Iraq's Yazidis Rediscover Lost History through Photos Found in a Museum Archive

University of Victoria postdoctoral fellow Nathaniel Brunt views an image from a collection of photos of the Yazidi people in their northern Iraq homeland in the 1930s, during an interview at the Penn Museum Archives in Philadelphia, Aug. 27, 2025. (AP Photo/Matt Rourke)
University of Victoria postdoctoral fellow Nathaniel Brunt views an image from a collection of photos of the Yazidi people in their northern Iraq homeland in the 1930s, during an interview at the Penn Museum Archives in Philadelphia, Aug. 27, 2025. (AP Photo/Matt Rourke)
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Iraq's Yazidis Rediscover Lost History through Photos Found in a Museum Archive

University of Victoria postdoctoral fellow Nathaniel Brunt views an image from a collection of photos of the Yazidi people in their northern Iraq homeland in the 1930s, during an interview at the Penn Museum Archives in Philadelphia, Aug. 27, 2025. (AP Photo/Matt Rourke)
University of Victoria postdoctoral fellow Nathaniel Brunt views an image from a collection of photos of the Yazidi people in their northern Iraq homeland in the 1930s, during an interview at the Penn Museum Archives in Philadelphia, Aug. 27, 2025. (AP Photo/Matt Rourke)

Archeologists studying ancient civilizations in northern Iraq during the 1930s also befriended the nearby Yazidi community, documenting their daily lives in photographs that were rediscovered after the ISIS terrorist group devastated the tiny religious minority.

The black-and-white images ended up scattered among the 2,000 or so photographs from the excavation kept at the University of Pennsylvania Museum of Archaeology and Anthropology, which led the ambitious dig, The AP news reported.

One photo — a Yazidi shrine — caught the eye of Penn doctoral student Marc Marin Webb in 2022, nearly a decade after it was destroyed by ISIS extremists plundering the region. Webb and others began scouring museum files and gathered almost 300 photos to create a visual archive of the Yazidi people, one of Iraq's oldest religious minorities.

The systematic attacks, which the United Nations called a genocide, killed thousands of Yazidis and sent thousands more into exile or sexual slavery. It also destroyed much of their built heritage and cultural history, and the small community has since become splintered around the world.

Ansam Basher, now a teacher in England, was overwhelmed with emotion when she saw the photos, particularly a batch from her grandparents' wedding day in the early 1930s.

“No one would imagine that a person my age would lose their history because of the ISIS attack,” said the 43-year-old, using an acronym for the extremist group. Basher's grandfather lived with her family while she was growing up in Bashiqa, a town outside Mosul. The city fell to ISIS in 2014.

“My albums, my childhood photos, all videos, my two brothers' wedding videos (and) photos, disappeared. And now to see that my grandfather and great-grandfather’s photo all of a sudden just come to life again, this is something I'm really happy about,” she said. “Everybody is.”

A cache of cultural memory The archive documents Yazidi people, places and traditions that ISIS sought to erase. Marin Webb is working with Nathaniel Brunt, a Toronto documentarian, to share it with the community, both through exhibits in the region and in digital form with the Yazidi diaspora.

“When they came to Sinjar, they went around and destroyed all the religious and heritage sites, so these photographs in themselves present a very strong resistance against that act of destruction,” said Brunt, a postdoctoral student at the University of Victoria Libraries. The city of Sinjar is the ancestral homeland of the Yazidis near the Syrian border.

The first exhibits took place in the region in April, when Yazidis gather to celebrate the New Year. Some were held outdoors in the very areas the photos documented nearly a century earlier.

“(It) was perceived as a beautiful way to bring memory back, a memory that was directly threatened through the ethnic cleansing campaign,” Marin Webb said.

Basher’s brother was visiting their hometown from Germany when he saw the exhibit and recognized his grandparents. That helped the researchers fill in some blanks.

The wedding photos show an elaborately dressed bride as she stands anxiously in the doorway of her home, proceeds with her dowry to her husband’s village, and finally enters his family home as a crowd looks on.

“I see my sister in black and white,” said Basher, noting the similar green eyes and skin tone her sister shares with their grandmother, Naama Sulayman.

Her grandfather, Bashir Sadiq Rashid al-Rashidani, came from a prominent family and often hosted the Penn archaeology crews at his cafe. He and his brother, like other local men, also worked on the excavations, prompting him to invite the westerners to his wedding. They in turn took the photos and even lent the couple a car for the occasion, the family said.

Some of the photos were taken by Ephraim Avigdor Speiser, the Penn Museum archaeologist who led excavations at two ancient Mesopotamian sites in the area, Tepe Gawra and Tell Billa.

“My grandfather used to talk a lot about that time,” said Basher, who uses a different spelling of the family surname than other relatives.

Her father, Mohsin Bashir Sadiq, 77, a retired teacher now living in Cologne, Germany, believes the wedding was the first time anyone in the town used a car, which he described as a 1927 model. It can be seen at the back of the wedding procession.

Basher has shared the photos on social media to educate people about her homeland.

“The idea or the picture they have in their mind about Iraq is so different from the reality, ” she said. “We’ve been suffering a lot, but we still have some history.”

Found photos, history awakened Other photos in the collection show people at home, at work, at religious gatherings.

To Marin Webb, an architect from Barcelona, they show the Yazidis as they lived, instead of equating them with the violence they later endured. Locals who saw the exhibit told him it “shows the world that we’re also people.”

Basher is grateful the photos remained safe — if largely out of sight — at the museum all this time. Alessandro Pezzati, the museum's senior archivist, was one of several people who helped Marin Webb comb through the files to identify them.

“A lot of these collections are sleeping until they get woken up by people like him,” Pezzati said.



Monumental Art Displayed in Shade of Egypt's Pyramids

An art installation, "The Shen" by Mert Ege Kose, is displayed near the Giza pyramid complex, in Giza, Egypt, 11 November 2025. (EPA)
An art installation, "The Shen" by Mert Ege Kose, is displayed near the Giza pyramid complex, in Giza, Egypt, 11 November 2025. (EPA)
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Monumental Art Displayed in Shade of Egypt's Pyramids

An art installation, "The Shen" by Mert Ege Kose, is displayed near the Giza pyramid complex, in Giza, Egypt, 11 November 2025. (EPA)
An art installation, "The Shen" by Mert Ege Kose, is displayed near the Giza pyramid complex, in Giza, Egypt, 11 November 2025. (EPA)

Installations by renowned international artists including Italy's Michelangelo Pistoletto and Portugal's Alexandre Farto have been erected in the sand under the great pyramids of Giza outside Cairo.

The fifth edition of the contemporary art exhibition "Forever is Now" is due to run to December 6.

The 92-year-old Pistoletto's most famous work, Il Terzo Paradiso, comprises a three-meter-tall mirrored obelisk and a series of blocks tracing out the mathematical symbol for infinity in the sand.

"We have done more than 2,000 events all around the world, on five continents, in 60 nations," said Francesco Saverio Teruzzi, construction coordinator in Pistoletto's team.

"There is an estimate that it's more or less five million people reached by the message of the Third Paradise."

The Franco-Beninese artist King Houndekpinkou presented "White Totem of Light", a column composed of ceramic fragments recovered from a factory in Cairo.

"It's an incredible opportunity to converse with 4,500 years -- or even more -- of history," he told AFP.

South Korean artist Jongkyu Park used the measurements of the Great Pyramid of Giza to create the geometric structures of his installation "Code of the Eternal".

A thousand small cylindrical acrylic mirrors planted in the sand compose a Morse code poem imagining a dialogue between Tangun, the legendary founder of the first Korean kingdom, and an Egyptian pharaoh.

Farto, better known as Vhils, collected doors in Cairo and elsewhere in the world for a bricolage intended to evoke the archaeological process.

Six other artists, including Turkey's Mert Ege Kose, Lebanon's Nadim Karam, Brazil's Ana Ferrari, Egypt's Salha Al-Masry and the Russian collective "Recycle Group", are also taking part.


Saudi Culture Ministry Announces Third Edition of Common Ground Festival

Saudi Culture Ministry Announces Third Edition of Common Ground Festival
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Saudi Culture Ministry Announces Third Edition of Common Ground Festival

Saudi Culture Ministry Announces Third Edition of Common Ground Festival

The Saudi Ministry of Culture announced the third edition of the Common Ground Festival, which will be a celebration of Saudi and Chinese cultures.

The 2025 edition will be held at the Malfa Hall in Misk City, Riyadh from December 24, 2025, to January 6, 2026, and will highlight shared artistic traditions and creative expressions between the two countries.

The Common Ground Festival is a multi-sensory cultural event that explores the universal languages of art, cuisine, performance, and design, said the Ministry in a statement on Tuesday.

This year’s edition will celebrate the depth of Saudi and Chinese heritage through art exhibitions, live performances, and collaborative showcases that invite visitors to experience culture through sight, sound, and emotion.

The program will feature activities inspired by historical exchange routes, where artisans and cultural vendors present traditional crafts, handmade goods, tea and coffee offerings, and cultural souvenirs from both countries.

The festival will also include culinary activities that explore shared hospitality traditions, allowing visitors to experience the symbolic role of hospitality in both cultures and more.

Through this event, the Kingdom underlines its commitment to creating platforms that foster artistic dialogue, strengthen cultural understanding, and celebrate creativity as a bridge between people and nations.


In Japan's Ancient Capital, TeamLab Aims to Redefine Art with New Immersive Exhibition

Visitors watch digital artwork at teamLab Biovortex in Kyoto, Japan, November 9, 2025. REUTERS/Kim Kyung-Hoon
Visitors watch digital artwork at teamLab Biovortex in Kyoto, Japan, November 9, 2025. REUTERS/Kim Kyung-Hoon
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In Japan's Ancient Capital, TeamLab Aims to Redefine Art with New Immersive Exhibition

Visitors watch digital artwork at teamLab Biovortex in Kyoto, Japan, November 9, 2025. REUTERS/Kim Kyung-Hoon
Visitors watch digital artwork at teamLab Biovortex in Kyoto, Japan, November 9, 2025. REUTERS/Kim Kyung-Hoon

An immersive art space in the ancient Japanese capital of Kyoto is offering a novel experience to visitors from around the world, aiming to dissolve the boundary between observer and art.

Titled “Biovortex”, the exhibition is the latest and largest permanent installation in Japan created by teamLab, an art collective that has risen to global fame for its pioneering approach blending art, technology and nature, said Reuters.

Biovortex, which opened on October 7, presents more than 50 immersive digital artworks spanning 10,000 square meters (107,639 square feet) and is attracting a broad spectrum of visitors from toddlers to the elderly.

In one of the installations, called "Morphing Continuum”, countless glowing spheres float in space as a monumental sculpture emerges from the ground and drifts in midair, constantly shifting and reshaping in response to visitors' movements.

"Viewers become one with the sculpture, while the boundaries between themselves and artwork grow indistinct and float in air," said teamLab founder Toshiyuki Inoko. "It creates an experience unlike anything humanity has ever made in terms of material objects - something that defies ordinary expectations. I think the artworks offer an experience which expands human perceptions."

Visitors expressed surprise at the intensity of emotion and physical immersion that the experience offered.

"Just wonderful," said Dimitri VanCorstanje, a 25-year-old tourist from the Netherlands. “It immersed me more than just with my eyes.”

Founded in 2001 by a group of artists, engineers, and architects, teamLab has expanded its collections beyond Japan, from New York to Singapore and Jeddah, attracting millions of visitors each year. One of its permanent exhibitions, teamLab Planets in Tokyo, set the Guinness World Record for the world’s most visited museum dedicated to a single art group with 2,504,264 visitors in the fiscal year of 2023.