Britain Funding Sudanese Activists to Hide Sudan’s National Treasures

Smoke billows during air strikes in central Khartoum as the Sudanese army attacks positions held by the paramilitary Rapid Support Forces (RSF) throughout the Sudanese capital on October 12, 2024. (Photo by AFP)
Smoke billows during air strikes in central Khartoum as the Sudanese army attacks positions held by the paramilitary Rapid Support Forces (RSF) throughout the Sudanese capital on October 12, 2024. (Photo by AFP)
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Britain Funding Sudanese Activists to Hide Sudan’s National Treasures

Smoke billows during air strikes in central Khartoum as the Sudanese army attacks positions held by the paramilitary Rapid Support Forces (RSF) throughout the Sudanese capital on October 12, 2024. (Photo by AFP)
Smoke billows during air strikes in central Khartoum as the Sudanese army attacks positions held by the paramilitary Rapid Support Forces (RSF) throughout the Sudanese capital on October 12, 2024. (Photo by AFP)

The British Council is using a £1.8 million ($2.3 million) grant to help prevent the pillaging of Sudan’s national museums during its ongoing civil war, Britain’s The Telegraph reported.

The grant from the tax-payer-funded body had been dedicated to conserving several heritage sites in Sudan before the war broke out, but has since been diverted to help civilian efforts to prevent the pillaging of national museums and historic sites, it said.

Museums across Sudan have been raided since the start of the civil war in 2023, and artifacts looted from significant sites have been sold on the illegal art market.

Museums linked to ancient cities and pyramids have had their artifacts relocated and hidden during the war, which has cost at least 20,000 lives, the newspaper said.

The move follows the looting and damaging of major museums in the country, including sites linked to British colonial expeditions in Sudan, which had received funding from the UK prior to the conflict.

“Our priority is the safety of our project teams and participants and we carefully monitor this, but we’re flexible where we can be to allow projects to continue their heritage protection activities where it’s feasible and safe to do so,” The Telegraph quoted Stephanie Grant, the director of the British Council in Sudan, as saying.

“Cultural heritage faces serious threats in times of conflict and it’s vital that there are global efforts to defend culture in crisis,” she said.

The British Council had been funding projects in Sudan prior to conflict breaking out in April 2023, with £997,000 provided to sites including the Khalifa Museum in the capital, Khartoum, which had ties to British imperial history.

This had been the home of the Khalifa, who succeeded the Islamic leader Muhammad Ahmad, known as the Mahdi, who defeated British forces at the Battle of Shaykan and in the Siege of Khartoum, an action which cost General Charles George Gordon his life in 1885.

A project titled Safeguarding Sudan’s Living Heritage was allocated £1.8 million to help preserve and document Sudanese customs. It used the Ethnographic Museum in Khartoum, which was also to be upgraded as part of the project, as its base.

The Khalifa House was looted along with the Sudan National Museum, the Natural History Museum was burnt out, and the Darfur Museum was destroyed, with experts on the ground estimating that tens of thousands of artefacts had been stolen.

A report by Sudan’s National Corporation of Antiquities and Museums has revealed that artifacts linked to the ancient kingdom of Kush, and displays linked to British general Gordon, have been ransacked during the war.

British Council staff are no longer on the ground in Sudan, but funding from its Living Heritage fund is being provided to Sudanese experts and local communities who have relocated and hidden remaining museum artefacts in order to preserve their cultural heritage, The Telegraph said.

The work has so far helped safeguard stores from museums linked to the ancient sites of Kerma and Jebel Barkal, the Port Sudan Museum on the coast, and the UNESCO site at Meroe, home to 2,300-year-old pyramids.

Despite the ongoing war, there are also ongoing projects to build and protect community museums including at El Obeid, another site linked to a battle in the Mahdist War that drew Britain into Sudan in the 19th century.

Amani Bashir, the director of the Sheikan Museum in El Obeid, said that “tangible and intangible cultural heritage in Sudan” remains of “the utmost importance to communities” amid the ongoing conflict.

She added: “All societies are proud of their heritage and it serves as the identity and brand or sign that distinguishes each group from others.

“The other is therefore working hard to preserve it, continue it, and own it for current and future generations.”



Crowds Flock to Istanbul's Museum of Innocence before TV Adaptation

Pamuk brought his bestselling novel to life in a red-painted house in Istanbul. Yasin AKGUL / AFP
Pamuk brought his bestselling novel to life in a red-painted house in Istanbul. Yasin AKGUL / AFP
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Crowds Flock to Istanbul's Museum of Innocence before TV Adaptation

Pamuk brought his bestselling novel to life in a red-painted house in Istanbul. Yasin AKGUL / AFP
Pamuk brought his bestselling novel to life in a red-painted house in Istanbul. Yasin AKGUL / AFP

On a cobbled street in Cukurcuma, a district on Istanbul's European side known for its antiques shops, the story penned by Nobel laureate Orhan Pamuk in his bestselling novel "The Museum of Innocence" has been brought to life.

Inside a red-painted house, visitors are confronted by a wall of 4,213 cigarette butts, many of them lipstick-stained, others angrily stubbed out, all obsessively kept by the book's protagonist, Kemal Basmaci.

Just days before Friday's launch of a serialized Netflix adaptation of the novel, hundreds of curious visitors have come to the museum, squeezing past one another on the narrow wooden stairs up to Basmaci's attic room.

At the entrance, Umit, who runs the museum and declined to give his surname, said there had been about 500 visitors per day since Netflix began running trailers for the nine-part series, compared to 200 on a normal day.

"And that will likely double after it comes out," he predicted.

Set in the 1970s, the series features a young man from a wealthy Istanbul family who is devastated by the end of his relationship with Fusun, a distant cousin from a working-class background.

The break-up sends him on an obsessive mission to collect anything that is hers, AFP said.

Hence the wall of cigarette butts mounted on pins, each painstakingly labelled by circumstance, collected over an eight-year period starting from 1976.

There are hundreds more items on display, from bits of jewelry to items of clothing, photos, cinema tickets and bottles of Meltem soda, which was popular in the 1970s -- a huge collection of mundane mementoes passionately collected to fill the void left by Fusun's absence.

They are laid out in 83 display cases, the same number of chapters in the book.

Nobel literature prize-winner Pamuk, who opened the museum in 2012, four years after the novel was published, has admitted to being a similarly compulsive collector.

- 'Truth in it' -

The novel emerged when he began writing about the objects he had saved, everything from family keepsakes to trinkets picked up at the bazaars, which gradually brought his characters to life.

The museum showcases objects that make up the story, but the story also developed as he acquired new objects, the museum website says.

And the whole novel opens a unique window onto a decade of Istanbul history.

Songul Tekin, 28, a visitor who loved the book, said she is convinced some of it really happened and came to the museum to "see it in real life".

"It's told in real depth. There has to be some truth in it because otherwise you would never have so many objects and so much detail," she told AFP.

She arrived with a friend and her copy of the novel -- a gesture which lets visitors enter for free, thanks to a ticket on page 485 of the Turkish version of the book.

Also visiting was Aydin Deniz Yuce, a psychologist in his 30s who is a huge fan of Pamuk's works.

Although "The Museum of Innocence" was not his "favorite", he said he was really keen to see the Netflix series and is convinced the "handsomeness" of the main actor, Selahattin Pasali, will be perfect for creating a credible Kemal.

- Turkish series, global popularity -

With the novel translated into more than 60 languages, the museum has drawn international interest.

Visitors from China, Hungary, Italy, Japan and Russia turned up over the space of a few hours, an AFP correspondent said.

Poring over the display cabinets, Zeng Hu and Zeng Lin An, sisters from Hubei province in central China, said they were now intrigued to read the book and watch the series, although Netflix is not available in China.

Speaking to AFP at the screening late on Thursday, Pamuk said he was happy with the adaptation by Istanbul-based production company Ay Yapim after a disastrous first attempt several years ago.

"Since I was so dissatisfied and unhappy with my first try with Hollywood, I decided I wouldn't allow anyone to make a film of any of my books without seeing the complete script first," he said.

That meant working closely with a scriptwriter for 18 months before any money changed hands, which gave him "tight control" over the script.

"Once every two months, we would meet, like students doing homework. I would go over the scriptwriter's texts, criticize it, improve it, suggest other things," Pamuk said.

"It worked magically."

Hugely popular, Turkish television dramas and series, known as "dizi", are now available in 170 countries.

Global demand for them rose by 184 percent between 2020 and 2023, figures from Parrot Analytics show.

In 2024, Türkiye was the world's third-largest exporter of television series, after the United States and the UK.


Prince of Wales Explores AlUla Arts Festival, Engages with Local Artists

The prince met with a group of talented young men and women from AlUla active in various artistic and cultural fields - SPA
The prince met with a group of talented young men and women from AlUla active in various artistic and cultural fields - SPA
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Prince of Wales Explores AlUla Arts Festival, Engages with Local Artists

The prince met with a group of talented young men and women from AlUla active in various artistic and cultural fields - SPA
The prince met with a group of talented young men and women from AlUla active in various artistic and cultural fields - SPA

AlUla Arts Festival captured the interest of the Prince of Wales and heir apparent to the throne of the United Kingdom of Great Britain and Northern Ireland Prince William during his recent visit to AlUla, SPA reported.

He viewed a selection of standout works by Saudi and international artists, ranging from contemporary installations to immersive open-air experiences inspired by AlUla’s landscapes and rich heritage.

He was also briefed on the festival’s creative programs, which annually transform AlUla into a dynamic platform for art and innovation, attracting artists and visitors from around the world.

During the visit, the prince met with a group of talented young men and women from AlUla active in various artistic and cultural fields.

He listened to their experiences and contributions to the governorate's cultural development, supported by ongoing efforts to strengthen the creative sector and expand its local and international presence.


Saudi Cinema Expands International Footprint at Berlin Festival

Saudi Cinema Expands International Footprint at Berlin Festival
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Saudi Cinema Expands International Footprint at Berlin Festival

Saudi Cinema Expands International Footprint at Berlin Festival

The Film Commission took part in the 76th Berlin International Film Festival, held from February 12 to 22, to showcase its key achievements in advancing the Saudi film sector and highlighting a selection of films that demonstrate the talent of Saudi filmmakers and the Kingdom’s expanding production infrastructure.

It presented the Kingdom’s diverse filming locations and spotlighted major milestones, including Norah, the first Saudi film selected for the Un Certain Regard section at the Cannes Film Festival, SPA reported.

The commission signed several cooperation agreements with leading international film institutions, including the French National Center of Cinema. It also launched artistic initiatives in Berlin in collaboration with global partners and cinemas, demonstrating the Kingdom’s expanding cultural and creative network.

CEO of the commission Abdullah Al-Qahtani said: "Saudi cinema goes beyond filmmaking to building cultural bridges and sharing authentic stories with global audiences."

He noted that strengthening strategic partnerships and investing in local talent are central to positioning the Kingdom as a hub for creative industries, adding that continued participation in international festivals broadens exposure to the richness and diversity of Saudi culture.