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The opening of a contested museum in Nigeria, meant to display west African art, has been postponed after protesters disrupted a private visit Sunday, officials said.The Museum of West African Arts (Mowaa) had been due to officially open Tuesday, but this will now be postponed indefinitely, officials said.Mowaa was launched five years ago by Nigerian businessman Phillip Ihenacho in Benin City, Edo State, with the support of its former governor.It's due to house exhibition spaces and archives and aims to host residencies for west African artists and craftspeople, and Sunday was holding a pre-opening event for donors and industry professionals.But around 20 men, some armed with wooden bats, stormed into the museum courtyard, forcing guests to take refuge inside.The group, whose demands were not clear, caused minor damage in the museum courtyard, AFP reporters saw."Protesters entered and began vandalising part of the reception pavilion, where we receive visitors, then they stormed inside the front section, where the exhibition area is located," Ihenacho said.After around two hours, guests were escorted away in buses to a nearby hotel.The museum has sparked tensions between the former state governor and his successor, an ally of the city's traditional ruler, Oba Ewuare II, who says he should be in charge of the museum.Benin for years has been trying to recover artefacts seized during the colonial era, in particular the "Benin Bronzes" looted more than 120 years ago.Most of the ornate bronzes were seized by British soldiers in a retaliatory raid on Benin, and then auctioned off or sold to museums across Europe and the United States.Ihenacho said he believed the protesters were "representatives from the palace" of Oba Ewuare II. "We have never pretended to be anything other than the Museum of West African Art," Ihenacho added.

The President of the Transitional Presidential Council of the Republic of Haiti, Anthony Frank Laurent Saint-Cyr, and his accompanying delegation visited the National Museum of Qatar (NMoQ) on Monday.The visit came as part of his participation in the Second World Summit for Social Development, scheduled to convene on Tuesday.During the tour, Saint-Cyr viewed the museum's most prized collections across its various galleries and received a comprehensive briefing on its precious treasures, which span multiple eras.He was accompanied by HE Director of the National Museum of Qatar Sheikh Abdulaziz bin Hamad Al-Thani.

The Cultural Village Katara organised a special event Saturday, featuring a live broadcast of the grand opening ceremony of the Grand Egyptian Museum, in cooperation with the Embassy of Egypt in Qatar. The event was attended by Prof Dr Khalid bin Ibrahim al-Sulaiti, General Manager of Katara, and Walid Elfiky, Ambassador of Egypt to Qatar, alongside a large diplomatic and public audience, particularly members of the Egyptian community living in Qatar, who enthusiastically engaged with this historic occasion. **media[376315]** Katara’s organisation of this live broadcast reflects its cultural mission to open new windows of interaction with human achievements across diverse fields, and to highlight the shared values that unite peoples through culture, art, and knowledge. It also demonstrates Katara’s commitment to keeping pace with major global cultural events and shining a light on them. In his speech on this occasion, Ambassador Elfiky expressed his delight at Katara’s participation in this world-class event, which he described as a moment of pride for Egypt and for all humanity. He noted that the Grand Egyptian Museum (GEM) represents a civilisational bridge linking Egypt’s glorious past with its present and future, embodying Egypt’s vision of its historic role as a beacon of culture and knowledge throughout the ages. **media[376314]** He added that this monumental cultural project reflects the Egyptian leadership’s deep commitment to heritage and identity, affirming that culture and art are among the noblest bridges that bring nations closer and deepen human understanding. He also praised the strong cooperation between the Egyptian Embassy and Katara, expressing his gratitude to Katara’s General Manager and staff, saying: “Katara continues to enrich the cultural scene in Qatar and the Arab region through its outstanding initiatives and contributions, fostering intercultural exchange among nations.” The Grand Egyptian Museum is located near the Pyramids of Giza, covering an area of approximately 500,000 square meters, making it the largest archaeological museum in the world dedicated to a single civilization. The building itself spans about 167,000 square meters, housing permanent and temporary exhibition halls, restoration centers, and educational, cultural, and recreational facilities. **media[376316]** The museum contains over 100,000 artifacts from various periods of ancient Egyptian history — from pre-dynastic times, through the Old, Middle, and New Kingdoms, and up to the Greek and Roman eras. Among its most remarkable treasures is the complete collection of King Tutankhamun, comprising more than 5,000 artifacts displayed together for the first time since their discovery. The architectural design of the museum is itself a masterpiece, inspired by the grandeur of its location overlooking the Giza Pyramids. Its majestic façade is composed of large triangular stone forms that symbolize the temporal continuum of Egyptian civilization—from past to future. The exhibition halls are equipped with advanced technical systems, offering visitors an interactive and immersive experience that connects them deeply with Egypt’s rich and enduring history.

A woman arrested this week along with four other suspects over the unprecedented jewel heist at the Louvre was charged and remanded in custody on Saturday.The 38-year-old was in tears as she appeared at a Paris court, saying she feared for "her children" and for herself, according to AFP.She has been charged with complicity in organised theft and criminal conspiracy with a view to committing a crime.The magistrate justified the detention of the woman who lives in the French capital's northern suburb of La Courneuve on the grounds of a "risk of collusion" and "disturbance of public order".In total, two of the five people arrested this week were charged on Saturday, while the other three have been released without charge, police sources and sources close to the case told AFP.Last month, thieves wielding power tools raided the Louvre, the world's most visited art museum, in broad daylight, taking just seven minutes to steal jewellery worth an estimated $102 million.French authorities initially announced the arrest of two male suspects over the Louvre robbery, and this week prosecutors said that police had arrested five more people.Adrien Sorrentino, a lawyer for the woman who was remanded in custody, said his client "vehemently" denied the charges against her."She is devastated," he told reporters."This is a spectacular heist, and the decision that has just been made is a spectacular one: a young woman has just been placed in detention despite being presumed innocent."One other person under investigation has also been placed in pre-trial detention, pending a hearing postponed until Tuesday, said one of the sources.Three of the five people arrested this week were released without charge.Sofia Bougrine, a lawyer for one of them, pointed to what she said was the indiscriminate nature of some of the arrests."In these serious crime cases, we find that waves of arrests look more like drift nets," Bougrine told AFP.The first two men arrested previously were charged with theft and criminal conspiracy after "partially admitting to the charges", Paris prosecutor Laure Beccuau said this week.They are suspected of being the two who broke into the gallery while two accomplices waited outside.Both lived in the northeastern Paris suburb of Aubervilliers.One is a 34-year-old Algerian national living in France, who was identified by DNA traces found on one of the scooters used to flee the heist. The second man is a 39-year-old unlicensed taxi driver.Both were known to the police for having committed thefts.The first was arrested as he was about to board a plane for Algeria at Paris Charles de Gaulle airport.The second was apprehended shortly after near his home, and there was no evidence to suggest that he was planning to go abroad, prosecutors said.The stolen loot remains missing.The thieves dropped a diamond- and emerald-studded crown that once belonged to Empress Eugenie, the wife of Napoleon III, as they escaped.The burglars made off with eight other items of jewellery.Among them are an emerald-and-diamond necklace that Napoleon I gave his second wife, Empress Marie-Louise, and a diadem that once belonged to the Empress Eugenie, which is dotted with nearly 2,000 diamonds.

Egypt at last opened the $1 billion Grand Egyptian Museum on Saturday as performers dressed in white tunics embroidered with designs inspired by ancient frescoes, greeted guests. "Today, as we celebrate together the opening of the Grand Egyptian Museum, we are writing a new chapter in the history of the present and the future," Egyptian President Abdel Fattah al-Sisi told a gathering of dignitaries, sitting in the museum's square. Cairo has pinned great hopes on the long-delayed museum, which is a key plank of plans to revive the tourism industry so vital to its troubled economy. It will be home to tens of thousands of objects dating back more than six millennia. The audience a the opening watched a spectacular display of light and music, with the pyramids towering in front of them. On giant screens above, scenes from celebrations in Tokyo and Rio de Janeiro played out against the backdrop of Egypt's ancient monuments. Dozens of performers dressed in elaborate Pharaonic costumes, their foreheads crowned with golden wreaths and sceptres in hand, played traditional tunes as a laser show depicting pharaohs and fireworks lit up the night sky above the museum. "It is a living testimony to the genius of the Egyptian human, who built the pyramids and inscribed on the walls the story of immortality," Sisi said, referring to the new institution. On Saturday morning, roads around the museum were cordoned off and security tightened ahead of the opening, with giant banners draped from buildings and strung across streets -- advertising the launch. "This is the dream that all of us imagined. We all dreamed that this project would be realised," Egyptian Prime Minister Mostafa Madbouly told a press conference in Cairo on Saturday. Set on a gentle slope overlooking the Giza Plateau, just beyond the shadow of the pyramids, the museum was built with major financial and technical support from Japan, and spreads across nearly half a million square metres. Madbouly said that the "largest part of construction, finishing and bringing this global landmark to its current form occurred during the past seven to eight years". More than two decades in the making, the GEM faced multiple delays due to setbacks related to political unrest, regional conflicts and the Covid-19 pandemic. The museum houses more than 100,000 artefacts, half of which will be on display, making it the world's largest collection devoted to a single civilisation, according to Egyptian officials. Inside, visitors will enter vast, light-filled halls with soaring ceilings and sand-coloured stone walls that echo the surrounding desert. At the centre of the main atrium stands an 83-tonne statue of Ramses II, the pharaoh who ruled Egypt for 66 years and presided over its golden age. Unlike the cramped, century-old Egyptian Museum in central Cairo, the GEM features immersive galleries, precision lighting, virtual-reality exhibits and even a children's museum. One highlight is a live conservation lab, visible through floor-to-ceiling glass, where visitors can watch restorers assembling a 4,500-year-old solar boat buried near Khufu's pyramid, built to carry his soul across the sky with the sun god Ra. The undisputed star of the show, however, is King Tutankhamun's collection of more than 5,000 objects, many displayed together for the first time. The museum opens to the public on Tuesday, showcasing thousands of funerary artefacts previously scattered across Egypt. Egypt's tourism sector, a vital source of foreign currency and jobs, has been repeatedly shaken over the past decade and a half, from the 2011 uprising to waves of unrest and sporadic terrorist attacks in the aftermath. In recent years, tourism has shown signs of recovery, with 15 million visitors travelling to Egypt in the first nine months of 2025 and generating $12.5 billion, up 21 percent from a year earlier. Egyptian tourism minister Sherif Fathy expected on Saturday total tourist arrivals to stand at 18 million by the end of this year. He told reporters the government expects the museum to draw five million visitors annually, adding that it currently welcomes 5,000 to 6,000 visitors each day. "We hope to increase that to 15,000 daily," said Fathy.

After years of delays, Cairo is finally set to open the Grand Egyptian Museum on Saturday -- a long-awaited, billion-dollar showcase of pharaonic grandeur that Egypt hopes will help revive tourism and boost its troubled economy. Seventy-nine delegations, including 39 heads of state and government, are expected at the ceremony, which begins at 7:30 pm local time (1730 GMT). Germany, Japan, Saudi Arabia, Belgium, Spain and Denmark will be among those sending representatives, according to a statement from the Egyptian presidency. In the nights leading up to the opening, shafts of light have illuminated both the pyramids and the museum's colossal facade -- a prelude to Saturday's spectacle. Set on a gentle slope overlooking the Giza Plateau, just beyond the shadow of the pyramids, the museum was built with major financial and technical support from Japan, and spreads across nearly half a million square metres. It houses more than 100,000 artefacts, half of which will be on display, making it the world's largest collection devoted to a single civilisation, according to Egyptian officials. Inside, visitors will enter vast, light-filled halls with soaring ceilings and sand-coloured stone walls that echo the surrounding desert. **media[375988]** At the centre of the main atrium stands an 83-tonne statue of Ramses II, the pharaoh who ruled Egypt for 66 years and presided over its golden age. Unlike the cramped, century-old Egyptian Museum in central Cairo, the Grand Egyptian Museum (GEM) features immersive galleries, precision lighting, virtual-reality exhibits and even a children's museum. One highlight is a live conservation lab, visible through floor-to-ceiling glass, where visitors can watch restorers assembling a 4,500-year-old solar boat buried near Khufu's pyramid. The undisputed star of the show, however, is King Tutankhamun's collection of more than 5,000 objects, many displayed together for the first time. The museum opens to the public on Tuesday, showcasing thousands of funerary artefacts previously scattered across Egypt. Setbacks More than two decades in the making, the GEM faced multiple hurdles, including political unrest, regional conflicts and the Covid-19 pandemic. Observers caution that its long-term success depends on stable tourism and strong supporting infrastructure. Egyptian archeologist Hussein Bassir said the museum's future hinges on "regular maintenance to preserve the building and its treasures". "If the current momentum is not maintained, the museum could quickly lose its appeal and visitor numbers could drop," he told AFP. Egypt's tourism sector, a vital source of foreign currency and jobs, has been repeatedly shaken over the past decade and a half, from the 2011 uprising to waves of unrest and sporadic terrorist attacks in the aftermath. **media[375986]** Elhamy al-Zayat, former head of the Egyptian Tourism Federation, told AFP the museum was part of a broader plan to transform the entire Giza Plateau. "Egypt has created an entirely new cultural and tourist zone" at the plateau, with a nearby airport and upgraded visitor facilities at the pyramids, he said. Roads leading to the plateau have been refurbished, digital ticketing introduced and air-conditioned electric buses now glide past the pyramids. In recent years, tourism has shown signs of recovery, with 15 million visitors travelling to Egypt in the first nine months of 2025 and generating $12.5 billion, up 21 percent from a year earlier. Officials believe the GEM alone could draw up to seven million visitors annually, potentially bringing total visitor numbers to 30 million by 2030. Yet some observers are cautious, saying regional instability, including the conflicts in Gaza and Sudan, as well as economic pressures, threaten to challenge the museum's potential to deliver a major boost for Egypt's tourism sector.

Mathaf: Arab Museum of Modern Art opened “Resolutions: Celebrating 15 years of Mathaf Exhibition” and “we refuse_d” to the public Friday, honouring its roots in Sheikh Hassan bin Mohammed bin Ali al-Thani’s foundational collection and confronting the struggles of artists who face censorship and displacement.“Resolutions”, on view until August 8, 2026, explores the institution’s journey, showcasing four areas that cover its origins and impact on the region.The section “Infrastructure: Traces of a Legacy”, curated by Fatima Mostafawi, examines the museum as a complex case study rooted in the vision of artist and collector Sheikh Hassan.It details how Doha emerged as an artistic hub during the political turmoil of the 1990s and includes archival materials like letters, photographs, and video interviews that capture Sheikh Hassan’s role as both fellow artist and patron.The exhibition continues its self-examination with “Mathaf as Institutional Memory: An Exhibition History”, curated by Hadeel al-Kohaji, which chronicles the “kaleidoscopic range” of exhibitions the museum has hosted.This section utilises an elaborate timeline and backstage documents to foster a sense of institutional memory, valuing the museum’s publications, graphic design, and international partnerships.“Resolution” broadens its scope to the regional impact of art, featuring “Education: Art as Knowledge Creation”, curated by Noora Abdulmajeed.This underscores the foundational role of art education in cultivating revolutionary possibilities and knowledge circulation within the Arab world.“Representation and the Writing of History”, curated by Arthur Debsi, spotlights how artists in West Asia and North Africa used a shared visual language in the post-independence era to define a Pan-Arab ideology and continuous resistance, especially in relation to the occupation of Palestine.Addressing contemporary issues, “we refuse_d” exhibition, curated by Nadia Radwan and Vasif Kortun, brings together 15 artists whose practices explore refusal, endurance, and action.On view until February 9, 2026, this exhibition asks critical questions about how to persist, resist, and create under conditions of silencing, censorship, and displacement.Speaking to the media, Kortun said: “To see other people’s misery it’s not what we really wanted to do and we kind of turned the idea of refusal around its head... we know of the concrete cases of cancelations but what we don’t know is the untold, or unwritten or unknowable history of refusals and cancellations.”Among the highlights of this exhibition are Abdul Hay Mosallam Zarara’s *Untitled, from the Mahmoud Darwish series (2008), the newly commissioned installation *Resonance (2025) by Majd Abdel Hamid, Samia Halaby’s *Six Golden Heroes (2021), and Taysir Batniji’s early work *Untitled (1997).

3-2-1 Qatar Olympic and Sports Museum (QOSM) has opened “Sneakers Unboxed: Studio to Street”, a major touring exhibition from London’s Design Museum, making its Middle East debut in Doha until March 7, 2026.Unveiled by Qatar Museums (QM) Chairperson HE Sheikha Al Mayassa bint Hamad bin Khalifa al-Thani, the exhibition traces the design and cultural evolution of sneakers – shoes that began as athletic gear and grew into a global phenomenon shaping sport, style, and identity.Featuring more than 200 pairs of sneakers displayed alongside photographs, films, and archival materials, the exhibition offers an immersive journey through sneaker history.Highlights include rare and limited-edition designs as well as an exclusive presentation of Virgil Abloh’s celebrated sneaker creations.“’Sneakers Unboxed: Studio to Street’ reflects our ongoing commitment to exploring the intersection of sport, design, and culture,” said QOSM president Sheikh Mohammad bin Abdulla al-Thani. “This exhibition celebrates how innovation and creativity have transformed something as everyday as a shoe into a global cultural phenomenon.”“By hosting this show in Doha, we continue to engage diverse audiences, inspire the next generation, and highlight the universal power of sport as a unifying force that transcends borders and disciplines,” he said.The exhibition explores sneaker culture through two key lenses: style and performance.The exhibition highlights how innovation and design have revolutionised athletic footwear, transforming the way athletes train and compete.It also delves into the cultural impact of sneakers, revealing how they have become enduring symbols of identity, creativity, and self-expression across generations and communities.“Over the past 50 years, sneakers have evolved from a sports shoe to the most prominent form of footwear in the world with well over a billion pairs sold last year alone,” said Design Museum chief executive and director Tim Marlow. “This exhibition explores a global design phenomenon that has fascinated everyone from sneakerheads to world class athletes, a complex and captivating mixture of technical innovation, high performance problem solving and street-style sub-cultures.”“Sneakers Unboxed” in Doha is part of the legacy of the Qatar-UK 2013 Year of Culture, a wide-ranging celebration of shared cultural ties between Qatar and the UK.The exhibition is presented as part of "Evolution Nation", an 18-month campaign honouring Qatar’s cultural journey over the past 50 years, since the founding of the National Museum of Qatar.Curated by Qatar Creates, the national movement positioning Qatar as a global hub for art, culture, and creativity, Evolution Nation highlights both the nation’s cultural milestones and its aspirations for the future.

A stockpile of more than 350 letters and correspondence, dating back to 1975, provided the National Museum of Qatar (NMoQ) with the intimate and untold story of its founding, highlighted at a major exhibition celebrating the institution’s 50th anniversary.“The biggest discovery (during the research and planning stage) for us who work in the museum were the correspondence, old letters which we found in the storage of our museums,” NMoQ’s Research and Collections deputy director Dr Abdullah Mohammed al-Sulaiti told reporters.He said that when they opened the box and discovered the old, the hidden letters came as a shock, a find that allowed them to piece together the story of the old museum.The exhibition, titled “A Nation’s Legacy, A People’s Memory: Fifty Years Told running until February 7, 2026”, traces the museum’s evolution from its inception in 1975 as the first national museum in the region to its reinvention in 2019 in the iconic structure designed by French architect Jean Nouvel.Such discovery, Dr al-Sulaiti added, offers a raw, firsthand account of the huge logistical and technological challenges faced by the museum’s original architects and curators.“We understand exactly what they are thinking and the difficulties of doing that project at that time,” he said. “There is no Internet, there is no e-mail, there is nothing (of that sort).”“They only have telephone and Telex, it’s a very old machine at that time,” he said, pointing out the contrast with modern communication.Dr al-Sulaiti said that the documents show that early museum staff often had to travel extensively to collect information and objects, highlighting the rigorous dedication required in the pre-digital era.The exhibition begins at Temporary Gallery 13, guiding visitors through the museum’s history from its establishment, an idea initiated in 1972 by His Highness Sheikh Khalifa bin Hamad al-Thani, to its present state.The mission was, and remains, to collect and display the history, traditions, and natural environment of Qatar.The Qatar National Museum officially opened in 1975 within the Sheikh Abdullah bin Jassim Palace, the restoration of which earned the prestigious Aga Khan Award for Architecture in 1980.Key historical artifacts are on display, including some of the newly discovered correspondence.Highlights include the brass opening piece from the 1975 inauguration, displayed next to a photograph of His Highness Sheikh Khalifa.The exhibition also features contemporary re-creations of beloved features from the original site, such as the famous Earth Dome.According to Qatar Museums, the exhibition weaves together personal stories of individuals who contributed to the museum’s legacy alongside archival photographs that trace its role in chronicling Qatar’s national transformation.The exhibition also showcases the work of artists Shouq al-Mana and Khalifa al-Thani, whose pieces reflect national identity and resilience.Among these is Khalifa al-Thani’s Pearls Don’t Lie on the Sand, which transforms the traditional dhow into a luminous sculpture symbolising discovery.A major feature is Yousef Fakhoor’s installation, Echoes of time, The Four Doors.Using sound, light, and video, the piece unfolds a poetic journey through Qatar’s past, present, and imagined future.Each of the four symbolic doors invites reflection, bridging generations by presenting moments in time, from a young girl’s whispered prayer in 1975 to a vision of Qatar in 2050.

The National Museum of Qatar (NMoQ) has unveiled “Lehmesa: Return by Moonlight”, an immersive exhibition that explores the life cycles, habitats, and ecological significance of Qatar’s sea turtles.The exhibition focuses on the endangered Hawksbill turtle, the only sea turtle species that nests on Qatar’s beaches, and reflects the nation’s natural endowment.The exhibition was inaugurated by HE Sheikha Al Mayassa bint Hamad bin Khalifa al-Thani, Chairperson of Qatar Museums (QM), in the attendance of QM chief executive Mohammed Saad al-Rumaihi, NMoQ director Sheikh Abdulaziz al-Thani and other dignitaries.Taking its name from the local term for a sea turtle, “Lehmesa” celebrates the resilience of the Hawksbill turtle, and reflects the nation’s commitment to protecting its biodiversity.On view from today until February 7, 2026, the exhibition marks the 50th anniversary of the NMoQ, a milestone that honours five decades of preserving and sharing the nation’s cultural and natural legacy.Through six immersive sections, “Lehmesa: Return by Moonlight” traces the Hawksbill’s journey from land to sea, offering visitors a sensory-rich experience inspired by Qatar’s coastlines, coral reefs, and marine habitats.Blending environmental science with creative interpretation, the exhibition features works by London-based artist Josh Gluckstein and encourages visitors to reflect on their role in sustaining the balance of the natural world.As part of the exhibition’s public programming, the NMoQ will host a series of events, workshops, and educational activities in collaboration with the Ministry of Environment and Climate Change (MoECC) and Qatar University.These initiatives are aimed at deepening public understanding of marine biodiversity and conservation, engaging families, students, and communities in hands-on learning experiences that highlight the importance of Qatar’s coastal ecosystems.“Lehmesa: Return by Moonlight” is presented as part of Evolution Nation, an 18-month campaign honouring Qatar’s cultural journey over the past 50 years, since the founding of the NMoQ.Curated by Qatar Creates, the national movement positioning Qatar as a global hub for art, culture, and creativity, Evolution Nation highlights both the nation’s cultural milestones and its aspirations for the future.The exhibition explores the turtle within the context of Qatar’s identity, aligning with the Years of Culture initiative, which shares Qatar’s cultural heritage with partner nations.

The National Museum of Korea will open a new permanent exhibition dedicated to Islamic history and culture next month, offering visitors a glimpse into one of the world’s most influential civilisations. In collaboration with the Museum of Islamic Art in Qatar, the Islamic gallery will open Nov 22 on the third floor of the museum’s World Art Gallery. This marks the first time the museum has established a permanent space devoted to Islamic culture.

Qatar Museums (QM) Chairperson HE Sheikha Al Mayassa bint Hamad bin Khalifa al-Thani unveiled the major retrospective “A Nation’s Legacy, A People’s Memory: Fifty Years Told” on Thursday, marking the official kickoff of the National Museum of Qatar (NMoQ)’s 50th-anniversary celebrations across Doha. The celebration featured the recognition of major donors, the prestigious Anniversary Awards Dinner, themed *Recognising Evolution – A Journey from Tradition to Tomorrow, and the “Taste Evolution: Collaboration Dinner”, presented by Qatar Creates. **media[373167]** The opening was attended by QM chief executive Mohammed Saad al-Rumaihi and NMoQ director Sheikh Abdulaziz al-Thani, among other dignitaries and guests. “A Nation’s Legacy” chronicles the NMoQ’s journey, from its establishment in 1975 as the region’s first national museum to its reinvention in 2019 as a cutting-edge experiential institution housed within an iconic building designed by French architect Jean Nouvel. **media[373173]** According to the QM, the NMoQ’s 50th-anniversary festivities began on October 22 with a symbolic voyage of the historical dhow Fateh Al Khair. Bearing the museum’s logo, the dhow sailed along the Doha Corniche, serving as a visual narrative of continuity, resilience, and transformation. **media[373169]** The ceremony was enhanced by cultural maritime performances, featuring renowned Qatari singer Munsoor al-Muhannadi, highlighting the museum’s role as a vital bridge between past heritage and future generations. “For half a century, the NMoQ has safeguarded the legacy of our nation and our national treasures while continually developing new means of storytelling through the latest advances in technology,” Sheikh Abdulaziz said in a press statement. **media[373168]** “With ‘A Nation’s Legacy, A People’s Memory: Fifty Years Told’, we invite audiences to join us in celebrating the institution’s remarkable record of honouring our heritage while imagining what is to come.” NMoQ Research and Collections deputy director Dr Abdullah Mohammed al-Sulaiti told reporters during the press preview that extensive public programming will form part of the exhibition, aimed at nurturing creativity, learning, and cultural participation across all age groups. Key among these initiatives is “NMoQ Late: Our Heritage, By Young NMoQ”, which aims to empower teenagers by offering creative expression opportunities, after-hours access, and culturally relevant initiatives. This effort seeks to position the museum as a vital “third space”, a welcoming environment where youth can connect, collaborate, develop skills, and build a sense of ownership within the community. The QM added that the NMoQ’s learning and outreach programmes, such as workshops, educational activities, and immersive experiences, will further connect audiences with Qatar’s heritage. Specialised culinary initiatives like collaborations with Chef Noof, Desert Rose, and cooking classes at Jiwan will explore food as a living heritage, demonstrating how traditional practices are preserved, adapted, and celebrated today. These programmes will transform the exhibition from a historical survey into a vibrant, interactive journey celebrating Qatar’s past, present, and future. The QM noted that the anniversary celebrations included a special tribute dedicated to the significant donations that have enriched the QM’s collections and sustained the preservation of the nation’s cultural heritage. These gifts were highlighted as a reflection of deep civic pride and the shared commitment of individuals, families, and institutions to safeguarding Qatar’s legacy. The celebrations also featured a live musical performance from Dana al-Meer and Hala al-Emadi, who reflected Qatar’s evolving national identity through a lively fusion of traditional Arabic and modern sounds. It concluded with “Taste Evolution: The Collaboration Dinner”, a culinary experience crafted by Chef Noof al-Marri and QC+’s Michelin-starred Chef Jeremy Cheminade, blending authentic Qatari flavours with contemporary techniques.