Syria's Aleppo Set for Revival Despite War Scars to its Heritage

During the four years of fighting before Assad's forces recaptured Aleppo following a devastating siege, the city was virtually emptied - AFP
During the four years of fighting before Assad's forces recaptured Aleppo following a devastating siege, the city was virtually emptied - AFP
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Syria's Aleppo Set for Revival Despite War Scars to its Heritage

During the four years of fighting before Assad's forces recaptured Aleppo following a devastating siege, the city was virtually emptied - AFP
During the four years of fighting before Assad's forces recaptured Aleppo following a devastating siege, the city was virtually emptied - AFP

The historic Baron Hotel in Syria's Aleppo is dilapidated and damaged by years of war but still standing and ready for a revival, much like the city itself.

Aleppo's old city, designated a UNESCO World Heritage site, was ravaged by the conflict that erupted after a government crackdown on protests in 2011.

Between 2012 and 2016, it became a battleground between Syria's military and opposition factions.

The army of now-ousted president Bashar al-Assad shelled opposition fighters from the ground and struck them from the air, supported by Russian firepower.
Opposition groups, meanwhile, used mortars and artisanal rockets, as the fighting turned ancient streets into sniper alleys.

During the four years of fighting before the government recaptured Aleppo following a devastating siege, the city was virtually emptied.

Now, after Assad's fall following a lightning opposition offensive led by Hayat Tahrir al-Sham, residents are looking forward to reconstruction.

"Unfortunately, more than 60 percent of the edifices in the old city, monuments of the old city of Aleppo, were devastated to ground zero," said Georges Edleby, a tour guide in the city for 35 years.

"Hopefully there will be a day that we see them again restored."

The ancient souks where Aleppo's famed olive oil soap is piled up in stacks for sale has been reduced in many places to little more than rubble.

- 'Hope for a better life' -

Aleppo's medieval citadel, however, remains relatively intact.

Opposition fighters, one with a rose slipped into the barrel of his gun, stood guard outside the ancient ramparts, which Syria's army turned into a stronghold during the war.

Most of the damage in the citadel was caused by a 2023 earthquake, locals say.

Below in the old city, a few alleys of the souk -- once the largest in the world with 4,000 stalls -- have reopened after being restored, including with Saudi financial aid.

Jamal Habbal, 66, has spent all his life under the stone vaults of the old city and reopened his macrame and rope shop there a year ago.

"We have so many memories here. It was a big market that was vibrant and lively. Girls used to come to buy items for their trousseaus. They could find everything," he told AFP.

"And then suddenly, the crisis," he said, reluctant to even say the word war.

"We had to leave. I returned in 2018, but it's still difficult," he added, speaking in a dark and largely deserted alley.

Fadel Fadel has also reopened his shop offering souvenirs, soap and mother-of-pearl inlaid boxes.

"It was completely destroyed here," said the 51-year-old.

He is hoping to see Aleppo returned to its status as a "center of commerce, industry and tourism."

"We hope for a better life."

- Museum ready to reopen -

Outside, dusty streets wind between ruins that await reconstruction and revival.

The Baron Hotel once welcomed Agatha Christie, Egyptian president Gamal Abdel Nasser and France's Charles de Gaulle.

Visitors flocked to see the somewhat faded glory of its rooms, as well as its terrace and the unpaid bar bill belonging to one Lawrence of Arabia.

But now, several broken windows adorned with shutters hanging from a single hinge offer a view into a deserted building covered in dust.

The hotel's future is uncertain.

Its last owner, Armen Mazloumian, has passed away. He told AFP back in 2014 that he felt the hotel's glory days were behind it and it would "never be what it once was again".

Nearby, however, the National Museum of Aleppo is readying to reopen. Its courtyard was hit in shelling but its building and collection were spared.

Director Ahmed Othman said the museum "took lessons from the experience of our neighbours," including institutions in Iraq and Lebanon.

"We took the necessary measures to protect our collections," he said.

"The statues that were too heavy to move were encased in concrete and the smaller pieces were moved to safe places."

Treasures that trace nine millennia of history and the birth of writing in nearby Mesopotamia have been preserved unharmed as a result.

"We did many things in order to protect the museum as a whole," said Othman



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.