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Saudi Museums Commission Addresses Inclusivity and Accessibility for People with Disabilities

Saudi Museums Commission Addresses Inclusivity and Accessibility for People with Disabilities
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Saudi Museums Commission Addresses Inclusivity and Accessibility for People with Disabilities

Saudi Museums Commission Addresses Inclusivity and Accessibility for People with Disabilities

The Museums Commission held a virtual open talk on Monday, August 25, 2025, titled “Museums: Inclusivity and Accessibility for People with Disabilities.”

 

The event brought together leading specialists and experts to discuss removing physical, sensory, and technological barriers that people with disabilities encounter when visiting museums. The goal is to foster a more inclusive museum experience catering to a broader range of visitors.

The session was moderated by Director of the Red Sea Museum Eman Zidan, with sign language interpretation provided by Abdul Salam Al-Mughainim from the Al-Amal Institute for the Deaf in Riyadh. Participants included Director of Al Masmak Palace Museum Jihad Al-Faraj; Executive Director of the Al Nour Wal Amal Music Institute from Egypt Nagat Radwan; Official Spokesperson for the Authority for the Care of People with Disabilities Khaled Khabrani; and Head of Visitor Services at the National Museum from the Sultanate of Oman Khawla Al Habsi.

According to a press release issued by the commission, the speakers focused on three practical themes: adopting sustainable institutional policies that promote inclusivity; adapting architectural design and display methods to be multi-sensory and considerate of all; and utilizing assistive technologies alongside regular training programs for staff and guides.

Local, regional (Arab), and international experiences in implementing accessibility standards were also discussed. The conversation highlighted tools and innovations supporting inclusive access, such as audio guides, multi-sensory interpretation methods, and accessible pathways for people with disabilities.

Jihad Al-Faraj presented practical examples from Al Masmak Palace Museum, noting that the museum recently welcomed a significant number of visitors with disabilities at the "Two Swords and a Palm Tree" exhibition.

 

He also highlighted the museum's collaboration with organizations such as the Royal Commission for Riyadh City and the King Abdulaziz Foundation (Darah) to develop accessible pathways and facilities while addressing challenges associated with historical buildings.

Khaled Khabrani emphasized the importance of institutional integration and coordinated efforts, referencing a memorandum of understanding signed with the Saudi Museums Commission to improve service quality, facilitate access, and enhance the experience of people with disabilities at museum exhibitions, events, and related programs.

Khawla Al-Habsi added that inclusivity has become a core principle in modern museum policies. She highlighted the launch of audio guides at the National Museum in the Sultanate of Oman, along with policies aimed at facilitating access and training staff in sign language and professional communication techniques.

Professor Nagat Radwan, a leading expert in the field, shared in-depth insights on establishing the orchestra for visually impaired musicians. She detailed the process, from recruiting experts and adapting musical scores and training methods to inspecting the theater and its equipment, along with acceptance and training programs that cater to various age groups.

The release added that the discussions concluded with actionable recommendations, including strengthening cooperation between museums and specialized local organizations, integrating universal design and multi-sensory technologies into museum and historical site planning, establishing standardized accessibility criteria, and intensifying training programs for staff and guides to ensure effective communication and a dignified museum experience for all visitors.

This discussion is part of the commission's monthly series of open talks aimed at addressing key topics in the museum sector, raising awareness, sharing expertise and best practices, and contributing to the development of museums in the Kingdom in line with Saudi Vision 2030.

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Culture

Michelangelo’s Works Hidden in ‘Secret Room’, Researcher Says

Pedestrians walk past the Basilica of Santa Agnese Outside the Walls as a marble bust is displayed inside after being identified as a work by Michelangelo Buonarroti after centuries without attribution, following a decade of archival research by Italian researcher Valentina Salerno in Rome on March 4, 2026. (AFP)
Pedestrians walk past the Basilica of Santa Agnese Outside the Walls as a marble bust is displayed inside after being identified as a work by Michelangelo Buonarroti after centuries without attribution, following a decade of archival research by Italian researcher Valentina Salerno in Rome on March 4, 2026. (AFP)
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Michelangelo’s Works Hidden in ‘Secret Room’, Researcher Says

Pedestrians walk past the Basilica of Santa Agnese Outside the Walls as a marble bust is displayed inside after being identified as a work by Michelangelo Buonarroti after centuries without attribution, following a decade of archival research by Italian researcher Valentina Salerno in Rome on March 4, 2026. (AFP)
Pedestrians walk past the Basilica of Santa Agnese Outside the Walls as a marble bust is displayed inside after being identified as a work by Michelangelo Buonarroti after centuries without attribution, following a decade of archival research by Italian researcher Valentina Salerno in Rome on March 4, 2026. (AFP)

Renaissance artist Michelangelo ordered many of his artworks to be hidden by his pupils in a secret room to protect them for posterity, an Italian researcher claimed Wednesday.

According to renowned art historian Giorgio Vasari, the Italian genius burned a large number of his own drawings and sketches before his death in Rome in 1564.

But researcher Valentina Salerno says she has unearthed unpublished archival documents that reveal a plot to squirrel away his works.

"One of these three unpublished documents I found in the archives speaks of a room" kept by students of the Michelangelo school, the origins of which "can be traced back" to the artist, Salerno told AFP on the sidelines of a press conference in Rome.

"Assets are hidden inside this room. These assets are locked away so tightly that they require a system of multiple keys, so that no one can access them without the permission of others," she said.

Salerno was researching a book on Michelangelo when she came across a document that showed the artist had in 1550 joined the Brotherhood of the Most Holy Crucifix. Those close to him in his final years were members too.

Over a decade of research, she followed the document trail between a series of archives in the Vatican, Italy and European cities including Paris.

As part of what she called a "maniacal plan" cooked up by Michelangelo, his works were to be hidden "because otherwise it would all end up with a nephew he detested".

"The goal was to pass on to his poor, vulnerable, non-noble descendants the material to be able to continue studying, to transmit his art to future generations," she said.

Those involved in the plan went on to form the famous art Academy of San Luca in the 16th century, she added. It still exists today.

Salerno believes the secret room designed to safeguard the artist's creations was likely somewhere inside the Saint Peter in Chains church in central Rome.

- Michelangelo bust -

During her research, she also stumbled across a reference to a bust at the Basilica of Sant'Agnese, also in Rome, currently attributed to an anonymous artist.

She found documents attributing the white bust to Michelangelo down the centuries.

In the 1930s it appears to disappear from documentation, only to reappear in the 1980s, attributed to a minor artist.

Italy's cultural authorities later declared it to be a work by an unknown sculptor instead.

But Salerno insists the bust is a genuine Michelangelo, not just due to the paper trail, but also because it shares a striking resemblance to Tommaso dei Cavalieri, a young nobleman.

Salerno's work has not yet been peer reviewed, but she is a member of the Vatican committee for the celebrations marking the 500th anniversary of Michelangelo's birth.

Culture

Prince Mohammed bin Salman Project Restores Al-Hawza Mosque in Aseer

Following its inclusion in the project in 2022, the mosque's area was expanded to 293 square meters - SPA
Following its inclusion in the project in 2022, the mosque's area was expanded to 293 square meters - SPA
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Prince Mohammed bin Salman Project Restores Al-Hawza Mosque in Aseer

Following its inclusion in the project in 2022, the mosque's area was expanded to 293 square meters - SPA
Following its inclusion in the project in 2022, the mosque's area was expanded to 293 square meters - SPA

The Prince Mohammed bin Salman Project for the Development of Historical Mosques is rehabilitating Al-Hawza Mosque in Dhahran Al-Janoub, Aseer, as part of its mission to preserve Islamic heritage under Vision 2030.

Built in 8 AH by Ali ibn Abi Talib during his trip to Yemen to spread Islam, the mosque is one of the oldest in the region and has undergone expansions in 1213 AH and 1353 AH. Its unique architectural identity reflects the Sarawat region's style, utilizing layered mud bricks and local wood to harmonize with the mountainous environment, SPA reported.

Following its inclusion in the project in 2022, the mosque's area was expanded to 293 square meters, increasing its capacity to 148 worshippers while maintaining authentic features like its historic internal well.

By utilizing specialized Saudi companies and engineers, the project achieves a balance between traditional sustainability and modern standards, fulfilling strategic goals to restore architectural authenticity and highlight the Kingdom’s civilizational depth.

Culture

'Moon Spotter': AlUla's Enduring Tradition of Crescent Sighting

The people of AlUla in Saudi Arabia have long maintained a close relationship with nature, reflected in their careful observation of crescent moons. (SPA)
The people of AlUla in Saudi Arabia have long maintained a close relationship with nature, reflected in their careful observation of crescent moons. (SPA)
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'Moon Spotter': AlUla's Enduring Tradition of Crescent Sighting

The people of AlUla in Saudi Arabia have long maintained a close relationship with nature, reflected in their careful observation of crescent moons. (SPA)
The people of AlUla in Saudi Arabia have long maintained a close relationship with nature, reflected in their careful observation of crescent moons. (SPA)

The people of Saudi Arabia’s AlUla have long maintained a close relationship with nature, reflected in their careful observation of crescent moons and the determination of lunar months, particularly Ramadan and Shawwal (Eid). This tradition was carried out through a role locally known as the “Moon Spotter,” reflecting inherited astronomical knowledge passed down through generations.

Known for sharp eyesight and precise knowledge of celestial timings, the Moon Spotter relied on traditional methods, including placing a copper vessel filled with water at an elevated position to observe the reflections of the sun and moon, which helped determine the crescent's position with accuracy.

Upon sighting the crescent, he would mark the reflected point with a palm frond before notifying the relevant court to contribute to the official announcement, the Saudi Press Agency said.

This heritage is closely tied to AlUla's historically clear skies, which enabled residents to observe celestial bodies with clarity and fostered a lasting connection to astronomy as part of their cultural legacy.