UN special representative to Libya calls for an “investigative mechanism” to be established for human rights abuses.

NEW YORK: The United Nations Security Council is considered a proposal to reopen a border crossing from Iraq into Syria for six months to allow the delivery of humanitarian aid to help millions of Syrian civilians combat the coronavirus pandemic.
The 15-member council in January allowed a six-year-long cross-border aid operation to continue from two places in Turkey until July 10, but dropped crossing points from Iraq and Jordan due to opposition by Syrian ally Russia and China.
Germany and Belgium gave the council a draft resolution on Wednesday that would extend approval for the Turkish border crossings for one year and reopen the Iraq crossing for six months.
The draft text also gives the council an option to extend the approval for the Iraq crossing for another six months based on an evaluation of the impact of the coronavirus in Syria by UN chief Antonio Guterres later in the year.
In December Russia and China vetoed a draft resolution that would have authorized all three crossing points for one year. A resolution needs nine votes in favor and no vetoes by Russia, China, the United States, France or Britain to pass.
Western diplomats have said the closure of the Iraq crossing cuts off 40 percent of medical aid to northeastern Syria.
“Failure to renew cross-border aid will cause unnecessary suffering and deaths, and COVID-19 could spread like wildfire. Surely Russia can’t want that,” said Louis Charbonneau, U.N. director for Human Rights Watch.
Last month US Ambassador Kelly Craft pushed the council to reauthorize aid deliveries from Iraq. However, Russian UN Ambassador Vassily Nebenzia said: “Do not waste your time on efforts to reopen the closed cross-border points.”
A crackdown by Assad on pro-democracy protesters in 2011 led to civil war, with Moscow backing Assad and Washington supporting the opposition. Millions of people have fled Syria and millions are internally displaced. 

CAIRO: Kuwait’s cabinet decided on Thursday to eases curfew hours to start from 7 p.m. until 5 a.m. effective June 21, Kuwait TV citing government spokesman’s live conference.
The cabinet also decided to extend working with the first phase in a 5-phases plan to go back to normal life for one more week, also total lockdown on Hawally area has been lifted.
Kuwait will also allow traveling for patients with critical health conditions and students who might be missing exams with applying needed precautionary measures.

FUJAIRAH: Off the east coast of the United Arab Emirates (UAE) coral freshly removed from a reef is cut into pieces and replanted by a group of divers in the waters below.
The divers, from the Fujairah Adventure Center, are building artificial reefs they hope will spur a resurgence in sea life degraded over the years by climate change and development.
The small team and other volunteers have planted more than 9,000 corals over about 600 square meters in the past year. Within five years, they hope to cover 300,000 square meters with 1.5 million corals.
“It’s a fertile environment for coral reefs, and this diversity has started spreading and has helped bring back sea life,” diver Saeed Al-Maamari told Reuters.
Reefs, developing over thousands of years, are crucial to the survival of many marine species, while also acting as a barrier against waves that can help reduce erosion.
As elsewhere, UAE reefs have suffered substantial degradation over the past two decades, mostly due to climate change but also because of land reclamation.
Artificial reefs can help restore reefs that become a habitat for marine life and help combat coral bleaching and other degradation caused by climate change.
But it could take 10-15 years until meaningful levels of coral begin to grow naturally on artificial reefs, marine biologist John Burt told Reuters.
“This is a program that is going to take a considerable amount of time before it is able to demonstrate efficacy in terms of rehabilitating a coral reef,” said the associate professor at New York University’s Abu Dhabi campus.
The project in Fujairah, one of the poorer parts of the oil-rich Gulf Arab state, has government support with technical expertise provided by the Ministry of Climate Change and Environment.
Fujairah is where most of the country’s few popular diving spots are located and officials hope the reef will help foster sustainable fisheries and eco-tourism.
“We’re recreating the coral reef environment and system, which will become colonized with fish and increase biodiversity and become a habitat for fish species that are threatened and become a nice environment for diving tourism,” said Ahmed Al-Za’abi, director of the ministry’s marine environment research department.

DUBAI: In a market often misperceived as solely lucrative and consumption-dependent, a new and refreshing wave of local creativity is shaping the design scene and enriching it with meaningful contributions.

In the process, indispensable pursuits such as sustainability and upcycling are finding their rightful place in the creative landscape.

I was born in the UAE, where I initially studied architecture before venturing into fashion and luxury brand management in France.

Since then, I have collaborated with former design classmates in a range of design disciplines and projects. What I have noticed over the past few years are some interesting patterns or rather, values, emerging in the creatives’ visions and work.

We have slowly moved from product to purpose, and from selling to inspiring or even creating an impact.

The Dubai-based Saudi label “Abadia” refer to itself as “ethical luxury.” The family-owned brand, co-founded by Shahd Al-Shehail and her aunt, Naeema Al-Shehail, aims to empower and support Saudi women artisans by integrating traditional crafts such as sadu (a weaving technique) and naqda (a technique of pulling thin metallic threads through cloth) in their designs.

Mochi, a fashion label founded by Dubai-based Palestinian designer Ayah Tabari, collaborates with artisans from different countries with collections dedicated to the craftsmanship of those communities — from Budapest to Marrakech.

French-Tunisian artist eL Seed, who became known worldwide for mastering the art of “calligraffiti” (a hybrid of calligraphy and graffiti) and dynamic collaborations with brands such as Louis Vuitton, is known to work with local communities in the making of his big canvases.

In his studio stands the TEDx award and a large coffee-table-like book titled “Perception.” Both point to the story of eL Seed’s collaboration with the marginalized Zaraeeb community of garbage cleaners in Cairo, who have collected and recycled garbage for decades using a sophisticated and efficient system.

This collaboration is possibly the highlight of his growing career, where he created something impactful and out of scale, covering nearly 50 buildings, while highlighting and celebrating the kindness, generosity and contributions of a hard-working, and almost invisible, community.

Though not yet deeply integrated into the local design thinking and practice, sustainability is, nevertheless, beginning to make its mark.

Sharjah-based Reemami minimizes waste from design to manufacturing and upcycles fabric waste into accessories, while advocating for local production in Sharjah.

Upcycling in art and design is also becoming increasingly common. Dubai-based artist Patricia Millns (FRSA, Fellowship of the Royal Society of Arts) integrates recycling as a key practice in her work.

I curated an exhibition, “A Second Skin,” in 2016 featuring two artists: Patricia Millns and Una Burke. Patricia had created large site-specific sculptures in crisp white hanging from the ceiling, unfolding on the floor like the roots of a gigantic tree.

The work was made out of recycled tea bags and explored a common theme in Patricia’s work — the spaces in between. From the original exhibition in the Cartel in Dubai, the exhibition traveled to Paris Sorbonne Abu Dhabi and was part of the Arab Knowledge Forum.

The sculptures were suspended from the dome in the heart of the atrium of Sorbonne Abu Dhabi campus building.

In a recent phone call with Patricia, she said: “Working from home was great during the lockdown.” She had to use what she found (at home).

She decided to use doilies and develop her work centered around the idea of “dhiyafa,” or hospitality, using her signature paper mandalas. Her latest work uses wastepaper from a local factory. In a world of excess, as she describes it, the purity of her work has a monochromatic simplicity.

The work of African artist El Anatsui is well-known for upcycling bottle caps into large undulating canvases with a shimmering appeal.

The Ghanaian artist refers to his work as “metallic fabrics” where he references the liquor industry and the slave trade in Africa. The last El Anatsui tapestry I saw was displayed at the 2019 Abu Dhabi Art Fair in London’s October Gallery.

The upcycled bottle caps, challenged against their nature, were crushed to create smooth undulating waves in an installation that was one of the most expensive artworks in the fair, offered at around $1 million.

The creative community in the UAE is rather small. Enabled by the clusters system in Dubai such as Alserkal Avenue and the Dubai Design District d3, creatives have been grouped under a large physical umbrella and given a common address. However, the size of the community has been not been an impediment in leading to numerous collaborations between different disciplines.

Dubai-based jewelry brand Bil Arabi, by Nadine Kanso, known for its signature Arabic font in bold jewelry design, has several collaborations to its name.

How did the collaborations start, I asked Nadine over the phone, as meeting in person is not possible during the current climate.

“They approach me most of the time,” she said. She named collaborations over the years — from a photo exhibition with Louis Vuitton in 2009 to aligning with local creative players such as haute couture designer Rami Al-Ali and the Iwan Maktabi carpet gallery, which co-conceived a hanging carpet commemorating the Year of Zayed in the UAE.

On the benefits of partnering, Nadine told me how her jewelry brand could have expanded to other mediums, but it called for a bigger responsibility in securing funding and redesigning structures. She prefers instead to collaborate with creative minds who align with her ethos, she said.

Earlier this year, we witnessed an unprecedented collaboration at the international level between luxury jewelry brand Bulgari and Sheikha Fatima bint Hazza Al-Nahyan, a member of the Abu Dhabi royal family and a cultural patron running her own cultural foundation.

The collaboration, which entailed two years of co-designing work between Rome and Abu Dhabi, gave birth to Jannah, a limited-edition high jewelry and fine jewelry collection reflecting a spirit of tolerance and understanding between two cultures with the hashtag #FromRometoAbuDhabi

What’s next for the UAE design scene?

As the industry experiences a massive struggle due to the global COVID-19 crisis, it seems that the only way forward is to focus on values that will forge a long-lasting relationship with today’s conscious consumers.

No doubt the challenge is great given the job losses and income shrinkage in the region but the future, despite the gloominess, may as well be promising with brands narrating successful, and purposeful, stories of the Arabian region.

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May Barber is a brand management consultant, fashion entrepreneur and art curator based in Dubai @thecartelae