It can come as a surprise that the largest Muslim (or perhaps more accurately, Muslim-majority) country is Indonesia, far from the religion’s origins in the Middle East. It is—probably as a result—not always included, or at least not centrally, in discourse about Islam. James M Dorsey, on the other hand, puts the country front and center in his new book The Battle for the Soul of Islam.
Author: Peter Gordon
Museums are not having the best press at the moment. In addition to long-running disputes over the Elgin/Parthenon Marbles and Benin Bronzes, there have a been a recent spate of “returns” of items deemed to have been looted or stolen, ranging from a 2700-year-old gold and carnelian necklace in Boston’s Museum of Fine Arts from Turkey to a bevy of Khmer sculptures that had pride of place at such leading museums as the Metropolitan Cleveland Museum of Art. Although Justin M Jacobs’s recent Plunder? How Museums Got Their Treasures (with a telling question mark) deals with controversies regarding acquisitions of a more historical vintage, it is hard not to draw a line between them and these more recent developments.
Those who have come of age since the 1973 oil embargo should have no great difficulty accepting the outsized importance of the Persian Gulf and the surrounding region. From oil and gas to, more recently, airlines, finance, media and football teams, the countries of the Gulf have influence that far exceeds traditional measurements of power such as population or military capacity. In Center of the World, Allen James Fromherz argues that this importance dates to the dawn of history.
Centered on the eastern half of Java and coming to control most of what would later become Indonesia, as well as Singapore, Malaysia and parts of Thailand during the 14th and 15th centuries, Majapahit may be the most significant empire that most people have never heard of. There are physical remains, but not as well-preserved or grand as those of Borobudur or Prambanan from an earlier period. And insofar as one might have heard of someone from Majapahit, it’s more likely to be the formidable prime minister Gajah Mada than one of the kings. Majapahit was calling out for an accessible history.
Opera Hong Kong chose Wolfgang Amadeus Mozart’s Die Entführung aus dem Serail for its annual summer semi-staged production at the Hong Kong City Hall, held 17-18 August 2025. The production, directed by Tang Xinxin and conducted by Michael Koehler, was sung in German with dialogue in English (and a large smattering of Chinese).
Since around the turn of the new millennium, an explosion of science, archaeology and historical research have come together to establish the centrality of the steppe in world history: the place whence hail both Indo-Europeans and the wheel, a region that spawned empire after empire, from the Xiongnu to the Mongols. That “the region lying between east and west … was the axis on which the globe spun” (as Peter Frankopan put it in The Silk Roads: A New History of the World a decade ago) no longer seems a contentious statement.
Hong Kong has often been called a “cultural desert”; while this is both uncharitable and less than entirely accurate, few question that Hong Kong punches below its weight culturally and has long failed to make optimal use of its many natural advantages. John Duffus’s recent memoir, Backstage in Hong Kong, provides a blow-by-blow narrative as to why this has been, and arguably remains, the case.