As Gaza War Rages, Palestinian Culture Stifled in Israel

A woman holds a key symbolizing the homes left by Palestinians in 1948, during a rally along the border east of Khan Yunis in the southern Gaza Strip on May 1, 2023 marking the 75th anniversary of the Nakba. (AFP)
A woman holds a key symbolizing the homes left by Palestinians in 1948, during a rally along the border east of Khan Yunis in the southern Gaza Strip on May 1, 2023 marking the 75th anniversary of the Nakba. (AFP)
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As Gaza War Rages, Palestinian Culture Stifled in Israel

A woman holds a key symbolizing the homes left by Palestinians in 1948, during a rally along the border east of Khan Yunis in the southern Gaza Strip on May 1, 2023 marking the 75th anniversary of the Nakba. (AFP)
A woman holds a key symbolizing the homes left by Palestinians in 1948, during a rally along the border east of Khan Yunis in the southern Gaza Strip on May 1, 2023 marking the 75th anniversary of the Nakba. (AFP)

Comedian Ayman Nahas said he has kept a "low profile" since October 7, fearing reprisals as an Arab artist in Israel while the country wages war in the Gaza Strip.

He is one of many Arab artists in Israel or annexed east Jerusalem who describe facing increasing hostility and harassment, and fearing looming funding cuts or arrests.

"You never know where your place is and that is not the right atmosphere to perform," said Nahas, who is also the artistic director at the Arabic-language Sard theater in Haifa, in Israel's north.

His theater depends on government subsidies "like 99 percent of cultural spaces" in Israel, he said, AFP reported.

But he fears the money could be cut, as happened in 2015 to Al-Midan, another theater in the mixed Arab-Jewish city of Haifa, after it put on a play inspired by the story of a prisoner jailed by Israel over an attack on troops.

One 25-year-old performer, who asked to use the pseudonym Elias to avoid a backlash, said he has put acting aside and became a swimming pool attendant because he was fed up with only getting stereotyped roles.

Other Arab actors say that since the war, they can no longer find work in Israel.

Elias has finally found a role in Berlin.

"I have had to go into exile to practice my art," he told AFP in a Tel Aviv cafe.

"I don't wear my 'Free Palestine' bracelet anymore and I take care about what I put on social media. I have friends who have been visited by the police."

Non-profit group Mossawa has documented an increase in human rights violations against Israel's Arab minority since October, including arrests, discrimination at work and harassment at schools, as well as curbs on the right to protest.

Singer Dalal Abu Amneh, who is also a neuroscientist, was detained for 48 hours for a social media post after Hamas's October 7 attack that said "the only victor is God".

Abu Amneh later said she had been harassed in her Jewish-majority hometown of Afula in northern Israel. Her lawyer said she had received hundreds of "death threats".

About 20 percent of Israel's 9.5 million inhabitants are Arab, and many of them identify as Palestinian.

They say they are frequently the targets of discrimination by the Jewish majority, and those complaints have grown through more than nine months of war between Israel and Palestinian militants in Gaza.

Huda Imam, who promotes Palestinian cultural sites in Jerusalem, said that "a cultural silence has taken hold since October 7".

"There has been a shock, an inability to produce out of fear and respect" for the war's victims, she added.

"There was a Palestinian cultural life before the war, especially in east Jerusalem," Imam said, referring to the sector Israel captured in 1967 and later annexed in a move never recognised by most of the international community.

"Now people don't go out."

And it is primarily exiles "who give a voice to Palestine", said Imam, highlighting the rapper Saint Levant who played at the Coachella music festival in the United States in April, and the European-based singer and flute player Nai Barghouti.

Palestinians still express themselves through their "living heritage, like drinking coffee or dancing dabkeh," a traditional dance, said artist Hani Amra.

Some artists wondered about the relevance of their work now.

"You turn on the television and you see the war live. The reality is more powerful than any artistic work," Amer Khalil, the director of east Jerusalem's Al-Hakawati, also known as the Palestinian National Theater.

The theater, founded in 1984, "has been closed more than 200 times in 40 years" and is again in the crosshairs of Israeli authorities, said Khalil.

"Running a theatre is always difficult, but after October 7 things became even more complicated," he said, adding that Al-Hakawati was preparing a play about that day.

"It is a game, like censorship, it comes and goes."



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.