British Museum Says It Has Recovered Some of the Stolen 2,000 Items

Visitors arrive to the British Museum in London, Britain, January 25, 2023. (Reuters)
Visitors arrive to the British Museum in London, Britain, January 25, 2023. (Reuters)
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British Museum Says It Has Recovered Some of the Stolen 2,000 Items

Visitors arrive to the British Museum in London, Britain, January 25, 2023. (Reuters)
Visitors arrive to the British Museum in London, Britain, January 25, 2023. (Reuters)

The head of trustees at the British Museum said Saturday that the museum has recovered some of the 2,000 items believed to have been stolen by an insider, but admitted that the 264-year-old institution does not have records of everything in its vast collection.

Chairman of trustees George Osborne acknowledged that the museum’s reputation has been damaged by its mishandling of the thefts, which has sparked the resignation of its director and raised questions about security and leadership.

Osborne told the BBC Saturday that 2,000 stolen items was a “very provisional figure” and staff were working to identify everything missing. The items include gold jewelry, gemstones and antiquities as much as 3,500 years old. None had been on public display recently.

He said the museum was working with the antiquarian community and art recovery experts to get the items back.

“We believe we’ve been the victim of thefts over a long period of time and, frankly, more could have been done to prevent them,” he said. “But I promise you this: it is a mess that we are going to clear up.”

Museum director, Hartwig Fischer, announced his resignation on Friday, apologizing for failing to take seriously enough a warning from an art historian that artifacts from its collection were being sold on eBay. Deputy director, Jonathan Williams, also said he would step aside while a review of the incident is conducted.

In early 2021, British-Danish art historian and dealer Ittai Gradel contacted the Museum bosses with his suspicions, but they assured him nothing was amiss. However, at the start of this year, the museum called in London’s Metropolitan Police force.

The museum has fired a member of staff and launched legal action against them, but no arrests have been made.

Gradel told The Associated Press Friday he became suspicious after buying one of three objects a seller had listed on eBay. Gradel traced the two items he didn’t buy to the museum. The object he bought wasn’t listed in the museum’s catalog, but he discovered it had belonged to a man who turned over his entire collection to the museum in 1814.

The historian said he found the identity of the seller through PayPal. He turned out to be the museum staff member who has since been fired.

Gradelsaid Williams had assured him that a thorough investigation found no improprieties. “He basically told me to sod off and mind my own business.”

Fischer said in his resignation statement that “it is evident that the British Museum did not respond as comprehensively as it should have in response to the warnings in 2021.” He also apologized to Gradel.

The thefts, and the museum’s bungled response, have plunged the institution into crisis. The 18th-century museum in central London’s Bloomsbury district is one of Britain’s biggest tourist attractions, visited by 6 million people a year. They come to see a collection that ranges from Egyptian mummies and ancient Greek statues to Viking hoards, scrolls bearing 12th-century Chinese poetry and masks created by the Indigenous peoples of Canada.

The thefts have been seized on by those who want the museum to return items taken from around the world during the period of the British Empire, including friezes that once adorned the Parthenon in Athens and the Benin bronzes from west Africa.

“We want to tell the British Museum that they cannot anymore say that Greek (cultural) heritage is more protected in the British Museum,” Despina Koutsoumba, head of the Association of Greek Archaeologists, told the BBC this week.

Osborne, a former UK Treasury chief, said the museum has launched an independent review led by a lawyer and a senior police officer. He said it also had built a state-of-the-art off-site storage facility so the collection would no longer be housed in an “18th-century basement.”

“I don’t myself believe there was a sort of deliberate cover-up, although the review may find that to be the case,” he said.

“But was there some potential groupthink in the museum at the time, at the very top of the museum, that just couldn’t believe that an insider was stealing things, couldn’t believe that one of the members of staff were doing this? Yes, that’s very possible.”



Once a National Obsession, Traditional Korean Wrestling Fights for Survival 

An elderly spectator watches a ssireum match during a Lunar New Year Ssireum championship at the Taean Complex Indoor Gymnasium in Taean, South Korea, February 14, 2026. (Reuters)
An elderly spectator watches a ssireum match during a Lunar New Year Ssireum championship at the Taean Complex Indoor Gymnasium in Taean, South Korea, February 14, 2026. (Reuters)
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Once a National Obsession, Traditional Korean Wrestling Fights for Survival 

An elderly spectator watches a ssireum match during a Lunar New Year Ssireum championship at the Taean Complex Indoor Gymnasium in Taean, South Korea, February 14, 2026. (Reuters)
An elderly spectator watches a ssireum match during a Lunar New Year Ssireum championship at the Taean Complex Indoor Gymnasium in Taean, South Korea, February 14, 2026. (Reuters)

As South Korea's global cultural influence expands in areas such as music, film and television, one form of entertainment struggling to attract attention even at home is Korea's traditional style of wrestling, known as ssireum.

Ssireum - pronounced like "see room" - had its heyday in the 1980s and early 1990s, when there were as many as eight professional teams and the top wrestlers became household names. Since then, it has been squeezed by tighter budgets and a public quick to move on to new trends.

Twenty-year-old Lee Eun-soo, who began training at the age ‌of nine, is ‌taking part in this year's Lunar New Year ‌tournament, ⁠the showcase event ⁠for the more than 1,500-year-old sport.

Lee lamented that at his former high school, the ssireum team currently has no members and there is talk of disbanding it.

"I once tried to imagine my life if I hadn’t done ssireum," Lee said. "I don’t think I could live without it."

A ssireum match involves two wrestlers facing off in an ⁠eight-meter (26.25 ft) sandpit ring, gripping each other by a ‌cloth belt called a "satba" and using ‌strength, balance, timing and stamina to force the opponent to the ground.

Ssireum ‌was inscribed on UNESCO's Representative List of the Intangible Cultural Heritage ‌of Humanity in 2018, but that international recognition has not translated into commercial success. Its relative obscurity contrasts with the high profile of Japan's sumo, another centuries-old form of wrestling.

Unlike sumo, which is supported by ‌a centralized professional ranking system and six major annual tournaments - or Olympic wrestling, with its global reach - ⁠ssireum remains ⁠largely domestic.

"Sport is something people won't come to watch if they don’t know the wrestlers or even the sport itself," said Lee Tae-hyun, a former ssireum wrestler and Professor of Martial Arts at Yong In University, who has promoted the sport overseas and believes it has commercial potential with the right backing.

Lee Hye-soo, 25, a spectator at the Lunar New Year tournament, said many Koreans are now unfamiliar with ssireum.

"My grandfather liked watching ssireum, so I watched it with him a lot when I was young," she said.

"I like it now too, but I think it would be even better if it became more famous."


Saudi Arabia Concludes Guest of Honor Role at Damascus International Book Fair 2026

The Kingdom’s pavilion, led by the commission, attracted strong attendance and active engagement through its cultural activities - SPA
The Kingdom’s pavilion, led by the commission, attracted strong attendance and active engagement through its cultural activities - SPA
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Saudi Arabia Concludes Guest of Honor Role at Damascus International Book Fair 2026

The Kingdom’s pavilion, led by the commission, attracted strong attendance and active engagement through its cultural activities - SPA
The Kingdom’s pavilion, led by the commission, attracted strong attendance and active engagement through its cultural activities - SPA

The Literature, Publishing and Translation Commission concluded the Kingdom’s Guest of Honor participation at the Damascus International Book Fair 2026, held in the Syrian capital from February 6 to 16, drawing strong attendance and engagement from visitors and cultural enthusiasts.

The Kingdom's pavilion was highly praised for its rich cultural content and high-quality programs, reflecting the vitality and growth of the Kingdom’s literary and cultural scene, SPA reported.

Literature, Publishing and Translation Commission CEO Dr. Abdullatif Abdulaziz Al-Wasel stated that the Kingdom’s role as Guest of Honor at the Damascus International Book Fair 2026, represented by a high-level cultural delegation led by Minister of Culture Prince Bader bin Abdullah bin Farhan, highlights the depth of Saudi-Syrian cultural relations based on partnership and mutual respect.

He noted that the participation demonstrates the Kingdom’s commitment to enhancing cultural exchange, a key objective of the National Culture Strategy under Saudi Vision 2030. Through this strategy, the commission emphasizes fostering constructive dialogue among peoples, exchanging knowledge and expertise, and consolidating the Kingdom’s active role in the Arab and international cultural landscape.

The Kingdom’s pavilion, led by the commission, attracted strong attendance and active engagement through its cultural activities. It showcased the commission’s programs and initiatives in literature, publishing, and translation, and featured a comprehensive cultural program, including literary seminars, cultural discussions, and poetry evenings with prominent Saudi writers and intellectuals.

These efforts enriched cultural dialogue with fair visitors and strengthened the presence of Saudi literature in the Arab cultural scene.

This edition of the Damascus International Book Fair marks a significant cultural milestone, reaffirming the value of books as carriers of meaning, spaces for dialogue, and starting points for a cultural journey that reflects the aspirations of the Arab cultural landscape toward a more open and aware phase.


Qiddiya City Begins Construction of Landmark Performing Arts Center

The Qiddiya Performing Arts Center supports the city’s positioning as a destination for creativity and cultural expression - SPA
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Qiddiya City Begins Construction of Landmark Performing Arts Center

The Qiddiya Performing Arts Center supports the city’s positioning as a destination for creativity and cultural expression - SPA

Qiddiya Investment Company has announced the commencement of construction works for the Performing Arts Center in Qiddiya City, marking an important milestone in the development of Qiddiya City as a destination for entertainment, sports and culture.

The announcement coincided with the laying of the foundation stone, signaling the start of construction works to be carried out by Nesma and Partners.

During the ceremony, held at the project site perched on the edge of the Tuwaiq Mountains, Managing Director of Qiddiya Investment Company Abdullah Aldawood delivered a speech announcing the official start of construction. He highlighted the importance of the project as a transformative addition that strengthens Qiddiya City’s cultural offering.

The Qiddiya Performing Arts Center supports the city’s positioning as a destination for creativity and cultural expression, while contributing to the development of local talent and attracting international artistic experiences.

The Qiddiya Performing Arts Center has been designed by Tom Wiscombe Architecture, in collaboration with BSBG, and features a futuristic architectural style defined by monumental forms. The design comprises interlocking architectural panels and five illuminated blades that blend harmoniously with the desert landscape, forming a prominent cultural landmark within Qiddiya City.

The start of construction follows the launch of the first phase of Qiddiya City in December 2025, which included the opening of Six Flags Qiddiya City. It’s part of the company’s broader approach to developing integrated destinations that enhance quality of life and deliver distinctive experiences across entertainment, sports and culture.