UvA-DARE (Digital Academic Repository) Reconstructing Cultural Heritage in Conflict Zones Should Palmyra be Rebuilt? Munawar, N.A. Publication date 2017 Document Version Final published version Published in Ex Novo - Journal of Archaeology License Other Link to publication Citation for published version (APA): Munawar, N. A. (2017). Reconstructing Cultural Heritage in Conflict Zones: Should Palmyra be Rebuilt? Ex Novo - Journal of Archaeology, 2, 33-48. http://archaeologiaexnovo.org/2016/wp-content/uploads/2017/12/3_Munawar_Ex_Novo_2.pdf General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). 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Munawar University of Amsterdam Abstract Cultural heritage has fallen under the threat of being of damaged and/or erased due to armed conflicts, and destruction has increasingly become a major part of daily news all over the world. The destruction of cultural heritage has escalated in Syria as the ongoing armed conflict has spread to World Heritage Sites, such as Palmyra and the old city of Aleppo. The devastation of Syria’s war has deliberately and systematically targeted archaeological monuments dating from the prehistoric, Byzantine, Roman, and Islamic periods, with no distinction being made of the cultural, historical, and socio-economic significance of such sites. The violence of this conflict is not, of course, limited to the destruction of cultural property, and has first and foremost served to introduce non- state radical actors, such as Daesh, who targeted local people, archaeological site, museum staff and facilities. The destruction and re-purposing of monuments in Syria, such as Daesh’s attempts to turn churches into mosques, are heavy-handed attempts to re-write history by erasing physical evidence. In this paper, I explore the semantics of continuous attempts to reconstruct cultural heritage sites, destroyed by Daesh, during the ongoing war, and how the destruction and reconstruction of Syria’s heritage have been deployed to serve political agendas. Keywords: Palmyra, Syria, Conflict, Reconstruction, Cultural heritage Introduction The World Heritage Site of Tadmur – the Arabic name of Palmyra – or as it is known in Syria “the bride of the desert” has been in danger ever since the crisis in Syria turned into an armed conflict at the end of 2011. Palmyra has been part of the World Heritage List since 1980, and was included in the list of World Heritage sites in danger in 2013, alongside five other World Heritage Sites in Syria. In September 2015, the United Nations confirmed that jihadists of Daesh had blown up the Bel-Temple of Palmyra, which dates back to 32 CE. Shortly after this the official Syrian army confirmed that Palmyra had, after weeks of intense combat, been recaptured, and that the Directorate General of Antiquities and Museums in Syria had begun preparing plans to restore and reconstruct what had been destroyed. Although the destruction of Palmyra has been well-documented by activists since the beginning of Syria’s armed conflict, the speed at which Palmyra’s Arch of Triumph was restored has astonished many archaeologists and observers of cultural heritage. In the meantime, a replica of Palmyra’s Arch of Triumph CONTACT N.A. Munawar, [email protected] 34 NOUR A. MUNAWAR of Palmyra has been erected in Trafalgar Square in London, and has garnered mixed reviews in the media. In this paper, I seek to answer the questions opened by these reactions, and the symbolic character of this specific monument. The heritage gaze is partial and selective (Harrison 2010). Some have asked, why Aleppo’s Umayyad Mosque minaret – which was destroyed in April 2012 – or the ancient gates of Nimrud and Nineveh in Iraq, which suffered at the hands of Daesh, have not been reconstructed? This question triggers larger questions regarding the parameters of heritage reconstruction as practice; is it not through the process of decay and loss that monuments are incorporated into the archaeological record? Furthermore, is not damage and/or destruction just another phase in the life-history of a monument, albeit a less than positive one in terms of long- term preservation? This paper explores the different stakeholders and what their interests in Palmyra are, such as from local people, and how each stakeholder values and perceives the World Heritage Site. The interests of the stakeholders are studied based on how each stakeholder has dealt with Palmyra’s ruins and what tools and methods have been deployed to gain the legitimacy of controlling the site. This paper aims to investigate how the destruction of Palmyra’s heritage – during Syria’s conflict – has been represented in the media reports and academia, and how the destruction affected Palmyra and the reconstruction plans. Finally, I will discuss the issues that need to be considered when attempts are made to restore monuments in a place of ongoing conflict, such as the perimeter of Palmyra. In my view, no rebuilding or restoration plans can be safeguarded at this stage of Syria’s unfinished war and it is wrong to believe that even state of the art modern restoration technologies can in some way replicate or recreate the authenticity of a contested heritage. Palmyra and Syria’s Conflict Cultural cleansing, destruction, demolition, deterioration, damage, ruination and several other negative terms that indicate the erasing of parts or complete heritage sites have become the keywords which characterize cultural heritage discourse in the early twentieth-first century. This trend has been confronted by optimistic – and sometimes naïve – reactions that were led by “positivist” scholars and the international community to promote a responsive language, such as the reconstruction, rebuilding, restoration, protection, and preservation of cultural heritage sites (for further discussion see Kealy 2016). Amidst this negative and positive collection of terms, cultural heritage sites are still being destroyed and conflict does not show mercy towards cultural heritage. Skimming through the history of cultural heritage destruction after the Second World War shows that the ongoing conflicts in Syria and Iraq, alongside the Balkan Wars (Abazi 2004), are those most characterized by cultural annihilation. Since the Syrian and Iraqi conflicts have shared the old/new enemy of human tolerance Daesh, these EX NOVO Journal of Archaeology, Volume 2 (2017) 31-48 35 conflicts became asymmetric and showed the weakness and ineffectiveness of the international community and the West in particular in dealing with such conflicts on several levels (Pecht 2016). Figure 1. Baal-Shamin, The Guardian, 25 August 2016. Fears and concerns have rapidly grown after Daesh seized control over the World Heritage Site of Palmyra, or as it is known “The Venice of the Sand”,1 in May 2015 and after two weeks of fighting with the Syrian government army. Social media platforms started to recirculate videos and pictures of the jihadi militia destroying the artifacts of the Mosul museum to bring the attention to the fact that Palmyra might shortly face a similar fate. 23rd August 2015 is the date that has been engraved in the memory of all of humanity and particularly the memory of the Syrian people. On that day, the series of “iconoclastic” destruction of monuments started when Daesh blew up the 2,000-year- old Baal-Shamin (Fig. 1) temple of the World-famous Greco-Roman site of Palmyra (Macfarlan 2015; Melvin, et al. 2015). This destruction was followed by the destruction of one of the most significant temples in the Middle East, Temple of Bel, which dates back to the 1st century CE. Less than two weeks later, the radical jihadists destroyed Palmyra’s Roman monument, Arch of Triumph (Fig. 2), which dates back to the 3rd century CE. Besides that, Daesh vandalism has extended to the staff who work(ed) on protecting Palmyra’s museum and buildings. In a move which shocked the international audiences they also beheaded Khaled al-Asaad, who was formerly the enthusiastic Head of Antiquities in Palmyra for 40 years, because he refused to lead Daesh fighters to Palmyra’s hidden antiquities (Hubbard 2015; Shaheen 2015a). 1 Both The Venice of the Sand and “the bride of the desert” have been used in literature to describe Palmyra. While the Venice of the Sand is more popular in the West, the “the bride of the desert” is popular in Syria. 36 NOUR A. MUNAWAR Media reports promptly surfaced to cover all these incidents which occurred in less than 4 months of Daesh control of Palmyra; ignoring – together with the international community – that Palmyra had been threatened before the Daesh offensive attack to control the city according to several UNESCO, ICOMOS, etc. condemning statements to stop the violence in the perimeter of the World Heritage Site (Nakasis a&nd Lianos 2015, UNESCO 2013; 2014).