British Museum trains Iraqi archaeologists to rebuild post-Daesh

British Museum trains Iraqi archaeologists to rebuild post-Daesh
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Photos shows destruction caused by the Daesh group at the archaeological site of Nimrud, some 30 kilometers south of Mosul in the Nineveh province, a few days after Iraqi forces retook the ancient city from Daesh jihadists. (AFP)
British Museum trains Iraqi archaeologists to rebuild post-Daesh
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British Museum trains Iraqi archaeologists to rebuild post-Daesh
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British Museum trains Iraqi archaeologists to rebuild post-Daesh
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Updated 20 February 2017

British Museum trains Iraqi archaeologists to rebuild post-Daesh

British Museum trains Iraqi archaeologists to rebuild post-Daesh

LONDON: Standing in front of two ancient Assyrian statues, eight Iraqi archaeologists discuss not only the homes some have fled, but also how to avoid explosives when they finally go back to work.
They’re in London as part of a British Museum scheme aimed at equipping Iraq with the digital and excavation skills necessary to salvage artifacts and rebuild ancient sites Daesh fighters have attempted to destroy.
Jonathan Tubb, head of the British Museum’s Iraq Emergency Heritage Management Training Scheme, told the Thomson Reuters Foundation the project began as an attempt to do something positive when nothing was possible on the ground.
“We could actually prepare people... for the day when these sites would be released again, liberated, and ensure that those people have all the necessary skills and tools to cope with the most appalling destruction,” he said.
The archaeologists each undergo three months of theoretical training at the British Museum and three more months of practical work at sites at Tello and Darband-i Rania in Iraq.
Zaid Sadallah, an archaeologist from Mosul in northern Iraq, fled his home when Daesh fighters captured the city in 2014. An employee of the Mosul Museum, he headed with his family to nearby city Erbil.
In February 2015, he watched in horror as Daesh videos were posted online showing men attacking the artifacts in the museum — some antiquities from the 7th century BC — using sledgehammers and drills.
“We have destruction all over the city. They killed more people and damaged more antiquities,” said Sadallah, in London for training. “(Now) we want to rebuild the city, remake Mosul.”
DIGITAL TECHNIQUES
The archaeologists are being taught to spot booby traps while excavating, as well as learning digital techniques like geophysical surveys, remote sensing, and how to use a multi-station — equipment that helps with mapping and measurements.
So far, Tubb said evaluations had started only in the ancient Assyrian city of Nimrud, a 3,000-year-old site on the banks of the Tigris River which Daesh fighters bulldozed and looted in early 2015.
The site was recaptured in November 2016, shortly after the on-going offensive to retake Mosul began. Local archaeologists who returned found shattered stone carvings littered across the ground and bombs planted in the road leading to the site.
“We’re constantly in touch with them now... That process of assessment is now in hand and they’re discovering all the horrors,” Tubb said.
As each new site is recaptured by the Iraqi army, Tubb said the first step should be to photograph everything that’s left behind. “Look at every fragment you can find. Record it and number it before you take it away,” he said.
“What we’re hoping is that all the bits are there.”
The importance of rebuilding these sites in the cradle of Mesopotamian civilization cannot be overestimated, Tubb said.
“People in Iraq identify so much with their ancient past that if you obliterate that and try to eradicate it then you’re effectively wiping out their identity,” he said.
The training scheme is funded by the British government, which is giving 2.9 million pounds ($3.62 million) over five years.


Sudan schoolbook picture sparks angry reform debate

Sudan schoolbook picture sparks angry reform debate
Bookseller Yaqoub Mohamed Yaqoub, 45, sits by his roadside stall where he has been working for 15 years, in the Sudanese capital Khartoum, on January 14, 2021. (AFP)
Updated 16 January 2021

Sudan schoolbook picture sparks angry reform debate

Sudan schoolbook picture sparks angry reform debate
  • Unrest ricocheted beyond North African country, triggering uprisings, crackdowns, civil wars

KHARTOUM: As Sudan’s transitional government shifts the nation from the Islamist rule of ousted strongman Omar Bashir, a new schoolbook has sparked controversy for reproducing Michelangelo’s iconic “Creation of Adam.”
Khartoum’s government has embarked on deeply controversial reforms in a bid to boost its international standing and rescue its ailing economy — but bringing it into a confrontation with those who see changes as anti-Islamic.
The offending picture, in a history textbook for teenagers, has become a flashpoint in the argument. “It is an ugly offense,” said Sudan’s Academy of Islamic Fiqh, the body ruling on Islamic law, which issued an edict banning teaching from the book.
Michelangelo’s fresco, depicting the Biblical story of God reaching out with his hand to give life to Adam, is a flagship piece of 16th century Renaissance art that forms part of the Sistine Chapel’s ceiling in Rome.
“The book glorifies Western culture in a way that makes it the culture of science and civilization — in contrast to its presentation of Islamic civilization,” the Fiqh academy added.

BACKGROUND

In a viral video, a preacher broke down as he waved the book during Friday prayers, accusing it of promoting ‘apostasy’ and ‘heresy.’

Furious Muslim clerics have railed against the book and other changes to the school curriculum.
In one video widely shared on social media, a preacher broke down as he waved the book during Friday prayers, accusing it of promoting “apostasy” and “heresy.”
Another urged followers to “burn the book.”
But others defended the changes, saying they were part of necessary education reforms.
“The picture is not in a religious book,” teacher Qamarya Omar said.
“It is in a history book for the sixth-grade under a section called European Renaissance, which makes it placed in context.”