Italy’s Vintage Trains Lure Tourists off Beaten Track 

Passengers on the vintage carriage "cento porte", which means hundred doors in English, look through the windows at the train station in Palena, Italy July 21, 2024. (Reuters)
Passengers on the vintage carriage "cento porte", which means hundred doors in English, look through the windows at the train station in Palena, Italy July 21, 2024. (Reuters)
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Italy’s Vintage Trains Lure Tourists off Beaten Track 

Passengers on the vintage carriage "cento porte", which means hundred doors in English, look through the windows at the train station in Palena, Italy July 21, 2024. (Reuters)
Passengers on the vintage carriage "cento porte", which means hundred doors in English, look through the windows at the train station in Palena, Italy July 21, 2024. (Reuters)

As it rolls across Italy's central regions, a vintage diesel locomotive towing carriages from the 1930s and 1950s crosses the forests of the Majella National park and the Abruzzo highlands, giving tourists on board a glimpse of hidden hamlets.

Across its just over 100 kilometers (62 miles), the so-called Italian Transiberian rail line, also known as the Park Railway, slips into gorges, snakes into 58 tunnels and braves huge viaducts.

It was the first of some 1,000 kilometers of line to have re-opened under a project by Fondazione FS, part of state-controlled national rail company Ferrovie dello Stato (FS).

The "Timeless tracks" project takes tourists to forgotten parts of Italy, offering an alternative to the fast-paced, mass tourism of the major cities.

"These are tracks that have lived through different eras, they have carried soldiers to the front, cows to pasture... they were mistakenly considered unproductive during the 1960s and 70s but are now once again of value," Luigi Cantamessa, who heads Fondazione FS, told Reuters.

Inspired by train travel in Switzerland, the project now carries 45,000 tourists a year across its 13 lines. Fondazione FS expects to open two new ones by 2026, both in the southern region of Sicily.

"What were considered to be the dry branches of Italy's train network, have now proved to be the green shoots," Cantamessa added.

NO FROZEN PIZZAS

"People are used to cities and places, like Florence, that everyone knows.. but then there are other areas that need to be discovered. (This) is the right kind of tourism that does not spoil the authenticity of places," said Norma Pagiotti, a 28-year-old from Florence travelling on the train with two friends.

With arrival numbers above pre-pandemic levels, popular European travel destinations including Venice have introduced measures aimed at managing visitor numbers amid rising concerns about overcrowding.

"The train reminds me of my youth, I feel a bit nostalgic for the things of the past, which were simpler, now everything is fast, short-lived," says Caterina Quaranta, from Taranto in southern Italy, sitting on the wooden seats of the train.

The trips attract Italians and foreigners, a lot of families and children, younger people who get off to hike and cycle, and older people "who have time to spare", explained Laura Colaprete, a local guide.

"It's for those who don't want mass market, cluttered destinations. A conscious traveler, who is looking for something special," said Cantamessa of Fondazione FS. "These are not trips that serve you frozen pizza for lunch," he added.

FOLK MUSIC AND LOCAL FOOD

After climbing up almost 1,000 meters in altitude, the Transiberian's first stop is in Palena, a medieval hill-top town known for its breathtaking views over the national park.

Traditional folk music accompanies people getting off the train, with local delicacies such as lamb skewers and soft pancakes made with an iron mold, known as pizzelle, and products by local artisans awaiting them at the station.

"The train helps several small towns around here. This line was a dead line before," said Gino Toppi, 60, as he helped his wife with the food stall in the small station.

Milan's Bocconi University recently estimated that for every euro spent by passengers on tickets - which cost between 30 euros and 70 euros ($32.50 - $76)- up to a further 3 euros are spent on food, accommodation, tours and souvenirs.

That helps to support the economy of villages that have long lost population due to the dwindling birth rate and younger people leaving for the bigger cities

"There certainly are benefits, this is a way to show my products," said Annalisa Cantelmi, a herbalist.

"These tourists are slowly discovering these new territories, their traditions and people," she added.



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.