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Sahara desert, once lush and green, was home to mysterious human lineage

A 7,000-year-old natural mummy of a female found at the Takarkori rock shelter in southwestern Libya is seen in this handout photo released on April 2, 2025. (REUTERS)
A 7,000-year-old natural mummy of a female found at the Takarkori rock shelter in southwestern Libya is seen in this handout photo released on April 2, 2025. (REUTERS)
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Updated 05 April 2025

Sahara desert, once lush and green, was home to mysterious human lineage

Sahara desert, once lush and green, was home to mysterious human lineage
  • Archaeological evidence indicates that these people were pastoralists, herding domesticated animals

TRIPOLI: The Sahara Desert is one of Earth’s most arid and desolate places, stretching across a swathe of North Africa that spans parts of 11 countries and covers an area comparable to China or the United States. But it has not always been so inhospitable.
During a period from about 14,500 to 5,000 years ago, it was a lush green savannah rich in bodies of water and teeming with life. And, according to DNA obtained from the remains of two individuals who lived about 7,000 years ago in what is now Libya, it was home to a mysterious lineage of people isolated from the outside world.
Researchers analyzed the first genomes from people who lived in what is called the “Green Sahara.” They obtained DNA from the bones of two females buried at a rock shelter called Takarkori in remote southwestern Libya. They were naturally mummified, representing the oldest-known mummified human remains.




A view from the Takarkori rock shelter in southwestern Libya, where two approximately 7,000-year-old Pastoral Neolithic female individuals were buried, is seen in this handout photo released on April 2, 2025. (REUTERS)

“At the time, Takarkori was a lush savannah with a nearby lake, unlike today’s arid desert landscape,” said archaeogeneticist Johannes Krause of the Max Planck Institute for Evolutionary Anthropology, one of the authors of the study published this week in the journal Nature.
The genomes reveal that the Takarkori individuals were part of a distinct and previously unidentified human lineage that lived separated from sub-Saharan and Eurasian populations for thousands of years.

HIGHLIGHTS

• Sahara was lush green savannah 14,500 to 5,000 years ago

• Isolated lineage of pastoralists inhabited ‘Green Sahara’

“Intriguingly, the Takarkori people show no significant genetic influence from sub-Saharan populations to the south or Near Eastern and prehistoric European groups to the north. This suggests they remained genetically isolated despite practicing animal husbandry — a cultural innovation that originated outside Africa,” Krause said.
Archaeological evidence indicates that these people were pastoralists, herding domesticated animals. Artifacts found at the site include tools made of stone, wood and animal bones, pottery, woven baskets and carved figurines.
The ancestry of the two Takarkori individuals was found to have derived from a North African lineage that separated from sub-Saharan populations around 50,000 years ago. That roughly coincides with when other human lineages spread beyond the continent and into the Middle East, Europe and Asia — becoming the ancestors of all people outside Africa.
“The Takarkori lineage likely represents a remnant of the genetic diversity present in northern Africa between 50,000 and 20,000 years ago,” Krause said.
“From 20,000 years ago onward, genetic evidence shows an influx of groups from the Eastern Mediterranean, followed by migrations from Iberia and Sicily around 8,000 years ago. However, for reasons still unknown, the Takarkori lineage persisted in isolation for much longer than expected. Since the Sahara only became habitable about 15,000 years ago, their original homeland remains uncertain,” Krause said.
Their lineage remained isolated throughout most of its existence before the Sahara again became uninhabitable. At the end of a warmer and wetter climate stage called the African Humid Period, the Sahara transformed into the world’s largest hot desert roughly around 3,000 BC.
Members of our species Homo sapiens who spread beyond Africa encountered and interbred with Neanderthal populations already present in parts of Eurasia, leaving a lasting genetic legacy in non-African populations today. But the Green Sahara people carried only trace amounts of Neanderthal DNA, illustrating that they had scant contact with outside populations.
Although the Takarkori population itself disappeared around 5,000 years ago when the African Humid Period ended and the desert returned, traces of their ancestry persist among various North African groups today, Krause said.
“Their genetic legacy offers a new perspective on the region’s deep history,” Krause said.


In eastern India, villages employ centuries-old musical tradition to stop wildfires

In eastern India, villages employ centuries-old musical tradition to stop wildfires
Updated 09 September 2025

In eastern India, villages employ centuries-old musical tradition to stop wildfires

In eastern India, villages employ centuries-old musical tradition to stop wildfires
  • Sankirtan mandalis devotional song-and-dance troupes originated in 15th century
  • Using them to raise awareness has helped reduce forest fires by 60% since 2023

NEW DELHI: Pramila Pradhan led a normal life in her eastern Indian village, managing household chores and occasionally performing devotional songs for the community. But two years ago, everything changed when forest officials placed her at the forefront of efforts to revive a 15th-century musical tradition — a new tool in preventing wildfires.

Keonjhar district in Odisha state, where Pradhan lives, is an ecologically sensitive region with vast stretches of tropical forests, where most trees shed their leaves during the dry months, making the area highly prone to forest fires.

Many of the fires have been caused by human activity, as people burned leaves to collect fruit, medicinal plants and other produce crucial for rural livelihoods, and believed that burning the soil made it more fertile. But the fires have instead for years threatened the region’s rich biodiversity — including tigers, elephants, sloth bears, and barking deer — and degraded forest ecosystems.

To create awareness against the practice, district officials engaged women like Pradhan to revive the practice of sankirtan mandalis — devotional song-and-dance troupes — and spread the message.

“I was part of a religious group spreading religious messages. I used to move around with that group from one village to another. After joining the awareness campaign, my focus is now on spreading the message about forest fires,” Pradhan, a 32-year-old mother of two, told Arab News.

 

 

Encouraged by her husband, she now leads the troupe of 14 women and two men in Murgapahadi village, performing with drums and small percussion instruments, as they dance and sing in local languages and add to devotional lyrics also lines about forest conservation.

“I am happy that I am part of a mission to save the forest, which shelters us, and which is our lifeline. We cannot think of our existence without the forest,” Pradhan said.

“Forest fires have dropped drastically … Earlier, the whole forest used to burn. I am very happy that our efforts are yielding results.”

The campaign and Pradhan’s role were recognized by Indian Prime Minister Narendra Modi, who in his monthly radio talk in late July spoke about her as an “inspiration” and praised Odisha singers who chanted mantras for environmental protection.

The sankirtan mandalis devotional song-and-dance troupes originated in the 15th-century Bhakti — social and religious reform — movement in eastern India. They became embedded in religious and village life, particularly in Odisha and Bengal, but are no longer that common in present times.

The local forest department decided to revive them as part of its awareness fund.

“We thought of reviving this dying art form in each village using the fund, and we thought that no one can spread the awareness about forest fires better than them, so we engaged them,” Dhanraj Hanumant Dhamdhere, Keonjhar district forest officer, told Arab News.

“These groups are having an impact. People (feel more) connected when they hear these cultural troupes in their own language.”

There are now 80 such troupes in Keonjhar district, working in villages with a history of forest fires.

Members of the troupes often perform voluntarily, especially in their own villages, but are also supported by the forest department, and can make some $60 to $100 a month from their work, which helps their communities, too.

“This gives livelihood. Depending upon the number of persons in the group, they get money, and this helps in sustaining the livelihood in villages,” Dhamdhere said.

The community engagement has helped reduce by about 60 percent the number of forest fire incidents in Keonjhar — from 1,772 in 2023 to 727 in 2025.

“This remarkable decline in fire incidents is attributed largely to increased community awareness and participation driven by cultural outreach, especially the sankirtan performances … The awareness (campaign) has created a situation where we are getting cooperation from the people,” Dhamdhere said.

“If we don’t get people’s cooperation, we will not succeed in our mission.”


40 years of ‘Mario’ games that have grown up with fans

40 years of ‘Mario’ games that have grown up with fans
Updated 09 September 2025

40 years of ‘Mario’ games that have grown up with fans

40 years of ‘Mario’ games that have grown up with fans
  • Surrounded by thousands of objects bearing the likeness of Nintendo’s moustachioed plumber, 40-year-old Kikai reflects that his “life would be totally different without Mario”

PARIS: Surrounded by thousands of objects bearing the likeness of Nintendo’s moustachioed plumber, 40-year-old Kikai reflects that his “life would be totally different without Mario” who also marks four decades this week.
The colorful “Super Mario Bros.,” released for Nintendo’s home consoles in Japan on September 13, 1985, was a landmark of early video gaming.
Players controlled the eponymous character as he ran and hopped his way from left to right through a colorful world of platforms, pipes and scowling enemies — all set to the jaunty eight-bit music that has stuck in minds for decades.
“My father bought me the game, and I’ve been playing for as long as I can remember,” Kikai told AFP in his office lined with somewhere between 20 and 30 thousand Mario-related objects, from plastic figurines to plush toys and carpets.
Created by legendary game designer Shigeru Miyamoto, Mario has obsessed several generations of fans like Kikai.
The character’s first appearance came in 1981 arcade game “Donkey Kong,” when he was known simply as “Jumpman.”
Mario’s christening came in 1983 with the “Mario Bros.” arcade cabinet, but his true rise to fame was with “Super Mario Bros.” on Nintendo’s Famicom console (known as the NES in Europe), which has sold more than 40 million copies.
“It was a lucky accident, because at the start there was no plan for this character to become a video gaming icon,” said Alexis Bross, the French co-author of the book “Mario Generations.”
The plumber’s look was initially chosen to conserve scarce computing resources and make him stand out on screen, with bright blue overalls and a cap that saved on animating hair.
Miyamoto created Mario as “a completely functional character under very strict technical constraints” governing the few pixels making up his image, Bross noted.
But as the games endured through the years, their star became a “generation-spanning” and even “reassuring” presence, he added.
“He’s a regular man, not unlike us, who has no special powers at the outset and stays a bit frozen in time.”
Beyond Mario’s mainline adventures, spinoff games have dropped him, his buddies like brother Luigi and his rivals like dragon Bowser into “Mario Golf,” “Mario Tennis” and the vastly popular “Mario Kart.”
Graphics have evolved from 2D to 3D as the games’ reach has spread to many hundreds of millions of players worldwide.
But the original pixelated look has long inspired artists making their own riffs on the character.
Lyon-based street artist In The Woup, who declined to give his real name, has been mashing Mario up with other characters like Gandalf from “The Lord of the Rings” or “Star Wars” antagonist Darth Vader in guerilla mosaics dotting cities around the world for years.
“Bringing things from my games console out on the street means bringing immaterial things out into real life. I thought that was pretty crazy,” the 39-year-old said, a Mario mask securely concealing his face to keep up his anonymity.
Many of today’s children and teens have turned toward more recent heavyweight gaming titles such as Fortnite and Roblox.
But Mario still enjoys a high “parental nostalgia” quotient, with those now heading into middle age still buying the games and playing together with their offspring, said Rhys Elliott of analytics firm Alinea.
Nintendo has looked to evolve along with its audience, recently launching a range of baby clothing and accessories in Japan.
Mario also graces goods from luxury watches to Lego, as well as being the star of theme parks in both Japan and the US.
And in 2023, the plucky plumber made a successful leap to the big screen after a 1993 flop that was one of the first ever game-to-movie adaptations.
The more recent film brought in over $1.3 billion, with a sequel in the works for next year.
With gender relations in a different light today than 40 years ago, Mario’s objective in-game is no longer securing a kiss from a grateful rescued princess.
Nintendo’s princesses are more likely these days to star in their own titles, as the company “adapts to new audiences, following little by little developments in society,” author Bross said.
Even now, fans are eagerly awaiting a new Mario-led 3D adventure following the blockbuster release of the Nintendo Switch 2 console this June.
Bross hopes to see “a totally new idea that will be a new milestone in the history of videogames.”


New Banksy mural of a judge beating a protester to be removed from outside London court

New Banksy mural of a judge beating a protester to be removed from outside London court
Updated 09 September 2025

New Banksy mural of a judge beating a protester to be removed from outside London court

New Banksy mural of a judge beating a protester to be removed from outside London court

LONDON: A new mural by elusive street artist Banksy showing a judge beating an unarmed protester with a gavel will be removed from a wall outside one of London’s most iconic courts, authorities said Monday.
The mural appeared Monday and depicts a protester lying on the ground holding a blood-splattered placard while a judge in a traditional wig and black gown beats him with a gavel. Banksy posted a photo of the work on Instagram, his usual method of claiming a work as authentic. It was captioned “Royal Courts Of Justice. London.”
Security officials outside the courthouse covered the artwork Monday with sheets of black plastic and two metal barriers, and it was being guarded by two officers and a security camera.
Because the Victorian gothic revival style building is 143 years old, the mural will be removed with consideration for its historical significance, according to HM Courts and Tribunals.
“The Royal Courts of Justice is a listed building and HMCTS are obliged to maintain its original character,” it said in a statement. Listed buildings are considered the country’s most significant historic buildings and sites and are protected by law.
While the artwork doesn’t refer to a particular cause or incident, activists saw it as a reference to the UK government’s ban on the group Palestine Action. On Saturday almost 900 people were arrested at a London protest challenging the ban.
Defend Our Juries, the group that organized the protest, said in a statement that the mural “powerfully depicts the brutality unleashed” by the government ban.
“When the law is used as a tool to crush civil liberties, it does not extinguish dissent, it strengthens it,” the statement said.
The courts have weighed in on the Palestine Action case, with judges initially rejecting the organization’s request to appeal its ban. A High Court court judge then allowed the appeal to go forward, though the government is now challenging that decision.
Banksy began his career spray-painting buildings in Bristol, England, and has become one of the world’s best-known artists. His paintings and installations sell for millions of dollars at auction and have drawn thieves and vandals.
Banksy’s work often comments on political issues, with many of his pieces criticizing government policy on migration and war.
At the Glastonbury Festival last year, an inflatable raft holding dummies of migrants in life jackets was unveiled during a band’s headline set. Banksy appeared to claim the stunt, which was thought to symbolize small boat crossings of migrants in the English Channel, in a post on Instagram.
The artist has also taken his message on migration to Europe.
In 2019, “The Migrant Child,” depicting a shipwrecked child holding a pink smoke bomb and wearing a life jacket, was unveiled in Venice, Italy. In 2018, a number of works including one near a former center for migrants that depicted a child spray-painting wallpaper over a swastika were discovered in Paris.
Banksy has also created numerous artworks in the West Bank and Gaza Strip over the years, including one depicting a girl conducting a body search on an Israeli soldier, another showing a dove wearing a flak jacket, and a masked protester hurling a bouquet of flowers. He designed the “Walled Off Hotel” guesthouse in Bethlehem, which closed in October 2023.
Last summer, Banksy captured London’s attention with an animal-themed collection, which concluded with a mural of a gorilla appearing to hold up the entrance gate to London Zoo.
For nine days straight, Banksy-created creatures — from a mountain goat perched on a building buttress to piranhas circling a police guard post to a rhinoceros mounting a car — showed up in unlikely locations around the city.


Pilot and influencer Ethan Guo released from Antarctic air base after two months

Pilot and influencer Ethan Guo released from Antarctic air base after two months
Updated 07 September 2025

Pilot and influencer Ethan Guo released from Antarctic air base after two months

Pilot and influencer Ethan Guo released from Antarctic air base after two months

PUNTA ARENAS, Chile: An American social media influencer who has been stuck in a Chilean air base in Antarctica for two months after landing a plane there without permission was released on Saturday back to the mainland, where he was to pay $30,000 in penalties.
Ethan Guo, who was 19 when he began his fundraising mission for cancer research, was attempting to become the youngest person to fly solo to all seven continents.
But he was detained after Chilean authorities said he lied to officials by providing authorities with “false flight plan data.” Prosecutors said he had been authorized to only fly over Punta Arenas in southern Chile, but that he kept going south, heading for Antarctica in his Cessna 182Q — a single-engine light aircraft known for its versatility.
After he landed in Chile’s Antarctic territory on June 28, he was detained in a military base amid legal negotiations between his lawyers and the government. Guo, who is originally from Tennessee and turned 20 in July, spent two months living in the base with limited communications and freezing Antarctic winter temperatures plunging below zero.
He was released by a Chilean judge on the condition that he donate the tens of thousands of dollars raised to a childhood cancer foundation within 30 days and leave the country as soon as possible. He is also banned from entering Chilean territory for three years.
The influencer’s lawyer Jaime Barrientos told The Associated Press that Guo landed because he had to divert his aircraft due to poor weather conditions, and that he did receive authorization from Chilean authorities.
“To his surprise, when he was about to take off back to Punta Arenas he was arrested, in a process that from my perspective was a total exaggeration,” Barrientos said.
Barrientos said he was happy with the agreement struck with authorities.
Guo landed Saturday at Punta Arenas aboard a navy ship wearing a Chilean national soccer team jersey and appeared friendly with the press after disembarking, describing his detention as “mundane” experience with “limited freedoms”.
“The Chilean people have been incredibly hospitable, they’ve been fantastic people. They’ve taken care of me. They’ve taught me Spanish, and they’ve treated me like family,” he said.


‘Severance’ and ‘The Studio’ could rake in early awards at the Creative Arts Emmys

‘Severance’ and ‘The Studio’ could rake in early awards at the Creative Arts Emmys
Updated 06 September 2025

‘Severance’ and ‘The Studio’ could rake in early awards at the Creative Arts Emmys

‘Severance’ and ‘The Studio’ could rake in early awards at the Creative Arts Emmys
  • The Creative Arts Emmys mostly go to technical and craft nominees
  • Nearly 100 trophies will be handed out at the Creative Arts Emmy Awards, a precursor to the Primetime Emmy Awards on Sept. 14

LOS ANGELES: “Severance” and “The Studio” could bring in a boatload of early Emmys this weekend.
Over the next two days, nearly 100 trophies will be handed out to many of TV’s finest at the Creative Arts Emmy Awards, the annual precursor to the main Primetime Emmy Awards, which will air on Sept. 14 on CBS.
“Severance,” the top overall nominee this year with 27, could win as many as 13 for Apple TV+ on Saturday, which will be devoted to scripted shows while Sunday is dedicated to variety and reality TV. “The Studio,” also from Apple, is the top comedy nominee with 23, and could bring in as many as 12 this weekend.
The Creative Arts Emmys mostly go to technical and craft nominees who have little name recognition outside their field. Categories include best sci-fi or period hairstyles and best stunt coordination for a comedy.
But big stars and big moments also emerge. Last year, “Shogun” broke a record for most Emmys for a series in a season with 14 at the Creative Arts ceremony, before it went on to dominate the main ceremony. And the songwriting team of Benj Pasek and Justin Paul sneakily joined the elite EGOT club when they won their first Emmy to go with their Oscar, Tony and Grammy trophies for a song they co-wrote for “Only Murders in the Building.”
The always star-studded guest acting categories will be handed out on Saturday. The guests who played themselves on “The Studio,” the Hollywood satire starring and cocreated by Seth Rogen, make for an A-list set of nominees. Directors Ron Howard and Martin Scorsese are up for their first acting Emmys, and they’ll be competing with fellow “Studio” guests Anthony Mackie and Bryan Cranston for guest actor in a drama.
The best guest actress in a comedy category includes Oscar winners Jamie Lee Curtis and Olivia Colman, both up for their roles on “The Bear.”
And on Sunday, Kendrick Lamar and Beyoncé are both nominated for football halftime shows, while Barack Obama’s competition for his second Emmy in the narration category includes Tom Hanks and Idris Elba.
The big names don’t always show up to claim their Emmys at these ceremonies, but many nominees this year are also presenters, including Howard, Curtis, Questlove and Maya Rudolph.
Because of the abundance of more technical awards including prosthetics and visual effects, the Creative Arts Emmys are often a time for genre shows to shine. “The Penguin” and “The Last of Us” could easily collect a set of wins for HBO and streaming partner Max, which led all outlets this year with 142 overall nominations.
So could “Andor” the gritty, revolutionary “Star Wars” series that is a rare Emmy bright spot for Disney+. Snubbed in the acting categories, 11 of its 14 categories will be handed out Saturday. They include best character voice-over for Alan Tudyk, who provided the bluntly honest dialogue of the droid K-2SO.
Tudyk’s category shows the strange range of nominees the Creative Arts ceremony can bring. His voice-over competitors include Julie Andrews for “Bridgerton,” Hank Azaria for “The Simpsons,” and Rudolph for “Big Mouth.”