Sudan Museums' Precious Antiquities Looted in War

(FILES) A view of Sudan National Museum in Khartoum on August 12, 2020. (Photo by ASHRAF SHAZLY / AFP)
(FILES) A view of Sudan National Museum in Khartoum on August 12, 2020. (Photo by ASHRAF SHAZLY / AFP)
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Sudan Museums' Precious Antiquities Looted in War

(FILES) A view of Sudan National Museum in Khartoum on August 12, 2020. (Photo by ASHRAF SHAZLY / AFP)
(FILES) A view of Sudan National Museum in Khartoum on August 12, 2020. (Photo by ASHRAF SHAZLY / AFP)

Sudan's priceless archaeological heritage is being stripped from museums, with looters loading statuettes and fragments of ancient palaces onto lorries, smuggling them out of the war-torn country, and selling them online, Agence France Presse reported.

More than a year of war between rival generals has killed tens of thousands of people, forced millions more to flee their homes, and left the country's prized antiquities at the mercy of pillagers.

On Thursday, UNESCO, the United Nations's cultural body, said the "threat to culture appears to have reached an unprecedented level, with reports of looting of museums, heritage and archaeological sites and private collections.”

In the capital Khartoum, where fighting broke out in April 2023 between the army and the Rapid Support Forces, the recently renovated Sudan National Museum has had prized artifacts stolen, archaeologists and officials say.

The museum houses prehistoric artifacts from the Palaeolithic era and items from the famed site of Kerma in northern Sudan, as well as Pharaonic and Nubian pieces.

First opened in 1971, the museum was founded in part to house objects rescued from an area due to be flooded by the construction of Egypt's massive Aswan dam.

Now, its artifacts are under threat from war.

"The Sudan National Museum has been the subject of major looting," said Ikhlas Abdel Latif, head of museums at the national antiquities authority.

"Archaeological objects stored there have been taken in big lorries and transferred to the west and to border areas, particularly near South Sudan," she told AFP.

The extent of the looting is hard to determine because the museum is located in an area controlled by the RSF.

Officials and experts have accused the RSF of looting the site. Contacted by AFP, a spokesman for the force did not comment.

In May, the RSF said it was being "vigilant" in "protecting and preserving the antiquities of the Sudanese people.”

Throughout history, fighters have used plunder to fund their war efforts.

UNESCO said it was calling on "the public and the art market... in the region and worldwide to refrain" from trading in Sudanese items.

The agency also said it was planning training in the Egyptian capital Cairo for law enforcement and the judiciary from Sudan's neighbors.

"Because of the war, the museum and the artifacts are not being monitored," said Hassan Hussein, a researcher and former director of the national antiquities authority.

The army, led by Abdel Fattah al-Burhan, is locked in conflict with the RSF, which is led by his former deputy, Mohamed Hamdan Daglo.

The Island of Meroe, a UNESCO World Heritage site that is home to the capital of the ancient Kingdom of Kush and dozens of its pyramids, is also under threat.

Artifacts and exhibition accessories have been stolen from the museum in Nyala, the South Darfur state capital, said Abdel Latif.

In Omdurman, just across the River Nile from Khartoum, part of the Khalifa House museum was also destroyed, she said.

Last week, the Association of Friends of Sudanese Museums condemned "in the strongest terms" the looting that is taking place across the country.



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.