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Showing posts with label vandalism. Show all posts
Showing posts with label vandalism. Show all posts

A flaming Swedish Christmas tradition – the annual burning of the Gävle-Goat

by A. M. C. Knutsson

On Saturday the 21st of December the Gävle-Goat was again found in flames after unknown men engaged in a 4 a.m. torching session of this enormous straw creation. The men have yet to be found but the police are searching vigorously for the culprits. If found they would be charged with inflicting gross damage to property.

The burning of the Gävle-goat is a ritual reaching back to 1966, the year when Stig Galvén prompted the first straw goat to be erected in Slottstorget in Gävle, central Sweden. The Yule time straw goat has a long tradition in the Scandinavian culture. It reaches back to pre-Christian days when the god of War, Thor, was said to have a carriage pulled by two goats; Tanngnjost and Tanngrisner.[1] The goat has long been associated with fertility and farming, as such the last wheat sheaf of the year was thought to embody the harvest spirit. As such it could be formed into a goat to boost next year’s crops.[2] As the Nordic countries were converted to Christianity, the goat became increasingly associated with darker powers. None-the-less the Yule goat maintained a prominent role in the Swedish Christmas celebrations. Long before Santa Clause’s arrival at the Swedish shore it was the Yule-Goat who was in charge of distributing gifts to children during the yuletide. He, however, was not quite as jovial as the present day Santa, and parents often threatened unruly children with the Yule-Goat.[3] As late as the end of the 19th Century when Santa Clause finally managed to navigate to the northern countries, it was the Yule-Goat who pulled his sledge. Nowadays there is little left to remind us of the goat but the straw Yule-Goats found in most Swedish homes.

When the Gävle-Goat first appeared in 1966, it was then a symbol recognisable to all Swedes, however its scale was something quite new. The goat was 13 meters (42.6 feet) high and 7 meters (23 feet) long, weighing an impressive 3 tonnes. Since then every year a gigantic straw goat has been installed on Slottstorget around the first of advent. On New Years Eve of 1966, Galvén’s goat was the first of many to feel the power of the flame.[4] As opposed to most other vandals, the first one was caught and charged with inflicting gross damage to property. This was followed by two years of peace for the goat after which it again was torched on New Years Eve 1969. Whilst many forms of vandalism have afflicted the Goat throughout the years the most common by far is arson. When the goat burnt on the 21st of Dec 2013, it was the 27th time the poor beast has met its end by the torch.

In 1985 the goat met with a new level of fame when it was included in The Guinness Book of World Records for its impressive 12.5 meter height, which was later beaten by the 1993 goat, which towered 16 meters above ground. Since 1986 two Yule-Goats have been found in Gävle, as two competing associations have been building them: the Southern Merchants (constructing the Gävle-Goat, the bigger goat, usually targeted by arsonists) and Natural Science Club of the School of Vasa (Constructing the Yule-Goat). Only two years later, the goat had met such repute that English bookmakers took up the challenge of the goat burning and ever since it has been possible to bet on whether or not the goat will burn. As the renown of the goat rose so did the police efforts to secure it. Whilst in 1990 volunteers had guarded the goat, by 1996 the first web cameras had been installed and it was now possible to follow the destiny of the goat online. The fame of the goat was such that in 2001, an American from New Orleans, having taken the burnings of the goat as a permitted tradition decided to torch it. A civilian caught him almost immediately and the police had to rescue him from the wrath of the people of Gävle.[5] The man later received a fine of 100 000 Swedish crowns (approx. $15,000) and a month in jail.[6]

Apart from the attempts at destruction by fire the most notable attack on the goat came in 2010, when two unknown men offered the goat’s guard 50 000 Swedish crowns (approx. $7,500) to leave the goat for a few minutes. The plan was to kidnap the goat and by helicopter bring it to Stureplan in Stockholm.[7]

Whilst flame-retardants have been used for some years, including this year, the goat has burnt to the ground for the last three years. In the Facebook group ‘Vi som vill bränna Gävle-bocken’ ('We who want to burn the Gävle-goat'), a comment appeared just a day before its destruction. “All who have guessed that the goat would burn today, maybe it is time to take matters into your own hands?”[8] A few hours later the goat was in flames. From its twitter account the Gävle-Goat announced “I'm so sad my friends that I have to leave you now! Thank you for this year! Take care and have a Merry Christmas and a Happy New Year!”[9]

[1] "Mytologi (Nordisk)". Nordisk familjebok, 1913. Read 23 December 2013
[2] Karin Schager, Julbocken i folktro och jultradition, (1989)
[3] Caroline Lagercrantz, http://www.popularhistoria.se/artiklar/julbocken-i-maskopi-med-morka-makter/, (26 Jan 2007), Read 23 December 2013
[4] http://www2.visitgavle.se/sv/se-gora/a548364/gavlebockens-historia/detaljer
[5] Dennis Larsson, http://www.aftonbladet.se/nyheter/article10249963.ab (24 Dec 2001), Read 23 December 2013
[6] Josefin Karlsson & Niklas Eriksson, http://www.aftonbladet.se/nyheter/article18065246.ab (21 Dec 2013), Read 23 December 2013
[9] https://twitter.com/Gavlebocken, Read 23 December 2013

Further Reading:
"Mytologi (Nordisk)". Nordisk familjebok, 1913. Karin Schager, Julbocken i folktro och jultradition, (1989)
Karlsson, Josefin & Niklas Eriksson, http://www.aftonbladet.se/nyheter/article18065246.ab (21 Dec 2013)

The YouTube video above is from Gävlebocken 2012.
by A. M. C. Knutsson

On Saturday the 21st of December the Gävle-Goat was again found in flames after unknown men engaged in a 4 a.m. torching session of this enormous straw creation. The men have yet to be found but the police are searching vigorously for the culprits. If found they would be charged with inflicting gross damage to property.

The burning of the Gävle-goat is a ritual reaching back to 1966, the year when Stig Galvén prompted the first straw goat to be erected in Slottstorget in Gävle, central Sweden. The Yule time straw goat has a long tradition in the Scandinavian culture. It reaches back to pre-Christian days when the god of War, Thor, was said to have a carriage pulled by two goats; Tanngnjost and Tanngrisner.[1] The goat has long been associated with fertility and farming, as such the last wheat sheaf of the year was thought to embody the harvest spirit. As such it could be formed into a goat to boost next year’s crops.[2] As the Nordic countries were converted to Christianity, the goat became increasingly associated with darker powers. None-the-less the Yule goat maintained a prominent role in the Swedish Christmas celebrations. Long before Santa Clause’s arrival at the Swedish shore it was the Yule-Goat who was in charge of distributing gifts to children during the yuletide. He, however, was not quite as jovial as the present day Santa, and parents often threatened unruly children with the Yule-Goat.[3] As late as the end of the 19th Century when Santa Clause finally managed to navigate to the northern countries, it was the Yule-Goat who pulled his sledge. Nowadays there is little left to remind us of the goat but the straw Yule-Goats found in most Swedish homes.

When the Gävle-Goat first appeared in 1966, it was then a symbol recognisable to all Swedes, however its scale was something quite new. The goat was 13 meters (42.6 feet) high and 7 meters (23 feet) long, weighing an impressive 3 tonnes. Since then every year a gigantic straw goat has been installed on Slottstorget around the first of advent. On New Years Eve of 1966, Galvén’s goat was the first of many to feel the power of the flame.[4] As opposed to most other vandals, the first one was caught and charged with inflicting gross damage to property. This was followed by two years of peace for the goat after which it again was torched on New Years Eve 1969. Whilst many forms of vandalism have afflicted the Goat throughout the years the most common by far is arson. When the goat burnt on the 21st of Dec 2013, it was the 27th time the poor beast has met its end by the torch.

In 1985 the goat met with a new level of fame when it was included in The Guinness Book of World Records for its impressive 12.5 meter height, which was later beaten by the 1993 goat, which towered 16 meters above ground. Since 1986 two Yule-Goats have been found in Gävle, as two competing associations have been building them: the Southern Merchants (constructing the Gävle-Goat, the bigger goat, usually targeted by arsonists) and Natural Science Club of the School of Vasa (Constructing the Yule-Goat). Only two years later, the goat had met such repute that English bookmakers took up the challenge of the goat burning and ever since it has been possible to bet on whether or not the goat will burn. As the renown of the goat rose so did the police efforts to secure it. Whilst in 1990 volunteers had guarded the goat, by 1996 the first web cameras had been installed and it was now possible to follow the destiny of the goat online. The fame of the goat was such that in 2001, an American from New Orleans, having taken the burnings of the goat as a permitted tradition decided to torch it. A civilian caught him almost immediately and the police had to rescue him from the wrath of the people of Gävle.[5] The man later received a fine of 100 000 Swedish crowns (approx. $15,000) and a month in jail.[6]

Apart from the attempts at destruction by fire the most notable attack on the goat came in 2010, when two unknown men offered the goat’s guard 50 000 Swedish crowns (approx. $7,500) to leave the goat for a few minutes. The plan was to kidnap the goat and by helicopter bring it to Stureplan in Stockholm.[7]

Whilst flame-retardants have been used for some years, including this year, the goat has burnt to the ground for the last three years. In the Facebook group ‘Vi som vill bränna Gävle-bocken’ ('We who want to burn the Gävle-goat'), a comment appeared just a day before its destruction. “All who have guessed that the goat would burn today, maybe it is time to take matters into your own hands?”[8] A few hours later the goat was in flames. From its twitter account the Gävle-Goat announced “I'm so sad my friends that I have to leave you now! Thank you for this year! Take care and have a Merry Christmas and a Happy New Year!”[9]

[1] "Mytologi (Nordisk)". Nordisk familjebok, 1913. Read 23 December 2013
[2] Karin Schager, Julbocken i folktro och jultradition, (1989)
[3] Caroline Lagercrantz, http://www.popularhistoria.se/artiklar/julbocken-i-maskopi-med-morka-makter/, (26 Jan 2007), Read 23 December 2013
[4] http://www2.visitgavle.se/sv/se-gora/a548364/gavlebockens-historia/detaljer
[5] Dennis Larsson, http://www.aftonbladet.se/nyheter/article10249963.ab (24 Dec 2001), Read 23 December 2013
[6] Josefin Karlsson & Niklas Eriksson, http://www.aftonbladet.se/nyheter/article18065246.ab (21 Dec 2013), Read 23 December 2013
[9] https://twitter.com/Gavlebocken, Read 23 December 2013

Further Reading:
"Mytologi (Nordisk)". Nordisk familjebok, 1913. Karin Schager, Julbocken i folktro och jultradition, (1989)
Karlsson, Josefin & Niklas Eriksson, http://www.aftonbladet.se/nyheter/article18065246.ab (21 Dec 2013)

The YouTube video above is from Gävlebocken 2012.
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Caitlin Willis on "Graffiti in Contemporary Rome: Why Reductive Solutions will Fail and Why that's a Good Thing" (The Journal of Art Crime, Spring 2013)

In the Spring 2013 issue of The Journal of Art Crime, Caitlin Willis writes on "Graffiti in Contemporary Rome: Why Reductive Solutions will Fail and Why that's a Good Thing":
Graffiti is an area where there is not a clear delineation between art and crime; rather the two fields not only intermingle but, in fact, depend upon the other. The illegal, anti-authoritarian elements of graffiti allow the medium to retain its authenticity, to remain unaffected by the dominant power. Yet the largely discredited Broken Windows theory links such minor crimes to larger ones and is used as the basis for the policies of many police forces worldwide. Of particular interest to this paper is the importance of the theory in anti-graffiti efforts, as it has led to the complete and utter demonization of graffiti. Such policies have rendered the walls of Rome into a battleground between the mayor, Gianni Alemanno, and the local writers. many graffiti writers are appalled that the mayor claims concern for Italian patrimony and cultural heritage while daily destroying the innovative work of contemporary Italians. Graffiti can elevate the aesthetics of a neighborhood and, indeed, be a gift to a community. The terminology used to describe "legitimate" art can easily and appropriately be used to analyze the lines, forms, colors, and dynamism of graffiti. Graffiti is art experienced in the galleries of streets, walls, rooftops, trains, and bridges. It is an art form aware of itself, looking back on its own history to discover inspiration and to impart essential skills while stretching forward to ever-greater creativity and innovation.
Caitlin Willis is a freelance art reporter living and working in New York City. She is a graduate of Fordham University and the 2011 ARCA Certificate Program. A retired street artist, Caitlin enjoys passionately defending non-traditional art forms and smashing to bits misguided pretension.

The ninth issue of The Journal of Art Crime, edited by Noah Charney and published by ARCA, is available electronically (pdf) and in print via subscription and Amazon.com. The Associate Editor is Marc Balcells (ARCA '11), Graduate Teaching Fellow, Department of Political Science, John Jay College of Criminal Justice -- The City University of New York.
In the Spring 2013 issue of The Journal of Art Crime, Caitlin Willis writes on "Graffiti in Contemporary Rome: Why Reductive Solutions will Fail and Why that's a Good Thing":
Graffiti is an area where there is not a clear delineation between art and crime; rather the two fields not only intermingle but, in fact, depend upon the other. The illegal, anti-authoritarian elements of graffiti allow the medium to retain its authenticity, to remain unaffected by the dominant power. Yet the largely discredited Broken Windows theory links such minor crimes to larger ones and is used as the basis for the policies of many police forces worldwide. Of particular interest to this paper is the importance of the theory in anti-graffiti efforts, as it has led to the complete and utter demonization of graffiti. Such policies have rendered the walls of Rome into a battleground between the mayor, Gianni Alemanno, and the local writers. many graffiti writers are appalled that the mayor claims concern for Italian patrimony and cultural heritage while daily destroying the innovative work of contemporary Italians. Graffiti can elevate the aesthetics of a neighborhood and, indeed, be a gift to a community. The terminology used to describe "legitimate" art can easily and appropriately be used to analyze the lines, forms, colors, and dynamism of graffiti. Graffiti is art experienced in the galleries of streets, walls, rooftops, trains, and bridges. It is an art form aware of itself, looking back on its own history to discover inspiration and to impart essential skills while stretching forward to ever-greater creativity and innovation.
Caitlin Willis is a freelance art reporter living and working in New York City. She is a graduate of Fordham University and the 2011 ARCA Certificate Program. A retired street artist, Caitlin enjoys passionately defending non-traditional art forms and smashing to bits misguided pretension.

The ninth issue of The Journal of Art Crime, edited by Noah Charney and published by ARCA, is available electronically (pdf) and in print via subscription and Amazon.com. The Associate Editor is Marc Balcells (ARCA '11), Graduate Teaching Fellow, Department of Political Science, John Jay College of Criminal Justice -- The City University of New York.
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Dr. Joris Kila Reports on Feb. 1 Fire that Damaged the former American Embassy at the Historic Villa Casdagli in Cairo


Old interior picture of Villa Casdagli Hall
and Chapel. Photo by Jeremy Young.
This is a report from Dr. Joris Kila, Chairman of the International Cultural Resources Working Group (IMCuRWG) and adviser to the Austrian Committee of the Blue Shield and the Association of the National Committees of the Blue Shield (ANCBS).

Dr. Peter Lacovara, a US Egyptologist working in Luxor, sent out an alarm early this month after vandals torched the former American Embassy, the Villa Casdagli, in Cairo on February 1. Alerted by the Lawyers Committee for Cultural Heritage Preservation, Corine Wegener, president of U.S. Blue Shield, contacted Dr. Kila who was spending a week in Cairo to report on the damage. The fire set on Friday night was not extinguished until early Saturday morning.  

Fire damaged Villa Casdagli on Feb. 9Photo by Dr. Joris Kila
Villa Casdagli on the Midan Simon Bolivar is very close to the Tahrir Square. It was reported that later several adolescents had set fire to the interior of the villa and were were chased away by casual passer-by’s.

According to Dr. Lacovara's message on 4 February 2013, the Cairo fire department needed the security forces to clear Tahrir Square of demonstrators who were doing everything possible to stop the fire department from putting out the fire at the villa. As of 4.30 in the afternoon on February 4, fire was still smoldering in the upper floors and smoke was coming out through the windows. Plunderers were ripping out anything of value inside the villa. Dr. Lacovara had asked the fire department to revisit the premises, but they refused to do so as there was no roaring fire apparent, and they didn’t want to venture out and possibly cause another violent demonstration. The firefighters believed they would need protection to undertake this job but security forces were disinclined to break the calm that prevailed in the area.

Villa Casdagli's 2nd floor (Photo by Dr. Kila)
One week after the fire on Saturday Feb. 9, Dr. Joris Kila and Tilly Mulder, an advocate for Blue Shield in Egypt, went to the Midan Simon Bolivar. Most of the antique fence and that gate to the Villa Casdagli had been stolen, leaving the building unprotected and still vulnerable to looters. Kila and Mulder, joined by Egyptian architectural researcher Ahmad Al-Bindari, went inside and saw the devastation. The Byzantine hall in which Saint George was so well depicted in both the celestial ceiling and the hall’s extraordinary cloister (chapel) is severely damaged. The monumental staircase is completely destroyed by fire. Marble ornaments and fireplaces are broken with pieces scattered around. Everywhere in the building, useable parts are stripped and stolen. The second floor was found completely burned and ravaged.

Hall and chapel on Feb. 9 (Photo by Dr. Kila)
The team tried to get more information about who created this destruction and looting but this was difficult. The Villa is close to the Tahrir Square and more or less in a sort of riot zone. There is no police so everything is left unguarded. Unconfirmed rumors blame criminal elements who are also kept responsible for looting and damaging the lobby of the nearby Intercontinental Hotel. The website Egy.com states: "the solitary winner here is the villa's latest owner who will no doubt sell this prime real estate to Qatar or replace it with a lucrative high rise’’.

The fact that the Casdagli Villa was an official monument did not make much difference. Last year another Cairo monument, the luxuriously furnished villa of Kevork Ispenian on the Pyramids Road, was looted and destroyed despite being on Egypt’s heritage list.

Back ground of the Villa Casdagli
The Villa Casdagli is a listed historic monument. It is an irreplaceable architectural landmark with distinguished architecture, European-style paintings, mosaics and special inlays. It was built during the first decade of the 20th century by Austrian architect Edward Matasek (1867-1912). According to the Casdagli family,  Emanuel Casdagli [a British educated Levantine family of Georgian-Central Caucasia origins dealing in the lucrative Manchester trade] purchased the building in 1911 after the British High Commander Sir Eldon Gorst moved to a 'more stately home.' One of Villa Casdagli's pre World War II tenants was the American Embassy. The building is situated next to the plot where the current US embassy is located.

The Villa Casdagli later became a school for girls named after Sudanese revolutionary "Ali Abdelatif". In 2006, the Supreme Council of Antiquities (SCA), now the Ministry of State for Antiquities (MSA), placed the villa on Egypt's heritage list as an Islamic monument. In 2008, the SCA, in collaboration with the United States Agency for International Development (USAID) and the American Research Centre in Cairo (ARCE), developed a comprehensive restoration project for the building. The project was funded by the US Department of State's Ambassadors Fund for Cultural Preservation with a $5 million grant. After restoration the monument would become a new Institute of Museology, established by the Ministry of State for Antiquities Affairs to train curators on modern technology as used in world renowned museums. Courses would include museum presentation and exhibition design, restoration, museum studies and heritage management and the institute would offer MA and PhD programs.

On February 10 Dr. Kila and Ms. Mulder attended a meeting of the so-called ‘’Friends of Manial Palace Museum”. This NGO has good relations with the Antiquities Ministry (formerly Supreme Council of Antiquities) -- proof of this is that the meeting was held in the premises of this Ministry in Zamalek. During the meeting, it was understood that the ownership of the Villa Casdagli had been transferred from the Ministry of Education to the Antiquities Ministry which makes real-estate speculation less likely.

According to an article in Al Ahram online published 13 February and on the occasion of a symposium on the "Islamic view on cultural heritage", the Egyptian Ministry of Antiquities, the Organization of Islamic Cooperation (OIC), and the Research Centre for Islamic History, Art and Culture" (IRCICA) issued the "International Declaration of Cairo", which protects Islamic as well as Pre-Islamic heritage. Among the participants were the Grand Mufti of Egypt, the Sheikh d'Al-Azhar and the Minister of Waqfs. The Grand Mufti announced that he is going to publish a book on short notice that collects all fatwas on the protection of heritage. The use of Fatwa’s to prevent abuse and destruction of Cultural Property which also happened in Iraq. In May 2003, just after the American invasion of Iraq had begun Grand Ayatollah Ali al-Sistani was asked by the archaeology inspector of Dhi Qar province in southern Iraq to announce a fatwa. The request was granted and Al-Sistani proclaimed that digging for antiquities is illegal; that both Islamic and pre-Islamic artefacts are part of Iraqi heritage; and that people with antiquities in their possession should return them to the museum in Baghdad or Nasiriya. Copies of the fatwa were distributed widely in the south, and published in the Iraqi press. As a result some of the looting stopped. Islamic leaders can have a major positive impact on protecting cultural heritage.

Sources:

Email correspondence with Dr. Thomas Schuler Disaster Relief Task Force (DRTF) of ICOM, Cori Wegener USBS, Dr. Peter Lacovara.


Publications: Kila, Joris, “Can white men sing the blues? Cultural Property Protection in times of armed conflict deploying military experts,” in Laurie Rush
(ed.), Archaeology, Cultural Property and the Military, Woodbridge 2010, pp. 41–59


Kila, Joris. Heritage under Siege. Military Implementation of Cultural Property Protection following the 1954 (Heritage and Identity, 1). Leiden-Boston 2012.

Ahram online,Saturday, 16 February 2013 http://www.egy.com/gardencity/97-02-08.php

Looters smash jewel of Cairo’s colonial past | The Sunday Times Sara Hashash, Cairo Published: 10 February 2013

Al-Ahram Weekly On-line | Heritage | Back to school for museum staff, 19 - 25 May 2011, Issue No. 1048


Old interior picture of Villa Casdagli Hall
and Chapel. Photo by Jeremy Young.
This is a report from Dr. Joris Kila, Chairman of the International Cultural Resources Working Group (IMCuRWG) and adviser to the Austrian Committee of the Blue Shield and the Association of the National Committees of the Blue Shield (ANCBS).

Dr. Peter Lacovara, a US Egyptologist working in Luxor, sent out an alarm early this month after vandals torched the former American Embassy, the Villa Casdagli, in Cairo on February 1. Alerted by the Lawyers Committee for Cultural Heritage Preservation, Corine Wegener, president of U.S. Blue Shield, contacted Dr. Kila who was spending a week in Cairo to report on the damage. The fire set on Friday night was not extinguished until early Saturday morning.  

Fire damaged Villa Casdagli on Feb. 9Photo by Dr. Joris Kila
Villa Casdagli on the Midan Simon Bolivar is very close to the Tahrir Square. It was reported that later several adolescents had set fire to the interior of the villa and were were chased away by casual passer-by’s.

According to Dr. Lacovara's message on 4 February 2013, the Cairo fire department needed the security forces to clear Tahrir Square of demonstrators who were doing everything possible to stop the fire department from putting out the fire at the villa. As of 4.30 in the afternoon on February 4, fire was still smoldering in the upper floors and smoke was coming out through the windows. Plunderers were ripping out anything of value inside the villa. Dr. Lacovara had asked the fire department to revisit the premises, but they refused to do so as there was no roaring fire apparent, and they didn’t want to venture out and possibly cause another violent demonstration. The firefighters believed they would need protection to undertake this job but security forces were disinclined to break the calm that prevailed in the area.

Villa Casdagli's 2nd floor (Photo by Dr. Kila)
One week after the fire on Saturday Feb. 9, Dr. Joris Kila and Tilly Mulder, an advocate for Blue Shield in Egypt, went to the Midan Simon Bolivar. Most of the antique fence and that gate to the Villa Casdagli had been stolen, leaving the building unprotected and still vulnerable to looters. Kila and Mulder, joined by Egyptian architectural researcher Ahmad Al-Bindari, went inside and saw the devastation. The Byzantine hall in which Saint George was so well depicted in both the celestial ceiling and the hall’s extraordinary cloister (chapel) is severely damaged. The monumental staircase is completely destroyed by fire. Marble ornaments and fireplaces are broken with pieces scattered around. Everywhere in the building, useable parts are stripped and stolen. The second floor was found completely burned and ravaged.

Hall and chapel on Feb. 9 (Photo by Dr. Kila)
The team tried to get more information about who created this destruction and looting but this was difficult. The Villa is close to the Tahrir Square and more or less in a sort of riot zone. There is no police so everything is left unguarded. Unconfirmed rumors blame criminal elements who are also kept responsible for looting and damaging the lobby of the nearby Intercontinental Hotel. The website Egy.com states: "the solitary winner here is the villa's latest owner who will no doubt sell this prime real estate to Qatar or replace it with a lucrative high rise’’.

The fact that the Casdagli Villa was an official monument did not make much difference. Last year another Cairo monument, the luxuriously furnished villa of Kevork Ispenian on the Pyramids Road, was looted and destroyed despite being on Egypt’s heritage list.

Back ground of the Villa Casdagli
The Villa Casdagli is a listed historic monument. It is an irreplaceable architectural landmark with distinguished architecture, European-style paintings, mosaics and special inlays. It was built during the first decade of the 20th century by Austrian architect Edward Matasek (1867-1912). According to the Casdagli family,  Emanuel Casdagli [a British educated Levantine family of Georgian-Central Caucasia origins dealing in the lucrative Manchester trade] purchased the building in 1911 after the British High Commander Sir Eldon Gorst moved to a 'more stately home.' One of Villa Casdagli's pre World War II tenants was the American Embassy. The building is situated next to the plot where the current US embassy is located.

The Villa Casdagli later became a school for girls named after Sudanese revolutionary "Ali Abdelatif". In 2006, the Supreme Council of Antiquities (SCA), now the Ministry of State for Antiquities (MSA), placed the villa on Egypt's heritage list as an Islamic monument. In 2008, the SCA, in collaboration with the United States Agency for International Development (USAID) and the American Research Centre in Cairo (ARCE), developed a comprehensive restoration project for the building. The project was funded by the US Department of State's Ambassadors Fund for Cultural Preservation with a $5 million grant. After restoration the monument would become a new Institute of Museology, established by the Ministry of State for Antiquities Affairs to train curators on modern technology as used in world renowned museums. Courses would include museum presentation and exhibition design, restoration, museum studies and heritage management and the institute would offer MA and PhD programs.

On February 10 Dr. Kila and Ms. Mulder attended a meeting of the so-called ‘’Friends of Manial Palace Museum”. This NGO has good relations with the Antiquities Ministry (formerly Supreme Council of Antiquities) -- proof of this is that the meeting was held in the premises of this Ministry in Zamalek. During the meeting, it was understood that the ownership of the Villa Casdagli had been transferred from the Ministry of Education to the Antiquities Ministry which makes real-estate speculation less likely.

According to an article in Al Ahram online published 13 February and on the occasion of a symposium on the "Islamic view on cultural heritage", the Egyptian Ministry of Antiquities, the Organization of Islamic Cooperation (OIC), and the Research Centre for Islamic History, Art and Culture" (IRCICA) issued the "International Declaration of Cairo", which protects Islamic as well as Pre-Islamic heritage. Among the participants were the Grand Mufti of Egypt, the Sheikh d'Al-Azhar and the Minister of Waqfs. The Grand Mufti announced that he is going to publish a book on short notice that collects all fatwas on the protection of heritage. The use of Fatwa’s to prevent abuse and destruction of Cultural Property which also happened in Iraq. In May 2003, just after the American invasion of Iraq had begun Grand Ayatollah Ali al-Sistani was asked by the archaeology inspector of Dhi Qar province in southern Iraq to announce a fatwa. The request was granted and Al-Sistani proclaimed that digging for antiquities is illegal; that both Islamic and pre-Islamic artefacts are part of Iraqi heritage; and that people with antiquities in their possession should return them to the museum in Baghdad or Nasiriya. Copies of the fatwa were distributed widely in the south, and published in the Iraqi press. As a result some of the looting stopped. Islamic leaders can have a major positive impact on protecting cultural heritage.

Sources:

Email correspondence with Dr. Thomas Schuler Disaster Relief Task Force (DRTF) of ICOM, Cori Wegener USBS, Dr. Peter Lacovara.


Publications: Kila, Joris, “Can white men sing the blues? Cultural Property Protection in times of armed conflict deploying military experts,” in Laurie Rush
(ed.), Archaeology, Cultural Property and the Military, Woodbridge 2010, pp. 41–59


Kila, Joris. Heritage under Siege. Military Implementation of Cultural Property Protection following the 1954 (Heritage and Identity, 1). Leiden-Boston 2012.

Ahram online,Saturday, 16 February 2013 http://www.egy.com/gardencity/97-02-08.php

Looters smash jewel of Cairo’s colonial past | The Sunday Times Sara Hashash, Cairo Published: 10 February 2013

Al-Ahram Weekly On-line | Heritage | Back to school for museum staff, 19 - 25 May 2011, Issue No. 1048

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Accusations of money laundering, vandalism and the theft of a Picasso lithograph in Northern California at a mansion allegedly belonging to the former Ukrainian Prime Minister

Novato mansion/Associated Press
The theft of a Picasso lithograph, accusations of money laundering, and vandalism converge in an abandoned mansion in Northern California.

More than 100 people partied in a 19,500 square foot residence in South Novato without the permission of the alleged owner, former Ukrainian Prime Minister  Pavlo Lazarenko, reports Will Jason for the Marin Independent Journal.

The caretaker reported that amongst the vandalism, a $30,000 Picasso lithograph disappeared.

Lazarenko is imprisoned in Southern California.  The United Nations estimates that Lazarenko stole $200 million from the government of Ukraine.

UPDATE: The Picasso lithograph was found on a walking path below the mansion and handed over to the police.  You can see the video and read the story here.
Novato mansion/Associated Press
The theft of a Picasso lithograph, accusations of money laundering, and vandalism converge in an abandoned mansion in Northern California.

More than 100 people partied in a 19,500 square foot residence in South Novato without the permission of the alleged owner, former Ukrainian Prime Minister  Pavlo Lazarenko, reports Will Jason for the Marin Independent Journal.

The caretaker reported that amongst the vandalism, a $30,000 Picasso lithograph disappeared.

Lazarenko is imprisoned in Southern California.  The United Nations estimates that Lazarenko stole $200 million from the government of Ukraine.

UPDATE: The Picasso lithograph was found on a walking path below the mansion and handed over to the police.  You can see the video and read the story here.
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