Iraq's Marshes are Dying, and a Civilization with Them

A man holds up a skeleton of a fish in a dried out marsh in Chibayish, Iraq. Asaad NIAZI / AFP
A man holds up a skeleton of a fish in a dried out marsh in Chibayish, Iraq. Asaad NIAZI / AFP
TT

Iraq's Marshes are Dying, and a Civilization with Them

A man holds up a skeleton of a fish in a dried out marsh in Chibayish, Iraq. Asaad NIAZI / AFP
A man holds up a skeleton of a fish in a dried out marsh in Chibayish, Iraq. Asaad NIAZI / AFP

Mohammed Hamid Nour is only 23, but he is already nostalgic for how Iraq's Mesopotamian marshes once were before drought dried them up, decimating his herd of water buffaloes.

Even at their center in Chibayish, only a few expanses of the ancient waterways -- home to a Marsh Arab culture that goes back millennia -- survive, linked by channels that snake through the reeds.

Pull back further and the water gives way to a parched landscape of bald and cracked earth, AFP said.

Mohammed has lost three-quarters of his herd to the drought that is now ravaging the marshes for a fourth-consecutive year. It is the worst in 40 years, the United Nations said this week, describing the situation as "alarming", with "70 percent of the marshes devoid of water".

"I beg you Allah, have mercy!" Mohammed implored, keffiyah on his head as he contemplated the disaster under the unforgiving blue of a cloudless sky.

The buffaloes of the marshes produce the milk for the thick clotted "geymar" cream Iraqis love to have with honey for breakfast.

As the marshes dry out, the water gets salty until it starts killing the buffaloes. Many of Mohammed's herd died like this, others he was forced to sell before they too perished.

"If the drought continues and the government doesn't help us, the others will also die," said the young herder, who has no other income.

Both the Mesopotamian marshes, and the culture of the Marsh Arabs -- or Ma'adan -- like Mohammed who live in them, have UNESCO world heritage status. The Ma'adan have hunted and fished there for 5,000 years, building houses from woven reeds on floating reed islands where the Tigris and Euphrates rivers come together before pouring into the Gulf.
Even their beautifully intricate mosques were made of reeds.

But the marshlands have shrunk from 20,000 square kilometers (7,700 square miles) in the early 1990s to 4,000 (1,500 square miles) by latest estimates -- choked by dams on the great rivers upstream in Turkey and Syria and the soaring temperatures of climate change. Only a few thousand of the quarter million Ma'adan who lived in the marshes in the early 1990s remain.

Experts say that Iraq's management of the waters has not helped.

50 degrees C
AFP crisscrossed the central Chibayish marshes at the end of June, where at dawn it was already 35 degrees Centigrade (95 degrees Fahrenheit) before temperatures shot towards 50.

Iraq is one of the five countries most touched by some effects of climate change, according to the United Nations. Rainfall is rarer and rarer, and in the next 25 years the World Bank said the temperature will go up by an average of 2.5 degrees.

Water levels in the central marshlands and the Euphrates which feeds it are "dropping by half a centimeter a day", said engineer Jassim al-Assadi, of Nature Iraq, the country's leading conservation group.

That will get worse "over the next two months as the temperatures rise and more and more water evaporates," he added.

To draw water for his remaining buffaloes, Mohammed Hamid Nour takes his canoe out into deeper water, where salt levels are lower.

He rolled up his sleeves to fill a water tank on the canoe revealing a tattoo of the Zulfikar, the sword of Imam Ali, one of the founding figures of Shi'ite Islam. He got it for "baraka" or blessing, he smiled. He needs all the help he can get.

Saddam's bid to kill them
The marshes already almost died once when former Saddam Hussein dried them out so he could hunt down the Shi'ite rebels who had taken refuge there after the failed uprising in the wake of the First Gulf War in 1991.

In a few months, Saddam turned 90 percent of the marshes into a "desert", Assadi recalled. Most of the Ma'adan fled or "moved elsewhere in Iraq or emigrated to Sweden or the United States".

But when Saddam was toppled by the American-led invasion in 2003 the ditches he dug to drain the marshes were destroyed, and both the marshes and the Ma'adan returned.

Two decades later, the water level is plummeting again.

"The level of the Euphrates in Iraq is around half of what it was in the 1970s," said Ali al-Quraishi, of Baghdad's University of Technology.

Dams upstream in Turkey, where the Tigris and the Euphrates have their sources, and others on their tributaries in Syria and Iran, are the "principle" cause, he said.

"The Turks have built more dams to meet the needs of agriculture there. As the population rises, more water is needed for irrigation and domestic use," the expert added.

Water has always sparked tensions between Iraq and Turkey. With Iraq asking Ankara to release more, the Turkish ambassador to Baghdad, Ali Riza Guney, sparked outrage last July by accusing the Iraqis of "wasting water".

There is a grain of truth in the Turkish claim, scientists say. Iraq's water management is far from ideal.

Since the time of the ancient Sumerians, Iraqi farmers have flooded their land to irrigate it, which is considered hugely wasteful.

But now water for agriculture is short, with the authorities drastically reducing arable farming to make sure there is enough drinking water for the country's 42 million people.

Iraq's President Abdul Latif Rashid told the BBC last month that the government "has taken significant steps to improve the water management system in talks with neighboring countries", without going into detail.

Pollution and heavy metals
Meanwhile in the central marshes, there is so little water even canoes get stuck.

Where there was water "two months ago" is now a desert, said herder Youssef Mutlaq.

Not long ago a dozen or so "mudhifs" -- traditional reed houses -- were still occupied.

"There were lots of buffaloes, but when the water started to disappear, people left," said the 20-year-old as his animals chewed feed from a bag with less and less grass to be found.

Pollution is also rising alongside salination. Sewers, pesticides and waste from factories and hospitals are dumped directly into the Euphrates along its course, and much of it ends up in the marshes, said Nadheer Fazaa, of Baghdad University, and a specialist on climate change.

"We have analyzed the water and found numerous pollutants like heavy metals" which cause illness, the scientist said.

And all the while, the fish are dying. Where once the binni -- the king of the Iraqi table -- swam, there are now only fish unfit for consumption.

While the causes of the disaster are not being tackled, some are trying to limit the consequences of the drought.

'Our life is there'
The French NGO Agronomists and Vets Without Borders (AVSF), supported by France, is training their Iraqi colleagues and trying to help herders and fishermen.

"We spent last summer distributing drinking water for both the people and the animals of the wetlands," said vet Herve Petit, an expert in rural development.

Many herders have been forced to "sell off their animals at derisory prices", he added.

But such initiatives are rare. Engineer Jassim al-Assadi is one of the few battling for the marshes and alerting the authorities.

Khaled Shemal, of the water resources ministry, said they were "working hard" to restore the wetlands. But drinking water and supplies for homes and agriculture came first.

In the meantime, many Marsh Arabs have left for the towns and cities, where they are often treated as pariahs. Last year, the UN's Food and Agriculture Organisation (FAO) called it an "exodus".

Walid Khdeir left the wetlands with his wife and six children "four or five months ago" to live in a house on dry land in the city of Chibayish.

"It was difficult, our lives were there like our grandparents' before us. But what can we do?" the 30-year-old said.

Today, he is fattening buffaloes to resell but is obliged to buy fodder at exorbitant prices because there is hardly a blade of grass for them to eat.

"If the water comes back like before, we will return to the marshes. Our life is there," he said.



Visual Arts Commission Announces 'Bedayat: Beginnings of Saudi Art Movement' Exhibition

Visual Arts Commission Announces 'Bedayat: Beginnings of Saudi Art Movement' Exhibition
TT

Visual Arts Commission Announces 'Bedayat: Beginnings of Saudi Art Movement' Exhibition

Visual Arts Commission Announces 'Bedayat: Beginnings of Saudi Art Movement' Exhibition

The Visual Arts Commission has announced "Bedayat: Beginnings of Saudi Art Movement"—a seminal exhibition that celebrates and documents the formative years of Saudi Arabia's art scene and the emergence of a pioneering generation of artists between the 1960s and 1980s, SPA reported.

The exhibition will be on view from January 27 through April 11, 2026, at the National Museum of Saudi Arabia in Riyadh.
The exhibition traces the evolution of artistic practices in the Kingdom, as shaped by the cultural, social, and economic transformations that began in the mid-twentieth century.

Extensive research initiated by the Visual Arts Commission—encompassing more than 80 site visits as well as 120 comprehensive artist reports and recordings from 50 interviews—informs the exhibition. Developed with an advisory team that includes artist Abdulrahman Alsuliman, Dr. Mohammed Alrusais, and Dr. Charbel Dagher, the research draws on academic expertise alongside firsthand accounts from artists and key figures of the period to capture early exhibition history, educational activity, and the locally-rooted language of expression that emerged during these decades.

Curated by Qaswra Hafez, the exhibition spans painting, sculpture, works on paper, and diverse archival materials—many exhibited publicly for the first time. Focusing on the pivotal decades of the 1960s through 1980s, it charts how practitioners of this generation engaged Saudi Arabia’s deep-rooted heritage while participating in international artistic exchange. Developing distinctive visual languages that brought modernist currents into dialogue with local contexts, they established cultural institutions and artist networks via grassroots initiatives alongside public and private patronage and support for the visual arts.

Presented at the National Museum of Saudi Arabia in the historic Al Murabba’a district, the exhibition brings together the work of key figures across three decades, highlighting a pivotal period in which modern and abstract artistic practices emerged within the Kingdom.

Bedayat: Beginnings of Saudi Art Movement is structured in three parts: the Foundation of the Modern Art Movement in Saudi Arabia, which studies the emergence of the visual arts scene in the interplay between individual initiative and state support; Currents of Modernity, which explores the artistic concerns that shaped Saudi artistic production; and Modernist Pioneers, which spotlights four artists—Mohammed Al-Saleem, Safeya Binzagr, Mounirah Mosly, and Abdulhalim Radwi.

Reflecting on the significance of the exhibition, CEO of the Visual Arts Commission Dina Amin stated: “We celebrate here the history of modern art in Saudi Arabia, and we are proud to foreground its rich legacy by honoring the pioneering figures as well as the public and private initiatives whose collective efforts shaped the art scene of this era. We hope this exhibition contributes to an enduring continuum, offering meaningful access to the depth and diversity of our visual arts history.”

Curator of the exhibition Qaswra Hafez said: “Through Bedayat, we are presenting a comprehensive and research-driven account of Saudi modern art. Through archival study, pioneering artworks, and firsthand narratives, we are preserving the foundations of our modern art movement for future generations. This project is both a tribute to our early artists and a lasting cultural legacy that will continue to inform and inspire audiences across the Kingdom and beyond.”

Bedayat: Beginnings of Saudi Art Movement forms part of the Visual Arts Commission’s broader efforts to archive and document Saudi visual culture, advancing the historical record and supporting ongoing research in the field.

The exhibition will be followed by a comprehensive publication and an original documentary film, offering an in-depth perspective on the foundations of Saudi modern art and a long-lasting resource for the public and researchers. An extensive public program of talks, workshops, and masterclasses will further explore key themes, including early art education, the role of pioneering teachers and institutions, and archival preservation practices.


Smithsonian’s Asian Art Museum Director Highlights Cultural Exchange with Saudi Arabia's RCU

The Royal Commission for AlUla (RCU) logo
The Royal Commission for AlUla (RCU) logo
TT

Smithsonian’s Asian Art Museum Director Highlights Cultural Exchange with Saudi Arabia's RCU

The Royal Commission for AlUla (RCU) logo
The Royal Commission for AlUla (RCU) logo

National Museum of Asian Art Director at the Smithsonian Institution Chase Robinson discussed cooperation with the Royal Commission for AlUla (RCU) to promote cultural exchange and mutual understanding between museum professionals and researchers in Saudi Arabia and the United States, while expanding global knowledge of the heritage and ancient civilizations of the northern Arabian Peninsula.

In an interview with the Saudi Press Agency, Robinson described the museum’s relationship with the Kingdom as “long-standing,” formalized through a memorandum of understanding signed in May 2025 with the RCU.

He stressed that the agreement “is built on many years of relations with the Kingdom” and reflects both institutions’ commitment to preserving cultural heritage and boosting cultural exchange between the two countries.

He noted that the agreement marks the beginning of a new chapter of constructive cooperation, highlighting the pivotal role of arts and heritage in strengthening cultural dialogue among peoples of different regions and historical backgrounds, and in making AlUla’s heritage accessible to the world, thereby supporting the objectives of Saudi Vision 2030.

Robinson indicated that the collaboration between the museum and the RCU includes key components such as designing an exhibition centered on the recently discovered monumental statue at the archaeological site of Dadan, conducting scientific research and conservation studies on the newly discovered statue, and examining the archaeological context and historical development of the Dadan site and its connection to the city of AlUla.

He added that the project is expected to culminate in an exhibition likely to be held in 2029.

The museum, which opened in 1923 as the first national art museum in the United States and the country’s first museum dedicated to Asian art, houses collections of Islamic art from Central Asia, the Middle East, and North Africa.

Notable recent exhibitions include “Roads of Arabia: Archaeology and History of the Kingdom of Saudi Arabia” (2012–2013) and “The Art of the Quran” (2016).


Culture Being Strangled by Kosovo's Political Crisis

The cinema has been waiting for much-needed repairs for years. Armend NIMANI / AFP
The cinema has been waiting for much-needed repairs for years. Armend NIMANI / AFP
TT

Culture Being Strangled by Kosovo's Political Crisis

The cinema has been waiting for much-needed repairs for years. Armend NIMANI / AFP
The cinema has been waiting for much-needed repairs for years. Armend NIMANI / AFP

Kosovo's oldest cinema has been dark and silent for years as the famous theater slowly disintegrates under a leaky roof.

Signs warn passers-by in the historic city of Prizren that parts of the Lumbardhi's crumbling facade could fall while it waits for its long-promised refurbishment.

"The city deserves to have the cinema renovated and preserved. Only junkies gathering there benefit from it now," nextdoor neighbor butcher Arsim Futko, 62, told AFP.

For seven years, it waited for a European Union-funded revamp, only for the money to be suddenly withdrawn with little explanation.

Now it awaits similar repairs promised by the national government that has since been paralyzed by inconclusive elections in February.

And it is anyone's guess whether the new government that will come out of Sunday's snap election will keep the promise.

'Collateral damage'

Cinema director Ares Shporta said the cinema has become "collateral damage" in a broader geopolitical game after the EU hit his country with sanctions in 2023.

The delayed repairs "affected our morale, it affected our lives, it affected the trust of the community in us," Shporta said.

Brussels slapped Kosovo with sanctions over heightened tensions between the government and the ethnic Serb minority that live in parts of the country as Pristina pushed to exert more control over areas still tightly linked to Belgrade.

Cultural institutions have been among the hardest-hit sectors, as international funding dried up and local decisions were stalled by the parliamentary crisis.

According to an analysis by the Kosovo think tank, the GAP Institute for Advanced Studies, sanctions have resulted in around 613 million euros ($719 million) being suspended or paused, with the cultural sector taking a hit of 15-million-euro hit.

'Ground zero'

With political stalemate threatening to drag on into another year, there are warnings that further funding from abroad could also be in jeopardy.

Since February's election when outgoing premier Albin Kurti topped the polls but failed to win a majority, his caretaker government has been deadlocked with opposition lawmakers.

Months of delays, spent mostly without a parliament, meant little legislative work could be done.

Ahead of the snap election on Sunday, the government said that more than 200 million euros ($235 million) will be lost forever due to a failure to ratify international agreements.

Once the top beneficiary of the EU Growth Plan in the Balkans, Europe's youngest country now trails most of its neighburs, the NGO Group for Legal and Political Studies' executive director Njomza Arifi told AFP.

"While some of the countries in the region have already received the second tranches, Kosovo still remains at ground zero."

Although there have been some enthusiastic signs of easing a half of EU sanctions by January, Kurti's continued push against Serbian institutions and influence in the country's north continues to draw criticism from both Washington and Brussels.

'On the edge'

Across the river from the Lumbardhi, the funding cuts have also been felt at Dokufest, a documentary and short film festival that draws people to the region.

"The festival has had to make staff cuts. Unfortunately, there is a risk of further cuts if things don't change," Dokufest artistic director Veton Nurkollari said.

"Fortunately, we don't depend on just one source because we could end up in a situation where, when the tap is turned off, everything is turned off."

He said that many in the cultural sector were desperate for the upcoming government to get the sanctions lifted by ratification of the agreements that would allow EU funds to flow again.

"Kosovo is the only one left on the edge and without these funds."