Some traditions are preserved because they are cherished, and others because someone refuses to let them disappear. For many years, the intricate appliqué technique in Tarada, Gujarat, was gradually fading away. Families that had practiced this craft for generations could no longer rely on it as a source of stable income.
However, the situation changed thanks to the efforts of one determined master. What initially started as a search for buyers turned into one of the largest women's appliqué collectives in the region. This collective has become a movement that provides livelihoods for hundreds of women, sustains a tradition, and opens up previously unavailable opportunities.
As the collective grew, so did its ambitions, leading to the need to improve market access, diversify products, and create systems for sustainable development. With the support of Flipkart Foundation and AIACA, the collective entered a new phase of growth.
The Isfahan Department of Cultural Heritage, Tourism, and Crafts has started digitizing approximately 2000 documents and records stored at the province's cultural heritage documentation center, an official representative announced on Saturday.
Seyed Ruhollah Seyyed al-Asghari, Deputy Head of the Department of Cultural Heritage, specified that the first batch of about 2000 documents and other materials was transferred to the branch of the National Library and Archives of Iran for the digitization process.
This initiative aims to protect the information contained in these records from potential damage and to expand access to them for researchers, according to a report by the Iranian news agency IRIB.
The Cultural Heritage Documentation Center and the Isfahan Library are considered major repositories of cultural heritage documentation because they contain extensive records of restoration projects, preservation measures, and research conducted over past decades, according to Seyed al-Asghari.
Some of the collected materials include studies and documentation prepared by international companies and groups that have worked in Iran during various periods, added the official.
He noted that in the initial phase, priority was given to records related to restoration, including documentation on conservation works, historical photographs, and architectural drawings. Some maps and documents date back to the 1970s and 1980s and provide information about restoration projects and interventions carried out in the historic buildings of Isfahan.
Many records concerning restoration projects are held at the center, and documentation of various stages of the restoration of sites such as Chehel Sotoun is available to contractors, supervisors, specialists, and researchers involved in preservation projects. These records can provide information on past restoration methods and the treatment of wooden structures, architectural decorations, and other elements of historic buildings, serving as reference material for future research and preservation interventions, explained Seyed al-Asghari.
Seyed al-Asghari also mentioned that the center's library contains about 7540 books, some of which are rare and were published in very limited quantities in Iran. Students and researchers regularly visit the library and documentation center to conduct specialized research.
Furthermore, Seyed al-Asghari referred to an earlier digitization project conducted in cooperation with the Isfahan Municipality organization for urban environment repair and improvement. Nearly 8000 photographic materials related to previous restoration projects were scanned and digitized over several months.
The current project will ultimately cover additional sets of documents, including studies and records created by international teams working in Isfahan. In later stages, efforts will focus specifically on documenting research conducted by Italian groups active in the city and transferring it to the National Library and Archives Organization for digital preservation.
One of the main goals of this collaboration is to expand researchers' access to documentary resources, stated Seyed al-Asghari. Currently, researchers often have to travel to Isfahan to review many records, whereas hosting the digitized materials on a national platform could allow researchers across Iran to access them.
Isfahan, the capital of the central Iranian province of the same name, has long been a major center of Iranian cultural heritage. The city particularly flourished from the 9th to the 18th centuries and became the capital of Safavid Iran under Shah Abbas I in the late 16th century. Often associated with the Persian saying 'Isfahan nasf-e-jān' ('Isfahan is half the world'), the city is famous for its historic mosques, bazaars, gardens, bridges, and other architectural monuments.
Restoration work on the historical Seb Castle, located in the Abarkuh district of Yazd province in central Iran, started on Saturday. These efforts are aimed at preserving the region's traditional adobe brick architecture, according to a local cultural heritage official.
Abbas Kadirian, head of the Cultural Heritage, Tourism, and Crafts Directorate of the Abarkuh district, noted that this castle is the largest residential citadel in Abarkuh and dates back to the Safavid era (1501–1736).
This complex, spanning 17,000 square meters, was included in Iran's National Heritage List in 2005 under registration number 13724. According to Kadirian, the residential complex features a characteristic grid layout, with most houses situated along alleys on both sides.
Traditional construction involves the use of unfired mud bricks, mud mortar, fired bricks, stone, and wood. Some older houses in the complex are decorated with decorative plasterwork, including floral and arabesque motifs, as well as muqarnas—a type of ornamental architectural vault.
The current restoration program includes establishing a conservation workshop, producing mud bricks mixed with water, removing damaged materials from surfaces, restoring mud walls using mud mortar, reinforcing deep cracks, and applying base and finishing layers of kah-gel, a traditional clay and straw plaster.
Kadirian emphasized that the restoration is vital for protecting the adobe architecture and the historical urban fabric of the castle. He added that continued conservation and maintenance can prevent further structural deterioration, preserve the architectural authenticity and historical identity of the complex, and promote conditions for its future use in cultural and tourism purposes.
Seb Castle is considered one of the largest residential adobe citadels in the country. Furthermore, Abarkuh is known for a cypress tree approximately 4,000 years old, which is also listed on the national heritage register. This tree has long been associated with the city's history and was described in records by the Venetian merchant and explorer Marco Polo.
Amapiano pioneer De Mthuda has returned with the long-awaited EP titled 'Noise'. He employed a special release strategy that allows listeners to get acquainted with the music in portions, receiving a strong yet moderate impact.
Before the release of 'Noise EP', De Mthuda sequentially presented new music every week. Each such release was an intentional stage within a larger creative concept.
The well-known music producer explained to IOL that he decided to release tracks in parts because he wanted people to gradually perceive the sound and slowly get used to the music. He noted: 'I am not shocking them; this way they get a chance to experience 'Noise'. '
Essentially, 'Noise' is not about volume, but about influence. It reflects cultural changes and inspires creative freedom arising from challenging established structural norms. De Mthuda emphasizes that at this stage of his career, creating noise means 'being free in mind, body, and spirit.'
He added that culture implies freedom of choice, freedom of thought, and freedom of self-expression. For De Mthuda, the title 'Noise' is simple but profound, and it is connected to the feeling of freedom: 'I feel raw energy in my mind; my mental state is free, and 'Noise feels free'. '
One of the most striking singles on 'Noise' is the track 'Sasingenjena', in which he collaborates with acclaimed artists Kabza De Small and Mnkobi Yaso.
De Mthuda believes that 'music is energy,' and he felt that both Mnkobi Yaso and Kabza De Small would be perfect for this project, and they met expectations. Although De Mthuda is constantly in the studio, he surrounds himself with trusted people, and vice versa, which helps him maintain his creative energy.
As for the emotions he wants to evoke in listeners while listening to 'Noise', it is very simple: to feel good, dance, and repeat it.
