Glassblowing in Syria has a 2,000-year history, dating back to the Phoenicians, who invented glass.

Urem Al-Kubra in northern Syria is famous for its skilled glassblowing craftsmen.

Traditional glassblowing in Syria is a plastic art that enables artisans to create various shapes and designs.

Glassblowing was practiced in Damascus, where artisans created decorative items like mishkats and lanterns.

The war in Syria impacted glassblowing, but artisans have revived the craft after the city's liberation from terrorism.

Syrian glassblowing artisans create new pieces by melting recycled glass at high temperatures and decorating the finished products.

UNESCO listed Syrian traditional glassblowing as Intangible Cultural Heritage in Need of Urgent Safeguarding in December 2023.

Traditional glassblowing artisans in Syria face financial difficulties and struggle to continue their work due to the economic crisis.

The decline of traditional crafts in Syria is due to a lack of support, high costs, and poor market conditions.

The migration of brokers and traders has contributed to the decline of traditional Syrian crafts.

In Syria, the average monthly salary is around $20, making heritage products unaffordable for many.

The current number of traditional glassblowing artisans in Syria is unknown.

Glassblowing is part of Syria's intangible cultural heritage and is included in the UNESCO list to preserve and promote it.

The Syrian government, backed by Asma al-Assad, has launched projects to preserve the Levantine rose, traditional glassblowing, and other intangible heritage elements.

The Syrian Secretariat for Development helps preserve cultural heritage, including traditional glassblowing.

UNESCO has a consultative role for non-governmental organizations to help preserve cultural heritage, including traditional glassblowing.

Glassblowing in Syria has a 2,000-year history, dating back to the Phoenicians, who invented glass.

Title:

Content: Samples of the Damascene Literary Heritage Attend an Exhibition and Seminar in the Culture of Infection
Damascus-Sana
In the exhibition “Heritage Crafts are Inherited by the Fragrance of History ” hosted by the Adawi Cultural Center, the artworks varied between glass decoration, Damascene brocade and various handicrafts.
The exhibition was followed by an introductory seminar on these arts for the Sheikhs of Carr and craftsmen specialized in these professions under the supervision of the handicraft trainer Rowaa Yousef.
Youssef Lassana explained that the exhibition was dedicated to traditional professions in general and handicrafts, especially such as brocade, painting on glass, Islamic motifs and handicrafts to maintain their continuity and importance.
Mohammed Bassam Rayhan Sheikh Al-Karar in painting on glass and decoration spoke in his intervention about the history of this craft, its forms, fields of work and materials used in it, pointing out that the glass, which was the first to be invented by the Phoenicians, evolved in Damascus throughout history and was painted on the mishkat and lanterns using oxides and various materials, thermal colors, acrlik and others.
The Damascene brocade craftsman Mohammed Rankous explained in his intervention that this cloth is made of natural silk and golden reed yarns and attributed to Damascus because it took its character, heritage and environment, such as the painting of Omar Khayyam, the Levantine Rose, grape clusters, the lover and the beloved, and the octagonal geometric drawings, pointing out that this craft entered the cultures of different civilizations.
Nasruddin Mohammed is a graduate of applied arts and a drawing teacher who participated in paintings for his students from children and boys. In his intervention, he explained the history of the Damascene plant decoration, its methods, types and schools such as Andalusian, Persian and Damascene, and its differences in decoration, diggings, mirrors and miniatures, indicating that its history dates back to the Andalusian civilization, which was its main creativity in palaces and buildings.
Mohammed Sabha is a bridal craftsman who participated in a group of decorative glass works for brides and explained that he has completed a model of a waterfall flowing from an electric mountain that is operated by hand from cardboard, wood and cork inspired by his ideas.
Rana Ayoub participated in a group of works of three-dimensional models and miniatures of the Levant environment. She explained that she chose this environment because she grew up and lived in it and adored it. It is necessary to inform future generations of their heritage and history, pointing out that she works with cork, wood, natural materials, gypsum, ceramic paste and others.
Bilal Ahmed

Urem Al-Kubra in northern Syria is famous for its skilled glassblowing craftsmen.

Title:

Content: Art of glassblowing returns again in Aleppo countryside liberated from terrorism

The town of Urem Al-Kubra in Aleppo province in northern Syria has historically been famous for its skilled glassblowing craftsmen. The war considerably affected this traditional craft inherited from our ancestors, but after the liberation of the city from terrorism, some artisans have brought it back to life. The artisan, Yassin Arab learned the glassblowing craft from his father when he was a child, and after the town was liberated from terrorism, he returned to his small facility, where he worked to restore it and start working again. Arab does not hide his enormous passion for the craft of glassblowing and his belief in the need to preserve this ancient Syrian heritage. Regarding the working mechanism, the artisan explained to SANA that he uses recycled glass, melts it again in the oven at high temperature, and then chooses a specific shape for its manufacture, whether hookah bottles, vases, plates, small jugs, fish houses for decoration, decorated cups and antiques of different sizes. After that, t he piece is blown, rotated and processed by the artisan until it takes its final shape using white and brown colors, and once the manufacturing of the product is finished, it is decorated and colored to give it the required aesthetics. For his part, Hussein Najjar noted that he learned the craft of blowing glass manually since he was young and has been working in this field for 40 years. He added that he is able to make any shape or glass container, using his imagination, and considered that the art of glassblowing is one of the types of plastic arts. Traditional glassblowing is a profession that dates back more than two thousand years (since the time of the Phoenicians) and was included in December 2023 by UNESCO on the list of intangible cultural heritage of humanity that needs urgent preservation. Source: Syrian Arab News Agency

Traditional glassblowing in Syria is a plastic art that enables artisans to create various shapes and designs.

Glassblowing was practiced in Damascus, where artisans created decorative items like mishkats and lanterns.

The war in Syria impacted glassblowing, but artisans have revived the craft after the city's liberation from terrorism.

Syrian glassblowing artisans create new pieces by melting recycled glass at high temperatures and decorating the finished products.

UNESCO listed Syrian traditional glassblowing as Intangible Cultural Heritage in Need of Urgent Safeguarding in December 2023.

Traditional glassblowing artisans in Syria face financial difficulties and struggle to continue their work due to the economic crisis.

The decline of traditional crafts in Syria is due to a lack of support, high costs, and poor market conditions.

Title:

Content: What is the reality of traditional and traditional professions in Syria?
DAMASCUS – The traditional professions and crafts in Syria were not immune to the repercussions of the war. In light of the difficult economic and security conditions that the country has been witnessing for more than a decade, these professions are suffering from an unprecedented decline related to production and market conditions, which makes them today threatened with extinction.
The head of the Union of Craftsmen in the province of Latakia Jihad Pro, in a recent statement to the local newspaper Al-Watan, the decline of the production of handicrafts and handicrafts of various kinds by 50% within the province, considering the high costs of production inputs and increased income taxes as direct reasons for this decline.
Bassam Qalaji, head of the artisanal association for confectionery in Damascus, told the local newspaper Global last month that more than half of the confectionery craftsmen had stopped producing and switched to other professions due to low demand and insufficient profits.
Successive statements reveal the reality of Syrian traditional and traditional crafts, which are suffering under the weight of the economic decline that the country is suffering from.
This situation has prompted thousands of craftsmen to close their workshops and shops and switch to other jobs, or migrate and move their work abroad, amid the real threat of the disappearance of many traditional traditional traditional professions and handicrafts, which constitute vital sectors of the economic sector in the country and an integral part of its cultural identity.
What are the main reasons for this decline?
How does it affect the economic life of the country?
Lack of support and unequal competition
Anton, a 42-year-old Damascene craftsman and former owner of a mosaic workshop in rural Damascus, says his struggle for years to keep his workshop open, producing and selling enough to pay its workers has been futile.
He adds in an interview with Al Jazeera Net: "I tried hard to maintain the workshop and its workers for as long as possible, but the constant high prices of wood (local and imported) in an inappropriate manner, the long interruption of electricity (16-18 hours a day), and the low demand for mosaic in the domestic and foreign market, all factors forced me to lay off workers, and later to close the workshop after months, during which I received only two orders."
In addition to these factors, Anton attributed the low demand for "original" mosaics and other handicrafts and heritage artifacts (copperware, damask, antika, textiles) to:
The reality of the market at the moment in the absence of tourists.
• The decline of external demand for the commodity as a result of the interruption of trade relations with foreign markets.
• Migration of brokers and traders and thus reduced export.
• Unequal competition.
With heritage products becoming “more than luxury ” for Syrians suffering from poor purchasing power (average monthly salaries of about $20), and the lack of support for craftsmen and awareness of the importance and authenticity of these products by trade unions and government agencies, Syria ’ s craftsmen face major challenges to continue their craft.
Although there are no accurate figures on the number of craftsmen who have been driven by working conditions to emigrate outside the country, the head of the Damascus Craftsmen ’ s Union, Ali Qarmashti, revealed in an interview with the local news website Click News last year that the percentage of Damascene craftsmen migrating has become very high, especially among young people.
Repellent economic and social policies
In addition to the direct economic factors that led to the decline of traditional crafts during the past few years, represented by the high prices of raw materials, the poor reality of services, and the decline of the sale and purchase movement, there were indirect factors that affected these crafts.
Syrian economist Younis Karim believes that the artisan crisis began in 2008 after being subjected to great pressures due to the change of the general economic orientation in the country.
He said in an interview with Al Jazeera Net: "Since 2008, the authorities have put their hands on the spread of these industries due to the importance of their geographical location, and work to change their features in favor of wealthy investors, or provide them as donations to countries that Damascus seeks to establish bilateral relations with."
According to the expert, the reality of the work of traditional crafts after 2011 became more complex and difficult with "the continued adoption of economic and social policies by the regime that restrict the owners of these crafts, exclude them from support, take their places of deployment, in addition to the cessation of exhibitions and the difficulty of participating in external events because of the political positions of the regime.
Karim explains that the family and social disintegration suffered by Syrians as a result of large-scale migration during the last decade was an added reason for the decline of these crafts, which “relied on inheritance between generations of the same family as a tradition followed by Syrian craftsmen long ago. ”
Kilo to Piece and Pieces
It seems that some traditional crafts and crafts are in the same trench with traditional crafts in their war against extinction, where the owners of many traditional crafts are no less original than those of heritage, especially the confectioners from the high costs of raw materials in production, high costs of energy stands, and successive losses due to the reluctance of citizens to buy expensive Arabic sweets.
Suhaib, 55, owner of a sweets shop in the Jazmatiya area of Damascus, told Al Jazeera Net: "Days pass without selling a total of a kilo of various items, and two years ago the stagnation of goods in the shop became a familiar phenomenon to us, and had it not been for the holiday seasons, and some occasions and weddings held here and there, we would have closed long ago."
Al-Halwani Al-Damascene adds in an interview with Al-Jazeera Net: "Our profits, and the profits of most of the shops of Halwanis in Damascus, have decreased by a large percentage since the beginning of the economic crisis in the country."
Al-Halwani pointed out that the price of a kilo of some varieties of Arabic sweets has exceeded 400 thousand pounds recently, adding: "Which is not able for Syrians to buy, so we have become selling methods in which we rely on small quantities, so we sell baklava, crystal, shaped, asian, brominated and other items in ounces, grain (piece) and two grains to keep the sales movement, and do not stop customers from our shop."
As for the reasons why sweets in Damascus stopped working and many of them emigrated outside the country, Al-Halwani said: “Many reasons start from the large annual taxes that are inconsistent with high operating costs and low profits, in addition to the high prices of commercial electricity and fuel needed to operate shops and laboratories, the huge increase in the prices of raw materials, the high wages of workers, and the reluctance of customers to buy these sweets except on occasions. ”
High prices
Prices of food, nuts and other components of Arabic sweets have risen by varying rates recently, as the price of a kilo of animal margarine reached 150 thousand pounds ($equivalent to about 2511 pounds), while the price of a kilo of pistachio love rose to 300 thousand, and the price of a kilo of walnuts to 120 thousand.
The prices of popular sweets such as Al-Barazek and Al-Ma ’ amoul in Damascus markets, by the holy month of Ramadan, were between 100 and 130 thousand pounds per kilo, while the prices of medium and luxury sweets such as “Al-Belouria ”,“ Al-Mashkeel ”, “Kool and Shakour ”,“ Aish Al-Bulbul ” and “Baklava ” ranged between 250 and 500 thousand per kilo, which is equivalent to the salary of a Syrian employee in the public sector.
The head of the artisanal association for confectionery industry, Bassam Qalaji, attributed this rise in confectionery prices to the government lifting subsidies on oil derivatives, which led to a direct increase in costs by 150%, pointing out that raising the price of electricity by 5 times will lead to an increase in the price of about 650 products.
Qalaji said in a statement to the local newspaper Al-Watan last month that the largest number of confectionery craftsmen emigrated, and their first destination was Algeria followed by Germany.
In March last year, the head of the artisanal association for the confectionery industry revealed that 70% of the workshops of the confectionery industry were closed due to the economic crisis and the low demand for sweets and refreshments.
A severe blow to the economy
This gradual disappearance of traditional crafts is a painful blow to the Syrian economy, says economist Younis Karim, “For decades these crafts have been the largest incubator of Syrian labor, and their contribution to the economy before 2011 ranged from 40 to 50%. ”
This is what Matanios Habib, a researcher and former Syrian oil minister, said in a research paper entitled “The private sector in Syria ” (2005), when he pointed out that the private industrial sector in Syria tended to invest in crafts for fear of nationalization policies, whether during the era of Syrian-Egyptian unity (1958-1961) or after the revolution of March 8 (1967).
Karim stresses that the crisis of workers in traditional crafts, such as confectioners and others, dates back to before 2011, specifically to the period between 2007 and 2009, when there was “an attempt by the regime to pressure the owners of traditional crafts and crafts by forcing them to pay taxes, and to keep them away from city centers in favor of large investors. ”
Younis Karim believes that the gradual demise of these crafts will have negative effects on the Syrian economy because of their role in "providing job opportunities beyond those provided by large laboratories and their excellence in ease of operation and achievement, and the ability to spread.
Source: The Island

The migration of brokers and traders has contributed to the decline of traditional Syrian crafts.

In Syria, the average monthly salary is around $20, making heritage products unaffordable for many.

The current number of traditional glassblowing artisans in Syria is unknown.

Title:

Content: Exhibition of craft products by Syrian and Russian artists in the public park in Aleppo
Halab-Sana
On the grounds of the public park in the city of Aleppo, the activities of the exhibition of craft products were launched today, with the participation of 20 craftsmen and artists from Syria and the Russian Federation.
The exhibition, organized by the Ministry of Industry in cooperation with the Russian Cultural Center in Damascus, the Federation of Artisans in Aleppo and the Syrian Professional Center Association, includes a collection of heritage and artistic works, paintings of Ajami thread, ornaments and handicrafts of wool, orphans, leather, rugs, carpets, bamboo and silver industry.
According to the President of the Union of Artisans in Aleppo, Mohammed Hossam Hallak, in a statement to SANA correspondent, the exhibition aims to highlight the traditional handicrafts and crafts and folklore professions to revive them by training the younger generations and mastering their industry to preserve them.
Mustafa al-Nu, President of the Syrian Professional Center Association, pointed out that the association worked to attract professionals and handicrafts, and provided them with financial grants to encourage them to continue their work, to preserve these crafts from extinction, in addition to training young people wishing to learn these crafts and develop them to suit the times.
The Russian artist Yuri Lishin, famous for the manufacture of blowing on glass, talked about his professionalism for more than 54 years, and his participation in many exhibitions in the world, indicating that his visit to Syria to learn about the glass industry, and participate in workshops on the manufacture of hand glass in Syria.
A number of participants noted the importance of the exhibition, which allows for the marketing of their products, where Zakaria Sultan, who works in the craft of silver and peat breaking, explained that he participates with silver and copper products and accessories made by hand in various forms for swimming pools, steadfastness, image cadres and chandeliers, in addition to grafting copper on wood, calling for providing the necessary support to maintain this profession.
The craftsman Ayman Saeed presented the results of the drawing on wood, which is called Ajami art, and stated that he learned to make this art and plant motifs and painting in Arabic calligraphy in the association, and became a trainer contributing to the revival of heritage, and that the exhibition is an important opportunity to market his products.
Artist Tala Naravyan participated in watercolor, oil and other paintings painted with pencils and charcoal, talking about the Armenian and Arab heritage and the neighborhoods of Aleppo and its citadel, pointing out that she participates to introduce people to the components of the rich Syrian heritage through painting because it constitutes the language of the world.
Samira Misto, who works in the craft of making the ancient traditional macrame, using colored threads and ropes to decorate the Koran, mirrors, clothes and jewelry, pointed out that she is working to develop this profession by adding beads and tree trunks to revive and preserve it.
Qusay Razzouk
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Aleppo Public Park

Title:

Content: The news tape.
The aroma of roses reeks in the Arab Cultural Center in Abu Rummaneh
Damascus-Sana
The Directorate of Culture of Damascus, in cooperation with Dummar Central Incubator for Craft Arts, organized today a seminar entitled “Extraction of essential and plant oils and perfume design ” at the Arab Cultural Center in Abu Rummaneh.
The seminar was presented by the trainer Mohammed Mazen Zakour and included an exhibition of various traditional handicraft products within the plan of the Ministry of Culture to support and encourage craftsmen.
The head of the General Union of Craftsmen, Naji al-Hadwa, said in a statement that traditional crafts are a treasure we possess and reflect the quality of the Syrian worker's professionalism through what he produces and the duty of the General Union of Craftsmen to preserve and develop it, including the establishment of such kind of exhibitions and seminars, which may be framed within the productive institutions owned by the General Union or in partnership with other ministries such as the Ministry of Culture.
Al-Hadwa stressed that the General Union is following up within its plan to qualify and train cadres on an ongoing basis to maintain these crafts as well as create promotional and marketing opportunities for them through the establishment of such events.
Amani Frog
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Sight of the Spirit Spreads their Creativity in Jadak Al Ghaith on a Cultural Theater in Kafarsousa - Video
Damascus-SANA With their vision, they mastered the arts of playing, singing, reciting poetry, acting and with their delicate emotions.

Glassblowing is part of Syria's intangible cultural heritage and is included in the UNESCO list to preserve and promote it.

Title:

Content: Culture of Al-Baath Newspaper
Intangible heritage contributions to the protection of national identity
Amina Abbas
Heritage researchers and scholars agree that the Levant region is the most important heritage repository for humanity, as it has the oldest and richest heritage, and this heritage, both material and intangible, was coveted by the colonists since ancient times to destroy culture and identity, there is no identity without heritage based on it, and no heritage without identity, so Syria is keen through its institutions and bodies to emphasize the importance of preserving it.
Hence, the Quneitra branch of the Arab Writers Union, in celebration of World Heritage Day, decided to hold a seminar in the Levant Hall of the National Museum entitled “Contributions of Intangible Heritage to the Protection of National Identity ” with the participation of Dr. Amal Daccak, Professor Ruba Al-Diab, Qas Ghassan Houranieh and Dr. Rima Diab, Head of the Quneitra branch of the Arab Writers Union. It represents not only traditions and the past, but society in all its layers, and links the past to the present and the future, and it is a means for each people to prove its existence in the world and its authenticity, while stressing that the intangible heritage contributes to the preservation of identity and personality. Our identity and our heritage in the era of globalization, which is trying to eliminate our heritage and culture to be part of this lost world.
This was also confirmed by Dr. Dakak in her participation: “The Syrian tangible and intangible heritage is rich in its authenticity and civilization that dates back thousands of years, so it was and still is coveted by the colonists who stole many treasures to be in their world museums, and their war on Syria recently was aimed at destroying culture and identity and stealing antiquities. ” It is an integrated cultural unit formed by man throughout his long history with his creative thinking, observations, reflections and experiences accumulated generation after generation, and it is the social environment occupied by man and the components and pillars produced by previous generations until it reached subsequent generations and has the function of supervising the behavior of the individual and his sociocultural upbringing because it is a reflection of the social, intellectual and cultural life of peoples. As Daccak pointed out, the identity is the set of psychological, social and civilizational features of our nation throughout its long history, and the folklore constitutes the identity of a homeland rich in culture and civilization, calling in the era of globalization to seek to preserve our cultural identity and heritage, which represents this identity to face the challenges of globalization that invade us and want to eliminate our identity and culture. And our originality by drawing different borders in which national identity is absent and killing people in their country.
Because the Levantine rose and its associated practices and traditional crafts are important Syrian heritage elements inherited from generation after generation, and was included by UNESCO in 2019 in the list of intangible human heritage was talked about by Professor Al-Diab, who was crowned queen of roses and became Syrian ambassador to the world: “The Levantine rose was found painted on the wall of a palace on the island of Crete and was introduced to France during wars. As the poet Nizar Qabbani wrote about her,“ I am your Damascene rose, O people of the Levant, and whoever finds me should put me in the first vase, ” referring to the areas of its cultivation in Damascus countryside and Ghubartha. The project was launched by the Syrian Secretariat for Development in 2020 with the support of First Lady Asma al-Assad, affirming that Syrians consider the Levantine Rose an important part of their culture. The Ministry of Tourism has taken it as its slogan, in addition to many medical and cosmetic companies and building a path that is architecturally designed in the form of a Levantine Rose, explaining that the elements of the Syrian intangible cultural heritage include: Traditions and expressions “qaṣīda, mawwāl, ataba, dalaouna, zaghārīd, folk proverbs ” and the arts:“ Aleppo qadūd, coastal dabka, Circassian dance, Syriac church music ” Social practices “preparing and serving bitter coffee ” Knowledge and practices related to nature and the universe:“ cupping, traditional architecture ” Skills related to traditional crafts “wooden mosaic, brocade ” The crafts associated with the Levantine Rose ”, and that the elements of the intangible Syrian heritage included in the lists of human heritage are: falcon hunting, shadow fiction theater, Levantine Rose, Aleppo cod, glass blowing and making sticks and playing on them.
It is noteworthy that the seminar included the presentation of a film prepared by dr.
Amal Daccak spoke about heritage in our contemporary lives and its role in preserving our national identity, and the participation of the storyteller Ghassan Houranieh through a short story titled “The Levantine Rose ”.

The Syrian government, backed by Asma al-Assad, has launched projects to preserve the Levantine rose, traditional glassblowing, and other intangible heritage elements.

The Syrian Secretariat for Development helps preserve cultural heritage, including traditional glassblowing.

UNESCO has a consultative role for non-governmental organizations to help preserve cultural heritage, including traditional glassblowing.


Glassblowing in Syria has a 2,000-year history, dating back to the Phoenicians, who invented glass.

Traditional glassblowing in Damascus has a long history, producing decorative items like mishkats and lanterns.

Aleppo, Syria, has been famous for centuries for its traditional glassblowing art.

The war in Syria impacted glassblowing, but artisans have revived the craft after the city's liberation from terrorism.

Syrian glassblowing artisans create new pieces by melting recycled glass at high temperatures and decorating the finished products.

The craft of glassblowing is closely tied to the history and cultural significance of Damascus.

Syria's traditional glassblowing craft is being preserved through exhibitions, seminars, and training programs.

UNESCO added traditional glassblowing to its urgent preservation list in December 2023, to safeguard Syria's cultural heritage.

Traditional glassblowing in Damascus is an important part of Syria's intangible cultural heritage.

The status of traditional glassblowing in Syria is precarious due to financial difficulties and lack of support.

The number of Syrian craftsmen practicing traditional glassblowing is unknown.

The decline of traditional crafts in Syria is due to economic and security difficulties, high production costs, and increased taxes.

Syria's traditional professions and crafts have declined by 50%.

The Syrian Ministry of Culture sees the UNESCO listing of traditional glassblowing as a step to protect national identity.

Syrian intangible cultural heritage, such as traditional glassblowing, helps preserve national identity amidst globalization.

More needs to be done to preserve and promote traditional glassblowing in Syria by supporting artisans and widening its audience.

Glassblowing in Syria has a 2,000-year history, dating back to the Phoenicians, who invented glass.

Title:

Content: Samples of the Damascene Literary Heritage Attend an Exhibition and Seminar in the Culture of Infection
Damascus-Sana
In the exhibition “Heritage Crafts are Inherited by the Fragrance of History ” hosted by the Adawi Cultural Center, the artworks varied between glass decoration, Damascene brocade and various handicrafts.
The exhibition was followed by an introductory seminar on these arts for the Sheikhs of Carr and craftsmen specialized in these professions under the supervision of the handicraft trainer Rowaa Yousef.
Youssef Lassana explained that the exhibition was dedicated to traditional professions in general and handicrafts, especially such as brocade, painting on glass, Islamic motifs and handicrafts to maintain their continuity and importance.
Mohammed Bassam Rayhan Sheikh Al-Karar in painting on glass and decoration spoke in his intervention about the history of this craft, its forms, fields of work and materials used in it, pointing out that the glass, which was the first to be invented by the Phoenicians, evolved in Damascus throughout history and was painted on the mishkat and lanterns using oxides and various materials, thermal colors, acrlik and others.
The Damascene brocade craftsman Mohammed Rankous explained in his intervention that this cloth is made of natural silk and golden reed yarns and attributed to Damascus because it took its character, heritage and environment, such as the painting of Omar Khayyam, the Levantine Rose, grape clusters, the lover and the beloved, and the octagonal geometric drawings, pointing out that this craft entered the cultures of different civilizations.
Nasruddin Mohammed is a graduate of applied arts and a drawing teacher who participated in paintings for his students from children and boys. In his intervention, he explained the history of the Damascene plant decoration, its methods, types and schools such as Andalusian, Persian and Damascene, and its differences in decoration, diggings, mirrors and miniatures, indicating that its history dates back to the Andalusian civilization, which was its main creativity in palaces and buildings.
Mohammed Sabha is a bridal craftsman who participated in a group of decorative glass works for brides and explained that he has completed a model of a waterfall flowing from an electric mountain that is operated by hand from cardboard, wood and cork inspired by his ideas.
Rana Ayoub participated in a group of works of three-dimensional models and miniatures of the Levant environment. She explained that she chose this environment because she grew up and lived in it and adored it. It is necessary to inform future generations of their heritage and history, pointing out that she works with cork, wood, natural materials, gypsum, ceramic paste and others.
Bilal Ahmed

Traditional glassblowing in Damascus has a long history, producing decorative items like mishkats and lanterns.

Aleppo, Syria, has been famous for centuries for its traditional glassblowing art.

Title:

Content: “The Aleppo Dowds ” on the UNESCO World Heritage List
Culture and Art
Copy Link https: / / en.rt.com / ryqj
UNESCO today inscribed the Syrian Aleppo cod on the list of human heritage, which the Syrian Ministry of Culture described as an additional step to protect and preserve the national identity.
The ministry announced in a statement that UNESCO has classified the Aleppo cod on its list, during the meeting of the 16th session of the Intergovernmental Committee for the Protection of Intangible Cultural Heritage in France, and said that part of the culture and heritage of the ancient Syrian society has been added to the world human heritage.
The Ministry congratulated Syria and all Syrians on the inclusion of the Aleppo cod on the list of human heritage in UNESCO, and thanked “the sons of Syria who love their Aleppo cod for supporting the registration of these cod on the list of the Syrian heritage. ”
She also thanked the Syrian Secretariat for Development for its great efforts in the preparation of the file and follow-up at UNESCO.
She said that the registration of the borders "is an additional step to protect and preserve the national identity," and that "the Aleppo borders are a mirror of the depth and originality of the Syrian artistic identity."
The city of Aleppo has been famous for centuries for this art, and the most prominent pioneer in the great era was the late artist Sabah Fakhri, who died on November 2 last.
Source: RT
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The war in Syria impacted glassblowing, but artisans have revived the craft after the city's liberation from terrorism.

Title:

Content: Art of glassblowing returns again in Aleppo countryside liberated from terrorism

The town of Urem Al-Kubra in Aleppo province in northern Syria has historically been famous for its skilled glassblowing craftsmen. The war considerably affected this traditional craft inherited from our ancestors, but after the liberation of the city from terrorism, some artisans have brought it back to life. The artisan, Yassin Arab learned the glassblowing craft from his father when he was a child, and after the town was liberated from terrorism, he returned to his small facility, where he worked to restore it and start working again. Arab does not hide his enormous passion for the craft of glassblowing and his belief in the need to preserve this ancient Syrian heritage. Regarding the working mechanism, the artisan explained to SANA that he uses recycled glass, melts it again in the oven at high temperature, and then chooses a specific shape for its manufacture, whether hookah bottles, vases, plates, small jugs, fish houses for decoration, decorated cups and antiques of different sizes. After that, t he piece is blown, rotated and processed by the artisan until it takes its final shape using white and brown colors, and once the manufacturing of the product is finished, it is decorated and colored to give it the required aesthetics. For his part, Hussein Najjar noted that he learned the craft of blowing glass manually since he was young and has been working in this field for 40 years. He added that he is able to make any shape or glass container, using his imagination, and considered that the art of glassblowing is one of the types of plastic arts. Traditional glassblowing is a profession that dates back more than two thousand years (since the time of the Phoenicians) and was included in December 2023 by UNESCO on the list of intangible cultural heritage of humanity that needs urgent preservation. Source: Syrian Arab News Agency

Syrian glassblowing artisans create new pieces by melting recycled glass at high temperatures and decorating the finished products.

The craft of glassblowing is closely tied to the history and cultural significance of Damascus.

Syria's traditional glassblowing craft is being preserved through exhibitions, seminars, and training programs.

UNESCO added traditional glassblowing to its urgent preservation list in December 2023, to safeguard Syria's cultural heritage.

Traditional glassblowing in Damascus is an important part of Syria's intangible cultural heritage.

The status of traditional glassblowing in Syria is precarious due to financial difficulties and lack of support.

Title:

Content: Culture of Al-Baath Newspaper
Intangible heritage contributions to the protection of national identity
Amina Abbas
Heritage researchers and scholars agree that the Levant region is the most important heritage repository for humanity, as it has the oldest and richest heritage, and this heritage, both material and intangible, was coveted by the colonists since ancient times to destroy culture and identity, there is no identity without heritage based on it, and no heritage without identity, so Syria is keen through its institutions and bodies to emphasize the importance of preserving it.
Hence, the Quneitra branch of the Arab Writers Union, in celebration of World Heritage Day, decided to hold a seminar in the Levant Hall of the National Museum entitled “Contributions of Intangible Heritage to the Protection of National Identity ” with the participation of Dr. Amal Daccak, Professor Ruba Al-Diab, Qas Ghassan Houranieh and Dr. Rima Diab, Head of the Quneitra branch of the Arab Writers Union. It represents not only traditions and the past, but society in all its layers, and links the past to the present and the future, and it is a means for each people to prove its existence in the world and its authenticity, while stressing that the intangible heritage contributes to the preservation of identity and personality. Our identity and our heritage in the era of globalization, which is trying to eliminate our heritage and culture to be part of this lost world.
This was also confirmed by Dr. Dakak in her participation: “The Syrian tangible and intangible heritage is rich in its authenticity and civilization that dates back thousands of years, so it was and still is coveted by the colonists who stole many treasures to be in their world museums, and their war on Syria recently was aimed at destroying culture and identity and stealing antiquities. ” It is an integrated cultural unit formed by man throughout his long history with his creative thinking, observations, reflections and experiences accumulated generation after generation, and it is the social environment occupied by man and the components and pillars produced by previous generations until it reached subsequent generations and has the function of supervising the behavior of the individual and his sociocultural upbringing because it is a reflection of the social, intellectual and cultural life of peoples. As Daccak pointed out, the identity is the set of psychological, social and civilizational features of our nation throughout its long history, and the folklore constitutes the identity of a homeland rich in culture and civilization, calling in the era of globalization to seek to preserve our cultural identity and heritage, which represents this identity to face the challenges of globalization that invade us and want to eliminate our identity and culture. And our originality by drawing different borders in which national identity is absent and killing people in their country.
Because the Levantine rose and its associated practices and traditional crafts are important Syrian heritage elements inherited from generation after generation, and was included by UNESCO in 2019 in the list of intangible human heritage was talked about by Professor Al-Diab, who was crowned queen of roses and became Syrian ambassador to the world: “The Levantine rose was found painted on the wall of a palace on the island of Crete and was introduced to France during wars. As the poet Nizar Qabbani wrote about her,“ I am your Damascene rose, O people of the Levant, and whoever finds me should put me in the first vase, ” referring to the areas of its cultivation in Damascus countryside and Ghubartha. The project was launched by the Syrian Secretariat for Development in 2020 with the support of First Lady Asma al-Assad, affirming that Syrians consider the Levantine Rose an important part of their culture. The Ministry of Tourism has taken it as its slogan, in addition to many medical and cosmetic companies and building a path that is architecturally designed in the form of a Levantine Rose, explaining that the elements of the Syrian intangible cultural heritage include: Traditions and expressions “qaṣīda, mawwāl, ataba, dalaouna, zaghārīd, folk proverbs ” and the arts:“ Aleppo qadūd, coastal dabka, Circassian dance, Syriac church music ” Social practices “preparing and serving bitter coffee ” Knowledge and practices related to nature and the universe:“ cupping, traditional architecture ” Skills related to traditional crafts “wooden mosaic, brocade ” The crafts associated with the Levantine Rose ”, and that the elements of the intangible Syrian heritage included in the lists of human heritage are: falcon hunting, shadow fiction theater, Levantine Rose, Aleppo cod, glass blowing and making sticks and playing on them.
It is noteworthy that the seminar included the presentation of a film prepared by dr.
Amal Daccak spoke about heritage in our contemporary lives and its role in preserving our national identity, and the participation of the storyteller Ghassan Houranieh through a short story titled “The Levantine Rose ”.

The number of Syrian craftsmen practicing traditional glassblowing is unknown.

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Content: Exhibition of craft products by Syrian and Russian artists in the public park in Aleppo
Halab-Sana
On the grounds of the public park in the city of Aleppo, the activities of the exhibition of craft products were launched today, with the participation of 20 craftsmen and artists from Syria and the Russian Federation.
The exhibition, organized by the Ministry of Industry in cooperation with the Russian Cultural Center in Damascus, the Federation of Artisans in Aleppo and the Syrian Professional Center Association, includes a collection of heritage and artistic works, paintings of Ajami thread, ornaments and handicrafts of wool, orphans, leather, rugs, carpets, bamboo and silver industry.
According to the President of the Union of Artisans in Aleppo, Mohammed Hossam Hallak, in a statement to SANA correspondent, the exhibition aims to highlight the traditional handicrafts and crafts and folklore professions to revive them by training the younger generations and mastering their industry to preserve them.
Mustafa al-Nu, President of the Syrian Professional Center Association, pointed out that the association worked to attract professionals and handicrafts, and provided them with financial grants to encourage them to continue their work, to preserve these crafts from extinction, in addition to training young people wishing to learn these crafts and develop them to suit the times.
The Russian artist Yuri Lishin, famous for the manufacture of blowing on glass, talked about his professionalism for more than 54 years, and his participation in many exhibitions in the world, indicating that his visit to Syria to learn about the glass industry, and participate in workshops on the manufacture of hand glass in Syria.
A number of participants noted the importance of the exhibition, which allows for the marketing of their products, where Zakaria Sultan, who works in the craft of silver and peat breaking, explained that he participates with silver and copper products and accessories made by hand in various forms for swimming pools, steadfastness, image cadres and chandeliers, in addition to grafting copper on wood, calling for providing the necessary support to maintain this profession.
The craftsman Ayman Saeed presented the results of the drawing on wood, which is called Ajami art, and stated that he learned to make this art and plant motifs and painting in Arabic calligraphy in the association, and became a trainer contributing to the revival of heritage, and that the exhibition is an important opportunity to market his products.
Artist Tala Naravyan participated in watercolor, oil and other paintings painted with pencils and charcoal, talking about the Armenian and Arab heritage and the neighborhoods of Aleppo and its citadel, pointing out that she participates to introduce people to the components of the rich Syrian heritage through painting because it constitutes the language of the world.
Samira Misto, who works in the craft of making the ancient traditional macrame, using colored threads and ropes to decorate the Koran, mirrors, clothes and jewelry, pointed out that she is working to develop this profession by adding beads and tree trunks to revive and preserve it.
Qusay Razzouk
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Aleppo Public Park

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Content: The news tape.
The aroma of roses reeks in the Arab Cultural Center in Abu Rummaneh
Damascus-Sana
The Directorate of Culture of Damascus, in cooperation with Dummar Central Incubator for Craft Arts, organized today a seminar entitled “Extraction of essential and plant oils and perfume design ” at the Arab Cultural Center in Abu Rummaneh.
The seminar was presented by the trainer Mohammed Mazen Zakour and included an exhibition of various traditional handicraft products within the plan of the Ministry of Culture to support and encourage craftsmen.
The head of the General Union of Craftsmen, Naji al-Hadwa, said in a statement that traditional crafts are a treasure we possess and reflect the quality of the Syrian worker's professionalism through what he produces and the duty of the General Union of Craftsmen to preserve and develop it, including the establishment of such kind of exhibitions and seminars, which may be framed within the productive institutions owned by the General Union or in partnership with other ministries such as the Ministry of Culture.
Al-Hadwa stressed that the General Union is following up within its plan to qualify and train cadres on an ongoing basis to maintain these crafts as well as create promotional and marketing opportunities for them through the establishment of such events.
Amani Frog
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Sight of the Spirit Spreads their Creativity in Jadak Al Ghaith on a Cultural Theater in Kafarsousa - Video
Damascus-SANA With their vision, they mastered the arts of playing, singing, reciting poetry, acting and with their delicate emotions.

The decline of traditional crafts in Syria is due to economic and security difficulties, high production costs, and increased taxes.

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Content: What is the reality of traditional and traditional professions in Syria?
DAMASCUS – The traditional professions and crafts in Syria were not immune to the repercussions of the war. In light of the difficult economic and security conditions that the country has been witnessing for more than a decade, these professions are suffering from an unprecedented decline related to production and market conditions, which makes them today threatened with extinction.
The head of the Union of Craftsmen in the province of Latakia Jihad Pro, in a recent statement to the local newspaper Al-Watan, the decline of the production of handicrafts and handicrafts of various kinds by 50% within the province, considering the high costs of production inputs and increased income taxes as direct reasons for this decline.
Bassam Qalaji, head of the artisanal association for confectionery in Damascus, told the local newspaper Global last month that more than half of the confectionery craftsmen had stopped producing and switched to other professions due to low demand and insufficient profits.
Successive statements reveal the reality of Syrian traditional and traditional crafts, which are suffering under the weight of the economic decline that the country is suffering from.
This situation has prompted thousands of craftsmen to close their workshops and shops and switch to other jobs, or migrate and move their work abroad, amid the real threat of the disappearance of many traditional traditional traditional professions and handicrafts, which constitute vital sectors of the economic sector in the country and an integral part of its cultural identity.
What are the main reasons for this decline?
How does it affect the economic life of the country?
Lack of support and unequal competition
Anton, a 42-year-old Damascene craftsman and former owner of a mosaic workshop in rural Damascus, says his struggle for years to keep his workshop open, producing and selling enough to pay its workers has been futile.
He adds in an interview with Al Jazeera Net: "I tried hard to maintain the workshop and its workers for as long as possible, but the constant high prices of wood (local and imported) in an inappropriate manner, the long interruption of electricity (16-18 hours a day), and the low demand for mosaic in the domestic and foreign market, all factors forced me to lay off workers, and later to close the workshop after months, during which I received only two orders."
In addition to these factors, Anton attributed the low demand for "original" mosaics and other handicrafts and heritage artifacts (copperware, damask, antika, textiles) to:
The reality of the market at the moment in the absence of tourists.
• The decline of external demand for the commodity as a result of the interruption of trade relations with foreign markets.
• Migration of brokers and traders and thus reduced export.
• Unequal competition.
With heritage products becoming “more than luxury ” for Syrians suffering from poor purchasing power (average monthly salaries of about $20), and the lack of support for craftsmen and awareness of the importance and authenticity of these products by trade unions and government agencies, Syria ’ s craftsmen face major challenges to continue their craft.
Although there are no accurate figures on the number of craftsmen who have been driven by working conditions to emigrate outside the country, the head of the Damascus Craftsmen ’ s Union, Ali Qarmashti, revealed in an interview with the local news website Click News last year that the percentage of Damascene craftsmen migrating has become very high, especially among young people.
Repellent economic and social policies
In addition to the direct economic factors that led to the decline of traditional crafts during the past few years, represented by the high prices of raw materials, the poor reality of services, and the decline of the sale and purchase movement, there were indirect factors that affected these crafts.
Syrian economist Younis Karim believes that the artisan crisis began in 2008 after being subjected to great pressures due to the change of the general economic orientation in the country.
He said in an interview with Al Jazeera Net: "Since 2008, the authorities have put their hands on the spread of these industries due to the importance of their geographical location, and work to change their features in favor of wealthy investors, or provide them as donations to countries that Damascus seeks to establish bilateral relations with."
According to the expert, the reality of the work of traditional crafts after 2011 became more complex and difficult with "the continued adoption of economic and social policies by the regime that restrict the owners of these crafts, exclude them from support, take their places of deployment, in addition to the cessation of exhibitions and the difficulty of participating in external events because of the political positions of the regime.
Karim explains that the family and social disintegration suffered by Syrians as a result of large-scale migration during the last decade was an added reason for the decline of these crafts, which “relied on inheritance between generations of the same family as a tradition followed by Syrian craftsmen long ago. ”
Kilo to Piece and Pieces
It seems that some traditional crafts and crafts are in the same trench with traditional crafts in their war against extinction, where the owners of many traditional crafts are no less original than those of heritage, especially the confectioners from the high costs of raw materials in production, high costs of energy stands, and successive losses due to the reluctance of citizens to buy expensive Arabic sweets.
Suhaib, 55, owner of a sweets shop in the Jazmatiya area of Damascus, told Al Jazeera Net: "Days pass without selling a total of a kilo of various items, and two years ago the stagnation of goods in the shop became a familiar phenomenon to us, and had it not been for the holiday seasons, and some occasions and weddings held here and there, we would have closed long ago."
Al-Halwani Al-Damascene adds in an interview with Al-Jazeera Net: "Our profits, and the profits of most of the shops of Halwanis in Damascus, have decreased by a large percentage since the beginning of the economic crisis in the country."
Al-Halwani pointed out that the price of a kilo of some varieties of Arabic sweets has exceeded 400 thousand pounds recently, adding: "Which is not able for Syrians to buy, so we have become selling methods in which we rely on small quantities, so we sell baklava, crystal, shaped, asian, brominated and other items in ounces, grain (piece) and two grains to keep the sales movement, and do not stop customers from our shop."
As for the reasons why sweets in Damascus stopped working and many of them emigrated outside the country, Al-Halwani said: “Many reasons start from the large annual taxes that are inconsistent with high operating costs and low profits, in addition to the high prices of commercial electricity and fuel needed to operate shops and laboratories, the huge increase in the prices of raw materials, the high wages of workers, and the reluctance of customers to buy these sweets except on occasions. ”
High prices
Prices of food, nuts and other components of Arabic sweets have risen by varying rates recently, as the price of a kilo of animal margarine reached 150 thousand pounds ($equivalent to about 2511 pounds), while the price of a kilo of pistachio love rose to 300 thousand, and the price of a kilo of walnuts to 120 thousand.
The prices of popular sweets such as Al-Barazek and Al-Ma ’ amoul in Damascus markets, by the holy month of Ramadan, were between 100 and 130 thousand pounds per kilo, while the prices of medium and luxury sweets such as “Al-Belouria ”,“ Al-Mashkeel ”, “Kool and Shakour ”,“ Aish Al-Bulbul ” and “Baklava ” ranged between 250 and 500 thousand per kilo, which is equivalent to the salary of a Syrian employee in the public sector.
The head of the artisanal association for confectionery industry, Bassam Qalaji, attributed this rise in confectionery prices to the government lifting subsidies on oil derivatives, which led to a direct increase in costs by 150%, pointing out that raising the price of electricity by 5 times will lead to an increase in the price of about 650 products.
Qalaji said in a statement to the local newspaper Al-Watan last month that the largest number of confectionery craftsmen emigrated, and their first destination was Algeria followed by Germany.
In March last year, the head of the artisanal association for the confectionery industry revealed that 70% of the workshops of the confectionery industry were closed due to the economic crisis and the low demand for sweets and refreshments.
A severe blow to the economy
This gradual disappearance of traditional crafts is a painful blow to the Syrian economy, says economist Younis Karim, “For decades these crafts have been the largest incubator of Syrian labor, and their contribution to the economy before 2011 ranged from 40 to 50%. ”
This is what Matanios Habib, a researcher and former Syrian oil minister, said in a research paper entitled “The private sector in Syria ” (2005), when he pointed out that the private industrial sector in Syria tended to invest in crafts for fear of nationalization policies, whether during the era of Syrian-Egyptian unity (1958-1961) or after the revolution of March 8 (1967).
Karim stresses that the crisis of workers in traditional crafts, such as confectioners and others, dates back to before 2011, specifically to the period between 2007 and 2009, when there was “an attempt by the regime to pressure the owners of traditional crafts and crafts by forcing them to pay taxes, and to keep them away from city centers in favor of large investors. ”
Younis Karim believes that the gradual demise of these crafts will have negative effects on the Syrian economy because of their role in "providing job opportunities beyond those provided by large laboratories and their excellence in ease of operation and achievement, and the ability to spread.
Source: The Island

Syria's traditional professions and crafts have declined by 50%.

The Syrian Ministry of Culture sees the UNESCO listing of traditional glassblowing as a step to protect national identity.

Syrian intangible cultural heritage, such as traditional glassblowing, helps preserve national identity amidst globalization.

More needs to be done to preserve and promote traditional glassblowing in Syria by supporting artisans and widening its audience.


Additives are commonly used in salmon farming to promote growth, prevent disease, and improve fish quality.

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Aquaculture feeds often contain additives like soy proteins, wheat gluten, and corn gluten meal, in addition to antibiotics.

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Insect-based ingredients can replace fishmeal in salmon feed, reducing the need for wild-caught sources and the carbon footprint of aquaculture.

The use of feed-grade fish in aquaculture can harm ocean ecosystems, prompting efforts to reduce it, such as China's goal to cut its use in half for certain species.

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Norway regulates its seafood industry in an ecosystem-based manner, but lacks transparency on additive use.

Salmon farming's use of additives raises concerns about safety, sustainability, antibiotic resistance, and environmental pollution.

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Insect-based feed and sustainable practices can reduce the environmental impact of salmon farming.

Additives are commonly used in salmon farming to promote growth, prevent disease, and improve fish quality.

Antibiotics are used in salmon feed to prevent disease and promote health.

Aquaculture feeds often contain additives like soy proteins, wheat gluten, and corn gluten meal, in addition to antibiotics.

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Content: 262
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China Works to Get Wild-Caught Fish Out of its Aquaculture Feed

[By Zhang Chun]

A 2021 Chinese government initiative to stop aquaculture feed being made from only young or low-value fish and to instead start producing “compound feed” – mixed with ingredients harvested from the land – is opening up a greener future for the sector.

According to the Ministry of Agriculture, in a series of trials last year, the sole use of low-value “feed-grade” fish as aquaculture feed was reduced by 77 percent, and by as much as 94 percent in farming of largemouth bass. Experts say the switch to compound feed could see overall use of feed-grade fish slashed by half for farming of certain species.

What is compound feed?

Compound feed normally contains a mixture of animal- and plant-based ingredients, and added nutrients such as vitamins. For aquaculture feeds containing fishmeal and fish oil, common additives include soy proteins, wheat gluten and corn gluten meal.

Feed-grade fish are those in a catch that are small, low in commercial value, or unsuitable for human consumption. They are sent to be processed into fishmeal and fish oil, or fed directly to farmed fish. But a significant proportion of feed-grade fish consists of juveniles of commercially important species. Once caught they can no longer grow into adult fish and breed, or be caught and sold on the market. Their removal damages ocean food chains and ecosystem stability.

The last decade and more has seen increased calls for China to tackle the use of feed-grade fish in aquaculture, but the current round of trials is the first organised by the Ministry of Agriculture. It focuses on species such as the yellow croaker, Japanese sea bass and largemouth bass, which tend to be fed more feed-grade fish. While those species don’t account for much of China’s fed aquaculture output, they do require much more protein than others to put on the same amount of weight. Compound feed cuts down on the use of fish by substituting vegetable alternatives, and is cheaper.

In the long term, sustained reductions in the use of fishmeal and fish oil in feed will be necessary to protect wild fisheries.

Aquaculture driving feed-grade fish catch

Fishers never used to set out to catch feed-grade fish; it was bycatch, with no economic value. Then in the 1980s, global aquaculture took off. “There was a lot of need for fishmeal and oil,” Rashid Sumalia, a fisheries researcher at the University of British Columbia, told China Dialogue. People started going out “purposely to catch them at distance, because there was a market”, he added.

According to the Food and Agriculture Organization’s (FAO’s) 2020 global fisheries and aquaculture report, the use of fish for reduction to fishmeal and fish oil peaked in 1994 at 30 million tonnes, and stood at 18 million tonnes by 2018. Another 4 million tonnes were used elsewhere, including directly in feed for aquaculture, livestock and fur animals.

It wasn’t until the mid and late 1990s that aquaculture took off in China. The FAO’s 1998 fisheries and aquaculture report describes how rare it was for fish catches in Asia to go unused or be used as aquaculture feed. But in Asia, particularly in China and Vietnam, aquaculture has expanded rapidly and the region now accounts for almost 90 percent of global output. In China, output tripled between 1998 and 2020, to represent 60 percent of the global total.

Although many of the species farmed in China need little or no feed, fed fish and crustacean aquaculture accounts for half of output and requires millions of tonnes of feed-grade fish from Chinese waters alone. China does not currently have statistics on its feed-grade fish catch or use in fed aquaculture. One study calculated that in 2016 4.6 million tonnes of feed-grade fish were caught, 35 percent of the total recorded catch in China’s waters, and most was used directly as feed.

“The state is certainly aware of the problem,” said Fang Qing, China general manager for the Aquaculture Stewardship Council, adding that the difficulty in banning some harmful types of fishing gear in China is due to the ongoing market for the feed-grade fish it brings in. Since 2018, China has put minimum size limits in place for 15 commercial fish species, and ruled that feed-grade fish catch would drop to below 20% by 2020. There is no data available indicating whether this target was met.

This it isn’t just a Chinese problem. According to a 2017 study by the University of British Columbia, many countries, including the US and Norway, use feed-grade fish directly as feed. But the practice increased significantly in Asia between the 1990s and 2010, with feed-grade fish coming to account for a high percentage of landed catches.

Replacing feed-grade fish

In early 2019, the Ministry of Agriculture announced it would work to make Chinese aquaculture more environmentally friendly, and proposed the use of compound feed instead of purely fish-based feed. In April 2021, several provinces started trials of compound feed as part of more concrete action plans.

Compound feed for aquaculture is usually a mix of fishmeal, fish oil, wheat flour, soybean meal, vegetable oil and other land-grown ingredients. The amount of fishmeal and fish oil needed depends on the type of fish to be fed, and its stage of growth. According to Fang Qing, carnivorous fish such as the yellow croaker need huge quantities of meat protein at certain stages in their growth, and the relationship between particular nutrients and the growth and physiology of the fish can be complex. Hence, producing appropriate compound feed involves a lot of research and development.

To quantify how efficiently a species is farmed, the aquaculture industry uses a ratio called Fish in:Fish out (FIFO). The closer the FIFO is to 1, the more fish meat is produced per unit of input; a score of 1 means an extra kilogram of fish used as feed results in an extra kilogram of fish to harvest.

A study published in 2020 shows a FIFO of almost 1 for salmon and trout, thanks to the use of compound feeds which require less fishmeal and fish oil. If only fish were used to feed those species, the FIFO figure would be similar to that of the yellow croaker – over 6, according to an upcoming paper co-authored by Zhang Wenbo, an assistant professor in the College of Fisheries and Life Science at Shanghai Ocean University. His research into conventional yellow croaker aquaculture in China found that the direct use of feed-grade fish is still the best option for the yellow croaker farmers. But Fang Qing told China Dialogue that a lot of feed-grade fish fed to yellow croaker goes uneaten, and ends up sinking to the seabed or rotting, causing pollution and increasing the risk of disease.

More compound feed use would help reduce FIFO numbers in two ways: by cutting use of feed-grade fish, and by increasing conversion ratios – that is, generating more fish growth per unit of feed.

Zhejiang is taking the lead in both those areas. Since 2016, the province has been shutting fishmeal factories during the closed season and restricting the percentage of feed-grade fish in the overall catch. This, combined with the use of compound feed, saw Zhejiang cut the use of feed-grade fish by 835,000 tonnes across 710,000 mu (474 square kilometres) of aquaculture farms during the 13th FYP period (2016-2020). “Previously, feed-grade fish were the primary feed for largemouth bass in Zhejiang. These last two years that’s almost all been replaced with compound feed.” The FIFO ratio for farmed largemouth bass in Zhejiang could come down to 1.5, half the national average for this species, according to 2016 calculations Zhang Wenbo contributed to.

But cutting back on feed-grade fish use in China won’t be easy. Fishers catch a wide range of fish with a wide range of gear. At the local level there is a lack of fisher associations that can impose rules on the sector, making management tricky. Zhejiang’s success can be ascribed to strong local regulations. “There are no successful [international] examples that China can apply,” said Fang Qing. Alongside legislation to bolster oversight of the feed-grade fish catch, he also suggests developing feeds which will be more palatable to fish, and labelling products according to their use of feed-grade fish or compound feed, so consumers can make an informed choice.

Increasing the efficiency of fish inputs

The use of compound feed isn’t the end of the story. At least for now, fishmeal and fish oil are essential ingredients in those feeds. And while the global supply of fishmeal and fish oil has fallen from its peak in 2000 to a fairly stable level, the demand for aquaculture feeds has been increasing. That requires the development of feeds containing less meal and oil.

Plans announced by Norway to boost salmon farming have led to concerns about the supply of fishmeal and fish oil as well as vegetable ingredients. The country has started researching the use of mesopelagic fish (which inhabit the middle depths of the ocean), algae and farmed insects to meet that need and make feed more efficient. A more complete solution would be to develop entirely vegetarian feeds, with no fishmeal at all. However, as things stand that would only be suitable for a few species.

“Fishmeal is the most expensive of the ingredients found in bulk feeds. Reducing the amount in those feeds is the best way to make them cheaper,” Zhang Wenbo points out. A tonne of fishmeal costs around 10,000 yuan (US$1,500), compared to 1,000–4,000 yuan for bran or soybean meal, he added. “Feed conversion ratios are also affected by the type of aquaculture, the make-up of the feed, and genetic selection – the breeding of strains more suited to compound feeds,” he said. This is more difficult in China, with its wide range of farmed species, than in Norway, where salmon dominates. But progress is still being made, and associated targets have been set in the 14th Five Year Plan (2021–25).

Increasing the efficiency of fishmeal and fish oil use in China will also ease global pressures on the supply and help protect juvenile fish. China is the world’s biggest consumer of fishmeal, with the largest part being used in aquaculture, and the second largest being fed to pigs. But the country only produces 400,000–700,000 tonnes of fishmeal a year – not even close to meeting domestic demand. Fishmeal imports have held steady since 2017, at about 1.4 million tonnes, but jumped to 1.82 million tonnes in 2021, with experts ascribing the change to the recovery in pig farming. The extra fishmeal came from the Americas and elsewhere in Asia.

Zhang Wenbo explains that China’s fishmeal and fish oil imports come from forage fish, caught specifically to be turned into fishmeal, and Peru is the main supplier. Relatively little of China’s fishmeal is made from feed-grade fish. “Imports of by-product processed fishmeal from Vietnam and Thailand have been increasing in recent years,” he said.

Minimizing the feed-grade fish catch

Cutting back on the use of feed-grade fish is good for the sustainable development of both wild fishing and aquaculture. It will also help protect already vulnerable ocean ecosystems. In 1959, fishing vessels in China’s Bohai Sea caught 420 kg of fish per net for every hour they worked. By 1993, that had fallen to 30 kg, and only 8 kg between 1998 and 2011. The above-mentioned research into China’s feed-grade fish catch found that a long-term stable total catch has masked trends including falling biomass and changes in end use.

The losses to biodiversity and ecological services cannot be measured in financial terms, and the fishing industry needs more than simply output. Wang Songlin, president and founder of the Qingdao Marine Conservation Society, believes the industry needs to work towards a balance of ecological, economic and social benefits. He told China Dialogue that even if total catch may still be the same by volume, the underlying destruction to the integrity of ecosystems and the environment should not be ignored.

Management of the sector in China has acquired a new ecological focus. Alongside the use of compound feeds, some provinces are providing fishery stewardship subsidies for the protection of rare and endangered species and for keeping down feed-grade fish catch volumes.

Protecting juvenile fish isn’t just a matter for China – it’s crucial for ocean ecosystems around the world. Rashid Sumalia said: “If you look at the economies and the ecology at the higher level, you don’t want to [catch feed-grade fish] because the losses are too high” to be sustainable. Sumalia acknowledges that many people rely on that fishing for their livelihoods but says: “We need to take it down as far as we can.”

Zhang Chun is a senior researcher at China Dialogue. This article appears courtesy of China Dialogue Ocean and may be found in its original form here

The opinions expressed herein are the author's and not necessarily those of The Maritime Executive.

What health concerns are there specifically related to additives in farmed salmon feed?

Mealworms are being used as a sustainable alternative to traditional fishmeal in salmon feed.

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Content: World’s Largest Insect Farm to Open in France

Once fully operational, the massive vertical farm will produce 200,000 tonnes of insect-based ingredients a year.

Ÿnsect, one of the world’s largest insect rangers, is betting big on bugs to help push the world in a more sustainable direction.

Founded in 2011, the company is fast approaching its goal of opening the world’s largest insect farm and dramatically scaling up its operations. Located about an hour north of Paris, the state-of-the-art facility will leverage automated systems and vertical farming techniques to raise mealworms (Tenebrio molitor) and enable the production of over 200,000 tonnes of insect-based ingredients per year. The site, estimated to be completed by the end of 2022, will join two other Ÿnsect facilities already operational in France and the Netherlands.

"It’s an automated warehouse, very similar to an Amazon warehouse, where instead of storing stuff, we are storing live insects," Ÿnsect CEO and co-founder Antoine Hubert told Time last year. "There is a climate-control system which is highly complex to maintain temperature and moisture from zero to 30 meters high. All operations are automated. Anything that you do on [an insect] farm is done with robots."

Feed for Fish, Fertilizer for Plants, Burgers for Humans

For the past decade, mealworms cultivated at Ÿnsect’s farms have been turned into powders and oils that have become nutritional additives to pet and farm feeds. Thanks to a ruling last year by the European Food Safety Agency (EFSA) that deemed mealworms safe for human consumption, the company has also begun selling its powders for shakes, cereal bars, pasta, and even alt-meat burgers. In addition, the shed shells of the rapidly growing mealworms are collected and sold as beneficial organic fertilizers to farmers.

According to MealFlour, a project that promotes mealworm farming as a way to battle malnutrition in Guatemala, a serving of mealworm powder is 55% protein, contains all essential amino and fatty acids, and has more iron than sirloin beef. Compared to the production of milk, pork, chicken, and beef, mealworms are also more sustainable and require fewer resources and energy.

While its recent forays into human foodstuffs have garnered attention, Ÿnsect's focus presently remains on helping to feed sustainably the animals that feed the world. For instance, aquaculture, like salmon farming, is a resource-intensive operation that uses both land-based crops (soy) and massive amounts of wild-caught fish to create what's known as fishmeal. With food production projected to have to grow by more than 70% by 2050 to meet demand, the overfishing of oceans to feed aquaculture operations is not a feasible option. Studies, such as a recent trial by NOAA, have shown that supplementing or even replacing fishmeal with insect- and plant-based foods holds promise for eliminating the need for wild-caught sources. According to Hubert, there are other positives as well.

"They [salmon] were reaching the maturity stage faster and eating less so they were avoiding a large quantity of feed," he told Fast Company in 2020. "There was less mortality so the farmers get more fish eventually than before... This also explains why we have a carbon-negative balance, because we are avoiding so many quantities of inputs to feed fish to have the same quantities of fish."

Hubert added to Fast Company that Ÿnsect has contracts worth more than $100 million with fish feed producers. This past year, with the acquisition of U.S.-based mealworm producer Jord, it also began entering new markets, such as the rapidly growing U.S. backyard chicken feed market.

A Record-Breaking Vertical Farm

One look at the animated video of Ÿnsect’s new facility up above and you can see why it’s been touted as an automated marvel. Mealworms will be reared by robots in stacked tubs stretching several stories tall. Unlike other insect food alternatives such as flies or crickets, mealworms do not hop or fly, allowing the company to maximize the space available.

In an effort to make sure the creatures are ethically farmed, Hubert reached out to philosophers from the Sorbonne University to judge their welfare. As he told The Guardian, the students determined that the mealworms had "more in common with mushroom-growing and hothousing vegetables" than with livestock.

"They have no brain in the strict sense of the word," he said. "We know they have a reflex reaction and they communicate and build intelligent structures, but nobody has shown they feel anything. However, what is important is to respect them as living organisms, which we do."

In addition to the new farm in France, Ÿnsect plans to continue to scale its operations with additional facilities, including a major site in the U.S. The biggest hurdle ahead, however, says Hubert, is making insects a normal part of everyday diets.

"I believe that the big challenge is accepting insects as part of the human diet," he told Authority Magazine. "A large part of the world's population eats insects, but we must be able to prove its properties and its benefits for the environment in order to reach more and have more impact!"

View Article Sources
  1. "Ÿnsect Welcomes European Interministerial Delegation to Amiens." Ynsect.

  2. "Why Eat Mealworms?" MealFlour.

  3. "Edible Insects." Food and Agriculture Organization.

  4. van Dijk, Michiel, et al. "A Meta-Analysis of Projected Global Food Demand and Population At Risk of Hunger for the Period 2010–2050." Nature Food, vol. 2, no. 7, 2021, pp. 494-501., doi:10.1038/s43016-021-00322-9

  5. "The Future of Fish Feed May Lie in Insects, Mold, and Algae." National Oceanic and Atmospheric Administration.

Insect-based ingredients can replace fishmeal in salmon feed, reducing the need for wild-caught sources and the carbon footprint of aquaculture.

The use of feed-grade fish in aquaculture can harm ocean ecosystems, prompting efforts to reduce it, such as China's goal to cut its use in half for certain species.

What countries or jurisdictions have regulations concerning additives in salmon feed?

Farmed salmon contains higher concentrations of PCBs than wild salmon, increasing the risk of cancer.

Title:

Content: Miscellaneous
Publish Date: December 13, 2021 8: 47 GMT
Updated on: December 13, 2021 9: 40 GMT
Study: Eating Too Much ‘ Farm Salmon ’ May Cause Cancer
A medical study published on Monday warned that overeating salmon raised in farm ponds could lead to cancer.
The Daily Newspaper noted.
+ A -A
Source: Erm News
A medical study published on Monday warned that overeating salmon raised in farm ponds could lead to cancer.
The Daily Express newspaper pointed out that "some previous studies found that salmon, jam in ponds, which is widely consumed around the world, doubles the risk of prostate cancer," pointing out that "salmon is a useful food source for health because it contains omega-3 fatty acids."
"While one salmon is caught in open water, like the seas, the other is bred in tight spaces (farms and ponds), which could have implications for human health," the paper said.
Studies have found that PCBs in farm-raised salmon were about 8 times higher than concentrations in wild salmon, adding that PCBs have been banned for commercial use for decades, but their effects can still be found in the environment, which may adversely affect human diet and therefore health.
According to a study by the Environmental Defense Fund, eating salmon raised in farm ponds on a regular basis may increase the risk of cancer after multiple cases of contamination have been detected in the United States and other countries.
"Medical scientific findings, published in the Journal of Medical Sciences, suggest that cheap farmed salmon sold in stores may do more harm than good."
“Risk analysis suggests that consumption of farmed Atlantic salmon may pose health risks that detract from the beneficial effects of fish consumption, ” the study said.
Eating farmed salmon more than once a month may be enough to increase the risk of cancer.
"In multivariate analyses, men with the highest concentrations of PCBs were twice as likely to develop prostate cancer than men with the lowest concentrations."
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What health concerns are there specifically related to additives in farmed salmon feed?

Eating too much farmed salmon may increase cancer risk, with high PCB concentrations doubling the likelihood of prostate cancer in men.

What health concerns are there specifically related to additives in farmed salmon feed?

Regulations for additive use in salmon farming vary by country.

The EFSA has deemed mealworms safe for human consumption and they are used in salmon farming.

Insect-based feed can improve salmon growth and health, leading to faster maturity, reduced food intake, and lower mortality.

International standards for salmon aquaculture additives are being developed to ensure safety, sustainability, and protect human health and the environment.

Norway regulates its seafood industry in an ecosystem-based manner, but lacks transparency on additive use.

Salmon farming's use of additives raises concerns about safety, sustainability, antibiotic resistance, and environmental pollution.

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Anticipating obsolescence: The next step to enhancing the sustainability of aquaculture

With growing concerns about the environmental toll of single species fish farms, a research project has been looking at the feasibility of introducing a more sustainable and potentially more profitable method of fish farming, using three complementary species.

Much as native American people planted squash, maize and climbing beans together to benefit each other, (often called the "three sisters"), farming finned-fish, shellfish and seaweeds together could benefit each other and reduce any environmental effects of fish farming. Small scale integrated multi-trophic aquaculture (IMTA), as the system is called, has traditionally been used at a small domestic scale in Asia, providing the farmer with more than one product to sell or use.

The feasibility study conducted by Bangor University and published in Ecological Modelling has identified the locations around the Atlantic coast which would be most suitable for IMTA, based on farming salmon, and Oarweed, a type of kelp seaweed commonly found in temperate Atlantic coasts. The research considered the natural distribution of the three species, whether suitable locations clashed with busy shipping lanes or marine protected areas and whether there was close access to sizeable ports in order to reach markets.

The western coast of Lewis in the Outer Hebrides, Scotland; Lough Swilly in County Donegal, Ireland, and the western coast of Brittany, northwest France were found to be the best locations to further develop IMTA based aquaculture.

As Conchúr Hughes of Bangor University's School of Ocean Sciences explained, "One of the problems with the type of single species aquaculture practiced in Europe is that excess food and feces can lead to deterioration of local ecology, while density can mean that aquaculture companies need to use antibiotics and other additives to maintain a healthy fish-stock.

"Mussels are filter feeders, they can be responsible for removing up to 54% of salmon waste materials from the , using it as energy to grow, while the oarweed removes soluble nutrients from the water column. Oarweed can then be farmed to use in a variety of products, from food supplements for human consumption or for fish farms, as a fertilizer or as an ingredient in pharmaceuticals.

"Each of these species complements the other and mitigates against problems."

IMTA-based aquaculture

Both salmon and mussels are important food sources in Europe, and while oarweed is not as yet, this is a sector that is expected to experience a rapid increase in demand in the coming years- and can provide an alternative sustainable source of fertilizer and other products.

Seaweed cultivation can also provide environmental benefits. The seaweed in the water acts as a buffer against as it approaches the shore, reducing the energy as it passes through the seaweed, much as trees act as a buffer against strong winds, which can help reduce erosion. It also elevates the pH and oxygenates the water.

More information: Conchúr Hughes et al, Habitat suitability modelling for an integrated multi-trophic aquaculture (IMTA) system along Europe's Atlantic coast, Ecological Modelling (2023). DOI: 10.1016/j.ecolmodel.2023.110459

Provided by Bangor University

Citation: Anticipating obsolescence: The next step to enhancing the sustainability of aquaculture (2023, September 27) retrieved 27 September 2023 from https://phys.org/news/2023-09-obsolescence-sustainability-aquaculture.html
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Drug-resistant sea lice an increasing problem for B.C. fish farms, new study finds

By Melanie Nagy

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    May 14, 2022 (CTV Network) — Every spring, endangered juvenile wild salmon migrate from B.C.’s rivers to the Pacific Ocean, but their numbers are dwindling and some fear sea lice parasites are increasingly to blame. Sea lice are tiny, oval shaped crustaceans that can cling to the backs of wild salmon, feeding on their skin, muscle tissue and blood. Adult fish are generally not harmed when a few lice attach themselves, but juveniles with underdeveloped scales can be harmed or killed when heavily infested. While the parasite occurs naturally in the waters off B.C.’s coast, there’s long been concern over outbreaks on aquaculture farms where open-net pens make it possible for lice to move from farmed fish to young migrating salmon. “Salmon farms act as this year-round reservoir for sea lice, potentially providing sea lice to wild juvenile salmon when they wouldn’t normally get them,” conservation biologist Sean Godwin said. Godwin is the lead author in a recent study that looked at the state of sea lice in the Pacific Ocean. Along with his fellow researchers, he found the parasite is increasingly becoming resistant to one of the main tools the industry relies on to combat the problem. “Our paper found that this tool, which is a pesticide known [as] SLICE, or emamectin benzoate, is becoming less effective and that sea lice are developing resistance to it on farms here,” Godwin said. To assess parasite resistance, “bioassay, treatment and salmon-louse count data from 2010 to 2021” were analyzed. During that time, the researchers found a notable decrease in the effectiveness of SLICE. “It is going to be more difficult for salmon farms to control sea lice outbreaks on their farms,” said Godwin. In the province’s stunning Clayoquot Sound, Bonny Glambeck routinely uses a fine-mesh net and a sample cup to test the waters near fish farms. Glambeck heads the Tofino-based conservation society known as Clayoquot Action and every year she monitors industry lice counts and tracks wild salmon infestations. “The control of sea lice on fish farms is something I do not believe the industry has ever been able to crack,” she said. “Parasites like these sea lice proliferate on these farms and then they can pass them on to wild salmon. With that, we feel that every year that goes by and these farms are allowed to pollute the waters with these infestations, they are just wiping out another generation of wild salmon.” Fisheries and Oceans Canada requires all fish farms in Canadian coastal waters to have a sea lice management plan. The federal department also places a limit of three lice per salmon during the spring when young salmon are out-migrating and are most vulnerable. In addition to that, the industry publicly reports lice counts on individual company websites every month. “The worry is that those lice levels might accumulate and then be released back to affect wild migratory salmon. The science doesn’t support that, but the concern exists so the industry responds to that,” said Brian Kingzett. Kingzett is the science and policy director with the BC Salmon Farmers Association. He says the industry has warned the federal government for years about the waning efficacy of SLICE, and has long called on Ottawa to approve new pesticide options. “There are other anti-parasite agents that have been approved in other areas of the world and we would certainly like to add that to our toolbox.” While SLICE is the only approved pesticide in Canada, it is not the only option for a fish farm struggling with a lice infestation. Kingzett says other environmentally friendly methods include the use of specialized delousing boats. One readily used vessel can suck fish from ocean-based pens into tanks where pressurized water is used to forcibly remove any attached lice. According to the industry, any dislodged bugs are collected by filters for disposal so they are not reintroduced to the marine environment. “During the last five years, the industry has spent about $100 million on importing new technologies,” Kingzett said. “Fish farming is an important industry in B.C. because we are facing a global seafood shortage and the farming sector is looking to provide sustainable, high-quality product.” The industry, however, is controversial and there’s been an ongoing battle to have all fish farms in the province removed. Earlier this month, there was a large protest in Tofino involving Indigenous leaders, conservationists and environmentalists. The group took to the waters near a local fish farm to voice their opposition to the industry and call on Ottawa to evict them. “It is a do-or-die moment for the salmon farming industry,” said Alexandra Morton, who is an independent biologist and longtime wild salmon activist. “We need to do whatever we can to save wild salmon populations because they are sadly on the verge of extinction.” In response, those in support of fish farms argue they are not a direct threat to wild salmon and are a vital industry. According to the BC Salmon Farmers Association, there are nearly 5,000 jobs linked to fish farms and at least $1 billion “in economic activity” is generated annually. Despite that, Ottawa has previously announced that it’s committed to phasing out open-net salmon farms in B.C. by 2025. In addition, it’s uncertain if 79 federal fish farm licenses expiring in June will be renewed.

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Canada plans to phase out open-net salmon farms in British Columbia by 2025, promoting more sustainable practices.

Insect-based feed and sustainable practices can reduce the environmental impact of salmon farming.