Once on Civil War's Frontline, Lebanon Museum Sees New Life

People gather at the entrance of the National Museum of Beirut, in Beirut, Lebanon April 10, 2025. REUTERS/Mohamed Azakir
People gather at the entrance of the National Museum of Beirut, in Beirut, Lebanon April 10, 2025. REUTERS/Mohamed Azakir
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Once on Civil War's Frontline, Lebanon Museum Sees New Life

People gather at the entrance of the National Museum of Beirut, in Beirut, Lebanon April 10, 2025. REUTERS/Mohamed Azakir
People gather at the entrance of the National Museum of Beirut, in Beirut, Lebanon April 10, 2025. REUTERS/Mohamed Azakir

When Lebanon's civil war erupted 50 years ago this month, its national museum became a flashpoint of its capital's deadly frontline, with militants barricaded among ancient sarcophagi and sniping through historic mosaics.
Now, students and tourists roam through its artefacts - some still blackened by indoor campfires lit by those fighters - and into a new pavilion opened during Lebanon's most recent war last year, when Israel and armed group Hezbollah traded heavy fire.
For its admirers, the building not only houses the country's heritage, but also symbolizes its resilience.
"I hope these young people I see here also know what happened in the museum in 1975, because what happened here is something worthy of respect," said Lebanon's culture minister Ghassan Salameh, speaking to Reuters in the main museum hall.
"There is a right to forget. The Lebanese who want to forget the civil war – it's their right to do so. But there is also a duty to remember, so that we do not repeat it again, and again, and again."
The war erupted on April 13, 1975, after Christian gunmen fired on a bus carrying Palestinian fighters in Beirut - just a few kilometers from the museum, which first opened in 1942.
A frontline running directly adjacent to the museum split east Beirut from the west. After militants took up the museum as a barracks, the director of antiquities at the time, Maurice Chehab, ferried small artefacts to vaults at Lebanon's central bank and encased the larger pieces in reinforced concrete to protect them from shelling.
At least four major pieces were damaged, Salameh said. They are visible in the museum today, including a football-sized hole in a floor-to-ceiling 5th century mosaic used by snipers to target rival militants near the front.
The war lasted 15 years, leaving more than 100,000 dead and displacing hundreds of thousands more. Halfway through it, Israeli troops invaded all the way to Beirut and Hezbollah was founded the same year, vowing to push Israel out. In 2023, a new war erupted between the old foes, when Hezbollah launched rockets into Israel, triggering a year of tit-for-tat strikes until Israel escalated its air and ground campaign, leaving Hezbollah badly weakened by the end of 2024.
Even as that conflict was raging, the museum worked to open a new wing for rotating exhibitions. As construction was under way, archaeologists uncovered dozens of artefacts that Chehab had buried in the museum's backyard to protect them, said Sarkis Khoury, Lebanon's current director of antiquities.
He spoke to Reuters while standing in front of an outer wall damaged during the civil war that museum authorities had decided to preserve as a testament to its resilience.
"The things we left visible are a lesson for the future, because we are a country that should be a country of peace, a country of coexistence, because this is our history," said Sarkis Khoury, Lebanon's current director of antiquities.
"Its face is full of wounds and wrinkles, but this is a beautiful face for Lebanon," Khoury told Reuters, gesturing at the pockmarked wall.
Keeping the wall is a rare example of memory preservation in Lebanon, where other landmarks of the civil war have remained abandoned or were covered up by the rapid construction of high-rises once the conflict ended.
The post-war administration agreed a general amnesty for all political crimes perpetrated before the war's end, and most school curriculums opt not to teach its history. Asked whether Lebanon should one day establish a museum dedicated solely to the civil war, Salameh, the minister, said no - because it had only "produced destruction."
But he remained hopeful about his country's future.
"This country has been declared dead dozens, even hundreds of times... but this part of the Mediterranean has remained standing, with its specificities and its problems."
"It never ceases to be."



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.