Qatar’s decision to ban beer sales at World Cup stadiums was generally met with sympathy by fans on the Doha corniche on Friday (November 18).
Organisers of the tournament made the unexpected announcement after previously saying there would be opportunity to purchase Budweiser – FIFA’s beer partner – during matches.
Supporters who spoke to Reuters were understanding of the decision.
“I think we should enjoy the game with or without it, in the end it is a party for everyone,” said Omar Lopez, an Ecuador fan. “I think if they did it has something a lot to do with their religion and I respect that. Everyone is going to enjoy the game with or without it.”
A Qatari national who only gave his name as Saqr said: “You need to respect our tradition as alcohol is prohibited in Islam, so you cannot drink in front of Islamic people so we need people to respect our culture, but we respect their culture also, so we make some specific places, there you can drink a beer.”
However Nahir Nieto, from Argentina, insisted alcohol was a World Cup essential.
“You share beers with friends, with family when you are happy,” she said. “And Argentina is very happy today because we are at a World Cup, we really want to win so (beer) is unmissable. It is like a bottle of water when you are in the middle of the desert. For sure, we had the idea there would be beer. I am not sure what is going to happen.”
The reversal permits World Cup sites to sell only non-alcoholic beverages, which represents a reversal of an agreement that approved international sponsor Budweiser to sell at all events.
“Following discussions between host country authorities and FIFA, a decision has been made to focus the sale of alcoholic beverages on the FIFA Fan Festival, other fan destinations and licensed venues, removing the sales points of beer from Qatar’s FIFA World Cup 2022 stadium perimeters,” FIFA said on Friday.
Approved “fan zones” near the stadium can still sell alcoholic beverages. Fans found attempting to bring their own alcohol into stadiums will be barred from the game and tournament.
One-day event to showcase 110 decorated manhole covers from across Japan
FRIDAY, NOVEMBER 18, 2022
Manhole covers are everywhere and many people just walk by them on the street without even thinking about them. Increasingly in many parts of Japan, however, artistically designed covers are making pedestrians stop in their tracks for a closer look.
A one-day free event showcasing 110 such covers from all across Japan will be exhibited at the 10th Manhole Summit in Tokorozawaon Nov. 19, just north of Tokyo in Saitama Prefecture.
This “street art” has been attracting attention from around the world. By drawing visitors to the event to see the variety of designs on manhole covers, many of which are often region-specific, the organizers aim to promote understanding of sewage systems.
The theme this year looks to convey the cool aspects of manhole covers, with the largest number ever displayed for the Manhole Summit.
Two specially made manhole covers featuring the anime “Mobile Suit Gundam The Origin,” which were created to commemorate the 70th anniversary of Tokorozawa’s incorporation, will be among the must-see covers on display. The event will also include a discussion on decorated manholes, a stamp collection challenge and free distribution of Gundam manhole cards in English.
The venue, Tokorozawa Sakura Town, is on the site of the city’s former sewage treatment facility.
Fukuoka Prize laureate Danny Yung brings his latest stage work, plus a conference, to Bangkok Theatre Festival this weekend.
For those who have read The Nation throughout these years, Hong Kong stage director, designer and cultural activist Danny Yung is already a familiar name. For example, our National Artist Patravadi Mejudhon performed in his “Book of Ghosts” at Hong Kong Arts Festival 2009, B-Floor Theatre’s Ornanong Thaisriwong and 18 Monkeys Dance Theatre’s Jitti Chompee participated in his “One Table Two Chairs” platform.
Others may recall his exhibition “Tian Tian Xiang Shang: Arts Is Learning Learning Is Arts at Bangkok Art and Culture Centre three years ago on which Bangkok Post wrote, “Anyone with a voice can contribute to the BACC’s experimental 8th floor installation.”
If none of these rings any bells, here’s part of the Fukuoka Prize citation for the co-artistic director of Zuni Icosahedron: “As a stage director, dramatist and performance artist, Mr. Danny Yung (Rong Nianzeng) has created more than 100 experimental theatrical works, and also has dedicated himself to the areas of international exchange, cultural policies and art education.
He has contributed greatly to the development of Asian arts and culture through his diverse projects, which have created connections between people across time and space, between Asia and the rest of the world, and between traditional culture and modern art.”
Thanks to the support by Hong Kong Economic and Trade Office (HKETO) and the cooperation with World Performances @ Drama Chula program, Yung’s latest production “Interrupted Dream” is part of Bangkok Theatre Festival 2022.
For this work, he was inspired by the tenth scene of Tang Xianzu’s “Peony Pavilion”.
Yung wrote, “The scene provided us significant rooms for imagination and the vicissitudes of life presented in and outside the theatre. Among the variety of symbols and narratives, we went with the flow to look for individual and collective imaginative space. ‘Peony Pavilion’ was banned several times 450 years back.
Every time it was restaged, it turned into even more indulged and plaintively showy. Now, all of us, please look at this theatre, look at its confines and taboos, and attend to the way we see and be seen in ‘Interrupted Dream’”.
Two months ago, “Interrupted Dream” was the opening work for the InlanDimensions International Arts Festival in Poland. Rossella Ferrari, China studies professor at University of Vienna, wrote that the play is about “boundaries and transgressions—between wake and dream, passion and duty, innocence and guilt, the living and the dead, corporeal reality and ghostly appearances.”
Having studied Yung’s works for years, she noted, “Yung has never been afraid of boundaries—and of transgressing them” and that “this work is no exception.”
“Contemporary history, invoked with varying degrees of allusion in previous iterations of the series, takes centre stage in this most recent version. Yung’s newest production crosses what is, arguably, the ultimate boundary in current public discourse in Hong Kong, as it opens with footage of the 2019/20 Anti-Extradition Law Amendment Bill protests and explicit visual references to technologies of surveillance.”
As Yung’s stage works are also known for their visual elements, Ferrari pointed out, “Emblematic of the production’s media design, a thin red line keeps appearing and disappearing on the back screen throughout the performance as if to signal a boundary to a forbidden zone, which the six performers onstage must negotiate with and push back constantly, almost ritually.
Likewise, fast-multiplying red squares moving rapidly across the screen frame the faces of the protesters in the opening video footage – in an obvious nod to the ubiquity of facial recognition systems and control mechanisms during the protests, as well as throughout the COVID-19 pandemic.”
Bangkok audiences will soon—to be more precise, tonight (November 18) and tomorrow 7pm at Sodsai Pantoomkomol Centre for Dramatic Arts—find out how this is relevant to what happened here in the past few years.
Concurrently is an international conference “Toward a Human Resource Development Initiative for Cultural Exchange”, conducted entirely in English and with hybrid (on-site and online) mode, with Yung and Surapone Virulrak, president of the Royal Society and former vice president of Chulalongkorn University as keynote speakers.
Others who will share their experience and thoughts include National Artist Janaprakal Chandruang; Rachel Cooper, Asia Society’s director of global performing arts and special cultural initiatives; Yusaku Imamura, Tokyo University of the Arts’ vice president; and Hans-Georg Knopp, former secretary general of the Goethe Institut headquarters. It’s on Saturday and Sunday, November 19 and 20, 2 to 5pm at Maha Chulalongkorn building. There’s no registration fee.
Siam Piwat joins forces in APEC 2022 to drive sustainability to the economy, society, and environment, bringing pride to the Thai nation
FRIDAY, NOVEMBER 18, 2022
Bangkok (November 18, 2022) – Siam Piwat Group is a leading property and retail developer, owner of global destinations including Siam Paragon, Siam Center, and Siam Discovery, and a joint-venture partner of ICONSIAM and Siam Premium Outlets Bangkok.
As an Official Communication Partner of the 2022 Asia-Pacific Economic Cooperation Summit (APEC 2022), Siam Piwat is joining forces to welcome delegates from 21 economies members and members of the press around the world. The partnership is a great opportunity for Siam Piwat to support the Thai government and be a part to reaffirm confidence towards Thailand, which pave ways to increasing investment and business opportunities, especially in tourism and hospitality businesses.
To welcome delegates from around the world, Siam Piwat is showcasing its business approach to sustainability at APEC Showcase Green Press Center, Queen Sirikit National Convention Center from November 14-19, 2022. Through the concepts “the Universe of Value,” “Shared Value,” and “Co-creation,” Siam Piwat has delivered experience beyond expectations both on physical and digital platforms, creating an ecosystem to achieve mutual success as part of its “Collaboration to Win” strategy and fostering sustainable value in every process and business operation to create mutual growth for the people, the environment, and economy.
Within the APEC Showcase Green Press Center, Siam Piwat’s showcase’s most prominent feature is a golden woven structure reminiscent of APEC’s Chalom logo, or a woven bamboo basket with the information displayed on a large 360o digital screen recounting the achievements and successes of Siam Piwat over the past 63 years as a developer of world-class destinations that have accomplished a global top-of-mind position among the public, customers, and business partners. The booth also delineates Siam Piwat’s business philosophy in fostering mutual growth sustainably in line with APEC 2022’s main theme “Open. Connect. Balance.”
Siam Piwat’ s booth also features demonstrations of Thai handicrafts from ICONCRAFT and Sook Siam that reflect the Thai identity. Held in collaboration with communities and various sectors, featuring different Thai arts and craft each day.
On November 16, 2022, ICONSIAM was honored to co-host and be the venue for the Welcome Reception for the APEC CEO Summit Thailand 2022. Attendees discovered the impressive experience where the river-front River Park area was transformed into a courtyard with Traditional Thai dance performance and puppet theatre show which is a cherished cultural heritage of Siam. Participants also enjoyed the taste of traditional delicacies from four regions of Thailand, emphasizing food as one of the country’s key ‘soft power.’ Featured also were Thai Arts and crafts demonstrations.
On November 17, 2022, Siam Paragon was chosen as the venue for Gala Dinner, to show appreciation for over 1,000 delegates of APEC CEO Summit Thailand 2022. A special evening was held at Royal Paragon, 5th floor, Siam Paragon, which was beautifully designed as a banquet venue under the theme of “Connect the World.” The participants were greeted by performers of Khon which is a national performing art heritage. Showcased also were traditional Thai arts and crafts such as exquisite fruit carving, garland making, khon mask panting, potpourri making. The delegates also enjoyed the taste of authentic Thai food and magnificent performances.
Hosting APEC 2022 is an important agenda of Thailand and Siam Piwat Group is proud to be a part of this major event, presenting Thai identities to the world, delivering great impression and marking Thailand as a global destination – a must-visit and top-of-mind destination for people all over the world.
🇵🇪 #AHORA | Grave accidente en el Aeropuerto Internacional Jorge Chaves de Lima, Perú. Camión se cruza cuando un vuelo de LATAM estaba aterrizando. https://t.co/TrehY81HJq
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