ALIPH Annual Report 2019 - English

Annual Report 2019 Protecting heritage to build peace

Annual Report 2019 Protecting heritage to build peace

TABLE OF CONTENTS Introduction Forewords

4

The ALIPH Way: Action, Action, Action!

How ALIPH works

12

11

Our First Results ALIPH in the World Our Projects

19

16

Our Impact

Rehabilitating Iraq’s Memory: The Mosul Museum - Sarah Hugounenq 26 A Symbol of Unity: The Rehabilitation of the Mar Behnam Monastery in Iraq -Sarah Hugounenq 30 The Past at the Service of the Future: The Raqqa Museum - Marine de Tilly 34 Prevention over Cure: The Museum of Civilization of Côte d’Ivoire - Sarah Hugounenq 38 Words from our Grantees

40

Our Daily Life Partnerships

47

Communications

48

Budget and Finances

50

Our Governance Our Ethics

54

56 Scientific Committee 57 Foundation Board

Finance and Development Committee Audit Committee

57

57

Ethics, Governance and Remuneration Committee Secretariat

57

Support ALIPH

59

57

FOREWORDS Deeds – Not Words – in the Service of Cultural Heritage Protection The International alliance for the protection of heritage in conflict areas (ALIPH) was founded on the principle, basic yet paramount, that cultural heritage is central to the human existence and that no effort – literally, none – should be spared to safeguard mankind’s inheritance, especially in geographical areas of greatest and most pressing needs. As corollary to this philosophy, the Foundation developed a rather singular operating model characterized by the open and vigorous confrontation of ideas, the rapid transcription of scientific and expert insight into actionable interventions, a healthy distaste for unnecessary bureaucratic hurdles, and an obsession with concrete actions, tangible results, and needle-moving impact.

It is quite rare for a newly-formed organization, let alone a multilateral instrument, to unashamedly celebrate such an aggressive modus operandi. It is even rarer for such a spirit to animate every single member of its team – from our talented and dedicated staff in Geneva, to my dear colleagues on the Foundation Board, in particular the Vice-Chairs Bariza Khiari, Representative of France, and His Excellency Mohamed Al Mubarak, Representative of the United Arab Emirates, both of whom represent the finest incarnations of the so-called “ALIPH Way”, and most recently His Royal Highness Prince Badr bin Abdullah Al-Saud, who this year joined our governing body as the Representative of the Kingdom of Saudi Arabia.

Dr. Thomas S. Kaplan Chairman of the ALIPH Foundation Board

For ALIPH, 2019 certainly proved to be a year of action – and results. Out of our first two calls for projects, 33 heritage prevention or rehabilitation proposals were selected from among the 126 applications received. In addition, the Foundation financed 7 emergency measures, enabling urgent protection of museums, sites, and monuments. In just a few months, the ALIPH banner was unfurled in 14 countries either in conflict or emerging from crisis, on four continents, for a total amount of over 17 MUSD. In each intervention, priority was given to operating as close as possible to the field, in close coordination with the various local communities whose concern for endangered heritage inform and indeed enliven our very raison d’être.

Throughout this past year, ALIPH cemented its scientific and strategic approach, thanks to the consensus that reigns within the Foundation Board, the demanding work of the members of the Scientific Committee, chaired by Jean-Luc Martinez,

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President-Director of the Musée du Louvre, the participation of international experts who rigorously evaluate our projects, and the strengthening of the Secretariat, led by Valéry Freland. Together, we have defined an intervention ethic that enables us to respond to the imperative of protecting heritage in conflict or post-conflict zones, and that also allows for new threats to be tackled, such as the impact of climate change on stability and peace.

As a young international organization, ALIPH has been committed to fully and effectively integrating into its multilateral environment in order to be as useful as possible to the world heritage community. The Foundation has signed partnership agreements with UNESCO, the World Monuments Fund, and the Swiss Foundation for Mine Action (FSD), actively contributed to the “Grantmakers for Cultural Heritage Preservation” network, and developed working relations with other partners in the space, including ICOM, ICCROM, ICOMOS, the Cultural Protection Fund of the British Council, and Europa Nostra.

Last, but definitely not least, ALIPH exceeded its initial funding goal – another pivotal indication of how seriously we take our mandate to mobilize resources for the protection of cultural heritage. With a capital of 80 MUSD to date, the Foundation has already raised more than all donor pledges – public or private – made during the Paris Conference in March 2017.

Such an achievement demonstrates the importance given by the international community to ALIPH’s mission, but it also reflects the confidence that this new entity, along with its approach and team, ultimately inspire.

In just a few months, ALIPH has established its ability to respond to critical heritage protection needs with agility, efficiency, and integrity. In doing so, the Foundation has illustrated the value of what I would call “project multilateralism”; that is, the alliance of determined sovereign States and private actors – all of whom I wish to thank here for their unwavering commitment – united around the same objective and driven by the same desire to always put concrete action first. May the years ahead be as productive and impactful as 2019 was, for the challenges we shall continue to face in this most vital of fields sadly will warrant nothing short of it.

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Forewords

2019: The Year that Set the Bar

Ms. Bariza Khiari

ALIPH was established in Geneva in March 2017, in the follow-up to the Abu Dhabi Conference on Safeguarding Endangered Cultural Heritage that took place in December 2016. In 2018, its Secretariat was set up and launched the Foundation’s first projects, including the rehabilitation of the Mosul Museum in Iraq and the Tomb of Askia in Mali. Plainly, 2019 will remain the reference year for ALIPH – one full of life, action, and firsts.

Representative of France and Vice-Chairwoman of ALIPH

Developing modes of intervention and networks, launching projects and partnerships, forming a reputation and an audience: 2019 was a full year for ALIPH in which it positioned itself as an essential ally for the protection of heritage in conflict and post-conflict areas. I would like to thank here all the operators, both international and local, who have chosen to work with us to make a positive difference in the field.

France, one of ALIPH’s founding countries, alongside the United Arab Emirates, has played its full part to launch this young institution, which is today characterized by dynamism, openness, and ethical and scientific standards. ALIPH is also an inspiring story of the collective effort of likeminded, cultural heritage enthusiasts who have come together to apply their knowledge practically.

Ultimately, ALIPH represents a vision for the world based on respect for cultural diversity and dialogue. Protecting heritage in those places where it has often been a target of war gives people the opportunity to reaffirm their identities while opening themselves up to the richness of a diverse patrimony. At ALIPH, we share the conviction that the protection of heritage can play a key role in reconciling peoples with each other and themselves and building peace.

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The massive destruction of cultural heritage in parts of the Middle East and Africa in recent years has wrought a devastating and lasting toll on individuals and communities.

Such barbarism necessitated an ambitious and determined response. Thus, at the Abu Dhabi Conference on Safeguarding Endangered Cultural Heritage in December 2016, the idea was launched to establish an international fund to contribute to the protection and conservation of heritage, tangible or intangible, in conflict or post-conflict zones.

ALIPH is a truly special organization. Not only is it the sole global fund dedicated to protecting cultural heritage in conflict areas, but also it represents an inspiring international collective in the truest sense: a coming together of governments, private partners, and cultural experts.

H.E. Mohamed Khalifa Al Mubarak Chairman, The Department of Culture and Tourism – Abu Dhabi Representative of the United Arab Emirates and Vice-Chairman of ALIPH

ALIPH is a young institution but has hit the ground running, recognizing the urgency of its mission, and setting the ambitious target of becoming a significant global actor in the protection of cultural heritage within just three years. The year 2019 was key, with January seeing ALIPH mark a major milestone with its first worldwide call for projects. This crucial second phase of development has enabled the foundation to finance and support prevention, protection, and conservation projects on every scale, and supply immediate aid wherever it is most urgently needed.

It is by no means a coincidence that 2019 was also the Year of Tolerance in the United Arab Emirates. Today, ALIPH is an instrument to ensure solidarity, reconciliation, and peacebuilding. The variety of projects it supports are attentive to cultural and religious diversity and emphasize community and cooperation. Certainly, the spirit of tolerance is in the very ethos of ALIPH. The United Arab Emirates is proud to lead this initiative alongside our longstanding cultural partner, France. With our network of global collaborators, now including multiple countries, high-profile institutions, influential philanthropists, and private individuals, all working to support ALIPH’s dedicated team, it seems that anything can be achieved when approached in a spirit of selfless cooperation. As we reflect on an impactful 2019, we look forward to what the coming year will bring for this extraordinary alliance.

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Forewords

2019: A Year of Milestones

Among the 50 proposals to protect humanity’s heritage laid out in the report I had the honor of writing at the request of the President of the French Republic in 2015 was the idea to “create a Fund dedicated to the safeguarding or reconstruction of heritage”. The aim was to meet the challenge of securing disappearing resources while also reducing the competition between States in this area, two factors proving detrimental to the overall success of protecting heritage in danger. To this end, we advocated for the establishment of a financial institution based on the model of the Global Fund to Fight AIDS, Tuberculosis and Malaria, located in Geneva.

Mr. Jean-Luc Martinez President-Director of the Musée du Louvre Chairman of the ALIPH Scientific Committee

While we may be quick to criticize these forms of international initiatives, often perceived as abstract, today we can truly applaud the progress that has been made since ALIPH was founded. To arrive at this point required the determined and constant commitment of the founding countries, France and the United Arab Emirates, but also of all those who very quickly joined them in this venture – Saudi Arabia, China, Kuwait, Luxembourg, Morocco, and Switzerland – as well as several private donors, notably the Chairman of the Foundation Board, Dr. Thomas S. Kaplan.

Since its founding, the ALIPH Scientific Committee, which I have the pleasure of chairing, has greatly contributed to the scope and responsiveness of the Foundation’s work through its recommendations. Together with my colleagues, who represent a great diversity of backgrounds and perspectives, we have been especially attentive to both the quality and the concrete nature of the projects selected. For if ever there was a reason that ALIPH was created it was to respond to those threats – both past and present – that weigh heavily on the heritage of countries in conflict or emerging from crisis.

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What is fascinating about the ALIPH adventure, which began three years ago, is that together we are building something new, an atypical international organization, which obliges us to be imaginative and daring, to fully inscribe our work in the present, and to gradually define our own identity. In this respect, there is a great convergence of views within the ALIPH “family” – on the part of its President and all the members of the Foundation Board and the committees, as well as the Secretariat – on what are and should be the characteristics of what is today more than a mere multilateral financial instrument. I would like to thank each and every one for this shared ambition that drives us all.

Mr. Valéry Freland Executive Director of ALIPH

Flexibility, responsiveness, and simplicity are the building blocks of our identity. Within the Secretariat, and more generally within the ALIPH governing bodies, we have an ongoing concern: to listen to the needs emerging from the field, to set up instruments that are accessible to all, to maintain a permanent, open, and trusting dialogue with all our partners, and to support concrete initiatives. And I am pleased to note that through the various feedback we have received, we are already perceived in this way.

Another of our priorities is to work with all people of good will, especially with local communities and actors. We do this not because such approaches might currently be de rigeur, but because they come out of a profound necessity; they are an essential condition for the success of our work. We will only be able to protect heritage in conflict or post-crisis areas in the long term if everyone values it as their own, above and beyond their respective culture or history. And this can be a challenge in war-torn areas, where civil society might have been weakened. It is therefore always advisable to strike a fine balance between international and local partners, between training, sharing of know-how, and tangible achievements.

We are convinced that heritage is one of the means to rebuild a common future, both locally and internationally.

Finally, one of the values that unite us is gender equality, an objective we are attentive to on a daily basis. And, I am delighted that for this 2019 Annual Report, we have asked two women, two journalists, Marine de Tilly and Sara Hugounenq, to write about our first projects. They were invited not because they are women, but rather because we have already worked with them on several occasions and have found their perspectives to be both interesting and stimulating. I would like to thank them for bringing to these glossy pages or to our computer screens a breath of fresh air and human warmth, so necessary for the work we do.

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Forewords

Annual Report 2019

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THE ALIPH WAY: ACTION, ACTION, ACTION! The International alliance for the protection of heritage in conflict areas is the only global fund exclusively dedicated to the protection and rehabilitation of cultural heritage in conflict zones and post-conflict situations. The Alliance was founded in March 2017 in response to the massive destruction in recent years of outstanding, often ancient, cultural heritage, particularly in the Middle East and the Sahel region.

18

in

The Alliance was launched as a public-private partnership assembling eight countries and three private donors. Based in Geneva, this Swiss foundation has the status of an international organization.

month

17

USD

In eighteen months, ALIPH has committed over USD 17 million to support nearly fifty projects in fourteen countries, on four continents. ALIPH strives to support projects that are carried out on the ground wherever possible. In all cases, ALIPH’s objective is to work hand in hand with local partners, authorities, and communities.

The guiding spirit of ALIPH is “Action, Action, Action!” and the organization is run with the mindset of a startup, however, quality and rigor are never compromised. All projects are thoroughly reviewed by the Secretariat, the Scientific Committee, and international experts, before being approved by the Foundation Board.

million committed

to support nearly

in

14

on

11

50

projects

countries

4

continents

The ALIPH Way

HOW ALIPH WORKS Project Selection Process: Reactivity, Efficiency, Integrity

1

2

Applications

Eligibility and follow up

Secretariat

Call for projects

Average duration of open call 2

months

Average duration for review of all applications: 1 month

ALIPH finances concrete projects carried out by associations, foundations, academic, cultural and heritage institutions, and international organizations. These projects target monuments and sites, museums and their collections, documents, archives and manuscripts, and intangible heritage. They may be carried out prior to a conflict to limit the risk of destruction, during a conflict to ensure the security of heritage, or in post-conflict contexts to enable populations to once again enjoy their patrimony. The selection process is carried out through regular calls for proposals. When urgent intervention is needed, ALIPH has a dedicated rolling Emergency Relief funding scheme.

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3

4

5

Technical and scientific assessment

Recommendations

Final selection

Average duration of external review 1 month

Average duration for two review rounds 1 month

International review panels

Scientific Committee Chaired by Mr. Jean-Luc Martinez, PresidentDirector, MusĂŠe du Louvre

Foundation Board Chaired by Dr. Thomas S. Kaplan

Final decision taken 3 months after call closes

13

The ALIPH Way

Annual Report 2019

14

OUR FIRST RESULTS

ALIPH in the World Our Projects

15

Our First Results

ALIPH IN THE WORLD In 2019, ALIPH expanded its work to support nearly fifty projects in fourteen countries around the world.

Libya

Mali

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Côte d’Ivoire

Peru

16

On Syrian Heritage

Georgia Iraq

Lebanon

Afghanistan

Yemen Eritrea

Somalia

Palestine

Sudan

17

Our First Results

OUR PROJECTS 2019: A year of intensive growth!

1. All projects: Expanding support to the cultural heritage sector 2018

2019

Total 2018 & 2019

Projects supported

45

39

6 Funds committed (USD)

1,365,300

16,024,251

17,389,551

2. Call for projects: Rising numbers of applications Total 2018

2019 1st call for projects

2019 2nd call for projects

Total 2019

Proposals submitted

N/A

50

76

126

Projects supported

5

13

20

33

3. Call for projects: Steadily increasing committed funds Total 2018

2019 1st call for projects

2019 2nd call for projects

Total 2019

Funding requested (USD)

N/A

34,838,149

34,437,635

69,275,784

Funding approved (USD)

1,310,300

6,283,722

9,431,232

15,714,954

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Our First Results

4. Call for projects: Operating on a global scale 2018

2019 1st call for projects

2019 2nd call for projects

Overall number of countries represented

Number of countries from which operators applied

N/A

18

33

36

Number of countries targeted by operators’ projects

3

18

29

33

6. Emergency relief measures: Quickly reacting to urgent needs 2018

2019

Total

Projects supported

1

6

7

Funds committed (USD)

55,000

309,297

364,297

7. Supporting 45 projects in 14 countries and in 4 continents in 2018 and 2019

4

projects

2

projects

Afghanistan

1

International

Funds committed

Funds committed

2,884,873 USD

163,500 USD

project

14

projects

Cote d’Ivoire

1

Iraq

Funds committed

Funds committed

79,681 USD

5,854,488 USD

1

project

project

Eritrea

1

Lebanon

Funds committed

Funds committed

166,232 USD

144,500 USD

project

2 Georgia

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projects

Libya

Funds committed

Funds committed

156,675 USD

903,075 USD

20

5. Call for projects: Building local networks and capacities 2019 1st call for projects

2018

2019 2nd call for projects

25 %

20 %

5

13

Projects supported

Projects supported

20

70 %

Projects supported

30 % 70 %

40 %

5%

40% International operators, acting independently

2

International operators, in close partnership with local actors

projects

3

Local operators, leading the project

projects

Mali

2

Sudan Funds committed

Funds committed

574,990 USD

2,654,101 USD

projects

5

projects

On Syrian Heritage

Palestine

1

Funds committed

Funds committed

1,194,152 USD

641,522 USD

5

project

projects

Peru

1

Yemen Funds committed

Funds committed

266,164 USD

1,575,557 USD

project

45

Somalia

Number of projects

Total

Funds committed

Funds committed

17,389,551 USD

130,041 USD

21

Our First Results

Annual Report 2019

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8. Protecting the heritage sector at large

2018

2019

Total

Protecting Monuments and Sites Projects supported

2

17

19

Funds committed

750,800 USD

9,588,770 USD

10,339,570 USD

Documenting & Interconnecting Heritage Projects supported

1

12

13

Funds committed

103,500 USD

3,303,656 USD

3,407,156 USD

Safeguarding Museums & Collections Projects supported

2

9

11

Funds committed

451,000 USD

3,052,105 USD

3,503,105 USD

Projects supported

1

1

2

Funds committed

60,000 USD

79,720 USD

139,720 USD

Projects supported

6

39

45

Funds committed

1,365,300 USD

16,024,251 USD

17,389,551 USD

Protecting Intangible Heritage

TOTAL

23

Our First Results

Annual Report 2019

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OUR IMPACT

Rehabilitating Iraq’s Memory: The Mosul Museum Sarah Hugounenq A Symbol of Unity: The Rehabilitation of the Mar Behnam Monastery in Iraq Sarah Hugounenq The Past at the Service of the Future: The Raqqa Museum Marine de Tilly Prevention over Cure: The Museum of Civilization of Côte d’Ivoire Sarah Hugounenq Words from our Grantees

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Our Impact

Rehabilitating Iraq’s Memory: The Mosul Museum

Sarah Hugounenq Sarah Hugounenq is a specialist in cultural economy and diplomacy, and heritage policy. For the past ten years, she has written for various publications, including Le Quotidien de l’art, La Gazette Drouot, Le Point, Télérama, Les Echos, and Radio France. She was a student of art history and museology at the Ecole du Louvre, and now, as a specialist of patronage, she teaches museum and monument management in several academic institutions.

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With its shaky shots and sloppy framing, the video is far from professional. What it recounts, however, is less an act of amateurism than of full-scale looting.

Determined and brazen, the soldiers of lost memory proudly attack statues, friezes, and other pre-Islamic treasures from Nimrud and Hatra, pillaging Parthian and Assyrian masterpieces with their bare hands, bludgeoning their own past to pieces. This occurred in Mosul, in the heart of the plain of ancient Nineveh, in February 2015, under the roof of Iraq’s second richest museum. Visibly riled up by the force of these testimonials to a history much greater than themselves, this punitive expedition was equipped with heavy artillery, jackhammers, and explosives. Pillaged, then used as headquarters for a period, this showcase for Iraqi history was transformed into an inferno: 27,000 books, including 2,500 incunabula, went up in smoke, to say nothing of the architectural damage.

Created in response to the massive destruction of cultural heritage in the Middle East, ALIPH seized on the project of the rehabilitation of the Mosul Museum in 2018, at the request of the Iraqi State Board of Antiquities and Heritage (SBAH), in partnership with the Musée du Louvre (Paris) and the Smithsonian Institution (Washington). “The priority was on proposing urgent measures to secure the building and collection: stabilizing the floors and gaping roofs that had been struck by bombs, covering the windows with plastic, installing doors, storing works of art to protect against looting, and more. It was necessary to act quickly to save as much as possible,” recalls Corine Wegener, a former U.S. army soldier who now heads the Smithsonian Cultural Rescue Initiative. While ALIPH is specialized in quick and efficient intervention, the scope of the damage called for a well-considered and ordered action plan. “This project bears the complexity entailed by a long-term commitment,” says Rosalie Gonzalez, its Project Manager at ALIPH. “To establish a rigorous methodology, and realistic forms of action given the difficulty of the field, we turned the damage assessment into

a comprehensive one-year initial phase.” The Smithsonian focuses in particular on the structural study and the building’s stabilization, sending engineers to the site. The Musée du Louvre, in coordination with teams from the Mosul Museum, is concerned with the collections: conducting inventories, sorting, identifying, and documenting the state of each fragment, comparing inventories (those that didn’t burn up) to determine which works were destroyed, damaged, or stolen, then storing them pending a decision on their future. On the floors blanketed with ruins dating back several millennia, the task is akin to putting together a giant puzzle. “It’s an appalling tragedy,” laments Ariane Thomas, curator of the Mesopotamian collections at the Musée du Louvre. “We have proposed a workplan all the way to the reopening of the museum and we hope that this meticulous work will bring about the rebirth of this remarkable establishment. Despite the enormous damage that is has suffered, we want to show that by pooling our expertise, and that with work, time and money, nothing is ever impossible.”

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Our Impact

Duly noted. The results are positive: the building and a part of the collections have been able to be saved, and the Museum has taken giant steps forward (construction of a new storeroom in Nineveh, training programs for local teams, etc.).

By developing a plan and through analysis, these different partners gained valuable time, growing acquainted with a site lacking in everything, from worktables to cramped offices with fickle electricity, where the resurgence of jihadist groups since the 2017 liberation of Mosul has paralyzed staff movements.

The infrequent army convoys operating in the city are limited to four or six people, including armed staff. On the premises, the discovery of explosives on the roof and landmines in the Old City made it necessary to call on the army prior to any further action. “In this type of context, you appreciate the role of an organization such as ALIPH, specialized in conflict areas,” Wegener affirms. “They know and grasp the complexities of the field, the uncertainty, the need for flexibility, accompanying us in our mission through their impact in the political and

Annual Report 2019

diplomatic spheres.” By bringing together actors who are not always accustomed to collaborating – experts respectively from the cultural, diplomatic, development, and defense fields – ALIPH shows that it is more than a mere financing body. Its fundamental mission to coordinate illustrates the extent to which the rehabilitation of a museum is a multiform project. “Museums are the mirrors of a civilization,” explains Zaid Ghazi Saadallah, director of the Mosul Museum. “They offer the possibility of studying, research, enjoyment. They embody the civilization of a country to tourists, help revive bonds with its past, foster a sense of rootedness. Without them, nations would have no future. For all of these reasons, it is vital to rehabilitate our museum.” In a wounded country, reconstruction will also be achieved through cultural pride – an element more essential than is often thought.

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“Museums are the mirrors of a civilization.”

Zaid Ghazi Saadallah, Director of the Mosul Museum

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Our Impact

A Symbol of Unity: The Rehabilitation of the Mar Behnam Monastery in Iraq Sarah Hugounenq

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“You have to be something of an adventurer to carry off a project like this,” says Guillaume de Beaurepaire, smiling at the memory. A young graduate of the École Nationale Supérieure d’Architecture de Versailles, this Frenchman was called upon to tackle an extraordinary challenge in 2017: the rehabilitation of the Mar Behnam Mausoleum, a highly symbolic site that had crumbled into ruins on the Nineveh plain. “I wasn’t rebuilding a museum or a 13th-century historical monument, but a place of spiritual life, a meeting point for a set of populations,” the architect adds. Until 2015, Syriac Christians would spend the day, and sometimes the night here, holding large picnics at what was the most important example of medieval Christian art in Mesopotamia. Muslim populations joined them during festivities, as did Yazidis, for whom the human-made hill against which the tomb of Saint Behnam is built bears the presence of the prophet al-Khidhr. These interfaith gatherings were not the forte of Daesh. After driving out the Ephremite monks, they destroyed the Mausoleum with explosives over one day in April 2015. Following the village’s liberation, in 2016, Mgr Yohanna Petros Mouche, the Syriac Catholic Archbishop of the Mosul diocese, discovered a heap of rubble. “Mar Behnam is a unique monastery, a symbol of coexistence, of brotherhood, in a region with all religions, beliefs, and ethnicities – Muslim, Christian, Kaka’i, and even Yazidis. This is why we wanted to protect this site and rebuild it at all costs,” he reveals.

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Our Impact

The spiritual leader’s wish sparked an operation that mirrored the spirit of the site: emblematic and symbolic of unity among peoples. The restoration team included a French architect; an Iraqi archaeologist, Abdelsalam Seman, a Christian from Qaraqosh; workers from the largely Sunni village of Khidhr, who in 2016 helped clear out and sort 600 m3 of rubble; an Iraqi military unit tasked with removing remaining explosives, and more. “Our organization’s mission is not to protect heritage, but to help Iraqis live in their country with dignity,” explains Marion Besson of the organization Fraternité en Irak, the group that led the project in the field. “Daesh wanted to divide the region, set populations against one another.

Rebuilding Mar Behnam was symbolic: by helping Christians recover their sanctuary, we were helping everybody and rebuilding unity in Iraq. We kicked off the adventure without a proper budget. What mattered was getting started. ALIPH’s support was decisive.”

The building project encompassed all of the qualities necessary to attract the Geneva-based foundation. Led by an adaptable humanitarian organization strongly rooted in the field, the project was executed with uncommon speed – in under two years. Despite the delicacy of the interlaced cut stones, the modernity of the geometrical motifs sometimes embellished with prayers and the delicacy of the carved votive plates, a message of appeasement, security, and economic revival defined the project more strongly than its heritage-related aspects. The first religious building that the bishop wished to reconstruct, when the priority all around was placed on residents’ houses, Mar Behnam helped regenerate the activity of local artisans, relegated to begging under Daesh. Through a system of loans and commissions, Fraternité en Irak helped relaunch business for a metalworker, who made the cross at the summit, and a carpenter for the Monastery’s doors. “For these artisans, getting back to work represented more than good fortune, it was a source of pride,” Besson acknowledges. In keeping with projects taken on by ALIPH, the operation’s scope transcended heritage alone and incorporated its environment. This resolve imbued the smallest details. To preserve the soul of a place charged with history and meaning, the Iraqi archaeologist proposed recycling bricks from ruined 19th-century houses in Qaraqosh, where the workers lived, in order to avoid an ordinary, new construction.

The image is strong: reconciliation and stabilization of the region from within. Deeply rooted in its territory, an undertaking such as this one is nevertheless far from local. “Beyond funding, ALIPH was an extraordinary lever for spotlighting this project on the international stage,” Besson analyzes.

“Awareness of projects like this is important: they embody peace and humanism.”

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Our Impact

The Past at the Service of the Future: The Raqqa Museum Marine de Tilly

At the top of the Raqqa Museum’s brand-new staircase, two agitated swallows flap about and crash into a Roman tomb dating back to 2000 BCE. “Whenever birds make an entrance, it’s always a good sign,” declares Leila Mustapha. This is the first time the current co-mayor of the city has returned to the Museum since its rehabilitation was completed. The smell of paint and fresh cement lingers, the plans are still posted out front, and in the garden, a parked piece of heavy machinery seems proud to have served. Inside, display cases and objects are not yet installed, but outside, like an immaculate totem in the midst of the grayness of the ruined city, the Museum stands triumphantly as a harbinger of reconstruction. “Before the war,” Mustapha recalls, “the Museum was a haven of calm and peace. I came here a lot, since I was studying at the university, just next door. I really liked stopping in here, looking out onto the neighborhood frenzy from the window, the antiques souks where merchants from all over the country made a racket selling and haggling over their wares. It was a space for exchange and culture – it was Raqqa.”

Marine de Tilly is an independent reporter. She has collaborated with Le Point, Le Figaro Magazine, ELLE and GEO for fifteen years. Since 2012, she has been reporting from the Middle East (Iraq, Syria, Turkey). She is the author of two books: L’homme debout (The Man Standing), the story of the first French Consul in Iraqi Kurdistan (Stock, 2016), and La femme, la vie, la liberté (Women, life, freedom), a portrait of Leïla Mustapha, the current co-mayor of Raqqa (Stock, 2020), which was released just before the COVID-19 pandemic spread through the world.

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Traditional, tribal, and economically prosperous, predominantly Arab but devoid of communitarian, ethnic, or religious tensions, Raqqa was a diverse city. In the teeming shopping streets of its center, Arabs, Kurds, Yazidis, and Armenians mingled with old sheiks and teenagers, alongside engineers and technicians working on the big dam, Turkoman upholsterers, suited Aleppine investors, Bedouins in red keffiyehs, Christians from Nineveh, and Turkish militants – in short, a great melting pot of cultures spanning Syria. “The strength and uniqueness of Raqqa lay in its diversity and the simplicity of the majority’s relationship with the minorities.”

From the time of its opening, Mustapha recalls, “the Museum proudly displayed the heritage it held and the stories it told.” Bearing witness to the city’s past, from prehistoric times to antiquity, the Byzantine period, the Islamic, and even modern periods, “it was a space of cohesion for all Raqqawis,” adds Zyad al Hamad, president of the Raqqa Civil Council’s Archaeological Committee. For this intellectual, born a stone’s throw from the Museum and a specialist in the archaeological sites of the city and region, “Raqqa has always been the cultural capital of Syria, and from its establishment, the Museum was its minister.” Raqqa has long been a city of contact and exchange between three worlds – nomadic herders, sedentary populations, and city-dwellers – as capital under the Abbasid caliph Harun al-Rashid, hero of the thousand and one nights; “star of the fertile crescent” with its exceptional location at the “meridian point” of the Euphrates, halfway between its source and its mouth at Shatt al-Arab; and strategic crossroads of the trade routes connecting Syria to Central Asia, and the Mediterranean to the Persian Gulf. “There has always been a profusion of artists, writers and poets here,” al Hamad continues. “It was a hotbed for intellectuals renowned at home and abroad, like the authors Abdul-Salam Ojeili and Ibrahim Khalil, the doctor Fayez alFawaz or the astronomer Al-Battani, whose name adorns one of the city’s main junctions. Even the caliph’s wife Zubaidah, so fond of Baghdad, preferred Raqqa – at the time called Rafiqa. So yes, this museum was like a sanctuary for these treasures, the beating heart of knowledge, history, creation, and transmission, both tangible and intangible.”

At the heart of this bustle, as the symbol and crossroads of all of these cultures, was the Museum. Initially located in Arafat Square on the southern edge of the old city district, in 1981 it moved to a former Ottoman government facility on the occasion of the International Congress for the History of Raqqa. Intended to spotlight the city’s importance for the arts and sciences to the world, the Museum’s present building was inaugurated for this event, housing pieces previously held in the National Museum of Aleppo and the National Museum of Damascus (where an entire gallery is devoted to Raqqa), and hailing from excavations conducted throughout the Jazira region by teams from France (1950s), Syria (1970s), and Germany (1980s). The Museum also housed the offices of the General Directorate for Antiquities and Museums (DGAM) for the Raqqa Governorate Division.

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Our Impact

And then came the great scourge. During the first two years of the Revolution, Raqqa remained silent. Like every other Syrian city, it dreamed of “freedom, justice, and dignity,” the first catchwords displayed on demonstrators’ banners in Deraa, where it all began in March 2011. But walled in by fear until 2013, it didn’t dare speak up. In March 2013, the Free Syrian Army and jihadist factions entered Raqqa, setting off chaos and the first lootings. Despite the DGAM’s protection efforts, a number of pieces were sent to buyers in Turkey via Tell Abyad, while others were abandoned left and right – many were found much later in the city of al-Tabqah, in particular.

In January 2014, Daesh took over as the sole power present in Raqqa, which became the self-proclaimed capital of the Islamic State of Iraq and the Levant. The wolves prowled the city, and even before attacking people, they stole, looted, and destroyed symbols.

Between two technical questions on the electrical system and water infrastructure (she’s an engineer by training), Mustapha commented: “Their sole aim was to obliterate all traces of civilization, so that we would forget, so that history, our history, would fall into oblivion.” During the Daesh siege, in the first museum shop, between two empty, shattered windows, meat was sold. “Under the stairwell and in the garden,” al Hamad recounts, “a household appliance merchant had fully set up shop.” Washing machines, refrigerators, and generators replaced 1000-year-old ceramics. On November 25, 2014, a bomb exploded near the Museum, damaging its southern facade, and on November 14, 2015, an air strike by a Russian bomber literally put a hole in the Museum’s roof.

During the last phase of operation “Euphrates Wrath,” at the height of the fighting, Daesh placed explosives throughout the Museum and positioned its snipers on the balconies in ambush.

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On October 17, 2017, after 134 days of fighting, Raqqa emerged from the jaws of the devil. The Syrian Democratic Forces secured the mine-filled museum, but even once it was cleared, it was dirty, highly damaged, and orphaned of its treasures. Broken and burnt pieces of ancient pottery were piled up like shattered dishes in a corner on the second floor. The young NGO Roya, freshly established in Tell Abyad, entered the scene at that time. One of its founders, Aziz al Mouh, a Raqqa native, returned here a few months after its liberation. “I wanted to do something for my city,” he recalls. “Most non-profits were focused on services, but there was nothing for heritage. I was young, and I felt that my generation had lost interest in heritage, whereas for me, this museum was a key, the heart of our culture, a precious protector, both physical and mental, of the shared history of Raqqa’s Arabs, Kurds, and Armenians.” Al Mouh thus proposed to take charge of the Museum’s cleaning from the Civil Council, already stretched thin between mine clearance and emergency assistance to residents.

In early December 2017, an initial inventory was conducted by the Authority of Tourism and Protection of Antiquities in Al Jazira Canton: the Museum was still standing but its façade was damaged from impacts, with a great deal of destruction inside. By June 2018, Roya in cooperation with the ASOR Cultural Heritage Initiative managed to undertake a first emergency stabilization of the museum building.

Major rehabilitation work kicked off in mid-September 2019, led by the French NGO La Guilde Européenne du Raid in cooperation with Roya and the German NGO Impact, with funding from ALIPH. From floors to ceilings, mosaics to staircases, windows to facades, every step of the project involved weekly meetings during which expertise was shared by local actors alongside Roya and the Civil Council’s Archaeological Committee, and with the help of the Guilde’s experts (Djamila Chakour, head of collections at the Institut du Monde Arabe, and Jean-Marc Lalo, an architect specialized in public and cultural spaces), covering architecture as well as preventive conservation.

At the end of February 2020, everything was completed and the Museum was ready to welcome the collections saved from the war and held by the Civil Council. “Bearing witness to the past,” al Hamad comments, “today this museum holds the promise of the future.” Mustapha concludes, “Look at our response to the Daesh soldiers! We’re here, we haven’t forgotten anything – not our past, not what they’ve done – and now everything will continue. When the display cases and antiquities are reinstalled, we’re going to have a big celebration, and the children of Raqqa will come admire the evidence of their history and their past.”

“Raqqa’s houses have no doors,” goes a popular saying extolling the hospitality of its inhabitants. Since the fighting ended, 85% of them have no walls either. But they have a museum, a heritage, a living memory that no war, no siege, and no atrocity can erase.

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Our Impact

Prevention over Cure: The Museum of Civilization of Côte d’Ivoire Sunday, November 28, 2010. As the second round of presidential election voting came to an end, Côte d’Ivoire retired for the night with two presidents. The political crisis was deep, and violent clashes would go on to rock the country for five months. Against this backdrop, the situation for the Museum of Civilization of Côte d’Ivoire elicited little interest. With its particularly poor location at the entrance of the Plateau district, where the presidential palace is situated, and next to the military headquarters, Côte d’Ivoire’s most important museum was nevertheless a sizeable collateral victim. Looters walked off with 121 works, including sacred objects, royal insignia, ornaments, traditional textiles, and Sénufo and Wè statuettes and masks. Even worse, the entire collection of solid gold objects – 17th century Baoulé pendants, crowns, and fly whisks – were stolen and most likely melted down. “An entire part of Ivorian history was erased, as this material was closely tied with life of our country,” deplores Dr. Silvie Mémel-Kassi, the museum’s director. She continues: “My greatest fear is that history will repeat itself with the elections planned for fall 2020. I have flashbacks to the 2010 scenario, with its electric environment, incendiary speeches, and political turnarounds. In 2018, in front of the museum’s wooden doors, so easy to kick in, I started seeking out ways to forestall another potential crisis.”

Sarah Hugounenq

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While the state-run museum lost a portion of its flagship objects, the collection still holds some 16,000 pieces retracing Ivorian artistic history from prehistoric times to today, and draws nearly 100,000 visitors annually, as opposed to a mere 8,000 in 2006 and 30,000 just prior to the post-electoral crisis. Over the course of conversations with professionals from international museums, ALIPH’s name was mentioned to Mémel-Kassi. “I was told that it was a new foundation based in Switzerland. I knew that there were organizations in the field of museums and heritage, but to be honest, it’s hard to gain access to them. I sent a letter without getting my hopes up, and ALIPH got back to me within a few weeks!” All of the ingredients were there – a proven threat, an emergency context, heritage-related significance, the involvement of local actors including the Ministries of Culture and Francophonie – for the Geneva-based foundation to step up in the blink of an eye. Well-versed in protection and reconstruction efforts in war-torn Middle Eastern countries, ALIPH took advantage of this operation in West Africa to recall the importance of prevention and responsiveness as the building blocks of its action. The project benefited from the exceptional emergency relief procedure, allowing for the quick unblocking of a budget of up to $75,000. The partnership initiated with the Fondation TAPA, an organization providing support for the development of African museums, led to the installation of eight security doors to exhibition galleries and storerooms between August and December 2019.

But what good is a state-of-the-art lock if inside the works are not conserved in the best possible conditions? “Our wooden cabinets dating to 1942 were infested with xylophagous insects that were contaminating the works,” the director relates. “Without ALIPH, nothing would have changed. Their grant was more than the amount of our annual budget!

Their intervention will go down in the annals.” The decrepit storage furniture was removed and are being replaced with more practical and suitable metal shelving and carts. The storerooms were reorganized by object type. Although the COVID-19 crisis has halted operations, this new organization will facilitate the research and digitization projects undertaken each year by 350 international students, including students from the Sorbonne. At a time of debate on the restitution of African heritage held in Europe, the improvement of conservation standards is a substantial argument. The securing of the Museum of Civilization of Côte d’Ivoire has made an impact with its pragmatism, responsiveness, and simplicity – demonstrating that there is no need to launch multimillion-dollar projects to be quickly effective in the field for the long term.

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Our Impact

WORDS FROM OUR GRANTEES Exhibition “Age old cities. A virtual journey from Palmyra to Mosul”

“The Millennium Cities exhibition at the Institut du monde arabe shows how a project for the general public can raise awareness about endangered heritage in conflict zones.

ALIPH’s support gave additional weight to our purpose and highlighted concrete actions in the field. Many of our visitors asked how to act in the face of such terrible destruction and we cited ALIPH as one of the organizations capable of intervening not only in the reconstruction but also in the safeguarding of this heritage.

The fluid and regular dialogue between the IMA and ALIPH to put this project in place has allowed us to reflect on other long-term possibilities for cooperation”.

ALIPH firmly believes in the importance of raising awareness on the need to protect heritage threatened by conflict. The travelling exhibition “Age old cities. A virtual journey from Palmyra to Mosul” recreates the cities of Palmyra, Aleppo, Mosul, and Leptis Magna in virtual reality. It enjoyed its opening at the Institut du monde arabe (IMA) in Paris from 10 October 2018 to 17 February 2019, where it was visited by more than 130,000 people. The exhibition has since travelled to Riyadh, Bonn, and Washington DC.

Aurélie Clemente-Ruiz, Director, Department of Exhibitions, Institut du monde arabe

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Our Impact

Collart – Palmyra: The digital restoration of the Baalshamȋn Temple

“ALIPH’s support for the Collart-Palmyra project has been an important recognition of our initiative. It has ensured our funding in the long term.

Working with ALIPH means working with a reactive, attentive, and innovative partner!”

The Baalshamȋn Temple in Palmyra, an outstanding example of Syrian-Roman architecture from the 2nd century CE, was completely destroyed by Daesh in August 2015. The project will create a digital restoration of the temple, based on the study, digitization, and online publication of the archives of the Swiss archaeologist Paul Collart, who documented the site in the 1930s-1960s.

Patrick Michel, Researcher and Head of the Collart-

Palmyre Project, Université de Lausanne

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Our Impact

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OUR DAILY LIFE

Partnerships Communications Budget and Finances

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Our Daily Life

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PARTNERSHIPS In 2019, ALIPH signed three Memoranda of Understanding (MoU) with different actors in the sector of heritage protection in conflict areas. These partnerships meet two objectives: to anchor ALIPH in its professional environment at the international and local levels, and to strengthen synergies between the different actors in this sector.

UNESCO

11 October 2019 The Memorandum of Understanding signed with UNESCO aims to strengthen the exchange of information between the two organizations, provide technical support to each other’s work in the field, identify and undertake joint projects, and raise global public awareness of the threats to heritage in conflict areas.

This agreement was signed by Mr. Ernesto Ottone Ramirez, the UNESCO Assistant Director-General for Culture and Mr. Valéry Freland, Executive Director of ALIPH.

Fondation Suisse de Déminage (FSD) 21 October 2019

ALIPH has established a partnership with the Fondation Suisse de déminage (Swiss Foundation for Mine Clearance) (FSD), currently present in countries including Iraq, in order to benefit, free of charge, from its expertise in the field of mine clearance.

In return, ALIPH will provide expertise in cultural heritage protection. The two operators might carry out joint demining and rehabilitation activities in areas of common interest. In the presence of H.E. Ambassador Valentin Zellweger, the Permanent representative of Switzerland to the United Nations and the other international organisations in Geneva, the MoU was signed at the ALIPH offices by H.E. Ambassador Jürg Streuli, President of the Foundation Board, FSD and Mr. Valéry Freland.

World Monuments Fund (WMF) 28 October 2019

This partnership aims to set up an emergency fund financed in equal parts by ALIPH and the WMF of up to USD 125,000 each. This fund would be used to support emergency measures of less than USD 30,000, such as international expert missions.

Ms. Bénédicte de Montlaur signed the agreement in her capacity as CEO of the World Monuments Fund, with Mr. Valéry Freland signing for ALIPH.

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Our Daily Life

COMMUNICATIONS The ALIPH name makes its mark

1/7/2020

Global fund allocates Dh36.7 million to cultural projects in war zones - The National

Global fund allocates Dh36.7 million to cultural projects in war zones

The International Alliance for the Protection of Heritage in Conflict Areas will assist 20 projects

A bust of a Palmyrean man, made of marble in Palmyra. A global fund dedicated to preserving cultural sites in war zones has allocated more than Dh36 million to new projects. Marc Deville / Gamma-Rapho via Getty Images

https://www.thenational.ae/uae/government/global-fund-allocates-dh36-7-million-to-cultural-projects-in-war-zones-1.952653

Throughout 2019, the ALIPH brand was progressively cemented at the international level in the world of cultural heritage. Following the launch of its visual identity in the autumn of 2018, ALIPH created a website in three languages (English, French, and Arabic) in January 2019, which was consulted by more than 17,000 people in one year. In addition, some 100 articles on the foundation were published in print, on the web, or on the radio in more than a dozen countries.

ALIPH also shared the stage on three occasions

Annual Report 2019

On 9 July 2019, Emmanuel Macron, President of the Republic of France, bestowed the Légion d’Honneur upon Bariza Khiari, ALIPH’s Vice-Chairwoman. “Since 2017, you have been my representative to and Vice-President of ALIPH,” he declared to a full room. “This formidable project … is unfolding thanks to the talent and commitment of a group you belong to…and this mission…lies at the very heart of your greater engagement.”

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Pays : FR Périodicité : Mensuel OJD : 41968

Date : Mai 2019 Page de l'article : p.82-85 Journaliste : Bérénice GeoffroySchneiter

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At the Gala Dinner of the Paris Biennale, 11 September 2019, nearly 1,000 prominent figures in the world of art, culture, and heritage gathered to raise funds for the rehabilitation of the Mosul Museum, ALIPH’s flagship project, in the presence of the French and Iraqi Ministers of Culture.

ALIPH-MDI 6889756500507

The Hadrian Award, granted by the World Monuments Fund (WMF) every year to international leaders who have advanced the preservation of world art and architecture, was presented in October to Dr. Thomas S. Kaplan, ALIPH’s Chairman. “Beauty is its own form of truth,” he stated on the occasion, “and by discovering that beauty, by preserving that beauty, we remind all of us of our common humanity.”

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Our Daily Life

BUDGET AND FINANCES 2019 Finances in brief

Grants approved in 2019

USD

Payments for grants in 20191

16,024,251

USD 

Cumulative grants

USD

Operational expenses in 20192

17,389,551

USD 

Contributions received in 2019

USD

1,872,784 1,523,443

Financial assets as of 31 December 2019

19,889,250

USD

76,871,289

The 2019 financial statements and the report of the auditor are available on our website.

1 2

Most grants are allocated to multi-year projects Calculated with 2019 average CHD/USD exchange rate

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Support ALIPH’s fund is thanks to the generous support of all its members and donors:

Member states France United Arab Emirates Kingdom of Saudi Arabia Kuwait Luxembourg China Morocco

Private members Dr. Thomas S. Kaplan Fondation Gandur pour l’Art

Host country Switzerland

Private donors The Andrew W. Mellon Foundation Lionel Sauvage Family Foundation

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Our Daily Life

Annual Report 2019

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OUR GOVERNANCE

Our Ethics Foundation Board Scientific Committee Finance and Development Committee Audit Committee Ethics, Governance and Remuneration Committee Secretariat Support ALIPH

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Our Governance

OUR ETHICS

ALIPH’s work is guided by the following fundamental values: • the protection of heritage • cultural and religious diversity • education and capacity building • gender equality • social cohesion and peaceful coexistence • sustainable local development • peace and reconciliation • international solidarity For more information, please look at our Bylaws and Code of Ethics.

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Our Governance

Foundation Board 6

Chairman: Dr. Thomas S. Kaplan (Private Donor)

6

Mr. Jean Claude Gandur (Private Donor)

6

Vice-Chairwoman: Ms. Bariza Khiari (France)

6

Dr. Mariët Westermann (Qualified Personality)

6

Vice-Chairman: H.E. Mohamed Khalifa Al Mubarak (United Arab Emirates)

6

Dr. Richard Kurin (Qualified Personality)

H.R.H. Prince Badr Bin Abdullah Bin Mohammed Bin Farhan Al-Saud (Kingdom of Saudi Arabia)

6

6

Prof. Dr. Markus Hilgert (Qualified Personality)

6

Pr. Marc-André Renold (Switzerland)

6

H.E. Sheikha Hussa Sabah Al-Salem Al-Sabah (Kuwait)

6

Mr. Ernesto Ottone Ramírez (UNESCO)

6

H.E. Amb. Martine Schommer (Luxembourg)

6

6

Mr. Wen Dayan (China)

Mr. Jean-Luc Martinez (Chair of the ALIPH Scientific Committeee)

Mr. Mehdi Qotbi (Morocco)

6

6

Mr. Valéry Freland (Executive Director of ALIPH)

The Foundation Board met three times during 2019: 13 February in Abu Dhabi, 19 June in Paris and 9 December in Geneva.

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Scientific Committee 6

Chairman: Mr. Jean-Luc Martinez (France), PresidentDirector of the Musée du Louvre

6

Mr. Mounir Bouchenaki (Algeria), Special Advisor to the Director General of UNESCO

6

Mr. Wang Chunfa (China), Director of the National Museum of China in Beijing

6

Mr. Samuel Sidibe (Mali), Director General of the National Park of Mali

6

Ms. Bahija Simou (Morocco), Director of the Royal Archives of Morocco

Audit Committee 6

Chairman: Mr. Jeffrey D. Plunkett, J.D.

6

Mr. Abderrazak Zouari, Former Minister of Regional Development, Tunisia

Ethics, Governance and Remuneration Committee 6

Chairman: Mr. Jean-Claude Gandur

6

Prof. Dr. Markus Hilgert

6

Pr. Marc-André Renold

Secretariat

Finance and Development Committee 6

Chairman: Dr. Richard Kurin

6

Mr. Valéry Freland, Executive Director

6

Ms. Deborah Stolk, Programme Coordinator, Cultural Emergency Response, Prince Claus Fund

6

Mr. Laurent Oster, Finance and Administration Officer

6

6

Mr. Saood Al Hosani, Executive Director Support Services, Department of Culture and Tourism – Abu Dhabi

Dr. Sandra Bialystok, Communication and Partnerships Officer

6

Dr. Andrea Balbo, Project Manager

6

Ms. Alexandra Fiebig, Project Manager

6

Ms. Rosalie Gonzalez, Project Manager

6

Ms. Mahdia Siari, Project Manager

6

Ms. Laura Willis, Executive Assistant

6

Mr. Valéry Freland

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Our Governance

Photography Credits Cover Page Clockwise, from top left © Fraternité en Irak © King’s College London © Xavier de Lauzanne © ISMEO © AMALIA © Thomas Raguet © Monumenta Orientalia © Première Urgence Internationale © Valery Sharifulin/TASS Getty Images (Centre image) Inside Cover © Première Urgence Internationale Table of Contents Clockwise, from top left © Xavier de Lauzanne © ISMEO © Turquoise Mountain © King’s College London © Smithsonian Institution © J. Paul Getty Trust © ACHCO © CRAterre © Thomas Raguet © SBAH © Xavier de Lauzanne © Première Urgence Internationale (Centre image) Page 5 © Mission archéologique de Douki Gel Page 6 © Digital Library of the Middle East (DLME) Page 7 © ISMEO Page 10 © Musée national du Mali Page 12-13 © Michele Cattani Page 14 © CRAterre Pages 16-17 Peru: © Universidad Nacional de Ingenieria Mali: © Michele Cattani Libya: © Mission archéologique française de Libye

Côte d’Ivoire: © Fondation Tapa Sudan: © Marc Chaillot Lebanon: © L’oeuvre d’orient Palestine: © Première Urgence Internationale On Syrian Heritage: © Valery Sharifulin/ TASS Getty Images Iraq: © ISMEO Somalia © J. Paul Getty Trust Georgia: © Georgian National Committee of the Blue Shield Eritrea: © Pontificio Istituto di Archeologia Cristiana Afghanistan: © UNESCO Yemen: © Monumenta Orientalia

Page 26 © Smithsonian Institution

Page 18 © Hafed Walda

Pages 34-37 All pictures © Xavier de Lauzanne

Pages 20-21 Afghanistan: © ACHCO Cote d’Ivoire: © Fondation Tapa Eritrea: © Pontificio Istituto di Archeologia Cristiana Georgia: © Georgian National Committee of the Blue Shield International: © J. Paul Getty Trust Iraq: © ISMEO Lebanon: © L’oeuvre d’orient Libya: © Mission archéologique française de Libye Mali: © Michele Cattani Palestine: © Khalidi Library Peru: © Universidad Nacional de Ingenieria Somalia: © Horn Heritage Sudan: © Marc Chaillot Syria: © La Guilde Européenne du Raid Yemen: © CEFAS

Page 39 All pictures © Fondation Tapa

Page 22 From left to right 1st row: © Monumenta Orientalia, © Mission archéologique de Douki Gel, © ISMEO 2 nd row: © Turquoise Mountain, © AMALIA, © King’s College London 3 rd row: © Fight for Humanity, © BIEA, © Musée National du Mali 4th row: © Turquoise Mountain, © Turquoise Mountain, © Mark Whatmore Page 24 © Turquoise Mountain

Page 27 © Smithsonian Institution Page 28 © Smithsonian Institution Page 29 © SBAH (top photo) © Smithsonian Institution Pages 31-33 All pictures © Fratenité en Irak

Pages 40-41 © IMA/T.Rambaud Pages 42-43 © Shutterstock/Dalius Juronis Pages 44-45 © Ivan Erhel Page 46 © Mark Whatmore Pages 48-49 From left to right © Philippe Servent /Présidence de la République © Paris La Biennale © WMF Page 51 From top to bottom © J. Paul Getty Trust © Mark Whatmore © AMALIA © CRAterre Page 52 © UNESCO Page 55 © Thomas Raguet

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June 2020

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