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mediterranean sea
In Act of 'Brutal Sadism,' Israel Bans Gazans From Entering Sea Under Pain of Death
"This is not about security," said the head of Gaza's fishers' union. "It's economic, social, and psychological warfare, a weapon of slow, deliberate suffocation."
Jul 14, 2025
Israel has warned Gazans to stay out of the Mediterranean Sea or risk getting killed under wartime restrictions that critics say serve no security purpose and are meant to deprive Palestinians of a key source of sustenance—and respite from the horrific realities of 21 months of constant death and destruction.
"Strict security restrictions have been imposed in the maritime area adjacent to Gaza—entry to the sea is prohibited," Israel Defense Forces (IDF) Arabic language spokesperson Avichay Adraee wrote on the social media site X Saturday. "This is a call to fishermen, swimmers, and divers—refrain from entering the sea. Entering the beach and waters along the entire Gaza Strip endangers your lives."
While Israel has imposed a maritime blockade on Gaza since 2007 following Hamas' victory in legislative elections and subsequent takeover of the coastal enclave, restrictions were tightened after the October 7, 2023 attack as part of the "complete siege" that has caused deadly malnutrition throughout the strip, where Israel's 646-day U.S.-backed onslaught has left more than 211,000 Palestinians dead, maimed, or missing, according to the Gaza Health Ministry.
However, the IDF appears to have not enforced the post-October 7 ban on entering the sea against swimmers and bathers. Only Palestinian fishers have been targeted, with more than 210 killed since October 2023, according to United Nations data.
"We live off the sea. If there's no fishing, we don't eat," Munthir Ayash, a 52-year-old fisher from Gaza City, told the Emirati newspaper The National Monday. "Me, my five sons, and their families—45 people in total—depend entirely on the sea. With it closed, we face starvation."
It is unclear why the IDF issued Saturday's warning, which came amid excessive heat warnings as temperatures rose to over 30°C (86°F). With Gaza's infrastructure obliterated by 21 months of Israeli onslaught and safe running water in severe shortage, the Mediterranean Sea provided a place to cool off and clean up.
"I used to go every day. The sea was where I bathed, where I relaxed, where I ran from the horror of war," Ibrahim Dawla, a 26-year-old Palestinian man forcibly displaced from Gaza City's Zaytun, told The National. "Now even that's gone."
Rajaa Qudeih, a 31-year-old mother of two from Deir al-Balah, told the Israeli newspaper Haaretz Sunday: "I'm literally dizzy from hunger, thirst, and the heat. Gaza is going through the worst famine, we haven't eaten, and we can't even find a piece of bread."
"The sea was the only outlet left. If they kill us for going there, maybe that would be easier than this slow death," she continued. "Still, I fear for my children. My oldest is 9. How can I convince him that swimming in the sea could get him killed?"
"We are camped by the sea," Qudeih added. "Where else can we go? Are they going to ban the air from us next?"
The IDF claims the maritime blockade is a security measure aimed at preventing weapons from being smuggled into Gaza.
However, Zakaria Bakr, head of the Palestinian Fishermen's Syndicate in Gaza, and many other residents of the embattled enclave believe there is another reason why Israel is prohibiting them from entering the sea.
"This is not about security. It's economic, social, and psychological warfare; a weapon of slow, deliberate suffocation," he told The National.
Dawla said that "people here die a million times every hour; we needed the sea just to feel human again, even if only for a few minutes. And they knew that. That's why they shut it down."
"We called it our last breathing space. We knew it was dangerous, but it was the only place we had left," he added. Now, "I haven't gone for two days. None of my friends have either. We're all afraid we'll be shot just for standing there."
Ayash said of Israel: "They want to take everything. They want to erase us."
"But the sea is ours," he added. "The land is ours. No matter how hard they try, it will stay ours."
Palestine defenders around the world also condemned the IDF policy.
"There can be no possible military or security reason for banning the people of Gaza from entering the sea—except to satisfy the brutal sadism of the IDF," argued Australian journalist and commentator Mike Carlton.
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Restorative Archaeology? Time to Return Looted Treasures to Sardinia
A range of voices continue to demand the return of the island's looted treasures from private and public venues, including the British Museum in London.
Jun 28, 2025
When the small statues of a 3,000-year-old Bronze Age priestess and her archer protector take the stage at a Christie's auction next week in London, the Nurnet nonprofit organization in Sardinia plans to make their own bid to bring the sacred bronze pieces back home.
Despite decades of protests against the sale of the island's patrimony, where thousands of UNESCO-recognized Nuragic tower complexes attest to Sardinia's central role in the Mediterranean Sea during the Bronze Age, 2,000 years before the rise of the Roman Empire, a range of voices continue to demand the return of the island's looted treasures from private and public venues, including the British Museum in London.
"We think that the purchase could be of interest to the entire Sardinian community of enthusiasts," the all-volunteer organization Nurnet said in a statement, in launching a GoFundMe campaign for the auction. °The institutions do not have regulations that allow them to intervene in the short term and allocate the funds. We decided to intervene, with the savings of the members and the help of enthusiasts."
The history of Sardinia, especially the extraordinary findings from its Nuragic civilization in the Bronze Age, remains in a state of eternal recovery.
The Sardinian group successfully purchased four bronze pieces in 2015 at a similar auction, and then donated them to a local museum.
Last week, in fact, the Monte Prama Fondation, which has recently gained international attention for its 50-year restoration of massive stone giant sculptures from the Bronze Age, called on the British Museum to repatriate thousands of ancient Punic gold jewelry and Nuragic items that had been notoriously raided in the 19th century.
Despite the massive hoard of artifacts, which have been documented in various reports and a 270-page book, only a handful are on display at the London museum, while the rest have remained in storage for over a century.
While the British Museum Act of 1963 forbids the return of artifacts obtained by the institution, critics point to the museum's ability to "loan" their treasures back to the host country.
"Returning the bronzetti," Nurnet pointed out, "is also a way to tell a beautiful Sardinia story, to bring this work of art back to domu sua," the Sardinian language for "home."
For Nurnet advocates and other Sardinian groups, the extraordinary detective work of a Sardinian policeman and actions of the Cleveland Museum could serve as an example for the British Museum and other institutions.
In fact, the bronze priestess on sale at Christie's next week shares a common origin—the shadowy Switzerland art market in the 1990s.
On a recent trip to the Ferruccio Berreca Archaeological Museum in Sant'Antioco, I visited a small bronze archer in a glass case, straddling the piece of stone, with two long unwieldy horns thrusting up on his helmet, as if challenging anyone to a charge. Yet, this miniature figure in bronze, a little over eight inches tall, which was tall for the rest of the pieces in the Bronze Age collection, stood there with a gesture of confidence, his hand outstretched in an offering, as if willing to tell the story of his twisted journey.
Centuries before Homer composed The Odyssey, the Sardinians cast miniature bronzes or bronzetti, including ships, among hundreds of other types of bronze pieces. They were vessels of stories. Found mainly in sacred water temples or a rare tomb, they served as exquisite votive offerings dating back to the 12th or 11th centuries B.C.
In 1865, a shepherd uncovered a trove of bronzetti at the Nuragic sanctuary site of Abini in the heart of the central mountains, including an otherworldly figure with four arms and four eyes, with two long horns jutting from its helmet, holding the two round shields that some associated with the ancient Shardana or "People of the Sea" that arrived in Egypt, while others believed it referred to Plato's Symposium on the original four-eyed humans divided in half by Zeus.
These tiny artifacts, often no more than 5-12 inches, spread across sacred sites on the island, including the most remote uplands, and then crossed over the sea into Etruscan tombs, at numerous sites in Tuscany, Lazio, and Apuglia. They journeyed along the Italian boot of civilizations, entering the Greek Sanctuary of Hera Lacinia at the tip of Calabria, on the Ionian Sea, on the eastern coast of Italy.
Each one of these boats, like the hundreds that remained behind in Sardinia, observed archaeologist Fulvia Lo Schiavo, was "not only a work of refined artistic craftsmanship and a precious and sacred object," but it was also "in itself a story and a message," following its own cosmology and narrative.
The Cleveland Museum had hailed one bronzetti figure as an "exceptionally fine example" of bronze work in the lost-wax method, produced by "a rather mysterious group of people who lived in Sardinia in the first millennium B.C. and who left no written records." In the catalog of their notable acquisitions in 1991, the American museum dated the artifact back to the ninth century B.C. They called it "the warrior," and used it as the logo for a section in the museum.
Anyone in Sardinia would have called it "the archer," given the extraordinary longbow hanging off the shoulder of the figure, the distinctive arm guard on the left forearm, a quiver for the arrows on his back. At least, that's what Lieutenant Roberto Lai thought when he saw the Polaroid photo of the bronze figure for the first time. Serving with the heritage protection unit of the Carabiniere police, Lai had been placed in charge of sorting through a treasure trove of documents and artifacts traced to a notorious trafficker of art in Basel, Switzerland in the mid-1990s.
Thanks to two strange, fatal car crashes in Sardinia over a 10-year period, both of which left behind briefcases of cash, diaries with addresses of clandestine diggers and their contacts, and a chart of acquisitions, Lai was able to connect the dots with the infamous Swiss brigand and his warehouse.
Turning over the photo of the archer, Lai got the surprise of a lifetime. "Grutt'e Acqua" was scrawled across the back, tracing the piece to its origins at the 1500 B.C. Nuragic site on the smaller island of Sant'Antioco, where Lai had grown up. It was neither "mysterious," that fulsome code word often trotted out to cover a lack of historical inquiry, nor legally acquired, in Lai's view.
Lai knew the legacy of the nuraghe at Grutt'e Acqua or Grutti 'e Acqua, variously translated as "the grottoes of water," or "the grottoes and water," was not just a pile of rocks, but an intricate architectural wonder of waterways and millennial planning. But he wasn't alone.
The tomb raider also knew, like any shepherd in Sardinia, that the ornate water temples or sacred wells nearby housed the bronze sculptures that had been left as communal offerings. Trudging up my same path, the raider most likely bypassed the Nuragic reservoir that sat at the basin of the hill, a green pool encased by small boulders with the mystic air of a lake in the woods.
"Electrified" by the discovery of the photo and its connection to his island, Lai followed the trail left by the trafficker, his Polaroid in hand, only to come up empty-handed with its match to any institution or collector. Where had the archer gone? No final receipts of his transactions were to be found. The cultural heritage detective didn't give up. Over the next few years, he obsessively dug through any announcements or catalogs or listings at museums, auctions, and private collections with artifacts from Sardinia and Italy. The collections were endless. They still are today.
An entire book on ancient Sardinian artifacts behind lock and key at the British Museum dated back to "boatloads" of "very remarkable" items that had been plundered at 36 tombs in the 1850s. Much of it came from the Tharros and Mont'e Prama areas. The British Museum had its own Sardinian archer, too, though he dramatically drew back his arrow, as if to protect himself. The Getty Museum in Los Angeles featured its Nuragic archer, though it differed in the details. In 1990, The New York Times featured a show at the Merrin Gallery in New York City: "Bronzes Conjure Up Images of a Fabled Past." It included the "raw power" of a Nuragic priest from the ninth century B.C. (The Merrin Gallery would be embroiled in fraud and the acquisition of "questionable antiquities" for years.)
In fact, hardly any major archaeological museum didn't have artifacts from the Bronze Age in Sardinia. While Christie's famous auction house once called off a million-dollar auction for a 4,000-year-old stone carving from the island in 2014, after the Italian police objected to the "robbery of the heritage and civilization of Sardinia," it still continues to peddle Sardinian bronzes. One five-inch Nuragic figure from the Bronze Age went for $125,000 in 2017. It also came from a private dealer in Switzerland.
The trafficking of these prized pieces, among other riches, was an old tradition, of course, dating back to the Roman period. In 1365, the governor of Cagliari brought ancient jewels dug up from a prehistoric site to the Court of Spain, as an elaborate offering from the island. The honeycombing of ruins was so bad that a law was passed in 1481 to stop the digging for treasure, especially among the clergy.
Not just for jewels. By the mid-16th century, a common proverb recounted how the stone walls of the Nuragic, Phoenician, and Roman city of Tharros were "transported away in cartloads." In 1851, the pioneering archeologist and clergyman Giovanni Spano called on government officials to protect the prehistoric sites, which he feared had fallen into the hands of "other people who will not know how to appreciate them."
In 1923, National Geographic magazine lamented the national pasttime of tomb raiders and archaeological thieves in Sardinia, as if the craze hadn't let up. Even the Nazis craved Sardinian artifacts. During a visit to the island in the late 1930s, Adolf Hitler's deputy Hermann Göering attempted to take a priceless glass-beaded necklace that had been recently excavated at a Punic necropolis dating to 300 B.C.
One evening, scrolling online, doing his usual regimen of going museum by museum, the Sardinian detective landed on the Cleveland Museum of Art site. He was stunned by the match. It was the archer in his Polaroid.
It took 18 months of high-level negotiations, including the involvement of the attorney general in Ohio, but the Sardinians managed to convince the American museum to return the stolen artifact. In exchange, in fact, the Italian government had to agree to two conditions: that the archer, among other stolen goods, would be returned to its native place, and that Italy would loan 13 exhibits of similar value for the next 25 years.
When the archer finally arrived at the Ferruccio Barreca Archaeological Museum in Sant'Antioco in 2009, Lai stood by for its installation. The archer's placement in that little glass case was deceiving with its significance. The detective would eventually write a book, as well as a graphic novel, on the true crime adventure, as well as other histories of Sant'Antioco. Lai declared the Nuragic archer had returned to "where history had placed it."
Or recovered it, perhaps. Just like the Nurnet effort today with the bronze figures at the Christie's auction.
In effect, their campaign amounts to a new trend that should be called "restorative archaeology." In a period of cultural revival, it speaks to the process of "re-storying" the island and its history.
Meanwhile, the history of Sardinia, especially the extraordinary findings from its Nuragic civilization in the Bronze Age, remains in a state of eternal recovery.
At least until tomb raiders, and institutions like the British Museum, follow the example of the Cleveland Museum.
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'Unacceptable Tragedy': 10,000+ Migrants Died Trying to Reach Spain This Year
"These figures are evidence of a profound failure of rescue and protection systems," said one campaigner.
Dec 26, 2024
More than 10,000 migrants died while trying to reach Spain this year—a more than 50% increase from 2023—according to a Spanish advocacy group's annual report published this week.
The NGO Caminando Fronteras (Walking Borders) said in its Monitoring the Right to Life—2024 report that 10,457 migrants died en route to Spain via the Atlantic Ocean or the Mediterranean Sea this year. Victims included 1,538 children and adolescents and 421 women. Victims hailed from 28 mostly African nations, with some coming from as far afield as Iraq and Pakistan.
"These figures are evidence of a profound failure of rescue and protection systems," the group's founder, Helena Maleno, said in a statement. "More than 10,400 people dead or missing in a single year is an unacceptable tragedy."
Walking Borders said its report "documents the deadliest period on record, with devastating figures averaging 30 deaths a day," up from an average of 18 deaths per day in 2023.
Estás cifras son el horror 👇🏾
[image or embed]
— Helena Maleno Garzón (@helenamaleno.bsky.social) December 26, 2024 at 12:06 AM
According to the report:
The Atlantic route, with 9,757 deaths, remains the deadliest in the world. Tragedies have increased, especially on the Mauritanian route, consolidating this country as the main departure point to the Canary Islands. The Algerian route, in the Mediterranean, is the second deadliest according to our records, with 517 victims. The Strait of Gibraltar has taken up to 110 lives, and another 73 have been lost on the Alboran route. In addition, 131 vessels were lost, with all persons on board.
Spain's Interior Ministry said earlier this month that, as of December 15, 57,738 migrants successfully reached the country this year by sea, an all-time high.
Walking Borders denounced what it called "the main causes of this increase in shipwrecks and victims," including "the omission of the duty to rescue, the prioritization of migration control over the right to life, the externalization of borders in countries without adequate resources, the inaction and arbitrariness in rescues, [and] the criminalization of social organizations and families."
The group also noted "the situations of extreme vulnerability" that push migrants "to throw themselves into the sea in very precarious conditions."
These include "violence, discrimination, racism, deportations, and sexual violence," as well as "being forced to survive in extreme conditions" prior to departure.
"The number of victims continues to grow and the act of documenting deaths or preserving the victims' memory carries the threat of persecution and stigmatization," the publication states, adding that the dead migrants' voices "can be heard in this report, crying out at their disappearance and death and questioning their fate. They call for justice and an end to impunity."
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