United News of Bangladesh

Italian fishermen are trying to turn an environmental disaster into a business opportunity as they find new markets for invasive Atlantic blue crabs that have devastated clam and mussel farms in the Po River Delta. For two years, most of the crabs caught by fishermen were incinerated because Italians showed little interest in eating the species, which is blamed for destroying large numbers of prized Manila clams. But the strategy is now changing. Instead of destroying the crabs, fishermen are exporting them, helping some communities recover from huge financial losses caused by the invasion. The Polesine Fishermen's Cooperative Consortium saw its revenue fall by 75% to 15 million euros ($17 million) in 2024 and 2025. Its active membership also dropped from 1,500 to 850. “We needed to change strategy and create an opportunity from this disaster,” said Paolo Mancin, president of the cooperative. The new approach appears to be paying off. The consortium has sold every blue crab it has caught so far this year, eliminating the need to incinerate them. It expects revenue to reach 20 million euros ($23 million) this year, with crab sales accounting for most of the income. “Since we're going to have to live with these crabs, I hope they become an opportunity,” said fisherman Federico Zago. “I hope the market continues to grow.” The Atlantic blue crab has been present in the Adriatic Sea since at least the 1940s, likely arriving in ships' ballast water. However, its population remained relatively limited until 2023. Then its numbers surged dramatically. The crabs damaged fishing nets, consumed large numbers of mollusks and pushed aside the native green crab, a popular local delicacy. Experts say climate change helped create favourable conditions for the species. Rising water temperatures supported reproduction, while drought lowered water levels in the Po River, allowing more seawater to enter freshwater areas. The changing water conditions created an ideal environment for blue crabs, especially in lagoons and deltas where clam and mussel farms provided an abundant food supply. Italy launched an eradication programme in 2024 and paid fishermen to catch and incinerate the crabs. Over two years, the Polesine cooperative alone collected and destroyed nearly 2.3 million kilograms of blue crabs. But the programme had little impact because female blue crabs can produce up to 8 million eggs in a season. The government has since shelved the eradication effort. Scientists are also testing other ways to control the population. This summer, researchers at the University of Bologna released 150,000 baby octopuses into the Adriatic Sea, hoping they would prey on the crabs. However, experts remain doubtful that predators alone can control an animal with such a high reproductive rate. Meanwhile, fishermen are increasingly relying on exports. Every morning, fishermen unload large crates of live blue crabs, which are later steamed, frozen and packed for shipment to Sri Lanka. There, workers process the crab meat by hand before it is exported to other markets. The joint venture between Sri Lankan company Taprobane Seafoods and the Scardovari consortium produces several crab products, including claw meat, mixed meat and fillets. Only a small portion is currently returning to Italy. Still, blue crab remains far less profitable than the clam industry. Fishermen receive about 1.30 euros per kilogram for crab, compared with around 10 euros per kilogram for clams, which once generated about 90% of their income. Efforts are also underway to persuade Italians to eat the invasive crab. Most restaurants around Venice still avoid blue crab, partly because of the work needed to prepare it and its negative reputation. But the Yogi restaurant and bar in Porto Tolle, near the Po Delta, has fully embraced it. Owner and chef Stefania Marchesini, a former professional fisherwoman, now offers an all-crab menu featuring fried crab balls, creamed crab with polenta, soft-shell crab and other dishes. “At first, the customer is very skeptical. But then the reaction is completely positive, and they want to try the entire range of products,” she said. Marchesini is also processing blue crab for sale to other restaurants, although demand has remained limited. Despite the resistance, she believes attitudes will gradually change. “We are all angry because it invaded our seas,” Marchesini said. “But we also have to eat. Once people understand how it should be prepared, they will realize it is an excellent product.”

The constant movement, congestion and psychological pressures of life in Dhaka take centre stage in contemporary artist Kuntal Barai’s upcoming solo exhibition, Anatomy of Transit, opened recently at Plat-forms Gallery in Gulshan. The exhibition, featuring paintings, drawings and mixed-media works, explores the relationship between movement, infrastructure, urban pressure and the everyday experiences of people living in the rapidly changing metropolis. Running from August 15 to September 5, Anatomy of Transit examines how the systems and rhythms of the city shape the ways people move, wait, negotiate and survive within its increasingly dense urban environment. At the heart of the exhibition is Dhaka itself, portrayed not simply as a physical landscape but as a living organism in constant motion. In Barai’s visual interpretation, roads resemble arteries, intersections function like vital organs, while vehicles become symbols of an urban body that remains perpetually active yet frequently under pressure. Traffic, crowds, buildings, roads, bridges and fragmented spaces appear throughout the works, reflecting both the physical and psychological realities of navigating one of the world's most densely populated cities. The artist’s compositions bring together fragments of roads, vehicles, architectural structures, human figures and abstract forms, creating layered visual narratives that capture the density and fragmentation of contemporary urban life. While rooted in observation, Barai’s works move beyond documentary representation to explore movement as both a physical and metaphorical experience. The exhibition considers movement as a reflection of aspiration, displacement, uncertainty, routine and the constant negotiation between individual lives and collective urban existence. “Anatomy of Transit is not only about traffic or transportation. It is about the human condition within a city that is always moving,” according to the exhibition concept. “The exhibition asks how we navigate spaces that are constantly changing and what happens to our sense of identity, memory and belonging within that movement.” Through the exhibition, everyday elements of urban travel take on new meanings. A road becomes more than a route, a traffic signal represents a moment of pause, a vehicle becomes a temporary space of isolation, while an intersection turns into a point where countless individual narratives meet. The exhibition ultimately presents Dhaka as both infrastructure and lived experience, revealing the energy, contradictions, vulnerabilities and aspirations embedded within the city's constant movement. Kuntal Barai is a contemporary artist whose practice engages with urban environments, social realities and the visual complexities of everyday life. Through painting, drawing and mixed media, he explores the relationship between people and the rapidly transforming spaces they inhabit. Anatomy of Transit will remain open for the visitors till September 5 from 11 am to 8 pm at Plat-forms Gallery, House 12/B, 5th Floor, Road 55, Gulshan 2, Dhaka.

September marks the transition from summer to fall, and while many summer flowers are still blooming, gardeners are beginning to turn their attention to one of the season's most popular plants — the chrysanthemum, commonly known as the mum. Most mums sold in ready-made containers at garden centres are traditional “cushion” mums. These compact, rounded plants are popular for their colourful flowers, but gardeners have many other varieties to choose from. Around 40 species of wild chrysanthemums are recognised worldwide. Over the centuries, breeders have developed thousands of different varieties, making chrysanthemums one of the largest and most diverse groups of flowering plants. The National Chrysanthemum Society classifies mums into 13 categories based on flower shape. Although some types require special care and are mainly grown for exhibitions, many attractive varieties are suitable for home gardens. Perennial mums can return every yearMany chrysanthemums are perennials and can bloom again year after year if they are planted early enough to allow their roots to become established before winter. Gardeners should, however, be careful when buying florist mums, often sold in foil-covered pots at supermarkets and other stores. These are usually grown as temporary fall decorations and may not survive the winter. Checking the plant label is important to see whether a variety is suitable for the local climate and growing zone. Perennial cushion mums are among the easiest to find. Their compact, rounded shape is covered with small, double flowers in colours ranging from white and yellow to pink, purple, red, orange, bronze and rust. They usually begin blooming in late summer or early fall and can continue flowering for four to six weeks. Most cushion mums grow well in hardiness zones 5 to 9, while some varieties can survive in colder areas as low as zones 3 or 4. Other varieties can add something differentDaisy chrysanthemums have flowers that resemble daisies, with a flat centre surrounded by petals. Their stems often produce several blooms in colours including white, yellow, pink, lavender, orange, bronze and even two-tone combinations. Most varieties are suitable for zones 5 to 9, although cold-hardy types such as Mammoth can survive in zones as low as 3. Gardeners looking for something more unusual may consider Fuji, or spider, mums. Their long, narrow, tube-shaped petals curl at the ends, giving the flowers an appearance similar to spider legs. These mums can be harder to find and may be available mainly at specialist nurseries or through mail-order catalogues. Most are hardy to zone 5 and often begin blooming in early November, with flowers lasting between four and eight weeks. Homecoming, also known as Football mums, are among the largest and most striking chrysanthemum varieties. They became popular during the early and mid-20th century when their large blooms were commonly used in corsages for college homecoming events. Their flowers are large and densely packed, with petals that curve inward. These mums can be grown as perennials in zones 5 to 9 and are generally available from specialist nurseries or mail-order suppliers. With so many shapes, colours and varieties available, chrysanthemums offer gardeners plenty of ways to brighten their fall gardens beyond the familiar cushion mum.

More than 150 Italian artifacts at an exhibition in Tianjin have highlighted centuries-old cultural exchanges between China and Italy, showing how Chinese silk, porcelain and decorative motifs influenced European art and tastes. The exhibition, “Crown of Glory: 18th-Century Italian Court Treasures from the House of Savoy,” was jointly presented by the Tianjin Museum, Tianjin Digital Art Museum and Turin City Museum of Ancient Art in Palazzo Madama. It ran from Feb. 10 to Aug. 31. Rather than focusing only on Italian royal splendor, the exhibition explored mutual influences between Chinese and European craftsmanship. A French court gown featuring Chinese silk and embroidery reflects the popularity of “chinoiserie,” which became fashionable among European aristocrats and wealthy bourgeoisie by the mid-18th century. An ivory-colored men’s robe made with Chinese silk, weaving, block printing and hand painting also demonstrates the trend. Chinese porcelain, silk and lacquerware became increasingly popular in Europe during the 17th and 18th centuries, influencing art, fashion and interior decoration.

In China’s porcelain capital Jingdezhen, discarded ceramics are being transformed into new products, reviving a centuries-old tradition of reuse while supporting greener development. The brand XUN, meaning “recycling,” collects broken porcelain, then sorts, crushes and purifies it before reformulating and firing it into vases, planters, tableware and other products. Owner and co-partner Lan Lan said recycled pieces are safe and durable, while retaining porcelain particles that give finished products a unique look. XUN also uses sand-mold 3D printing to make larger decorative items. Its products are displayed at the China International Import Expo and Canton Fair and sell well in Europe and the Americas. Jingdezhen has reused ceramic waste for centuries. Broken porcelain, spent saggers and damaged kiln bricks were used to fill waterways, raise land and build walls and foundations. Ceramic waste was also placed beneath roads to help rainwater drain into underground channels.

Taxila Vidyalaya hosted a colourful children’s art festival in the capital on Saturday, bringing together young artists in a celebration of creativity, imagination and self-expression. The school campus came alive with the Art Festival 2026, themed “Culture Is the First Sunrise of Awakening”, organised by the social organisation 27 Dhanmondi in partnership with Tokshoshila School. Parents, teachers and invited guests gathered at Tokshoshila School in the capital on Saturday to witness young minds at work. Designed to nurture creativity, imagination and a love of the arts among children, the festival drew students from Grade One through Grade Ten, representing more than ten educational institutions across Dhaka.

Prince Harry and Meghan Markle have reportedly returned to the United Kingdom with their children, Archie and Lilibet, six years after stepping back from their roles as working members of the royal family. Their reported move has drawn widespread attention, but their journey to the UK has also made headlines, with reports saying the Duke and Duchess of Sussex spent around $120,000 on a private jet. According to Page Six, Harry and Meghan chartered a private aircraft through global private aviation company Planet 9. The reported hourly cost of the jet was about $12,000. With a flight from the United States to the UK taking around 10 hours, the total cost of the journey was estimated at approximately $120,000. The couple reportedly travelled with their son Archie, 7, and daughter Lilibet, 5, aboard a Bombardier Global Express XRS. The aircraft can carry up to 13 passengers and includes two bathrooms, five beds and space for several pieces of luggage. Reports said Harry and Meghan chose a private jet partly because they wanted to take their family dogs with them. The couple reportedly travelled with Pula, a black Labrador, and Mia, a beagle. Meanwhile, the family’s rescue chickens will reportedly remain at their home in Montecito, California, where they will continue to be cared for. According to reports, Harry and Meghan have decided to spend an extended period in the UK after living in California for several years. The Telegraph reported that the family plans to live in the Cotswolds region of central England and has enrolled Archie and Lilibet in a school in or near the area, with the children expected to begin classes in September. It remains unclear whether the move will be permanent. Reports suggest the couple will continue to keep their homes in California and Portugal. The reported return to the UK has also renewed attention on Harry's relationship with the royal family. While reports suggest he has improved his relationship with his father, King Charles III, he is still believed to have a strained relationship with his brother, Prince William, and William's wife, Catherine. Source: NDTV

A two-day Sultan Festival began in Narail on Friday marking the birth anniversary of SM Sultan, widely regarded as one of the greatest artists of the Indian subcontinent, with more than 200 children taking part in an art competition on the opening day. The festival has been organised by the SM Sultan Shishu Charu O Karukala Foundation on the Sultan Mancha premises of Narail Government Victoria College. Mostafizur Rahman Alek, administrator of Narail District Council, inaugurated the festival around 10:00am. More than 200 children participated in the art competition, depicting SM Sultan, natural landscapes, rural fairs, the Sultan Fair, the Liberation War and various other themes through their paintings. The organisers said the event was arranged to introduce children to Sultan’s artistic vision and works and encourage them to develop an interest in art. The festival features an exhibition of paintings by children, a discussion on Sultan’s life and works, and a cultural programme in addition to the art competition. Among others, Narail Government Victoria College Principal Prof Haider Ali Dewan, District Primary Education Officer Md Jahangir Alam, SM Sultan Charu O Karukala Foundation President Sheikh Hanif, retired professor and artist Bimanesh Biswas of the Fine Arts Department of Khulna University, lecturer of SM Sultan Charu O Karukala College Anadi Bairagi, Sultan Memorial Museum Curator Tandra Mukherjee, Assistant Curator Mehedi Hasan Rana and Sultan admirers attended the inaugural programme. The festival will conclude on Saturday. The 103rd birth anniversary of internationally acclaimed painter SM Sultan was observed on August 10.  

The pain of war — death, captivity, long waits and the longing to return home — has taken centre stage in Kyiv through a new adaptation of Homer’s ancient epic The Odyssey. The play, titled “Odysseus, Maeotis,” is set to premiere in the Ukrainian capital, retelling the story of the legendary Greek hero through the experiences of Ukrainians living through Russia’s war. The production features professional actors alongside active-duty Ukrainian soldiers, including serviceman Daniil Mireshkin, who plays Odysseus. Mireshkin said the combination of ancient mythology and modern war allows the production to explore the importance of returning home — whether it is soldiers returning to civilian life, occupied territories returning to Ukraine, or Ukrainians reconnecting with their national identity. The premiere has been delayed several times because of repeated Russian attacks on Kyiv. Staged at the Ivan Franko National Academic Drama Theater, the production presents a dark and disturbing vision of war. The mythical monsters from Homer’s story, including the Cyclops and the sirens, have been replaced with buzzing drones and robotic war machines. The story follows two parallel journeys — Odysseus’ difficult path home and the painful wait of his wife Penelope. Director Ivan Uryvskyi said the play was written from scratch, with only the central idea of Odysseus’ return home taken from Homer’s original epic. The title also refers to Maeotis, the ancient Greek name for the Sea of Azov. The sea borders Mariupol, the Ukrainian port city captured by Russia after a devastating siege in 2022. The play draws on the experiences of defenders of Mariupol from the Azov brigade, now part of Ukraine’s 1st Corps Azov under the National Guard. Mireshkin and playwright Oleksii Dorychevskyi are members of the corps. Dorychevskyi spent a year interviewing former prisoners of war while developing the production. According to the corps, about 600 Azov servicemen remain among thousands of Ukrainians held in Russian captivity. For actress Daryna Leheida, who plays Penelope, the character reflects the experiences of countless Ukrainian women waiting for their loved ones to return from the war. She said the story is about women who continue to wait, hope and believe, even as they struggle with feelings of helplessness and despair. It also reflects occupied Ukrainian land, children and families waiting for reunion, and the heavy emotional toll of war.

The 50th death anniversary of national poet Kazi Nazrul Islam was observed on Thursday. Nazrul, revered as Bidrohi Kobi (a rebel poet) for his activism for political and social justice, breathed his last in Dhaka on 12th Bhadro of Bangla calendar year 1383 (August 29, 1976) at the age of 77. He was buried with full state honours beside the Dhaka University (DU) Central Mosque. Nazrul produced a large volume of poetry and music with themes that included religious devotion and spiritual rebellion against all sorts of oppression. Different socio-cultural and political organisations arranged elaborate programmes on the occasion. Television channels aired special programmes on his works and life to observe the day. The programmes started with Qurankhwani after Fajr prayers at the DU Central Mosque by different organisations while a discussion was held at the campus. Later, DU teachers and students and other political and socio-cultural organisations placed wreaths at the grave of the national poet in the morning. Bangladesh Shilpakala Academy organised a two-day preogramme marking the death anniversary of the national port. Kazi Nazrul Islam was born on May 24 in 1899 at Churulia village in Asansol subdivision of Burdwan district of West Bengal, India. Following Bangladesh’s independence, Nazrul was brought to Dhaka with his family on May 24, 1972, with special permission from the government of India. He was given the status of National Poet, provided with state accommodation in Dhanmondi, awarded an honorary D. Litt. by Dhaka University in 1974, and granted Bangladeshi citizenship in 1976. The same year, he was honoured with the Ekushey Padak. Meanwhile, BNP acting Secretary General Ruhul Kabir Rizvi Ahmed on Thursday said National Poet Kazi Nazrul Islam was an inspiration behind all major movements in Bangladesh from the country’s independence war to the 2024 mass uprising. He made the remarks after paying tribute to Kazi Nazrul Islam at the poet’s grave on the Dhaka University campus in the morning.