Ghassan Charbel Reveals Secrets in His 'Visits to the Wounds of Iraq' Book

Visits to the Wounds of Iraq  by Ghassan Charbel
Visits to the Wounds of Iraq by Ghassan Charbel
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Ghassan Charbel Reveals Secrets in His 'Visits to the Wounds of Iraq' Book

Visits to the Wounds of Iraq  by Ghassan Charbel
Visits to the Wounds of Iraq by Ghassan Charbel

My Colleague Ghassan Charbel has maintained a journalistic eye that allowed him to witness major shifts, and to become aware of all the details of what is happening in Mesopotamia.

Following his book "Saddam Was Here," which included many interviews with several powerful players in Iraq, he felt the mission was incomplete, so he decided to make more exciting interviews he released in his new book "Visits to the Wounds of Iraq" published by Riad El-Rayyes Books, Beirut. The visits offer tons of information that were long kept hidden and will make the core of this book.

Some of the details in the interviews are being disclosed for the first time, either because their keepers never had the chance to unveil them, or simply because they were never asked about them despite their huge significance.

Eight men, who played historic roles in Iraq, opened up about dangerous and brutal phases that didn't just make the history of Iraq, but also toppled a lot of dominos in this fragile region, and triggered turmoil in neighboring countries.

Jalal Talabani, Hoshyar Zebari, Nouri al-Maliki, Haider al-Abadi, Hamed al – Jubouri, Abdul-Ghani al-Rawi, Ibrahim al-Dawood, and Aziz Mohammed… they all revealed secrets that drew the history extending from the collapse of Saddam Hussein until their interview.

Some were more honest like the late Jalal Talabani who was once a president. Unlike the other figures, Talabani had two interviews in the book, "The Kurd, the Arab Iraqi Player," and "The Years of the Palace."

The late Iraqi president opened up about the huge mistake committed two months after the liberation battle when the Interim Governor Jay Garner and Khalilzad met Iraqi dissidents and requested them to form an interim government, but they didn't respond. During a meeting with Talabani, Masoud Barzani, Ahmed Chalabi, Ayad Allawi, and Adil Abdul-Mahdi from the Supreme Council of the Islamic Revolution of Iraq, along with many others, Garner said: "You should form an interim government to run the country. You, the opposition we dealt with, should form a government from your side."

However, this historic opportunity was lost. A month passed and nothing happened, which pushed the Americans toward other options.

"I believe that the failure of the opposition in forming an interim government in Iraq was one of the major reasons behind what happened later in the country," said Talabani. Later, Garner was replaced by Bremer, who acted like he was "the deputy to the king of India."

The lost opportunities explored in the book are many. The constant confusion of the opposition when it comes to selecting the right people, slow initiatives, failure to seize opportunities, all were among the many complicated reasons that led to the tragedies we all know.

The interviews also unveil a lot about the Saddam Hussein era. One of the witnesses from that phase was Hussein's foreign minister Hamed al Jubouri, who denounced the toppled Iraqi president. He said in his interview that Saddam deeply hated Khomeini, but his biggest fear was "the idea of Iraqi Shiites leaning toward Iran."

"This might be one of the reasons that sparked the Iraqi-Iranian war, but, I believe that the main reason was Hussein's aspiration to become the master of the Gulf," he added.

When Saddam Hussein felt that Europe and the US wanted to contain the Islamic Revolution, he thought that facing Khomeini's Iran would pave the road for him to become America's first man in the region.

"Of course, an Arab leader played a major role in motivating Saddam to take this step, and promised him to win the West's support," explained Jubouri without naming this leader. In the same interview, the former foreign minister said that "the first tank shell in the Iraqi-Iranian war was launched by King Hussein of Jordan."

"This occurred on September 22, 1980, when Saddam and the king stood on a tank near the battle lines. The Jordanian king was an expert. He blessed the war with the first shell," he revealed.

For his part, Hoshyar Zebari, the most prominent foreign minister during the post-Saddam phase, recalled his political life before Saddam, highlighting how Iraq returned to the Arab world following the US invasion and spoke about his experience as a leader in the Kurdistan Democratic Party.

Ghassan Charbel knows well how to comfort his guest, and how to get confessions. This is why it's hard to read an interview in this book without discovering secrets that you didn't know before. Perhaps, the most cautious speaker in this book was former Prime Minister Nouri al-Maliki. Yet, he admitted that under pressure, and despite that he never met him when he was alive, but he stood in front of Saddam Hussein's body after he was executed and asked him with regret: "What good can come from your execution? Would it bring back our martyrs and the country you destroyed?"

Among the most exciting things we read in this book is what former Prime Minister Abdul-Ghani al-Rawi confessed about his cooperation with the Iranian SAVAK, established by Shah Mohammad Reza Pahlavi, to topple the Ba'ath Party in the early 1970s. But Saddam discovered the plot at the time and carried out a series of executions.

Let us not spoil the excitement of reading what these Iraqi figures revealed in their smooth conversations. But we can say that what Ghassan Charbel calls journalistic interviews also often reveal backgrounds, and try to form a picture of Iraq under the rules of Ahmed Hassan al-Bakr, Saddam, and those who followed him, from a different point of view. Given that these figures come from different political backgrounds and affiliations, they can provide, combined, an almost complete picture of the general scene, which is one of the book's goals.

In his introduction, in which he seeks to briefly highlight the new Iraqi pain, Charbel believes that "newspapers are the guardians of the memory." So, these interviews come as another written version of a history that is still alive. The interviews were left intact, without trimming or editing, so future historians can "examine these testimonies to rewrite the Iraqi story."

These interviews are so valuable because they extract the truth from experts and decision-makers before they leave and take their stories with them. The third goal, according to the writer, is "providing this collection to colleagues who have newly engaged in the Iraqi matters, and missed the developments that led to the current situation."

Finally, the fourth goal, which wasn't mentioned by Charbel, is that these plain conversations with their simple yet exciting language, allow those who see a blurry Iraqi scene because of its many events and dense details, to reorganize the picture in their minds and see more clearly. They might also allow the reader to understand the complexities of this country through these different narrations, which ensures a level of objectivity that we often miss in the books that focus on one point of view. This lack of objectivity has become a serious problem for those who are seeking the truth.



Michelangelo's Scribble Sells for $200,000 at New York Auction

The small work by Michelangelo depicts a block of marble, with the word "simile," or "similar" in English, according to Christie's auction house. ANGELA WEISS / AFP/File
The small work by Michelangelo depicts a block of marble, with the word "simile," or "similar" in English, according to Christie's auction house. ANGELA WEISS / AFP/File
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Michelangelo's Scribble Sells for $200,000 at New York Auction

The small work by Michelangelo depicts a block of marble, with the word "simile," or "similar" in English, according to Christie's auction house. ANGELA WEISS / AFP/File
The small work by Michelangelo depicts a block of marble, with the word "simile," or "similar" in English, according to Christie's auction house. ANGELA WEISS / AFP/File

A square scribbled on a yellowed piece of paper by Renaissance genius Michelangelo sold for $201,600 -- 33 times its estimated value, auction house Christie's said Wednesday.
Found stuck to the back of a frame, the small drawing accompanied by a letter from Michelangelo's last direct descendant was initially expected to sell for between $6,000 and $8,000, AFP said.
But Christie's in New York said the piece went under the hammer for "33.6 times its low estimate," without disclosing any details of the buyer.
The small work depicts a block of marble, with the word "simile," or "similar" in English. It is believed to have been drawn while Michelangelo worked on his famed Sistine Chapel ceiling, a Christie's specialist told AFP in January.
The drawing is coupled with a letter written by Cosimo Buonarroti in 1836, in which he offers the piece by his "illustrious forefather Michelangelo" to Sir John Bowring, the future governor of Hong Kong, whose signature appears at the bottom of the sheet.
Christie's specialists found the letter and diagram attached to the back of a different drawing that had been in a private collection for decades, the auction house said in a media statement.
Though unsigned by Michelangelo, Christie's said that research confirmed the great Italian artist was responsible for the small drawing.
Fewer than 10 of Michelangelo's works are thought to be privately owned, according to Christie's, with most housed in the Casa Buonarroti, a museum in Florence, Italy.


World Heritage Day... Saudi Arabia Celebrates its Rich Treasures

More than 5,393 craftsmen are registered in the National Register of Handicrafts (Ministry of Culture)
More than 5,393 craftsmen are registered in the National Register of Handicrafts (Ministry of Culture)
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World Heritage Day... Saudi Arabia Celebrates its Rich Treasures

More than 5,393 craftsmen are registered in the National Register of Handicrafts (Ministry of Culture)
More than 5,393 craftsmen are registered in the National Register of Handicrafts (Ministry of Culture)

As World Heritage Day falls on April 18, Saudi Arabia celebrates the qualitative transformations it has achieved in the heritage and antiquities sector since the launch of its national strategy for culture, which falls within Vision 2030.

Over the past years, Saudi Arabia has made tremendous efforts to preserve its diverse cultural heritage.

These treasures are evident through traditional costumes that reflect the national identity and the rich cultural heritage, and handicrafts that constituted a source of livelihood and guaranteed a decent life for members of society in the past.

Moreover, excavation projects have uncovered valuable discoveries in various Saudi archaeological sites, and shed light on the Kingdom’s cultural wealth and its importance as a bridge linking the thriving cultural experience on its land.

Seven sites on the UNESCO World Heritage List

The story of heritage and antiquities in Saudi Arabia is full of diversity, and blends authenticity with modernity.

Recently, the Kingdom presented a model of its rich cultural experience to the world, when seven Saudi sites were put on the UNESCO World Heritage List. Those include: Al-Hijr Archaeological Site, Al-Turaif District in ad-Diriyah, Historic Jeddah, the Gate to Makkah, Rock Art in the Hail, Al-Ahsa Oasis, an Evolving Cultural Landscape, Ḥima Cultural Area and the Harrat Uwayrid Reserve.

Through individual and collective efforts, Saudi Arabia registered a number of elements on the UNESCO lists of Intangible Cultural Heritage. Those include falconry, Arabic calligraphy, traditional weaving of Al-Sadu, Al-Qatt Al-Asiri (female traditional interior wall decoration in Asir), Almezmar (drumming and dancing with sticks), Arabic coffee (a symbol of generosity), Majlis (a cultural and social space) and Alardah Alnajdiyah (dance, drumming and poetry in Saudi Arabia).

These achievements reflect the scale of the Saudi effort in the heritage sector, as shown by the increase in the number of archaeological sites to 8,917 across the Kingdom, in addition to around 3,646 urban heritage sites, and more than 5,393 craftsmen registered with the National Register of Handicrafts.

Riyadh hosted the work of the 45th expanded session of the World Heritage Committee of UNESCO last September, in the presence of about 3,000 guests from 21 countries. The event shed light on the rich and diverse Saudi heritage sites and the important archaeological discoveries that received global attention.


Saudi Heritage Commission Announces New Discovery in Umm Jirsan Cave

The Saudi Heritage Commission announced the discovery of new evidence of human settlement in Umm Jirsan cave in Madinah Region. SPA
The Saudi Heritage Commission announced the discovery of new evidence of human settlement in Umm Jirsan cave in Madinah Region. SPA
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Saudi Heritage Commission Announces New Discovery in Umm Jirsan Cave

The Saudi Heritage Commission announced the discovery of new evidence of human settlement in Umm Jirsan cave in Madinah Region. SPA
The Saudi Heritage Commission announced the discovery of new evidence of human settlement in Umm Jirsan cave in Madinah Region. SPA

The Saudi Heritage Commission has announced the discovery of new evidence of human settlement in Umm Jirsan cave "Harrat Khaybar", located in Madinah Region.

The research was conducted by the Heritage Commission of the Ministry of Culture with the participation of some archaeologists from the commission and in collaboration with King Saud University, the Max Planck Institute, and the Saudi Geological Survey through the "Green Arabian Peninsula project," which focuses on multidisciplinary field research, the Saudi Heritage Commission said in a statement.

According to the statement, the study was published in the journal "PLOS ONE," the first comprehensive study of archaeological research in caves in the Kingdom.

The study involved archaeological surveys and excavations in Umm Jirsan cave, revealing ancient evidence of human occupation dating back to the Neolithic period, around 10,000-7,000 years ago, encompassing the Copper Age and Bronze Age periods.

The cave was shown to have been utilized by pastoral groups, using Radiocarbon c14 that supported the discovery of animal remains such as bones dated back to 4100BC, as well as human skulls dated back to 6000BC, and other artifacts including wood, cloth fragments, and stone tools. In addition to rock art facades depicted scenes of grazing animals and hunting activities.
The discoveries provided evidence of human occupation within the cave, which remarkably preserved thousands of animal bones, including those of striped hyenas, camels, horses, deer, caribou, goats, cows, and wild and domestic donkeys, in good condition despite the passage of time. Furthermore, an analysis of human skeletal remains using radioactive isotopes indicated a dietary shift over time, with ancient human groups primarily relying on a meat-based diet and gradually incorporating plants, suggesting the emergence of agriculture.
The study also highlighted the feeding habits of animals such as cows and sheep, which primarily consumed wild grasses and shrubs, and the region exhibited significant animal diversity throughout different historical periods.
The scientific study underscored the importance of caves utilized by ancient human groups and the ancient volcanic magma paths within Saudi Arabia.


France Prepares to Commemorate D-Day’s 80th Anniversary 

This photograph taken on April 12, 2024 shows cutting board silhouettes of British soldiers installed as part of the "Standing with Giants" installation at the World War II British Normandy Memorial ahead of the upcoming D-Day commemorations, in the village of Ver-sur-Mer which overlooks the Gold Beach in northwestern France. (AFP)
This photograph taken on April 12, 2024 shows cutting board silhouettes of British soldiers installed as part of the "Standing with Giants" installation at the World War II British Normandy Memorial ahead of the upcoming D-Day commemorations, in the village of Ver-sur-Mer which overlooks the Gold Beach in northwestern France. (AFP)
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France Prepares to Commemorate D-Day’s 80th Anniversary 

This photograph taken on April 12, 2024 shows cutting board silhouettes of British soldiers installed as part of the "Standing with Giants" installation at the World War II British Normandy Memorial ahead of the upcoming D-Day commemorations, in the village of Ver-sur-Mer which overlooks the Gold Beach in northwestern France. (AFP)
This photograph taken on April 12, 2024 shows cutting board silhouettes of British soldiers installed as part of the "Standing with Giants" installation at the World War II British Normandy Memorial ahead of the upcoming D-Day commemorations, in the village of Ver-sur-Mer which overlooks the Gold Beach in northwestern France. (AFP)

Eighty years on, Normandy's beaches and fields still bear the scars of violence that erupted during World War Two on D-Day, history's largest amphibious invasion on June 6, 1944, drone footage shows.

Commemorations in June will mark the day when more than 150,000 allied soldiers invaded France to drive out Hitler's forces.

At the Normandy American Cemetery, perched above Omaha Beach at Colleville-sur-Mer, dotted with white cross headstones and US flags, 9,386 soldiers are buried.

Along the coast lie the remains of the artillery batteries of Longues-sur-Mer, from which the forces of Nazi Germany shelled invading forces on Omaha Beach.

Allied troops built the Winston Harbour nearby, in Arromanches-les-Bains, to bring in the supplies needed to force the Germans out of France, with its concrete caissons still visible to this day.

The D-Day beaches, spread over 120 km (75 miles) of the Normandy coastline, attract large numbers of tourists each year.


Painting of Winston Churchill by Artist Whose Work He Hated Is up for Auction 

Matthew Floris, a Sotheby's employee poses with a portrait, a surviving study of Winston Churchill in the bedroom where Churchill was born at Blenheim Palace, north of Oxford, home to the Duke of Marlborough and Churchill's family home, on April 16, 2024. (AFP)
Matthew Floris, a Sotheby's employee poses with a portrait, a surviving study of Winston Churchill in the bedroom where Churchill was born at Blenheim Palace, north of Oxford, home to the Duke of Marlborough and Churchill's family home, on April 16, 2024. (AFP)
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Painting of Winston Churchill by Artist Whose Work He Hated Is up for Auction 

Matthew Floris, a Sotheby's employee poses with a portrait, a surviving study of Winston Churchill in the bedroom where Churchill was born at Blenheim Palace, north of Oxford, home to the Duke of Marlborough and Churchill's family home, on April 16, 2024. (AFP)
Matthew Floris, a Sotheby's employee poses with a portrait, a surviving study of Winston Churchill in the bedroom where Churchill was born at Blenheim Palace, north of Oxford, home to the Duke of Marlborough and Churchill's family home, on April 16, 2024. (AFP)

A portrait of Winston Churchill by an artist whose work the British leader loathed went on display Tuesday at Churchill’s birthplace ahead of an auction in June.

The painting by modernist artist Graham Sutherland was made in preparation for a larger portrait that Churchill hated and which was later destroyed — an episode recounted in the TV series “The Crown.”

The surviving oil-on-canvas study shows Churchill’s head in profile against a dark background. It is expected to sell for between 500,000 pounds and 800,000 pounds ($622,000 and $995,000) at Sotheby’s in London on June 6.

Sutherland was commissioned by the Houses of Parliament to paint Churchill to mark his 80th birthday in 1954. The full-length portrait was unveiled in Parliament that year, with Churchill calling it, with a smirk, “a remarkable example of modern art.”

Churchill is said to have complained that the painting “makes me look half-witted, which I ain’t.” It was delivered to his home and never seen again. The Churchill family disclosed years later that it had been destroyed.

Its fate was recreated with poetic license in an episode of “The Crown” in which Churchill’s wife, Clementine, watches the painting go up in flames.

Andre Zlattinger, Sotheby’s head of modern British and Irish art, said that in the surviving study, “Churchill is caught in a moment of absent-minded thoughtfulness, and together with the backstory of its creation, it gives the impression of a man truly concerned with his image.”

Sotheby’s put the picture on public display inside the room where Churchill was born 150 years ago at Blenheim Palace, a country mansion 60 miles (100 kilometers) northwest of London. Visitors can see it there until Sunday. It will go on show at Sotheby’s offices in New York May 3-16 and London May 25-June 5.


Artist, Curators Refuse to Open Israel Pavilion at Venice Biennale Until Ceasefire Deal

A visitor walks next to the 'Las Meninas a San Marco' sculpture part of the installation by the Spanish artist Manolo Valdés, at the San Marco's Square during the 60th Biennale of Arts exhibition in Venice, Italy, Tuesday, April 16, 2024. (AP Photo/Luca Bruno)
A visitor walks next to the 'Las Meninas a San Marco' sculpture part of the installation by the Spanish artist Manolo Valdés, at the San Marco's Square during the 60th Biennale of Arts exhibition in Venice, Italy, Tuesday, April 16, 2024. (AP Photo/Luca Bruno)
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Artist, Curators Refuse to Open Israel Pavilion at Venice Biennale Until Ceasefire Deal

A visitor walks next to the 'Las Meninas a San Marco' sculpture part of the installation by the Spanish artist Manolo Valdés, at the San Marco's Square during the 60th Biennale of Arts exhibition in Venice, Italy, Tuesday, April 16, 2024. (AP Photo/Luca Bruno)
A visitor walks next to the 'Las Meninas a San Marco' sculpture part of the installation by the Spanish artist Manolo Valdés, at the San Marco's Square during the 60th Biennale of Arts exhibition in Venice, Italy, Tuesday, April 16, 2024. (AP Photo/Luca Bruno)

The artist and curators representing Israel at this year’s Venice Biennale have announced that they won't open the Israeli pavilion exhibit until there is a ceasefire in Gaza and an agreement to release hostages seized by Hamas on Oct. 7.

Their decision, praised as courageous by the festival’s main curator, was posted on a sign in the window of the Israeli pavilion on the first day of media previews, ahead of the Biennale contemporary art fair opening on Saturday.

“The art can wait, but the women, children and people living through hell cannot,” the curators said on Tuesday in a statement together with the artist. It expressed horror at both the plight of Palestinians in Gaza and that of the relatives of hostages seized in Hamas' Oct. 7 attack on Israel.

Israel is among 88 national participants in the 60th Venice Biennale, which runs from April 20-Nov. 24. The Israeli pavilion was built in 1952 as a permanent representation of Israel inside the Giardini, the original venue of the world’s oldest contemporary art show and the site of 29 national pavilions. Other nations show in the nearby Arsenale or at venues throughout the city.

This year, the Israeli exhibit has been titled “(M)otherland” by artist Ruth Patir.

Even before the preview, thousands of artists, curators and critics had signed an open letter calling on the Biennale to exclude the Israeli national pavilion from this year’s show to protest Israel’s war in Gaza. Those opposed to Israel's presence had also vowed to protest on-site.
Italy’s culture minister had firmly backed Israel’s participation, and the fair was opening amid unusually heightened security.

Written in English, the announcement Tuesday of Israel's delayed opening read: “The artist and curators of the Israeli pavilion will open the exhibition when a ceasefire and hostage release agreement is reached.” Two Italian soldiers stood guard nearby.

In a statement, Patir said she and the curators wanted to show solidarity with the families of the hostages “and the large community in Israel who is calling for change.”

“As an artist and educator, I firmly object to cultural boycott, but I have a significant difficulty in presenting a project that speaks about the vulnerability of life in a time of unfathomed disregard for it,” Patir said in the statement.

Patir, who remained in Venice on Tuesday, declined further comment. Neither the Biennale organizers nor the Israeli culture ministry commented.

The curators of the Israeli pavilion, Mira Lapidot and Tamar Margalit, said they were delaying the opening of the exhibit because of the “horrific war that is raging in Gaza,” but that they hoped the conditions would change so the exhibit could open for public view.

“There is no end in sight, only the promise of more pain, loss, and devastation. The exhibition is up and the pavilion is waiting to be opened,” they said. For now, a video work made by Patir can be seen through the pavilion window.

Adriano Pedrosa, the Brazilian curator of the main show at the Biennale, praised the gesture.

“It’s a very courageous decision,” Pedrosa told The Associated Press. “I think it’s a very wise decision as well” because it is “very difficult to present a work in this particular context.”

The national pavilions at Venice are independent of the main show, and each nation decides its own show, which may or may not play into the curator’s vision.

Palestinian artists are participating in collateral events in Venice and three Palestinian artists' works are to appear in Pedrosa's main show, titled “Stranieri Ovunque — Foreigners Everywhere,” which has a preponderance of artists from the global south.

Pedrosa, the artistic director of Brazil’s Sao Paulo Museum of Art, said one of the Palestinian artists, New York-based Khaled Jarrar, was not physically in Venice because he couldn't get a visa.


'Makkah Greets Us' Concludes in Hira Cultural District

Photo by SPA
Photo by SPA
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'Makkah Greets Us' Concludes in Hira Cultural District

Photo by SPA
Photo by SPA

The "Makkah Greets Us" event, hosted by the Royal Commission for Makkah City and Holy Sites, concluded on Monday after a successful five-day run in the Hira Cultural District.
The event aimed to enrich the cultural and entertainment experience for residents and visitors alike. It provided a unique platform to highlight the region's rich Islamic heritage, SPA reported.
It boasted a captivating high-tech sound and light show at the foot of Mount Hira, enabling visitors to connect with Makkah's most significant historical landmarks.


At Birthplace of Olympics, Performers at Flame-Lighting Ceremony Feel a Pull of the Ancient Past 

A woman in the role of a priestess holds the Olympic flame after lighting it during the rehearsal of the flame lighting ceremony for the Paris 2024 Olympics Games at the ancient temple of Hera on the Olympia archeological site, birthplace of the ancient Olympics in southern Greece, on April 15, 2024. (AFP)
A woman in the role of a priestess holds the Olympic flame after lighting it during the rehearsal of the flame lighting ceremony for the Paris 2024 Olympics Games at the ancient temple of Hera on the Olympia archeological site, birthplace of the ancient Olympics in southern Greece, on April 15, 2024. (AFP)
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At Birthplace of Olympics, Performers at Flame-Lighting Ceremony Feel a Pull of the Ancient Past 

A woman in the role of a priestess holds the Olympic flame after lighting it during the rehearsal of the flame lighting ceremony for the Paris 2024 Olympics Games at the ancient temple of Hera on the Olympia archeological site, birthplace of the ancient Olympics in southern Greece, on April 15, 2024. (AFP)
A woman in the role of a priestess holds the Olympic flame after lighting it during the rehearsal of the flame lighting ceremony for the Paris 2024 Olympics Games at the ancient temple of Hera on the Olympia archeological site, birthplace of the ancient Olympics in southern Greece, on April 15, 2024. (AFP)

No one knows what music in ancient Greece sounded like or how dancers once moved.

Every two years, a new interpretation of the ancient performance gets a global audience. It takes place in southern Greece at the birthplace of the Olympic Games.

Forty-eight performers, chosen in part for their resemblance to youths in antiquity as seen in statues and other surviving artwork, will take part Tuesday in the flame-lighting ceremony for the Paris Olympics.

Details of the 30-minute performance are fine-tuned — and kept secret — right up until a public rehearsal Monday.

The Associated Press got rare access to rehearsals that took place during weekends, mostly at an Olympic indoor cycling track in Athens.

As riders whiz around them on the banked cycling oval, the all-volunteer Olympic performers snatch poses from ancient vases. Sequences are repeated and re-repeated under the direction of the hyper-focused head choreographer Artemis Ignatiou.

“In ancient times there was no Olympic flame ceremony,” Ignatiou said during a recent practice session.

“My inspiration comes from temple pediments, from images on vases, because there is nothing that has been preserved — no movement, no dance — from antiquity,” she said. “So basically, what we are doing is joining up those images. Everything in between comes from us.”

Ceremonies take place at Olympia every two years for the Winter and Summer Games, with the sun’s rays focused on the inside of a parabolic mirror to produce the Olympic flame and start the torch relay to the host city.

Women dressed as priestesses are at the heart of the ceremony, first held for the 1936 Olympics in Berlin. Leading the group is an actress who performs the role of high priestess and makes a dramatic appeal to Apollo, the ancient god of the sun, for assistance moments before the torch is lit.

Over the decades, new ingredients have been progressively added: music, choreography, new colors for the costumes, male performers known as “kouroi” and subtle style inclusions to give a nod to the culture of the Olympic host nation.

Adding complexity also has introduced controversy, inevitably amplified by social media. Criticism this year has centered on the dresses and tunics to be worn by the performers, styled to resemble ancient Greek columns. Faultfinders have called it a rude departure from the ceremony’s customary elegance.

Organizers hope the attire will create a more positive impression when witnessed at the ruins of ancient Olympia.

Counting out the sequences, Ignatiou controls the music with taps on her cell phone while keeping track of the male dancers at the velodrome working on a stop motion-like routine and women who glide past them like a slowly uncoiling spring.

Ignatiou has been involved with the ceremony for 36 years, as priestess, high priestess, assistant and then head choreographer since 2008. She takes in the criticism with composure.

She’s still moved to tears when describing the flame lighting, but defers to her dancers to describe their experience of the five-month participation at practices.

Most in their early twenties, the performers are selected from dance and drama academies with an eye on maintaining an athletic look and classic Greek aesthetic, the women with hair pulled back in neat double-braids.

Christiana Katsimpraki, a 23-year-old drama school student who is taking part at Olympia for the first time, said she wants to repay the kindness shown to her by older performers.

“Before I go to bed, when I close my eyes, I go through the whole choreography — a run through — to make sure I have all the steps memorized and that they’re in the right order,” she said. “It’s so that the next time I can come to the rehearsal, it all goes correctly and no one gets tired.”

The ceremony is performed to sparse music, and final routine modifications are made at Olympia, in part to cope with the pockmarked and uneven ground at the site.

Dancers describe the fun they have in messaging groups, the good-natured pranks played on newcomers and fun they have on the four-hour bus ride to the ancient site in southern Greece — but also the significance of the moment and the pull of the past.

“I’m in awe that we’re going there and that I’m going to be part of this whole team,” 23-year-old performer Kallia Vouidaski said. “I’m going to have this entire experience that I watched when I was little on TV. I would say, ’Oh! How cool would it be if I could do this at some point.’ And I did it.”

The flame-lighting ceremony will start at 0830 GMT Tuesday. A separate flame-handover ceremony to the Paris 2024 organizing committee will be held in Athens on April 26.


Gaza’s Historic Treasures Saved by ‘Irony of History’ 

A picture taken on January 5, 2024 shows Gaza City's 17th century Qasr al-Basha or the Pasha's Palace, also known as Radwan dynasty castle, which houses a museum and a girls' school, damaged in Israeli bombardment during the ongoing battles between Israel and the Palestinian Hamas movement. (AFP)
A picture taken on January 5, 2024 shows Gaza City's 17th century Qasr al-Basha or the Pasha's Palace, also known as Radwan dynasty castle, which houses a museum and a girls' school, damaged in Israeli bombardment during the ongoing battles between Israel and the Palestinian Hamas movement. (AFP)
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Gaza’s Historic Treasures Saved by ‘Irony of History’ 

A picture taken on January 5, 2024 shows Gaza City's 17th century Qasr al-Basha or the Pasha's Palace, also known as Radwan dynasty castle, which houses a museum and a girls' school, damaged in Israeli bombardment during the ongoing battles between Israel and the Palestinian Hamas movement. (AFP)
A picture taken on January 5, 2024 shows Gaza City's 17th century Qasr al-Basha or the Pasha's Palace, also known as Radwan dynasty castle, which houses a museum and a girls' school, damaged in Israeli bombardment during the ongoing battles between Israel and the Palestinian Hamas movement. (AFP)

Gaza's ancient Greek site of Anthedon has been bombed, its "Napoleon's Palace" destroyed and the only private museum burned down: the war has taken a terrible toll on the rich heritage of the Palestinian territory.

But in a strange twist of fate, some of its greatest historical treasures are safe in a warehouse in Switzerland.

And ironically, it is all thanks to the blockade that made life in the Gaza Strip such a struggle for the past 16 years.

Based on satellite images, the UN cultural organization reckons some 41 historic sites have been damaged since Israel began pounding the besieged territory after the October 7 Hamas attack.

On the ground, Palestinian archaeologist Fadel al-Otol keeps tabs on the destruction in real time.

When he has electricity and internet access, photos pour into a WhatsApp group he set up with 40 or so young peers he mobilized to watch over the territory's vast array of ancient sites and monuments.

As a teenager in the 1990s, Otol was hired by European archaeological missions before going on to study in Switzerland and at the Louvre Museum in Paris.

"All the archaeological remains in the north have been hit," he told AFP by phone from Gaza.

The human toll since the October 7 Hamas attack has been chilling.

A total of 1,170 people were killed in the unprecedented raid on Israel, according to an AFP tally of Israeli official figures.

Almost 34,000 have died in Gaza in unrelenting Israeli retaliation, according to the territory's health ministry.

The damage to Gaza's history has also been immense.

Napoleon's HQ flattened

"Blakhiya (the ancient Greek city of Anthedon) was directly bombed. There's a huge hole", said Otol.

He said part of the site, near a Hamas barracks where "we hadn't started excavating", was hit.

The 13th-century Al-Basha palace in Gaza City's old town "has been completely destroyed. There was bombing and (then) it was bulldozed.

"It held hundreds of ancient objects and magnificent sarcophagi," Otol added as he shared recent photos of the ruins.

Napoleon is said to have based himself in the ochre stone edifice at the disastrous end of his Egyptian campaign in 1799.

The room where the French emperor supposedly slept was full of Byzantine artifacts.

"Our best finds were displayed in the Basha," Jean-Baptiste Humbert of the French Biblical and Archaeological School in Jerusalem (EBAF) told AFP.

But we know little of their fate, he said. "Did someone remove the objects before blowing the building up?"

Nerves were frayed even further when the director of Israeli Antiquities, Eli Escusido, posted a video on Instagram of Israeli soldiers surrounded by vases and ancient pottery in the EBAF warehouse in Gaza City.

Much of what has been unearthed in digs in Gaza was stored either at the Al-Basha museum or the warehouse.

Palestinians quickly accused the army of pillaging. But EBAF archaeologist Rene Elter said he has seen no evidence of "state looting".

"My colleagues were able to return to the site. The soldiers opened boxes. We don't know if they took anything," he told AFP.

However, he added: "Every day when Fadel (al-Otol) calls me, I'm afraid he'll tell me that one of our colleagues has died or that such and such a site has been destroyed".

Archaeology is a highly political issue in Israel and the Palestinian territories, with discoveries often used to justify the claims of the two warring peoples.

While Israel has an army of archaeologists who have unearthed an impressive number of ancient treasures, Gaza remains relatively untouched by the trowel despite a rich past stretching back thousands of years.

Ancient crossroads

The only sheltered natural harbor between the Sinai and Lebanon, Gaza has been for centuries a crossroads of civilizations.

A pivot point between Africa and Asia and a hub of the incense trade, it was coveted by the Egyptians, Persians, Greeks, Romans and Ottomans.

A key figure in excavating this glorious past over the last few decades has been Jawdat Khoudary, a Gazan construction magnate and collector.

Gaza, with its "seafront real estate", had a property boom in the 1990s after the Oslo peace accords and the creation of the Palestinian Authority.

When building workers dug up the soil, they came across lots and lots of ancient objects. Khoudary amassed a treasure trove of artifacts that he opened up to foreign archaeologists.

Marc-Andre Haldimann, then curator of MAH, Geneva's art and history museum, couldn't believe his eyes when he was invited to have a look around the garden of Khoudary's mansion in 2004.

"We found ourselves in front of 4,000 objects, including an avenue of Byzantine columns," he told AFP.

Quickly an idea took shape to organize a major exhibition to highlight Gaza's past at the MAH, and then to build a museum in the territory itself so that the Palestinians could take ownership of their own heritage.

At the end of 2006, around 260 objects from the Khoudary collection left Gaza for Geneva, with some later going on to be part of another hit show at the Institut du Monde Arabe (IMA) in Paris.

But geopolitics changed along the way. In June 2007, Hamas drove the Palestinian Authority from Gaza. And Israel imposed its blockade.

As a result, the Gazan artifacts could no longer return home and remained stuck in Geneva, while the archaeological museum project fizzled out.

But Khoudary did not give up hope. He built a museum-hotel called Al-Mathaf, museum in Arabic, on the Mediterranean coast north of Gaza City.

But then came the Israeli ground offensive after the Hamas attack on October 7, which began in Gaza's north.

'Anything but a black hole'

"Al-Mathaf remained under Israeli control for months," Khoudary, who fled Gaza for Egypt, told AFP. "As soon as they left, I asked some people to go there to see what state the place was in. I was shocked. Several items were missing and the hall had been set on fire.

His mansion was also destroyed during fierce fighting in the Sheikh Radwan neighborhood of Gaza City.

"The Israelis flattened the garden with bulldozers... I don't know whether objects were buried (by the bulldozers) or whether the marble columns were broken or looted. I can't find words," he added.

The Israeli military did not comment on specific sites. But it accused Hamas of systematically using civilian structures like cultural heritage sites, government buildings, schools, shelters and hospitals for military purposes.

"Israel maintains its commitments to international law, including by affording the necessary special protections," the army added in a statement.

While part of Khoudary's collection has been lost, the treasures held in Switzerland remain intact, saved by the blockade and the red tape that delayed their return.

"There were 106 crates ready to go" for years, said Beatrice Blandin, the MAH museum's current curator.

Safely far from the war raging in Gaza, "the objects are in good condition", she added. "We restored some of the bronze pieces that were slightly corroded and repacked everything.

"We just had to be sure that the convoy would not be blocked," she told AFP. "We were waiting for that green light."

But with any return impossible for the moment, Blandin said "discussions are under way" for a new Gaza exhibition in Switzerland.

Khoudary is excited by the idea.

"The most important collection of objects on the history of Gaza is in Geneva. If there is a new show, it will allow the whole world to learn about our history," he told AFP from Cairo.

"It's an irony of history," said Haldimann, who is trying to get his friend Fadel al-Otol safely out of Gaza.

"A new Gaza exhibition would show once again that Gaza... is anything but a black hole."


Cameroon Opens Museum Honoring Oldest Sub-Saharan Kingdom

A traditional masked dancer performs during the inauguration of the new Bamoun Kings Museum in Foumban, on April 13, 2024. (AFP)
A traditional masked dancer performs during the inauguration of the new Bamoun Kings Museum in Foumban, on April 13, 2024. (AFP)
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Cameroon Opens Museum Honoring Oldest Sub-Saharan Kingdom

A traditional masked dancer performs during the inauguration of the new Bamoun Kings Museum in Foumban, on April 13, 2024. (AFP)
A traditional masked dancer performs during the inauguration of the new Bamoun Kings Museum in Foumban, on April 13, 2024. (AFP)

To enter the Museum of the Bamoun Kings in western Cameroon, you have to pass under the fangs of a gigantic two-headed snake -- the highlight of an imposing coat of arms of one of the oldest kingdoms in sub-Saharan Africa.

Thousands of Cameroonians gathered in the royal palace square in Foumban on Saturday to celebrate the opening of the Museum of the Bamoun Kings.

Sultan King Mouhammad Nabil Mforifoum Mbombo Njoya welcomed 2,000 guests to the opening of the museum located in Foumban -- the historic capital of the Bamoun Kings.

The royal family, descendants of a monarchy that dates back six centuries, attended the event dressed in traditional ceremonial attire with colorful boubous and matching fezes.

Griot narrators in multicolored boubous played drums and long traditional flutes while palace riflemen fired shots to punctuate the arrival of distinguished guests which included ministers and diplomats.

Then, princes and princesses from the Bamoun chieftaincies performed the ritual Ndjah dance in yellow robes and animal masks.

For Cameroon, such a museum dedicated to the history of a kingdom is "unique in its scope", Armand Kpoumie Nchare, author of a book about the Bamoun kingdom, told AFP.

"This is one of the rare kingdoms to have managed to exist and remain authentic, despite the presence of missionaries, merchants and colonial administrators," he said.

The Bamoun kingdom, founded in 1384, is one of the oldest in sub-Saharan Africa.

To honor the Bamoun, the museum was built in the shape of the kingdom's coat of arms.

A spider, which is over 5,000 square meters (54,000 square feet), sits atop the building while the entrances represent the two-headed serpent.

"This is a festival for the Bamoun people. We've come from all over to experience this unique moment," 50-year-old spectator Ben Oumar said.

"It's a proud feeling to attend this event. We've been waiting for it for a long time," civil servant Mahamet Jules Pepore said.

The museum contains 12,500 pieces including weapons, pipes and musical instruments -- only a few of which were previously displayed in the royal palace.

"It reflects the rich, multi-century creativity of these people, both in terms of craftsmanship and art -- Bamoun drawings -- as well as the technological innovations of the peasants at various periods: Mills, wine presses etc," Nchare said.

Also on display are items from the life of the most famous Bamoun King, Ibrahim Njoya, who reigned from 1889 to 1933 and created Bamoune Script, a writing system that contains over 500 syllabic signs.

The museum exhibits his manuscripts and a corn-grinding machine he invented.

"We pay tribute to a king who was simultaneously a guardian and a pioneer... a way for us to be proud of our past in order to build the future" and "show that Africa is not an importer of thoughts," Njoya's great-grandson, the 30-year-old Sultan King Mouhammad said.

To commemorate his grandfather's work, former Sultan King Ibrahim Mbombo Njoya launched the construction of the museum in 2013 after realizing the palace rooms were too cramped.

The opening of the museum comes months after the Nguon of the Bamoun people, a set of rituals celebrated in a popular annual festival, joined UNESCO's List of the Intangible Cultural Heritage of Humanity.