How Israel Destroyed Education in Gaza

By Hani Shehada

In 2005, a university in the United Kingdom offered me a scholarship. I never set foot on its campus. I could not leave Gaza. 

The crossing through which I would have travelled had been closed for more than six months, and a locked gate does not read acceptance letters.

By the time it might have opened, the place would have belonged to someone else, to another academic year, another student, another version of my life.

I have carried that small, private loss for more than 20 years. I raise it now only because it has become the most modest possible version of something far larger: The systematic narrowing of an entire generation’s future.

The destruction of education in Gaza cannot be understood only through the number of buildings reduced to rubble. 

Its defining feature is its reach across the entire learning system. Schools and universities have been damaged or destroyed.

Students, teachers and professors have been killed or displaced. Libraries, laboratories, archives and other repositories of knowledge have been erased.

United Nations experts and a growing body of academic research have described this pattern as ‘scholasticide’: the systematic destruction of education through attacks on its institutions, infrastructure, students, educators and intellectual life. 

The term captures something that statistics alone cannot. What is being lost is not a collection of isolated buildings, but the foundations through which a society preserves knowledge, prepares its young people and imagines a future.

The scale is difficult to comprehend. By July 2025, 97 percent of Gaza’s schools had sustained damage.

United Nations experts reported that all 12 of Gaza’s universities had been damaged or destroyed; a later UNESCO assessment found that 95 percent of higher-education campuses had been affected, with most buildings destroyed or rendered unusable.

More than 68 million metric tons of debris now cover Gaza. Hundreds of teachers, professors and other education workers have been killed.

But the loss of a scholar cannot be measured as the loss of a building can. 

It is the disappearance of decades of accumulated knowledge: The lectures never delivered, the research never completed, the students never mentored and the future teachers, doctors, engineers and writers who will never encounter that person in a classroom.

Ordinary foundations of classrooms

For Gaza’s children, education now survives largely through improvisation. Hundreds of temporary learning spaces have been assembled in tents, shelters and damaged buildings. 

The word “temporary” has become misleading. For many children, these spaces are not a bridge back to school. They are the only school they know.

Picture it plainly: children sitting on the ground, with no desks or chairs; A teacher working beneath plastic sheeting, without reliable light, electricity or a proper board. 

The tent is stifling in summer and vulnerable to rain and flooding in winter. At times, even the most basic tools of learning have been unavailable. 

For more than two years, educational materials were prevented from entering Gaza. Not weapons. Pencils, notebooks, exercise books, crayons and rulers.

Only in January 2026 did UNICEF announce that thousands of basic learning and recreational kits had begun entering Gaza after more than two years of restrictions. Reuters news agency reported that the kits contained pencils, but textbooks were still not permitted. 

Read that again. We are not debating curricula, teaching methods or class sizes. We have reached the question of whether a child may have a pencil. 

A pencil should not be a subject of negotiation. Nor should a desk, a page or a roof. These are the ordinary foundations of a classroom, the things assumed to exist before a lesson begins. 

In Gaza, they have become objects of longing: A child wishing for a notebook, a teacher forced to improvise without the simplest tools, the ordinary conditions of learning placed beyond reach.

Gaza is often described as a place Palestinians are desperate to escape. That framing misses something essential. 

For many Palestinians I know, leaving is not the dream. The dream is to remain, to study, work, raise a family and build a future in the place they call home, without being imprisoned within it.

But the space in which that life might be lived continues to contract. 

In late May, Prime Minister Benjamin Netanyahu said Israeli forces occupied over 60 percent of Gaza and had been instructed to expand that occupation to 70 percent. 

Almost the entire population of roughly two million people are confined to a small coastal strip, most displaced and many displaced repeatedly.

The routes on which a life may depend, to reach medical treatment, accept a scholarship, reunite with family or move beyond the path of another evacuation order, remain restricted, uncertain or closed.

To be trapped is not only to be denied departure. It is to watch the boundaries of ordinary life close around you: the space to live, to learn, to recover and, one day, to rebuild.

Within that shrinking geography, children are still expected to learn. They arrive at tents and damaged buildings without reliable electricity, safe water, desks or textbooks. 

Some carry injuries that require treatment unavailable in Gaza. Some are living with disabilities. Some have lost one parent, both parents or entire branches of their families.

Yet they are still asked to sit down, concentrate and imagine a future, as though hope itself requires no shelter.

In 2005, a closed border cost one student one opportunity. What is happening now is not the loss of a single chance, but the systematic narrowing of a generation’s future.

Education cannot wait

Gaza’s young people stand before doors held shut: The door to a classroom, an examination, a university place, a recognized qualification and, ultimately, a working life. My loss was one interrupted chapter. 

For them, interruption has become the architecture of childhood itself, year after year in which education is delayed, diminished or placed entirely beyond reach.

There is one more word the world reaches for when it speaks about Gaza: Resilience.

That resilience is real. I have witnessed it all my life. But the word becomes dangerous when it allows the outside world to admire Palestinian endurance rather than confront the conditions that make such endurance necessary.

There is nothing inspiring about a child learning her letters on the floor of a tent. There is nothing noble about forcing a generation to prove, again and again, that it still wants a future.

Children should not have to be resilient. They should have schools.

I am not asking for sympathy. Sympathy did not open the border for me in 2005, and it will not open it for Gaza’s students now. 

I’m asking to stop treating education as something that can wait, until after the war, after reconstruction, after every other need deemed more urgent.

That order is backwards.

For generations of Palestinians, education has been more than a route to employment. 

It has been a means of preserving identity, dignity and possibility under Israeli occupation and forced displacement. A pencil is not what you provide once the serious work is finished.

And the pencil is serious work. The fact that even pencils were kept out reveals how consequential the right to learn has become.

I was eventually able to begin again elsewhere. Most young people in Gaza have no such second chance. 

The obligation now is to ensure that education survives with them: that there are teachers to learn from, examinations they can sit, qualifications the world will recognise and universities prepared to receive them. 

Because a generation cannot be asked to rebuild Gaza after the world has allowed every path to its future to be erased.

The writer Hani Shehada, an educational expert in Gaza, contributed this article to TRTWorld.

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Carthage: Rock City of Art

Regardless of the heat, it is breathtaking, the blue sea from one side, houses, residential buildings on the other, and a sprawling theatre in the middle.

It’s the world-famous Carthage Theater, an impressive monument that has been on the UNESCO Heritage List since 1979 because of its cultural significance and structure that goes back to the mid-2nd Century AD when it was built.

Below the sun beats down, almost scorching but up here, right in the top rows of the theatre, it lightens with welcome breaks of cool winds that spanks you across the face. The Orchestra sits at the bottom and beyond is a modern stage. The structure seems to have been developed among shrubbery and enormously tall-length trees that gives the place a special ambiance.

I sat down marvelling at what’s in front of me, an impressive, imposing auditorium that at first does not strike the eye. In fact seeing it from below at the stage level, the theatre is quite modest, but that soon changes because from up here, you see the domineering prowess of the semi-circular auditorium as the optical lens takes over, sweeping the rows, seating sections and aisles of this structure.

All this you see in seconds, but you are quickly consumed by it all, taking a back seat, almost a deep breath to understand the dominance of stones, mortar and the actual dynamics of it all. This is the place where history was once played a decisive role in dictating world events under-footed by Greco-Roman rivalry, that resulted in a whole city being built, Carthage, and gaining prominence as one of the most important fertile lands in the region.

As it did in its different epochs, today the Carthage Theater stands as a home of culture and the arts, a place to get away to, when you want to escape from the trials and tribulations of daily life as in the case of the Carthage International Festival that began in 1968, but with a long artistic tradition since 1906.


I am told the theatre holds the capacity for 10,000 people which is considered “safe” and does not pose any risk. Today, it is the so-called Agency for Development of National Heritage and Cultural Promotion which operates under the Tunisian Ministry of Culture that is responsible for the maintenance of the site. Many say if squeezed together the site can hold up to 15,000 spectators.

The whole complex is vast with a diameter of 105 meters and around 40 tiers of seating, divided up by winding stairs, technically named in Latin, scalaria. The theatre does not follow the typical examples of other theaters and for example, there are no praecinctio sections splitting the blocs of seating and leading to the vomitoria. If anything here the vomitoria, is within the seating complex, which is different than say the South Theater in Jarash, Jordan.

But this maybe due to the fact that the Carthage theatre had been in ruins in fact, partially burned down in 439 AD and excavated towards the late 19th Century when the theatre was found in 1904. In 1968 full restoration began but it followed in stages, building on the first four or five original rows going all the way upwards. Thus, it can be called the Carthage Theater is a modern theatre that cherished its past history all those centuries ago when an a Phoenician queen, called Elyssa, together with her sailors rode the waves of the Mediterranean and established a citadel that became Carthage, and latter conquered by the Romans.

The Theater stands amidst as a historical monument whose modernity can still harp back to authentic eras developed in modern stages. I was told by one that the original structure went all the way up, pointing his finger to a wall that had been built to encase the structure.

The ruins overstretched the wall, for beyond laid the remains of the Odium, a formation that is in need of much development, and which, in addition to the amphitheatre below, served an ongoing Carthage complex related to what is today a small but beautiful village stretching to the Tunisian capital and its port. Indeed its port points to its strategic prominence of Carthage, developing the place as a vital granary for Rome.

With the benefit of the past, today Carthage looks forward to a glorious future of culture and arts in spite of what architects and archaeologists terms as risk mitigation factors, restoration and innovations, terms and jargons preferred to be put back on one’s mind, especially by members of the general public.

This article was first written from Tunis by Dr Marwan Asmar for Hackwriters.com

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Making Arabic The Future Language!

By Ali Abu Hablah

On December 18, 2025, the world celebrates World Arabic Language Day, an occasion that transcends mere celebration to touch upon the core of cultural and intellectual conflict in a rapidly changing world. This day commemorates the 1973 United Nations General Assembly resolution adopting Arabic as an official and working language of the UN system, in recognition of its historical and cultural significance.

This year’s celebration, organized by UNESCO at its headquarters in Paris, carries the theme:

“Innovative Pathways for Arabic: Policies and Practices for a More Inclusive Linguistic Future.” This theme reflects a growing awareness that the future of Arabic can no longer be secured through emotional rhetoric or historical glorification, but rather through public policies, educational strategies, and serious investment in technology and innovation.

Arabic is not simply a means of communication; it is the language of the Holy Quran, the language of the Prophet’s sayings (Hadith), and a repository of poetic, intellectual, and philosophical heritage. It is also a liturgical language for several Eastern churches. It is spoken today by more than 400 million people and is widespread throughout the Arab world and its surrounding regions, as well as in the diaspora across five continents. It is also one of the most influential languages ​​in the history of world languages.

For centuries, Arabic played a pivotal role as the language of science, politics, and administration. It contributed to the transmission of Greek and Roman knowledge to Europe and served as a bridge for dialogue between cultures along land and sea trade routes. However, this historical leadership is now met with a worrying paradox: Decline of Arabic’s presence in scientific research, higher education, and digital content, in favor of other global languages.

This decline is due to a complex set of factors, most notably the dominance of foreign languages ​​in universities, weak Arabization policies, a decline in translation activity, and the digital revolution, which Arabic has not adequately kept pace with. The widespread use of local dialects, especially through media and social media platforms, has also contributed to weakening the presence of Standard Arabic in the public sphere. This does not mean that the dialects themselves are responsible for the crisis, but rather that it reflects the absence of a balanced linguistic vision. In this context, the 2025 slogan acquires strategic significance, linking the future of Arabic to three fundamental paths:

First, language policies, as no language can be protected without clear legislation guaranteeing its presence in education, administration, and media.

Second, innovation and technology, given that the survival of a language today depends on its presence in artificial intelligence, software, search engines, and the digital content industry.

Third, linguistic inclusivity and equity, by making Arabic accessible to multilingual societies, supporting low-income groups, and promoting linguistic justice without compromising the integrity of the language or politicizing it ideologically.

UNESCO’s celebration of World Arabic Language Day constitutes a platform for global cultural dialogue, but at the same time, it places a heightened responsibility on Arab states and their educational and cultural institutions. The problem does not lie in a lack of international recognition, but rather in the absence of a comprehensive Arab linguistic project that restores Arabic to its role as a language of knowledge and production, not merely a language of heritage and celebration.

Ultimately, the Arabic language does not face an existential crisis, but rather a crisis of management and awareness. It must either be integrated into the core of the civilizational and developmental project, as a language of science, law, and technology, or it will remain confined to occasions and speeches. On World Arabic Language Day 2025, the question remains: Do we want Arabic to be the language of the past, or the language of the future?

Ali Abu Hablah originally wrote this article for the Arabic Addustour newspaper.

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The Pharaoh, Sphinx and The Museum

After years of anticipation, the Grand Egyptian Museum by the Pyramids opened on Saturday evening, marking the world’s largest archaeological complex dedicated to a single civilization.

The museum was opened in an official ceremony attended by President Abdel Fattah al-Sisi and delegations from 79 countries, including 39 led by kings, princes, and heads of state and government.

The launch featured musical performances in one of the museum’s courtyards, with the three pyramids visible in the background.

Performers appeared in distinctive pharaonic attire, resembling a grand procession according to Anadolu.

Egyptian Prime Minister Mostafa Madbouly described the museum as a “unique global edifice” and an “exceptional event in Egypt’s history.”

“This dream has lived in our imagination for years. This world-class monument is a gift from Egypt to humanity — a nation with more than 7,000 years of history,” he told a press conference before the opening.

Madbouly thanked everyone who contributed from the idea’s inception to the completion of the project, noting that most of the construction was carried out over the past seven years.

He explained that the concept dated back around 30 years, followed by preparatory work, design competitions, and architectural studies, before the construction began.

Board of Trustees member and businessman Mohamed Mansour predicted that the museum would attract over five million visitors annually.   

‘Fourth pyramid’

The idea of the Grand Egyptian Museum originated in the 1990s under former Culture Minister Farouk Hosni, who envisioned an open museum encompassing the pyramids, the Sphinx, and surrounding temples.

Former President Hosni Mubarak laid the foundation stone for the museum in 2002, and site preparation began in May 2005, but the project stalled for years.

Work resumed in 2014 under President Sisi, who expanded the plan to make it the largest museum in human history.

Between 2017 and 2023, construction, digital infrastructure, display design, and service and investment facilities were completed. The museum began trial operations in October 2024, pending its official opening as the world’s largest archaeological complex dedicated to a single civilization — Ancient Egypt.

Located two kilometers from the Giza Pyramids, the museum covers 490,000 square meters. Visitors can view the pyramids through the five-story glass facade, designed to align with the Great Pyramid’s height, and take photos with the pyramids while exploring King Tutankhamun’s treasures.

The project cost around $1 billion, financed through two Japanese loans totaling $800 million, in addition to Egyptian government funding, donations, and partnerships.

The entrance hall features a colossal statue of Ramses II, and the museum houses over 57,000 artifacts chronicling Egypt’s history. The Grand Staircase spans 6,000 m² — the height of a six-story building — and the museum includes 12 main galleries, temporary exhibition halls, and the Tutankhamun collection with over 5,000 artifacts displayed together for the first time since the tomb’s 1922 discovery.

It also includes a children’s museum, artifacts from Queen Hetepheres, mother of King Khufu, the Khufu boat museum, and various pieces from the Greek and Roman eras.

The design represents sun rays converging from the three pyramids, forming a conical structure — the museum itself — appearing as a “fourth pyramid” when viewed from above.

The logo, unveiled on June 10, 2018, emerged from an international UNESCO-supervised design competition. It reflects the building’s architectural identity, inspired by the orange glow of sunset over the plateau and fluid Arabic calligraphy evoking desert dunes.

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Film: A Gaza That No Longer Exists

By Kazim Alam

In the summer of 2023, the London-based Palestinian filmmaker Yousef Alhelou travelled to Gaza with a simple mission to capture the vibrant pulse of a place that has long been off-limits to the world.

What he did not know was that his footage would soon become an unintentional obituary. 

The Phoenix of Gaza, a 48-minute documentary, was filmed just months before Israel launched what Alhelou now calls a “genocidal war” on the strip. 

Premiered in London in February 2025, the documentary stands as a hauntingly beautiful archive of a Gaza that no longer exists.

Over a period of two years, Israel dropped more than 85,000 tonnes of bombs on Gaza, reducing the enclave to dust. Alhelou’s film now serves as an archive, a memory, and a monument.

Through his lens, we witness a Gaza that was already a “Riviera of the Middle East,” a place of joy and defiance that Israel turned into a mass graveyard.

“We refused to vanish. We refused to give up,” he says. 

He shows us an authentic view of the place now touted as the “Riviera of the Middle East” in AI-generated videos. 

Gaza before annihilation

Shot in July and August 2023, The Phoenix of Gaza is breathtakingly beautiful.

The film opens in London. We see him in his London apartment, packing his bags, his voice brimming with anticipation as he prepares to return to Gaza after a decade away.

He calls his mother, who showers him with prayers for safe travels, while his 10-year-old son makes a quick appearance. 

“I wanted to show the world the life of Gazans, the daily life, the hustle and bustle,” he tells TRT World.

Little did Alhelou know that this footage, shot in July and August of 2023, would become a historical artefact, the last unvarnished portrait of Gaza before its annihilation at the hands of Israeli forces.

Where once there were vibrant markets, there is now rubble. Where children played, there are now craters. Photo: TRT World / Yousef Alhelou

Where once there were vibrant markets, there is now rubble. Where children played, there are now craters. Photo: TRT World / Yousef Alhelou

Through sweeping drone shots, we see a city that defies its 20-year siege.

Clean roads hum with smooth traffic, high-rise buildings adorned with solar panels, born of necessity after Israel bombed Gaza’s only power plant in 2006.

Greenbelts and trees dot the urban sprawl, while public parks appear full of families lounging on picnic chairs, children playing, and people strolling along the pristine Mediterranean beach.

“We managed to beautify and decorate our prison of Gaza,” Alhelou says, emphasising the resilience of a people who transformed a “high-density concentration camp” into a vibrant urban centre.

The beach is crowded, the water clear. Palestinian flags flutter as water-skiers speed by. The imagery defies the narrative of Gaza as a place of only suffering.

His approach is unpretentious: he walks through markets, parks, streets. He chats with shopkeepers, children, and the elderly.

At a public square, a phoenix statue, which is the emblem of Gaza’s municipality, stands as a symbol of rebirth, a motif that resonates throughout the documentary.

He takes us to the ancient gold market, its shopfronts full of jewellery, and the 1,400-year-old Great Omari Mosque, a UNESCO-protected site, later reduced to rubble by Israeli bombs.

On Omar al-Mukhtar Street, named after the famed Libyan anti-colonial warrior, restaurants and shops appear full of customers, scenes now unimaginable as the street currently lies in ruins.

In the Shujayyah neighbourhood of Alhelou’s childhood, children roam the same streets that he did in the 1980s, unaware that many would soon perish in Israel’s indiscriminate bombings.

He films the 700-year-old Pasha Palace, where Napoleon once slept for three nights, and the Church of Saint Porphyrius, built in 1160, both destroyed by Israeli bombs.

He explores beachside cafes and Gaza’s culinary scene by hopping to the roadside food stands. He visits the Ottoman Hamam, a space for relaxation, near the historic Jewish neighbourhood, which predated the Israeli occupation of Palestine.

The documentary highlights the educational achievements in Gaza, a place that has one of the world’s highest literacy rates on a per capita basis.

Scenes of cultural events – music, art, and a wedding ceremony – capture the “heartbeat of Gaza”, while a student appreciation ceremony celebrates young graduates with song and dance.

Even Gaza’s cemeteries tell a story. Alhelou lingers in the English cemetery, where 3,500 graves of World War I soldiers are meticulously kept, a gesture of dignity, in sharp contrast to the thousands of Palestinians now buried beneath collapsed buildings.

Elegy for family under rubble

He left Gaza in late August 2023. The war’s toll is personal.

“This genocidal war impacted me in the sense that I cannot believe that my city, the place of my birth, has been destroyed and that it’s beyond recognition,” he says.

Alhelou’s eldest sister, Asma, and her seven children were killed in Israeli strikes and are still buried under the rubble. His elderly parents and siblings remain in Gaza, fighting a daily battle for survival amid Israel-imposed starvation. 

The documentary, initially intended for his Arabic-speaking followers, has taken the shape of an elegy meant “to keep the memory and the legacy of Gaza for generations to come.”

The contrast between Gaza then and now is gut-wrenching. Where once there were vibrant markets, there is now rubble. Where children played, there are now craters. 

The Riviera of Gaza, which Alhelou compares to Singapore and Dubai, is gone. It has been replaced by a landscape where “there is no infrastructure, no electricity, no water, no food, no places to visit”.

The “man-made starvation” orchestrated by Israel is particularly harrowing. “I cannot believe that we are facing starvation in the 21st century,” Alhelou says.

TRTWorld

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