Lebanon Crisis Mutes National Music Conservatory

Lebanon's national conservatory of music student Matthew Ata, 10, plays guitar during a debut concert performance at the Al-Madina theatre in Beirut, on April 18, 2023. (AFP)
Lebanon's national conservatory of music student Matthew Ata, 10, plays guitar during a debut concert performance at the Al-Madina theatre in Beirut, on April 18, 2023. (AFP)
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Lebanon Crisis Mutes National Music Conservatory

Lebanon's national conservatory of music student Matthew Ata, 10, plays guitar during a debut concert performance at the Al-Madina theatre in Beirut, on April 18, 2023. (AFP)
Lebanon's national conservatory of music student Matthew Ata, 10, plays guitar during a debut concert performance at the Al-Madina theatre in Beirut, on April 18, 2023. (AFP)

At Lebanon's national music conservatory, pianos collect dust and classrooms sit empty, making the institution another casualty of an economic collapse that has crippled the public sector and hampered education.

Toufic Kerbage, 65, watched the value of his pay packet and pension evaporate after the Lebanese economy began melting down in 2019, taking the local currency and people's savings with it.

Without family support "I would have starved," said the music teacher, who began working at the conservatory in the late 1980s.

"It's difficult at my age to ask for money", he said from the silence of the conservatory's branch in Sin al-Fil, a suburb of the capital Beirut.

Once on a comfortable income, Kerbage now earns around $70 a month, in a country the World Bank says suffers the highest food price inflation globally.

He has been teaching his classes online, battling Lebanon's "disastrous" internet and spending more than he earns on a generator subscription to get through hours-long daily power cuts.

The state-run conservatory, with several thousand mostly school-aged students and 17 branches around the country, counts prestigious musicians like the composer and oud player Marcel Khalife among its alumni.

But as the economic crisis grinds on, some teachers have quit. Many others have turned to online classes to save on travel costs or teach private lessons on the side to make ends meet.

Kerbage said he was "worried" about colleagues without a support network.

'Musical revolution'

Taking matters into their own hands, a group of teachers and students have been holding independent concerts to highlight their plight and give musicians a chance to support each other and perform.

"I am here today to stand with my colleagues who are not happy with the way we are treated," said concert organizer Ghada Ghanem, who is also a teacher and soprano.

Some teachers have moved house or "sold their cars" to survive, added Ghanem, herself a conservatory student during Lebanon's 1975-1990 civil war.

The shows' proceeds will be invested into creating further performance opportunities or distributed among those involved, she said, calling the initiative a "musical revolution".

"Let's fix our problems with our own talent," Ghanem said recently from a darkened Beirut theatre before a recent show -- the second in a planned series.

"Depression will attack us if we sit and do nothing."

Matthew Ata, 10, said he was "a bit nervous" about his debut concert performance.

Despite starting with the conservatory two years ago, he only met his guitar teacher for the first time at the show.

"We really hope that things will get better" and in-person classes will resume, said Matthew's mother, Rita Jabbour.

Some students said the protracted online teaching and disruptions had left them feeling discouraged.

Software engineer Aline Chalvarjian, 33, who studies oud and lyric singing, said she had "lost motivation".

The conservatory used to be "like a second home", she said. Now, "we feel that we are left behind".

'First' pay boost

Like other public sector workers throughout the crisis, conservatory staff have taken strike action to demand their rights are respected, with the head of the conservatory teachers' league sacked in January after organizing protests.

In recent months, teacher strikes at Lebanon's public schools have paralyzed the education sector.

Soprano Hiba al-Kawas, who last year became the first woman to head the conservatory, said she had worked day and night to improve the situation, but political deadlock has stymied progress.

Lebanon's entrenched political elite, widely blamed for the country's crisis, has failed to take action to stem the three-year economic collapse.

As sectarian barons bicker over who should be the country's next leader, the presidency has remained vacant since October 31, while a caretaker government with limited powers has been at the helm of the bankrupt state for almost a year.

Despite the obstacles, Kawas said she had managed to secure pay increases that should allow a return to in-person teaching.

A teacher who was paid 30,000 Lebanese pounds per hour -- $0.50 based on an exchange rate used for public sector salaries -- would earn 300,000 once the wage hike takes effect, she said.

It is "just a first step", Kawas added. Teacher Kerbage expressed optimism at the new regime, which he said should push his monthly earnings into the hundreds of dollars.

"Anything" would be welcome, he said.

"I would be able to pay for my fuel, for my electricity, and for some food -- that's a lot."



Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
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Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)

In a historic building in central Tripoli, Libyans wander past ancient statues and artifacts, rediscovering a heritage that transcends political divides at their national museum which reopened this month after a 2011 uprising.

"I got here barely 15 minutes ago but I already feel like I've been transported somewhere. It's a different world," said architecture student Nirmine Miladi, 22.

In the waterfront building known as the red citadel -- once the seat of power -- visitors journey through a history that includes ancient art, Greek and Roman antiquities and Ottoman-era weapons and jewellery.

Miladi's sister Aya, 26, an interior design student, said she liked the bright new museum's layout, "the careful lighting, the screens and interactive tools" that all help make the museum accessible to all.

Libya plunged into chaos after a NATO-backed uprising toppled and killed longtime leader Moammar al-Gadhafi in 2011, and the country has struggled to regain stability.

Since then, the North African country has been divided, with two rival executives vying for power: a Tripoli-based Government of National Unity and an administration based in Benghazi in the country's east.

Mohamed Fakroun, head of international cooperation at the antiquities department, said the museum went through "a dark period during its 14-year closure".

Fearing looting and vandalism after Gadhafi's overthrow, the antiquities department removed "all the artifacts until the country re-stabilized", said Fakroun, 63, who has worked at the French archaeological mission to Libya for almost four decades.

- 'National symbol' -

Curator Fathiya Abdallah Ahmad is among a handful of people who knew the location of secret, sealed rooms where the museum's treasures were taken into hiding for more than a decade.

She said the antiquities department and staff worked to "preserve a historic and cultural heritage that belongs to all Libyans".

This allowed the works to be safeguarded until the museum could reopen "in a modern format that conforms to international standards", she added.

The bright new facility includes digital projections and interactive screens as well as videos, audio guides and QR codes enabling visitors to delve further.

Fakroun noted the museum has a room dedicated to Roman emperor Septimius Severus, who was born in the ancient city of Leptis Magna -- now a UNESCO World Heritage site east of Tripoli.

Another room is dedicated to stolen items that have since been returned, including from the United States and the United Kingdom, he added.

Interior design student Aya Miladi said many Libyans saw the museum's inauguration as the "return of a national symbol".

It is also "a step towards reconciliation between Libyans and with their often little-known past", after years of war, as well as a sign of stability, she added.

- 'Not without past' -

Teacher Fatima al-Faqi, 48, said there was "a world of difference" between the reopened museum and the dark, dusty facility she visited 30 years ago on a school trip.

This time, she was leading a group of high-school students to help them "discover Libya's history and nourish their sense of patriotism", she said, as pupils goggled at items from Roman statues to stuffed animals in the natural history section.

The Tripoli government has invested more than five million dollars in rehabilitating the museum and its surrounding area, despite the oil-rich country's economic woes including frequent cash and fuel shortages.

Fakroun said the six-year renovations were carried out in cooperation with the French mission and the ALIPH foundation -- the International Alliance for the Protection of Heritage.

The museum seeks to convey a hope-filled message about Libya's identity to its visitors, most of whom "were not born when it was last open before 2011", he added.

Visitor Sarah al-Motamid, 34, said that "many people don't know about our country's ancient history and look at us as if we were worthless".

She said she was visiting with her six-year-old daughter Mariam because she wanted her to "understand that we are not without a past or civilization".


Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
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Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA

The cultural camp is a key feature of the 10th King Abdulaziz Camel Festival, held in Al-Sayahid desert. The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity, according to SPA.

It offers a range of programs, including live performances and interactive events, that highlight camels' historical significance in Arab culture and illustrate the values of patience, strength, and belonging.

The camp has attracted over 2,000 guests from 71 nationalities, emphasizing its global appeal as a cultural platform for diversity and tradition.

Visitors engage with cultural content through innovative methods that merge authenticity with modern technology, enhancing awareness of the camel's cultural legacy. This initiative aligns with Saudi Vision 2030 by preserving heritage and connecting younger generations with their roots.


Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
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Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA

Under the Royal Commission for Riyadh City and Riyadh Art, Tuwaiq Sculpture has announced the selection of 25 artists for the seventh edition of the annual sculpture symposium and exhibition, taking place from January 10 to February 22, 2026.

This year’s edition unfolds under the curatorial theme “Traces of What Will Be,” inviting artists to reflect on how sculptural form can express the physical, cultural and conceptual traces that shape the future of cities and communities, SPA reported.

A total of 25 artists from 18 countries, including Saudi artists, have been selected for the seventh edition. Their proposals reflect a diverse range of artistic approaches, responding to the theme through explorations of transformation, place, and materiality.

Director of the Tuwaiq Sculpture Symposium Sarah Alruwayti said: "The seventh edition of Tuwaiq Sculpture received more than 590 applications, reflecting the cultural diversity and global interest in the symposium. The selection of the 25 participating artists was carried out by a jury of industry experts and specialists. Their proposals show meaningful engagement with the theme and reflect the strength and diversity of contemporary sculptural practice. We look forward to welcoming them to Riyadh for the creation of new works that will become lasting additions to the city.”

Building on the evolving material practice of the symposium, Tuwaiq Sculpture 2026 introduces two sculpting categories: granite with optional stainless-steel integration and reclaimed metal. Twenty artists will work in granite, while five will create new works in reclaimed metal. Over four weeks, they will produce large-scale sculptures that will later be added to Riyadh Art’s permanent public art collection.

The 2026 edition features a month-long live sculpting phase alongside a community engagement program, inviting visitors to witness the creation of artworks and take part in panel discussions and workshops. The symposium will conclude with a public exhibition showcasing the completed sculptures from its seventh edition.