
Read all about it! UK and Ireland celebrate World Book Day
ADVERTISEMENT
Across the UK and Ireland, children are today being encouraged to participate in activities that celebrate reading and writing through activities in schools, libraries and youth organisations.
One of the most popular activities included in World Book Day is the sale of £1/€1.50 books. Retailers across the nations carry a stock of specially selected children's books sold for the low price to tempt youngsters to try out new material.
Every child in the region is entitled to a £1/€1.50 token that they can use to buy the books at selected retailers and pop-up shops at schools. Books in the offer this year include ones featuring Paddington, Pokémon, and Bluey. There are also two books in Gaelic and Welsh, respectively.
For many parents in the UK and Ireland, World Book Day can be a dreaded event, however, as children are often asked to dress up as their favourite book characters for school. Annually the British press is awash with stories on putting together last-minute outfits to fit their children's whims. Fortunately, the official World Book Day website provides their own 'low-cost dressing up pack' for parents looking for inspiration.
Reading between the lines
Schools will also put on programmes to celebrate reading, as figures from the National Literacy Trust (NLT) show the activity has dropped in popularity in recent years.
Annual NLT research found the lowest number of children reading for pleasure in the UK last year since 2019. For the first time since the NLT started surveying listening habits, more children said they preferred listening to books (42.3%) over reading them (34.6%).
On the results, the NLT has said that 'children and young people's levels of reading and writing enjoyment are in crisis, with quite dramatic decreases in levels of both over the last year alone.' In response, the charity is campaigning for more use of audiobooks in the national curriculum.
In 2019, World Book Day commissioned the NLT to conduct research into the impact of the event. While many children spoke positively of access to books, some didn't have access to libraries and needed more financial support to read. Nearly 3 in 10 (28%) children aged 8 to 11 receiving free school meals said the book they 'bought' with their World Book Day token had been the first book of their own.
Schools across the UK and Ireland are participating
Canva
Of the children surveyed, they all appreciated the book token scheme. One participant said: "They are a very good idea because if there's this book that you want, but you can't afford it or your parents just won't let you get it unless it's for free, then you can get this token and say, well, now I can get any book for free, so I might as well get one.'
Two days, one mission
World Book Day is a UNESCO-organised event that has been run on 23 April since 1995. Every year a different city is selected as the World Book Day Capital City. Last year, Strasbourg in north-eastern France was chosen, while Brazil's Rio de Janeiro has the honour in 2025.
The UK and Ireland's World Book Day is a separate event set up in the UK to work alongside the global UNESCO event. First launched in 1998 by then-UK Prime Minister Tony Blair, the first Thursday of March was picked so the programme didn't clash with Easter school holidays in the UK.
Alongside World Book Day, the UK government is also partnering with other schemes to promote reading. These include Start for Life which is encouraging 'families to chat, play and read with their child from birth' as well as a UK-Ukraine school partnerships programme, where 'pupils will explore reading as a tool to build literacy skills, cross-cultural understanding, expand horizons, and boost confidence and wellbeing.'
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Euronews
27-07-2025
- Euronews
Bukhara Biennial: A ten-week exploration of food, art, craft and music
From 5 September to 20 November 2025, this UNESCO Creative City will host the inaugural Bukhara Biennial, a ten-week journey of contemporary art, communal rituals, and culinary storytelling. Titled 'Recipes for Broken Hearts', the Biennial transforms a city of legends into a living stage where grief, memory and joy are reimagined through food, music, poetry and craft. Curated by international art figure Diana Campbell and commissioned by Gayane Umerova, Chairperson of the Uzbekistan Art and Culture Development Foundation (ACDF), the Biennial features over 70 commissions created in Uzbekistan, activating centuries-old madrasas and caravanserais in ways Bukhara has never seen. 'Bukhara has shaped the world before: through knowledge, craft, and exchange,' says Umerova. 'This Biennial is a way of giving it the tools to do so again, through creativity and dialogue'. Not just an exhibition. A sensory ritual. Rather than opening with a red carpet or gallery wall, the Biennial begins with the aroma of fermentation. At Cafe Oshqozon, Buddhist monk and chef Jeong Kwan will prepare kimchi on the first day — only to unearth it again ten weeks later for a final meal, ripened by time and silence. It is a metaphor for the event itself. 'Recipes for Broken Hearts' explores how time, tradition, and care can heal. Every element – from food to sculpture, textiles to sound is part of a broader experiment in emotional repair. Diana Campbell, known for her work at the Dhaka Art Summit, calls it a 'multi-sensory feast rooted in Bukhara's spirit of hospitality and intellectual depth'. She adds, 'You don't just look at the art. You smell it, taste it, feel it in your hands and bones'. From salt and sugar to clay and code The artworks span disciplines and geographies. Egyptian-born food artist Laila Gohar conjures memories through Navat, a traditional sugar crystal made from saffron and grape juice. Colombian artist Delcy Morelos constructs a dome from earth, sand, and spices. Uzbek artist Oyjon Khayrullaeva, working with ceramicist Abdurauf Taxirov, builds mosaic organs - a stomach over the cafe entrance, lungs and hearts tucked across the city connecting venues as parts of one collective body. And then there's Subodh Gupta, who repurposes enamel dishes from traditional kitchens into a towering dome, inside which guests dine on dishes connecting India and Uzbekistan. 'It's about collapsing distance — between countries, between disciplines, between people,' he says. All works are made in Uzbekistan, many in collaboration with local artisans. 'This was non-negotiable,' says Umerova. 'We didn't want an art fair. We wanted something that speaks from here, even when it reaches the world'. At the centre of the Biennial is the House of Softness, a transformation of the 16th century Gavkushon Madrasa into a space for public programmes, children's workshops, and storytelling. Artist and architect Suchi Reddy has designed a protective canopy inspired by Uzbek ikat casting patterns of healing across the courtyard. Here, a three-day symposium titled 'The Craft of Mending' will bring together thinkers, historians and artists to explore repair as both a physical and political act. 'Erasure is a form of heartbreak,' says Aziza Izamova, an Uzbek scholar at Harvard leading the event. 'And so, to repair to remember - is an act of resistance'. Young curators from across Asia will also gather in Bukhara for a workshop on how to commission work that does not yet exist. It is a fitting lesson for a city reshaping its own future. Music, too, flows through the Biennial's veins. Each full moon will be marked by a ceremonial karnay ritual – the long Uzbek horn used in weddings to symbolically summon water to the desert. These performances, led by Himali Singh Soin and David Soin Tappeser, fuse local tradition with global environmental consciousness. Elsewhere, the Bukhara Philharmonic will collaborate with artists like Tarek Atoui, bringing together Arab and Central Asian musical traditions. Weekly street processions and spontaneous performances will animate the city with rhythm and memory. Food is not a side programme, it is the soul of the Biennial. From fermented rituals to nomadic grains, the meals are designed to explore loss, resilience and belonging. Uzbek chefs like Bahriddin Chustiy and Pavel Georganov will share dishes infused with memory, while guest chefs like Fatmata Binta from Sierra Leone and Zuri Camille de Souza from India will link Uzbek traditions to West African and Goan culinary heritage. The final week hosts the Rice Cultures Festival, featuring plov, paella, pulao and jollof rice cooked in the open air, surrounded by stories and songs. 'It's not about haute cuisine,' says Umerova. 'It's about how we gather, how we heal, how we remember - through food'. Why Bukhara? 'Bukhara is not a backdrop,' says Umerova. 'It is the protagonist'. For over two millennia, the city has been a center of spiritual, scientific and artistic exchange. Yet in the modern art world, it has remained peripheral, until now. The Biennial is part of a broader national strategy to reintegrate Uzbekistan into global cultural networks. With support from President Shavkat Mirziyoyev, the ACDF has launched restoration projects, museums, and creative platforms across the country and internationally including the Venice Biennale pavilion and the Expo 2025 in Osaka. 'This is not soft power,' Umerova insists. 'It's structural power. Culture creates jobs. It shapes futures. It builds identity that isn't reactive or nostalgic — but alive, generous, and forward-looking'. Bukhara is accessible by high-speed rail from Tashkent and Samarkand, with boutique hotels and guesthouses nestled among its UNESCO-listed architecture. The Biennial is entirely free and open to the public. Foreign visitors can expect immersive programming in Uzbek, Russian, and English, and a culinary scene where history is served with every dish. More information is available at and on Instagram at @


France 24
01-07-2025
- France 24
'In our blood': Egyptian women reclaim belly dance from stigma
Once iconic figures of Egypt's cinematic golden age, belly dancers have watched their prestige wane, their art increasingly confined to nightclubs and wedding halls. "No woman can be a belly dancer today and feel she's truly respected," said Safy Akef, an instructor and great-niece of dance legend Naima Akef, a fixture on the silver screen during the 1950s. Despite her celebrated lineage, Safy, 33, has never performed on stage in Egypt. "Once the show ends, the audience doesn't respect you, they objectify you," she told AFP. Today, belly dance is known for skin-baring theatrics performed by foreign dancers and a handful of Egyptians. The shift has fuelled moral disapproval in the conservative society and pushed even the descendants of iconic starlets away. "People ask me all the time where they can see belly dancing that does justice to the art," said Safaa Saeed, 32, an instructor at a Cairo dance school. "I struggle to answer," she told AFP. Saeed, who was enchanted by Akef as a child, is now part of a movement led by choreographer Amie Sultan to reframe the art as part of Egyptian heritage, fit for theatres, festivals and UNESCO recognition. Colonial baggage A classically trained ballerina turned belly dancer, Sultan prefers to call what is formally known as oriental dance baladi, from the Arabic word "balad", meaning homeland. "Baladi reflects the soul of who we are." "But now it carries images of superficial entertainment, disconnected from its roots," she told AFP. This disconnection, Sultan said, stems from shifting moral codes -- and colonial baggage. In her book "Imperialism and the Heshk Beshk", author Shatha Yehia traces the artform's roots to ancient Egypt, but says the modern colloquial term only emerged in the 19th century, coined by French colonisers as danse du ventre, or "dance of the belly". While descriptive, the phrase exoticised the movement and shaped perceptions both at home and abroad. "Heshk beshk", an old onomatopoeic Egyptian expression evoking a performer's shaking moves, "is not merely a label for the dancer", Yehia writes. "It is the Egyptian vernacular version of a femme fatale, the destructive woman who wields her body and feminine power to get what she wants. It's not just a label of vulgarity or immorality, it's synonymous with evil and debauchery." Yehia argues that views on "heshk beshk" -- now shorthand for provocative, lowbrow dancing -- were shaped both by Western imperialism and local conservatism. The fallout has been generational. Akef's great-aunt was a star who "acted, danced and created iconic film tableaux". But Safy instead has chosen to train others, including in Japan, where she spent three years teaching Egyptian folk and belly dance. 'Place of our own' Sultan launched the Taqseem Institute, named after the improvisational solos of Arabic music, in 2022. Since then, dozens of women have been trained at the school, seven of whom now teach full-time. The students are trained not only in choreography, but also in musicality, history and theory. They study the evolution of Egyptian dance from pre-cinema figures like Bamba Kashshar and Badia Masabni through the golden age icons like Tahiya Carioca and Samia Gamal. Sultan even takes the message to universities, giving talks to demystify the art form for new audiences, while her dancers work to preserve its history. In 2023, she staged El-Naddaha, a performance blending Sufi themes with traditional and contemporary Egyptian movement. Still, challenges remain. "We want to have a place of our own -- like the old theatres -- a teatro where we can regularly perform," Saeed said. Sultan is also pushing for official recognition. She has begun the process of campaigning for the dance to be inscribed on UNESCO's Intangible Cultural Heritage list. But the path is long and requires support from the country's culture authorities. For the time being, the dancers at Taqseem focus on their next performance. Barefoot and clad in fitted dancewear, they hold one final run-through, undulating to a melody by Egyptian diva Umm Kulthum as the beat of a tabla drum echoes. It's a dream come true for Saeed, who has been dancing since she was a child. "I believe it's in our blood," she said with a smile. © 2025 AFP


France 24
27-06-2025
- France 24
Bezos, Sanchez to say 'I do' in Venice
The tech magnate, 61, and his fiancee, 55, kicked off a three-day wedding celebration Thursday with guests including Kim and Khloe Kardashian, Oprah Winfrey and Orlando Bloom. Venice, home to the oldest film festival in the world, is used to VIPs whizzing around in speed boats, and happily hosted the star-studded nuptials of Hollywood actor George Clooney in 2014. But Bezos -- one of the world's richest men and founder of a company regularly scrutinised for how it treats its workers -- is different. And the festivities have sparked protests from environmentalists and locals who accuse authorities of pandering to the super rich while the city drowns under tourists. Bezos and former news anchor and entertainment reporter Sanchez are staying at the Aman hotel, a luxury 16th-century palazzo on the Grand Canal with a view of the Rialto bridge. They will exchange vows at a black-tie ceremony on the island of San Giorgio Maggiore, according to Italian media reports. The wedding itself is expected to take place in a vast open-air amphitheatre on the island, which sits across from St Mark's Square. The newlyweds will then be serenaded by Matteo Bocelli, the son of famed opera singer Andrea Bocelli, the reports said. Sanchez is alleged to have prepared 27 outfits to wear during the festivities. Italian designer Domenico Dolce -- half of the duo Dolce & Gabbana -- was seen leaving the Aman hotel on Thursday, possibly following a fitting. 'Enchanted' Wedding guests snapped by paparazzi as they hopped into boats included Jordan's Queen Rania, US football player Tom Brady, American fashion designer Spencer Antle, singer Usher, and Ivanka Trump -- the daughter of US President Donald Trump. The guests reportedly lunched together Thursday in the gardens of Villa Baslini, on the islet of San Giovanni Evangelista. The celebrations are set to end Saturday with a party likely at the Arsenale, a vast shipyard complex dating back to when the city was a naval powerhouse. Bezos and Sanchez are donating three million euros ($3.5 million) to the city, according to Veneto's regional president Luca Zaia, and are employing historic Venetian artisans. Venice's oldest pastry maker Rosa Salva is baking 19th-century "fishermen's biscuits" for party bags which will also contain something by Laguna B, renowned for its handblown Murano glass. Trump and her family visited a glass-blowing workshop on the small island of Murano on Wednesday, according to the owner. "They were amazed and enchanted by the magic of glass," Massimiliano Schiavon told the Corriere della Sera, adding that the family had had a go at blowing their own. Some locals say the A-list guests and their entourages bring good business but critics have accused billionaire Bezos of using the UNESCO site as his personal playground. And environmental activists have also pointed to the carbon footprint of the mega yachts and dozens of private jets bringing the rich and famous to the canal city. At least 95 private planes requested permission to land at Venice's Marco Polo airport for the wedding, the Corriere della Sera said.