social cohesion. Therefore, the study of mechanisms of cultural connectivity, rooted in deep historical and civilizational foundations, holds particular significance.

Among these, Nowruz - a millennia old, transnational ritual with roots extending from Central Asia to the Middle East and beyond represents a unique and widely recognized phenomenon. Nowruz is not merely a calendrical date; it constitutes a symbolic and meaningful system that embodies universal values such as renewal, hope, reconciliation, purity, and respect for nature through communal ceremonies and traditional practices. These characteristics have enabled Nowruz to persist across diverse cultural, linguistic, and religious contexts, becoming an integral part of the lives of millions of people. Accordingly, Nowruz can be regarded as a form of transnational cultural capital, a shared civilizational memory, and a bridge among nations.

Despite the significant role of Nowruz as a unifying phenomenon, existing research has predominantly focused on its historical, ethnographic, or national manifestations, with comparatively limited attention to the sociological mechanisms through which it fosters transnational integration. The central research question, therefore, is how Nowruz, and through which mechanisms, can contribute to the creation and reinforcement of cultural bonds among diverse ethnic groups, and what implications this process holds for contemporary global cultural policy?
Accordingly, this article aims to address the research question by examining Nowruz as a “cultural communication mechanism” through historical and literary sources. The central hypothesis posits that Nowruz, by generating shared memories, enhancing transnational social capital, fostering symbols of mutual understanding, and promoting constructive values, can serve as an effective mechanism for social cohesion and regional integration. In this regard, the study contributes to a deeper understanding of the role of shared cultural heritage in building human connections in today's complex and dynamic world.

The Concept of Nowruz: Philosophy and Historical Formation

The term “Nowruz” is derived from the Persian-Tajik components “nav” (new) and “ruz” (day), literally meaning “new day.” The historical roots of this term trace back to Middle Persian (Pahlavi), and in ancient literary texts, it appears in the forms “noki rukh” or “nogi ruz” (Shabani, 1999).

Based on certain historical and mythological accounts, Nowruz has been associated with the concept of renewal across various cultures. Abū Rayḥān al-Bīrūnī, whose works constitute the most authoritative written legacy on Nowruz, discusses the origins of this ancient ritual in his «Āthār al-Bāqiya» in the section on the festivals and celebrations of the Persian months. He refers to it as the day of the peaceful creation of the world and the “day of hope” (Biruni, 1990).

The Nowruz ritual marks the beginning of the Zoroastrian and Aryan New Year. According to the solar calendar, it falls on the sixth of Farvardin, which corresponds to March 21 in the Gregorian calendar. This date signifies the onset of spring and the New Year, and as an ancient festival of the Aryans, it encompasses a wide array of ceremonies and traditions that are celebrated annually across diverse regions of the world (Mosahab, 2002).
Nowruz, as an ancient festival, has its roots in the myths, beliefs, and shared traditions of the peoples of the Asian region. Among the mythological accounts, the story of Jamshid - a symbolic figure in Persian epic and cultural traditions is cited in classical sources, such as Firdawsi's «Shahnameh», as the founder of Nowruz. In these texts, the ritual is depicted as the “new day” the beginning of the year, a time of bodily repose from hardship, and a period of prosperity and joy (Firdawsi, 2007).

The origins of this festival date back to ancient times and are inextricably linked to the cycles of nature and the onset of the agricultural season. Scholars argue that Nowruz represents the continuation and evolution of ancient spring festivals and the seasonal renewal of nature in the Middle East and Central Asia, which over time has been enriched and interwoven with diverse cultural elements. Historical sources indicate that traces of Nowruz celebrations can be found in Aryan civilizations across various historical periods, including the Achaemenid era (550-330 BCE), and that during the Parthian and Sasanian dynasties, it was recognized as one of the major and official festivals (Khojaev and Kholov, 2017).

Following the spread of Islam in the region, Nowruz, despite some initial challenges, continued to exist as an integral component of local culture and popular traditions. During the Abbasid Caliphate, the festival attracted particular attention due to its economic and social significance (Al-Tabari, 1967) and in certain accounts, was also imbued with spiritual meanings, which contributed significantly to its continuity and acceptance within Muslim societies. Simultaneously, these sources, along with manuscripts and other historical findings, describe the celebration of Nowruz ceremonies with the participation of representatives from various ethnic groups and territories at the beginning of spring.

Therefore, Nowruz, as a form of transnational civilizational heritage, transcends contemporary geographical and political boundaries. It represents the outcome of a long historical evolution and the reciprocal interactions of diverse regional cultures. Nowruz embodies the profound connection between humans and nature, the concept of renewal, and a set of universal cultural values, reflecting its enduring significance across societies.

Nowruz and Its Integration with Religions

Nowruz, as a distinct national ritual, originated before the formation of Aryan territorial states and holds particular significance across much of the contemporary Muslim world, owing to its positive cultural elements. Although Nowruz is not explicitly mentioned as a religious festival in the sacred texts of the Aryan faith, the Avesta, its elements are reflected therein, and over time, Zoroastrianism fully incorporated the celebration of Nowruz. In ancient beliefs, including Zoroastrian rituals, Nowruz is associated with the creation and renewal of the world and is regarded as a sacred day. Zoroastrians recognized the beginning of creation and the regulation of time with Nowruz, which marks the onset of the world's renewed movement and the equality of day and night, emphasizing its celebration and observance (Omar Khayyom, 2012).

Islamic sources also reference the traditions of Nowruz, particularly the exchange of Nowruz gifts and the etiquette and customs associated with this major festival, regarding its celebration as permissible. Scholars emphasize that in the social life of Muslims, Nowruz was observed as a cultural festival with both social and material significance. Since the early Islamic period, reports related to the reception of this festival by the Prophet of Islam (peace be upon him) and other prominent figures have been transmitted, including accounts such as “0 that we had Nauroz every day!” (Biruni, 1879: 199). Moreover, there is no indication in historical sources of restrictions, prohibitions, or conflicts between the observance of Nowruz and the rules and injunctions of Islam.

Furthermore, Islamic sources provide numerous instructions regarding the exchange of Nowruz gifts, the observance of cleanliness during the festival, wearing new clothes, and the use of pleasant fragrances. Accordingly, it can be argued that in Islamic studies, Nowruz was recognized as a favored festival, serving as an example of the harmonization between ancient cultural traditions and Islamic norms within Muslim societies.

Customs and Rituals of Nowruz

The Nowruz festival, as both an ancient and contemporary tradition, carries meanings that are both explicit and symbolic, enhancing the festival's vibrancy and beauty. Its symbols, which reflect the customs, rituals, and beliefs of the people, are diverse and represent the characteristics of nature's creation, purity and innocence, abundance, health, the desire to be free from danger and calamity, joy and happiness.
The Nowruz celebration, abundant in cultural symbols, is most prominently observed in Persian-speaking countries. These traditions and customs have endured through millennia of historical trials and challenges, persisting to the present day with their full splendor and lasting significance.

During the celebration of the New Year among our people, it is customary to prepare the “Haft-Sin” table, which includes seven items whose names begin with the Persian letter “S” (Sin). These items - sabzа (sprouted greens), seb (apple), sir (garlic), serkeh (vinegar), sumalak (wheat pudding), sanjid (oleaster), and sikkah (coin)- symbolize rebirth and renewal, the sweetness of life, love, patience, beauty, health, and happiness. In some cases, alongside the “Haft-Sin” table, the “Haft-Shin” table is also arranged, which includes shahd (honey), shir (milk), sharob (wine or grape juice), shakar (sugar), sham (candle), shamshod (boxwood), and sharbat (syrup) representing similar auspicious meanings.

Nowruz, as an ancient festival and a symbol of national identity in Tajikistan, is celebrated every year with particular grandeur and splendor. Although the homeland of the Tajiks has historically been the site of invasions, conquests, and the rule of various foreign dynasties, this ancestral festival has never disappeared, and the Tajik people have preserved it as carefully as their mother tongue (E. Rahmon, 2015: 23).

Today, this splendid festival is celebrated with a variety of customs and rituals, such as flower-decorating ceremonies (dedicated to the arrival of spring, performed by young people), the communal preparation of sumalak, prayers for blessings on agriculture (juftbaron), and the cooking of special Nowruz dishes. Additionally, Nowruz singing and the presentation of cultural programs are integral parts of the celebrations. Nowruz trips from one region to another within the country to participate in festival events are also considered a long-standing tradition of this luminous holiday.

In addition, the communal celebration of Nowruz, participation in events and rituals such as buzkashi, wrestling, fire-jumping (otashparak), and other traditional sports games - demonstrates the unifying traditions of the people. On the eve of Nowruz and during the festival days, acts of forgiveness, reconciliation, and the removal of grudges, as well as hearts filled with joy, are signs of mutual understanding. These customs, rooted in national traditions and Zoroastrian beliefs, help preserve and uphold cultural identity.

It is for this reason that, following the independence of Tajikistan, Nowruz has been revived as a core element of the cultural identity of the Tajik people and is celebrated each year with increasing color and splendor.
If we examine Nowruz traditions in other countries of the Nowruz cultural sphere, they may differ in each region depending on local cultural characteristics. However, in general, the essence of Nowruz rituals across all participating countries exhibits the following features: 1) profound spiritual content, 2) a celebration that is genuine and harmonious with nature, 3) the embodiment of principles such as justice, purity, peace, and solidarity, and 4) unique and rare customs.

For this reason, Nowruz, with these aforementioned characteristics, can be considered a central element in shaping integration and identity within the Aryan cultural sphere, providing a foundation for strengthening cooperation and strategic unity among the nations of the Nowruz region (Sazmand, 2018). Therefore, the celebration of this global festival plays a pivotal role in fostering connections among the peoples of the Nowruz cultural area.
A comparative examination of Nowruz rituals across a wide geographical area provides a clear depiction of a dynamic unity amid cultural diversity. The central elements of these rituals such as renewal, the day heralding prosperity, purification, the restoration of social bonds, and hope for the future possess a universality that brings different nations together in a shared temporal and spiritual experience.

Nevertheless, the beauty and integrative power of Nowruz lie in the fact that its core shared aspects are interwoven with the colors and flavors of local cultures, producing a unique manifestation in each region. This diversity allows Nowruz not only to be recognized as a shared heritage of humanity but also to serve as a platform highlighting local identities and pluralism. These very characteristics transform Nowruz from a historical ritual into a living and effective cultural instrument for fostering dialogue, mutual understanding, and a sense of collective belonging among the peoples of its cultural sphere, playing a distinctive role in regional integration processes.

Integrative Functions of Nowruz

The Nowruz cultural sphere is extensive, extending far beyond the borders and geography of a few countries, with over 300 million people worldwide celebrating this festival of nature every year. This sphere encompasses 12 independent states -Afghanistan, Iraq, Kazakhstan, Kyrgyzstan, Azerbaijan, Pakistan, Tajikistan, Turkey, Turkmenistan, Uzbekistan, India, and Iran where Nowruz is observed, and the populations of these countries engage in forms of cultural connection and identity-based solidarity through its celebration. In other words, celebrating Nowruz in these countries provides a foundation for cohesion and deep connections among the peoples of this region. In addition to the countries mentioned, Nowruz is also celebrated among communities in other Middle Eastern countries. The organization of Nowruz celebrations serves multiple purposes, some of the most important of which are outlined below.

Unity of Internal Ethnic Groups

Nowruz, as the most significant cultural phenomenon, is a popular and widely appreciated ritual among the people, serving as an effective means for regulating cultural practices and promoting social cohesion to bring ethnic groups closer together and strengthen national solidarity (Bidokhti & Sharifi: 649). In countries such as Tajikistan, Iran, Afghanistan, Turkmenistan, Kazakhstan, Azerbaijan, Kyrgyzstan, Uzbekistan, and Albania, Nowruz is officially recognized as a public holiday. Although in two countries - Iran and Afghanistan which follow the official Solar Hijri calendar, Nowruz is celebrated as the beginning and the first day of the year, in other countries it is observed as the first day of spring (Qulizoda, 2013: 16).

In addition to geographical connections within the Nowruz cultural sphere, deep ethnic solidarity and cohesion are also facilitated through this festival. Various ethnic groups residing in the Nowruz region, and even beyond it, share a common reverence for the rituals and celebration of Nowruz. For instance, in Tajikistan, Nowruz is celebrated as “Navruzi Ajam” and “Khidir Ayyom,” serving as a symbol of Tajik cultural identity and friendship, as well as the revival of nature, accompanied by grand rituals. In Iran, Nowruz unites Kurdish, Turkic, Lur, Arab, and Baloch communities. In Afghanistan, Tajiks, Pashtuns, and Hazaras regard this festival as a symbol of national cohesion. In Iraq, the Kurds welcome Nowruz with fire celebrations, commemorating it as a symbol of resistance. Moreover, among the Kurdish people, Nowruz is connected with the epic of Kaveh and Zahhak, embodying a representation of unity.

Shared Symbols. From the perspective of cultural scholars, a national symbol is defined as a set of intellectual associations related to a particular nation in the eyes of participants on the international stage. It may take one of three main forms: a political symbol, an economic/commercial symbol, or a cultural symbol (Rahimi, 2025: 146). Symbols and emblems derived from shared myths among nations provide a foundation for deep connections among members of a given cultural sphere. Therefore, by highlighting mythological and historical symbols and emblems, collective cohesion and solidarity among the peoples of the region can be fostered. Within this context, Nowruz symbols, as part of the mythological history of the countries within its sphere, share common roots with minor local variations and constitute one of the most important unifying factors for the nations of this region.

Regional Connections. The cultural and civilizational sphere, with its center in the Persian-speaking lands and historically shaped along the Silk Road, extends from China, Kashmir, Pakistan, and Afghanistan on one side to the Mediterranean and Black Seas on the other. The Silk Road was not only a trade route but also a crucial corridor for cultural exchange and civilizational integration (Isakova 2025: 5). This ancient civilization, which has now been divided into separate regions following the independence of modern states, still possesses the potential to become a mechanism for fostering unity, with cultural instruments such as Nowruz playing an important role in this process. Furthermore, the prominence of shared cultural traditions, including the celebration of Nowruz, serves as a tool of cultural diplomacy and a means of dialogue between nations (UNESCO).

Integrative Elements of Nowruz among Nations

Nowruz, as a transnational ritual, is not merely a collection of traditional customs and symbols but represents a cultural-communicative system that has historically created a network of shared concepts, collective memories, and patterns of cooperation among diverse nations.

Analysis of Nowruz in the social sciences indicates that the ritual, through its cultural, social, symbolic, and value-based elements, generates a space for transnational integration and gradually transforms into a form of cultural capital. During the liminal phase of rituals, participants step outside their established social roles and statuses. In this phase, all individuals are equal, and social distinctions disappear, thereby fostering mutual understanding and social bonding (communitas) (Turner, 1969. 94-97). Therefore, such rituals can function as “cultural bridges,” promoting integration and mutual comprehension both within societal groups and across different cultures. Consequently, certain elements of Nowruz may contribute more significantly to the integration of nations within the region and to their interconnectedness, which will be analyzed further.

Creation and Revival of Shared Cultural Memory

One of the main functions of Nowruz in connecting nations is its role in the creation and revival of shared cultural memory. According to Jan Assmann, cultural memory comprises texts, symbols, monuments, rituals, and narratives through which a society preserves its past and transmits it from generation to generation, serving as a foundation for cultural identity (Zhdanov, 2023: 8). Nowruz manifests in this form of historical memory, as the annual repetition of rituals such as the “Haft-Sin” table, house visits, social gatherings, and musical ceremonies creates a form of cultural continuity that connects different generations.

A crucial point is that these rituals, despite their apparent differences, follow a similar cultural logic and motivation across the countries of the Nowruz sphere. For instance, the principle of “purification and renewal” plays a prominent role in the Nowruz rituals of Tajikistan, Iran, and Afghanistan. Such similarities foster a sense of shared cultural understanding among the peoples of these countries.

In other words, Nowruz revives a form of transnational memory in which nations perceive themselves within a shared historical and civilizational narrative. This shared memory can serve as a valuable resource for designing regional cultural programs. When nations are centered around a common tradition, the potential for developing joint cultural initiatives is significantly enhanced.

Restoration of Social Ties and Transnational Social Capital

From an anthropological perspective, Nowruz plays a crucial role in the restoration of social relationships. Such behaviors, according to sociologists, contribute to increased trust, solidarity, and the strengthening of communication networks among individuals and groups. These stable and trustworthy connections provide the foundation for the formation and development of social capital, which is significant at both the local and transnational levels. Social capital is defined as the set of resources accessible through membership in a durable network of recognized and reliable social relationships, enabling individuals or groups to benefit from collective assets (Bourdieu, 1986. 241-258).

In this context, Nowruz can be regarded as a ritual that restores communities, as it encourages people to reconsider relationships and strengthen social bonds. This role extends not only to the family level but also to the wider community and beyond. Anthropological studies indicate that public rituals can enhance a sense of belonging and reduce social distances.

Notably, this social capital is also observable at the transnational level. Joint Nowruz celebrations and cultural programs worldwide, particularly in Geneva, where annual events are organized by the initiative of Nowruz region states and attended by a wide range of international representatives demonstrate the creation of networks that foster cultural connections and provide a foundation for intercultural dialogue.

Creation of a Shared Cultural Language

Nowruz is imbued with symbols whose meanings extend beyond any single culture. Concepts such as the renewal of nature, the day of creation, the transition from cold to warmth, victory over darkness, the rejuvenation of life, liberation from difficulties, and hope for the future are recognized across diverse human cultures.

The symbols of Nowruz create a form of “shared cultural language,” which establishes connections without the need for linguistic translation. Cultural symbols gain their integrative power when they can act as “bridges” between everyday life and traditional practices across different societies. This role is clearly manifested in Nowruz. For example, the arrival of spring as the time of life's renewal is an experience with a widely understood meaning in many cultures.

Strengthening Global Values and Cultural Diplomacy

In recent decades, with the expansion of globalization and the growth of inter-state cooperation, culture has become one of the key instruments of international relations. Today, interactions between countries are not determined solely by power or economic interests; cultural factors also play a crucial role in shaping international relations. Within this context, the concept of “cultural diplomacy” has emerged as a significant branch of general diplomacy. Cultural diplomacy refers to the purposeful use of cultural elements to foster mutual understanding, enhance a country's international image, and strengthen relations between nations.

In this framework, the use of Nowruz's intangible heritage serves not only as a cultural symbol and ancestral tradition but also functions as a diplomatic tool and a social connector at both national and international levels. It contributes to the formation of collective identity, the reinforcement of solidarity, and the cultivation of social trust.
At the same time, Navruzi Ajam, as part of the geo-cultural landscape, plays an important geopolitical and geoeconomic role in the relations among regional countries (Mozaffari, Akbar. 2023). Therefore, strengthening cultural diplomacy through the preservation of shared traditions, such as Nowruz, is essential, in contrast to the use of cultural tools solely as soft power to advance political objectives.

Nowruz embodies a set of values in which aspects of virtue are deeply embedded. Values such as peace and friendship, respect for nature, innovation, and hope for the future are prominently reflected in many Nowruz narratives. As a result of joint initiatives by regional countries, in 2009 UNESCO inscribed the Nowruz festival on the Representative List of the Intangible Cultural Heritage of Humanity. Furthermore, during its 64th session, the United Nations General Assembly designated March 21 as International Nowruz Day, elevating Nowruz from a national tradition to a shared global heritage.

This process can be seen as an example of “heritage diplomacy,” in which cultural heritage becomes an instrument of inter-state cooperation. This form of diplomacy not only promotes a positive cultural image of countries but also provides a foundation for sustainable cultural collaboration.

Due to its unique characteristics, Nowruz presents a significant opportunity to play a role in cultural diplomacy. Unlike many cultural symbols that may be associated with identity or political disputes, Nowruz is generally recognized as a ritual of peace, a practice that strengthens human solidarity, and a means of fostering cultural dialogue among nations (UN GA, 2010).

The expansion of cultural and tourist exchanges during Nowruz between different countries of its sphere, as well as the organization of joint programs and events-including poetry nights, musical performances, educational courses, film screenings, and academic conferences substantially enhances opportunities for cultural cooperation. Furthermore, the establishment of dedicated institutions, such as the International Nowruz Center, can facilitate the coordination of such initiatives. Cultural cooperation in areas with lower political sensitivity can contribute to the building of trust among countries. In this context, Nowruz can serve as a form of “cultural trust capital.”
The effective utilization of Nowruz in cultural diplomacy requires purposeful planning and succeeds only when monopolistic or exclusionary approaches are avoided.

Challenges Facing Nowruz in Fostering Inter-National Connections

Despite the extensive potential of Nowruz to create cultural bonds among nations, the festival also faces a number of challenges and threats that, if ignored, could weaken its integrative role. Critical analyses of Nowruz within the framework of cultural policy indicate that any cultural heritage, while offering opportunities for cohesion, can simultaneously be subject to political, commercial, or identity-based instrumentalization. Therefore, addressing these challenges is essential for the effective use of Nowruz in strengthening inter-national connections.

One of the most significant challenges appears to be the “excessive nationalization” of cultural rituals, which diminishes the visibility of the identities of other communities that genuinely share this heritage. When Nowruz is evaluated as the national heritage of a single, limited country akin to asserting exclusive ownership of cultural values and prominent historical figures, its universal characteristics are called into question. This may provoke negative reactions from others and diminish the transnational and integrative significance of the festival. Moreover, this approach can lead to identity-based competition among countries, transforming a unifying framework into a field of cultural conflict. When cultural identities are defined within closed and monopolized discourses, they lose their capacity for dialogue in the semiotic space (Lotman, 1990: 125).

The second challenge, “intergenerational discontinuity” in transmitting Nowruz rituals, arises from the fact that in many urban and migrant-receiving societies, modern lifestyles and the rapid pace of social change limit the possibility of passing on living cultural experiences to younger generations. Under such circumstances, if young people do not establish a deep and meaningful connection with the symbolic and value-laden aspects of Nowruz, the festival gradually becomes confined to its outward and ceremonial forms. Cultural studies indicate that the sustainability of rituals depends primarily on the internalization of their meanings in participants' consciousness, rather than solely on the repetition of their external forms. It is through shared and meaningful experiences that traditions continue and contribute to the reinforcement of collective identity (Assmann, 2011: 58-59).

The third threat to Nowruz is the “politicization of cultural symbols”. When rituals and cultural traditions are used to advance political or ideological interests, they may lose part of their original role in fostering social cohesion. The instrumental and political use of cultural heritage often leads to social conflicts, the construction of artificial identities, and context-dependent divisions within and between communities.

Another existing threat to Nowruz is the perception that it is “contrary to religious identity”, particularly in relation to Islam. This view stems from considering the origins of Nowruz through a religious lens. In other words, some believe that Nowruz has Zoroastrian roots and therefore possesses an inherently religious nature. In such cases, conflicts with other religions become almost inevitable. This perception reflects a misunderstanding of the true origin and nature of Nowruz, which is primarily a celebration of nature rather than a religious prescription.

In addition, given its wide geographical spread and cultural significance, Nowruz sometimes faces instrumentalization, which not only distorts the meaning and cultural philosophy of the festival but can also negatively affect the cultural identity of communities and the coherence of intergovernmental relations. From the perspective of cultural policy, addressing these challenges requires a coordinated, balanced, and moderate approach. Therefore, it is essential to strike a balance between preserving the authenticity and values of rituals and adapting them to contemporary conditions, so that cultural festivals maintain both their originality and their educational and social functions. To mitigate such threats and safeguard the core values of Nowruz, the implementation of informed policies, the strengthening of cultural awareness among communities, and the promotion of intergovernmental cooperation and exchange of experiences are of paramount importance.

In conclusion, the analysis of the points discussed indicates that Nowruz should be understood as more than a calendar festival or a local cultural tradition. This celebration represents a deep-rooted spiritual and ritual system that has historically succeeded in creating lasting connections among diverse societies. The historical continuity of Nowruz and its presence across a wide range of countries testify to its transformation into a part of the shared cultural memory of a broader civilizational sphere. Such memories and the revival of rituals strengthen cohesion among nations and provide a foundation for a form of transnational cultural integration.

In this context, Nowruz is not only a reflection of the past but also a symbol of cultural coexistence, the harmony between ancient traditions and contemporary values, and a harbinger of a united and hopeful future. The adaptability of Nowruz to different cultural, religious, and national contexts ensures the continuation of its unifying role. Therefore, as a prominent symbol of unity and solidarity and a ritual system of enduring significance, Nowruz offers an important opportunity to reinforce intercultural integration and promote cultural diplomacy. «May every day be Nowruz!»

References:
Abulqosim Firdawsi. «Shahnoma». Vol. 1. Dushanbe: Adib, 2007.
Abu Rayhan al-Biruni. «Osor-ol-Boqiya. Dushanbe: Irfon, 1990.
Al-Biruni, Abu Rayhan. «The Chronology of Ancient Nations (Athar al-Baqiya) ». Translated by C. E. Sachau. London, 1879.
Al-Ṭabarī, Abū Jaʿfar Muḥammad ibn Jarīr. «Tārīkh al-Rusul wa al-Mulūk». Juzi 9. Edited by Muḥammad Abū al-Faḍl Ibrāhīm. 2nd revised edition. Cairo: Dār al-Maʿārif, 1967 (1387 AH).
Ali Mozaffari, and Ali Akbar. «Heritage Diplomacy and Soft Power Competition between Iran and Turkey: Competing Claims over Rumi and Nowruz». International Journal of Cultural Policy, 2023.
Assmann Jan. «Cultural Memory and Early Civilization: Writing, Remembrance, and Political Imagination». Cambridge: Cambridge University Press, 2011.
Bourdieu, Pierre. «The Forms of Capital». In Handbook of Theory and Research for the Sociology of Education, edited by J. G. Richardson, 241–258. New York: Greenwood, 1986.
Bahareh Sazmand. «Nowruz va Hamgirayee Farhangi dar Havzai Tamaddunee Iran». Majalleye Motale'ate Mantaqei, Tehran, 2018.
Emomali Rahmon. «Navruz - Shinosnomai Millat». Dushanbe: Adib, 2015.
Gholamhossein Mosahab. «Dāyerat al-Maʿāref-e Fārsi. 2nd ed., vol. 2. Tehran: Sherkat-e Sahāmi-ye Ketāb-hā-ye Jeybi, 2002.
General Assembly. Resolution 64/253: International Day of Nowruz. Adopted 23 February 2010. United Nations.
Isakova F. «Kulturalnye vzaimodeystviya narodov na Velikom Shelkovom puti i ikh sled v mirovom nasledii». Obshchestvo i Innovatsii - Society and Innovations 6, no. 2/S (2025): 378-384.
Khodjaev, M. P., and Sh. I. Kholov. «Sahifaho az Tarikhi Nowruz», Majmuai Mavodi Konferensiyai Ilmii 17 Marti 2017. Dushanbe: DMT, 2017.
Lotman, Yuri M. «Universe of the Mind: A Semiotic Theory of Culture». Translated by Ann Shukman. Introduction by Umberto Eco. Bloomington and Indianapolis: Indiana University Press, 1990.
Qulizoda Abdulhamid. «Navruz hamchun omili hamgaroi dar munosibathoi kishvarho». Majallai “Rushdi Omuzishi Ilmhoi Ijtimoee”, no. 3, 2013.
Rahimi, S. R., Muhammad H. M., and Mahdi S. Sh. «Tahlili Joygah va Naqshi Nufuzi Farhangi dar Rushdi Diplomatiyai Iqtisodii Jumhuri Islomi Iran dar Havzai Tamadduni Nowruz». Majallai “Donish Siyasi” 41 (2025): 139-162.
Shabāni, Reza. «Odob va Rūsūmi Nowrūz». Tehran: “Enteshārāti Beynalmellalī Alhoda”, 1999.
Turner, Victor W. «The Ritual Process: Structure and Anti‑Structure». Chicago: Aldine Publishing Company, 1969. Chapter: “Liminality and Communitas,” pp. 94-97.
UNESCO. (n.d.). Nowruz: Celebrating the New Year on the Silk Roads. https://en.unesco.org/silkroad/content/nowruz-celebrating-new-year-silk-roads-0
Umari Khayyom. «Navruznoma: Risolae dar Mansha', Tarix va Adobi Jashni Navruz». Dushanbe: “Adib”, 2012, 26-31.
Zhdanov, V. V. «Cultural Memory as a Mechanism of Preserving Identity: Reflections on Assmann's Theory». RUDN Journal of Philosophy 27, no. 2 (2023): 421-430.

Information about the author:
Rukniddini Lutfullo (Mr.), Second Secretary, Permanent Mission of the Republic of Tajikistan to the UN Office and other IOs in Geneva. Candidate of of the Department of Diplomacy and Foreign Policy of the Republic of Tajikistan, Tajik National University.
Address: 734002, Dushanbe, Republic of Tajikistan, Rudaki, 17. Phone: (+992) 918-55-61-55. E-mail: rukniddin1990@gmail.com

Between Faith and Identity by Marianne Rothmann

Marit Fosse — 2026-05-01T17:20:46Z

In recent years, conversations about religion in Iran have become more layered and complex. While Islam remains deeply rooted in the country's culture and daily life, I have also noticed a growing curiosity—especially among some younger Iranians—about pre-Islamic traditions, including Zoroastrianism. What I have observed is often described as a “return,” but to me it feels less like a return to a religion and more like a search for identity, history, and personal meaning.

Through time, I have met many Iranians from different walks of life. Something I heard repeatedly stayed with me. Many would simply say, “I am not Muslim.” I often found myself wondering why I was hearing this so often, especially given how closely religion is connected to public life and identity. That question stayed with me over time, and it became part of what led me to reflect more deeply and eventually write this article.

A key factor in this shift, from my perspective, is the close connection between religion and governance since the Iranian Revolution. When religion becomes part of political structure and daily regulation, it can begin to feel less like a personal belief and more like an imposed identity. I believe that for some people, this creates distance—not necessarily from faith itself, but from how faith is experienced in practice.

Zoroastrianism, with its ancient roots in Persian history, often appears in these conversations as something meaningful to reconnect with. Its ethical simplicity—summarized in “good thoughts, good words, good deeds”—resonates with people who are searching for clarity in how they live and understand morality. From my perspective, this is not always about fully adopting a religion, but about reconnecting with something that feels historically and culturally familiar.

Cultural traditions also play an important role in this reflection. Celebrations such as Nowruz are still widely observed across Iran, regardless of religious identity. To me, this highlights that identity is never shaped by one dimension alone. It is carried through history, culture, memory, and shared human experience.

It is also important to me to emphasize that what I am observing is not necessarily a complete rejection of Islam. Many Iranians remain deeply connected to their faith, while others are rethinking how belief fits into their personal lives. I see this as a spectrum rather than a division.

When I reflect on what I have heard and witnessed, I do not see a simple shift away from religion. I see questions about identity, freedom, and belonging. I see people trying to understand where they come from and how they want to define themselves today. And I see that belief—whether religious, cultural, or personal—is often more fluid than it appears on the surface.

For me, this reflection is not about making conclusions for others. It is about understanding what I have observed, and why it stayed with me. It is a reminder that identity is not static, and that people continue to shape it through experience, memory, and choice.

JAM SESSION Carole BENZAKEN au musée MALMAISON de CANNES-FRANCE DU 20 Février au 21 juin 2026.

Marit Fosse — 2026-04-25T19:42:58Z

Bien vu, l'oeuvre du peintre Carole BENZAKEN convient bien à la ville de Cannes et on lui a d'ailleurs réservé le meilleur lieu d'exposition possible
puisqu'il s'agit de la Malmaison.

Le musée laissant par ses fenêtres, le regard plonger dans la mer scintillante de la Méditerranée ici ; puisqu'elles savent toutes deux la ville et l'artiste, prendre l'accent hollywoodien (palmiers, population de cinéphiles, phénomène dû au festival du film de Cannes connu mondialement, grandes artères bordées de Palaces qui longent la mer)
L'artiste avait su capter l'esprit californien des années 1998 - 2000, s'en inspirer encore plus tard.

Carole BENZAKEN a su capturer l'incroyable énergie américaine, par le choix de ses couleurs.
Elle est remarquable par son originalité et l'audace de ses recherches appliquées en matière de techniques de représentation de la couleur.

ainsi, la superposition de feuilles de papier calque posée entre deux plaques de verre 81x60x2cm ; ALLER 3, 2024 représente des crayons de couleur.
On remarque l'originalité du grand tableau 67th ST ou celui intitulé E.Hyde Park Blvd qu'elle ébauche lors d'un séjour de sept années et qu"elle
rapportera en France.

En 1998, après avoir été diplômée de l'Ecole Supérieure Nationale des Beaux-Arts de Paris dont elle était sortie en 1990, elle bénéficie d'une résidence
artistique à Santa Monica en Californie, Carole Benzaken restera sept ans à Los Angeles dont elle s'imprègne pour la vie.
Mon regard a bien aimé 3xF de 2009 : ombres d'arbres couleur lie de vin, noires et blanches ou la technique mixte de I bowa 8, 2012. 58x82x5cm mais
aussi ses grands tableaux comme, le bien connu Lost PARADISE N, 2009. 200x68,5cm. ou encore les deux GERME ROUGE 2018, Crayons de couleur "feuilleté sur verre"

Véronique VESVAL CE 23 avril 2026 CANNES.

From Momentum to Implementation: Why the 2026 Dushanbe Water Conference Matters

Marit Fosse — 2026-04-25T17:25:12Z

As global attention turns to water and climate in cities such as Geneva, Paris, and New York, one message is becoming increasingly clear: the challenge is no longer to place water on the international agenda—it is to deliver results.

Over the past decade, water has steadily risen as a global priority. The United Nations General Assembly's proclamation of the International Decade for Action “Water for Sustainable Development” (2018–2028) marked a turning point, providing a political framework to elevate water across development, climate, and environmental processes. That momentum culminated in the UN 2023 Water Conference, co-hosted by Tajikistan and the Netherlands, which mobilized an unprecedented level of engagement and launched the Water Action Agenda—now comprising more than 800 voluntary commitments.

Yet despite this progress, the global water crisis remains acute. Billions of people still lack access to safe drinking water and sanitation, while nearly a tenth of the world's population lives under conditions of high or critical water stress. Climate change is intensifying these pressures, disrupting hydrological cycles and increasing the frequency of floods and droughts.

The question now facing the international community is not one of awareness, but of implementation.
It is precisely at this juncture that the Fourth High-Level International Conference on the International Decade for Action “Water for Sustainable Development”, to be held in Dushanbe from 25 to 28 May 2026, takes on strategic importance.

Positioned between the UN 2023 Water Conference and the upcoming 2026 UN Water Conference, the Dushanbe Conference is designed to act as a bridge between commitments and delivery. It will provide a platform not only to review progress, but to identify practical solutions, strengthen partnerships, and accelerate action toward Sustainable Development Goal 6.

At the heart of this effort is the Dushanbe Water Process—a series of biennial conferences initiated by Tajikistan in cooperation with the United Nations. Over time, this process has evolved into a key mechanism for maintaining political momentum and ensuring follow-up to global water commitments. Previous conferences have already played a role in shaping international agendas, including contributing to the themes and outcomes of the 2023 UN Water Conference.

The 2026 edition builds on this legacy but reflects a clear shift in emphasis. While earlier phases focused on agenda-setting, the current phase is about translating commitments into measurable outcomes.
This focus is reflected in the Conference's structure. Rather than negotiating new frameworks, discussions will center on six priority areas aligned with global water governance: water access and human rights, economic development and the water-energy-food nexus, environmental sustainability, transboundary cooperation, the role of water in multilateral processes, and financing and investment.

These themes mirror the complexity of today's water challenges. Water is no longer simply a sector—it is a cross-cutting issue that links climate, food systems, energy, health, and economic development. Addressing it requires integrated approaches that move beyond institutional silos.

Equally important is the Conference's role in shaping future processes. It will serve as a preparatory platform for the 2026 UN Water Conference, helping to align priorities and inform its interactive dialogues. At the same time, it will initiate informal consultations for the 2028 UN Water Conference, which will mark the final review of the Water Action Decade and assess global progress.

This forward-looking dimension is critical. With the 2030 Agenda approaching its final phase, the international community is already beginning to consider what comes next. Water—given its centrality to sustainable development—is likely to play a defining role in any post-2030 framework.

Another distinguishing feature of the Dushanbe Conference is its multi-stakeholder character. Beyond government representatives, it brings together international organizations, financial institutions, scientists, civil society, and the private sector. Dedicated forums for youth, women, indigenous communities, and other groups aim to ensure that water governance is both inclusive and grounded in real-world experience.

This approach reflects a broader lesson from recent years: water challenges cannot be addressed by governments alone. They require coordinated action across sectors, disciplines, and levels of governance.

The Conference also places strong emphasis on tracking progress. By providing a platform to report on commitments under the Water Action Agenda, it helps address one of the persistent weaknesses of global processes—the gap between pledges and implementation.

At the same time, the broader environmental context cannot be ignored. The International Year of Glaciers' Preservation 2025 and the launch of the Decade of Action for Cryospheric Sciences have highlighted the deep interconnections between climate and water. Glacier retreat, in particular, is altering river systems and water availability in many regions, reinforcing the urgency of integrated approaches.

In this regard, institutions such as the World Meteorological Organization and UNESCO play a critical role in strengthening the scientific basis for decision-making. Their work underscores the importance of linking science with policy—an objective that is increasingly reflected in global water governance.

Ultimately, the significance of the 2026 Dushanbe Water Conference lies not in its format, but in its timing.
It takes place at a moment when global awareness of water challenges is high, political commitments are in place, and institutional frameworks are evolving. What is needed now is acceleration—turning commitments into action, and action into impact.

Whether the international community can meet this challenge will depend not only on high-level declarations, but on the ability to sustain cooperation, mobilize resources, and implement solutions at scale.
In that sense, Dushanbe is more than a conference venue. It is a test of whether multilateralism on water can move from ambition to delivery.

Because ultimately, the future of water governance will not be defined by what is agreed—but by what is achieved.

Jack Lang, la culture comme rempart - de la Fête de la musique à ALIPH, - le combat d'une vie pour préserver la mémoire du monde

Marit Fosse — 2026-04-25T15:09:52Z

En France, terre de culture, certaines figures marquent durablement le paysage public par leur engagement. Pour elles, la culture n'est ni un supplément d'âme ni un discours convenu : elle est une nécessité, une action. André Malraux et Jack Lang, anciens ministres de la Culture, incarnent cette vision où la politique se nourrit de création. Et cette idée n'appartient pas seulement au passé : elle continue de vivre, de s'exprimer, de s'engager dans le présent. C'est dans cet esprit que nous rencontrons Jack Lang.

À Paris, en ce jour de printemps, la ville est en effervescence. « Le Printemps des poètes 2026 » bat son plein, les expositions se multiplient, et l'on inaugure « Byblos, cité millénaire du Liban ». Dans le même temps, l'Alliance internationale pour la protection du patrimoine (ALIPH) annonce la création d'un fonds d'urgence pour sauvegarder le patrimoine libanais menacé par la guerre. C'est au cœur de cette actualité vibrante que s'inscrit notre échange avec Jack Lang.

Dans ce moment suspendu, entre célébration et inquiétude, la parole de Jack Lang résonne avec une intensité particulière. Il parle vite, comme si le temps lui échappait. Ou comme s'il cherchait à le devancer. Face à lui, les souvenirs se déploient sans effort, ministères, lois, festivals, combats. Mais derrière l'homme public, une constante s'impose, presque une ligne de vie, la culture comme condition essentielle de l'humain. « Chaque œuvre d'art est un témoignage de l'humain », dit-il. Et tout semble tenir dans cette phrase.

D'où est née l'idée de créer ALIPH ?

L'histoire commence par un constat brutal : la disparition accélérée du patrimoine dans les zones de guerre. En 2015, Jean-Luc Martinez, alors président du musée du Louvre, remet au président François Hollande un rapport devenu fondateur « Cinquante propositions pour protéger le patrimoine de l'humanité ». Ce rapport était remarquable. Il posait un diagnostic clair : le patrimoine mondial était devenu une cible. Parmi ses propositions, la création d'un fonds international capable d'intervenir rapidement sur le terrain. « Il ne suffisait plus de constater. Il fallait agir. Et agir vite. » À l'initiative de la France et des Émirats arabes unis, l'idée prend corps lors de la conférence d'Abou Dhabi en 2016. Quelques mois plus tard, le 8 mars 2017, naît ALIPH à Genève.

Agir vite, agir juste

Jack Lang est chargé de transformer l'intuition en structure.
« Nous avons imaginé une organisation légère, capable d'intervenir immédiatement. » À ses côtés, Mohamed Khalifa Al Mubarak. Ensemble, ils conçoivent un dispositif inédit. Pas de lourde machine. Pas de lenteur administrative. « Je n'aime pas les grandes armées. » Trois collaborateurs. Un été de travail. Et une série de déplacements pour mobiliser des financements à travers le monde. Quelques mois plus tard, les bases sont posées.

Genève, ou la neutralité comme principe

Le siège est établi à Genève. « Ni Paris, ni Abou Dhabi. Une ville neutre, fidèle à une tradition humanitaire ». Installée dans des bâtiments liés à la Croix-Rouge, ALIPH s'inscrit d'emblée dans une géographie symbolique.

Une gouvernance internationale

La fondation est présidée à ses débuts par Thomas S. Kaplan. Jack Lang en devient le vice-président. « J'ai accompagné le lancement. Puis j'ai estimé que d'autres devaient poursuivre. » Aujourd'hui, la présidence est assurée par Bariza Khiari, aux côtés du directeur exécutif Valéry Freland. « Ce sont eux qui portent désormais cette mission ».

Une œuvre collective en mouvement

Dès ses débuts, ALIPH mobilise États, fondations et mécènes. Une levée de fonds organisée au Louvre rassemble des personnalités internationales, dont le prince Badr bin Abdullah bin Farhan Al Saud. « Nous avons voulu passer immédiatement à l'action. » Aujourd'hui, l'organisation agit en zones de conflit, mais aussi face aux effets du changement climatique. Une exposition consacrée à ALIPH est d'ailleurs en préparation à l'Institut du monde arabe, sous la direction d'Élodie Bouffard.

Ce que l'on perd quand tout disparaît. Que perd l'humanité lorsque le patrimoine disparaît ?

Jack Lang ralentit. « Toute œuvre d'art est un témoignage de l'humain ». Ce qui disparaît, ce ne sont pas seulement des pierres ou des objets. Ce sont des mémoires. Des racines. Des langues silencieuses. « Quand un site est détruit, c'est une part de notre humanité qui s'efface. »

L'art peut-il sauver le monde ?

« Non ». La réponse est nette. Puis, vient la nuance : « Mais il est indispensable. » Dans un monde qu'il décrit comme « bouleversé », marqué par les violations du droit international, l'art devient une forme de résistance. « Le non-respect du droit, c'est toujours le début du désordre. »

Trafics et prédations

Le patrimoine est aussi menacé par des circuits clandestins.
« Il existe un trafic illicite considérable, notamment en temps de guerre. » ALIPH agit également pour sécuriser les œuvres et soutenir les professionnels du patrimoine.

Une culture pour tous. Peut-on parler d'un affaiblissement du niveau culturel ?

Jack Lang refuse les généralisations. « Il y a des fragilités, oui. Mais regardez ce qui a été construit. » Partout en France, un maillage culturel dense s'est développé : théâtres, écoles d'art, bibliothèques. « Dans les quartiers populaires, des milliers de jeunes font du théâtre, du cinéma, de la danse. C'est une transformation profonde. »

Le livre comme rempart

Il revient sur l'une de ses réformes majeures : le prix unique du livre. « Sans cette loi, les supermarchés auraient dominé. Le livre serait devenu un produit comme un autre. » Bibliothèques publiques et librairies indépendantes forment, selon lui, un équilibre vital.

Abolir les frontières entre les arts

« Il n'y a pas d'arts majeurs ou mineurs. » Cirque, cinéma, théâtre, photographie : toutes les formes de création méritent reconnaissance. « La culture est un tout ».

L'école, premier lieu de culture

« Le premier ministère de la culture, c'est l'éducation. » Sous le gouvernement de Lionel Jospin, il lance un vaste plan d'éducation artistique, avec notamment Claude Mollard, expert en ingénierie culturelle, « Il fallait que chaque enfant rencontre l'art. »

La lumière du Sud

Son regard se fait plus intime. « Très jeune, je suis parti seul découvrir les pays dont parlaient les livres. » Italie, Grèce, Égypte, Liban. « Il y a la lumière du Sud. Une lumière qui transforme tout ».

Le Nord comme idéal

Il évoque aussi les pays scandinaves, leur modèle social, et la figure de Olof Palme. Le cinéma d'Ingmar Bergman, plus sombre, plus introspectif, complète cet imaginaire.

Les langues, clés du monde

Jack Lang confie son regret de ne pas avoir pleinement maîtrisé l'arabe. « C'est une langue magnifique, mais exigeante. » Il plaide pour un apprentissage précoce : « L'oreille est à son apogée avant douze ans. Il faut apprendre tôt. »

Vous êtes un créateur, un intellectuel…

Patrimoine en péril, art en résistance, d'où vous vient cette intuition face au chaos du monde ? Il sourit, presque gêné.
« Oui, je fonctionne à l'intuition ». Les idées viennent, simplement. Sans calcul. Sans stratégie apparente. La conversation s'achève doucement. Dans la lumière déclinante, Jack Lang parle encore de voyages, de langues, de paysages. Du Sud, surtout. De cette lumière qui éclaire les pierres, les visages, les œuvres. Et peut-être, au fond, les consciences. Chez lui, la culture n'est jamais un discours. Elle est une manière d'être au monde. Une exigence. Une transmission. Un lien. À travers les institutions qu'il a créées, les politiques qu'il a portées, les élans qu'il a initiés, se dessine le parcours d'un homme qui aura consacré sa vie à défendre une idée simple et pourtant essentielle : la culture comme bien commun. Comme mémoire. Comme lumière à préserver.

Paris, avril 2026
Fatima Guémiah et Marit.