missions associated there will be limited emissions and this emissions will be ballast the layout of stadiums over a small geographic area means once vans land in cutter, they'll travel a relatively short distance by metro electric bus or car to matches in stadiums built with sustainability in mind after footballs, premier spectacle is over the c o. 2 emissions during the $28.00 days will be offset by investing in carbon credits. but a report by carbon market watch says, cut our 2020 two's carbon neutral plan is misleading. and based on what it calls creative calculations, it is highly unlikely this will talk, is going to be cohen you draw. it is not a credible claim, and there is a big risk that is going to mislead the bone. it can to thinking that this has no impact on the climate. when actually doesn't those. the organizing committee says

cut ours historic ambition should be recognized. not criticized. it points to the almost 1000000 square meters of green space created and a new solar power plant that will generate renewable energy for years after the tournament ends. we stand by our planning. we stand by our calculations and we stand by our plans to offset what's remaining in the best possible way. with the best information that we have a team from cut, our university will be setting up whether monitoring stations and sharing the daily air quality with fans during the world cup. the hope is it will spread awareness about the impact we have on the climate and how to reduce our carbon footprint. natasha name l. jazeera. doha. ah. this is all disease. these are the top stories in breaking news messaging service.

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high for me. okay. and your watching the stream. well, the parson and marbles ever return to greece. this is a question has been going on for a very long time. the original sculptures are removed from athens in the early 19th century by north august. the british, i'm back to death to the ottoman empire, greece once her national treasures back, currently housed in the british museum in london. as you can see here, what would it take for the pattern marble to go? how you can join this discussion has been going on for oh to 100. he's nice. you can jump on here into the comment that should be part of today is the students in the 1970 s. i believe that there were good reasons for keeping the parts and sculptors in england. first, they were integral and lee cried part of a british museums connection. certainly there was safer than in traffic in

returning them because a terrible precedent for the return of the license. now i'm a classics professor, and i know that all is arguments are invalid or untrue. very few objects and such iconic status. if they do, they should be return the times over due to the integrated own display of the partner, freeze in full color. and so we will move to the inactive so that the pattern and sculptures in the british museum, janice tristan, elise ok to have a favorite k on to show you honest. please sally to audience around the world. tell them who you are. what? 80? hello me. hello everyone, my name is young sandwich so close. i think that you didn't want to pronounce my name because i'm sorry about this now. yes. yeah. now i don't, i had with i with the course of our discussion. so i'm the launch in correspondence for a quick daily newspaper called tom,

now's been based in london for almost 7 years. and as you can imagine, i've been covering the bottom of mozilla. oh my goodness. of course i can imagine totally tristram. so nice to have you, please introduce yourself to our audience around the world. tell them who you are, what you do briskly. hello, phoebe, i'm lovely to be here with you. i'm tristram bester, and i'm a retired u. k. museum director who's guilty guilty of returning material in our collections to the source community. and i'm a now a freelance advisor and the help of the museums to do the same, such a troublemaker trust and gets a hat here. hello, welcome to the show. please tell our audience here you are 180 briefly. hello everyone. it's likely to be here. my name is that the silence and i'm the vice president of the australian pop and on committee and co founder of the acropolis research group. and we have been that, well,

many in that committee have been active on the campaign for 20 to 25 years. i've been in the campaign for 10 years, and i'm just very passionate about the issue. so we also push museum to be part of this conversation and as they typically think they sent a statement rather than a past said, this is what they said to us. we will loan the sculptures as we do many other objects to those who wish to display them to the public around the world presently did. they will look after them and return them any if you'd like me to comment on that, please take the filter. well, what they say in that sentence is that they require anyone loaning to sign a waiver, an ownership waiver, which of course the hellenic government is well unable to do that. it's just not

possible for them to sign an ownership waiver. so that's why it's not possible for them to be loans to grace given and they had a lunch to come to the home a teach me same in russia. 11 pitman pace was us several years ago, but yes, it's the ownership waiver, which the hellenic government will not find just of i'm just amazed that we even having a discussion about this. there is no debate anymore. is that, is it even possible to be neutral on the path and sculptures and where they should truly be housed? well, i'm professionally as well as personally embarrassed that the british museum consistently refuses to enter into up constructive public dialogue. there has been a sea change in museums right across the u. k. over the last 20 years or so. and

the focus has moved away from sort of ownership of stuff to how does, how does the museum and what it holes relate to people to communities, either the communities who live around the museum or the communities from which to the material came. it's all about conversations, it's all about giving people a voice. and i'm, it embarrasses me that the british museum is so far behind the curve in having that kind of constructive dialogue. because having led it myself in manchester, where we had big diaspora communities for all over the world, but particularly from africa. what happens is when you give them a voice and empower them in the museum, the museum start stirred. sprout wings, and we learn so much more and the people who use the museum here, other voices,

it becomes a more vibrant, interesting, and exciting place. everybody wins. so they idea that you've got this museum sitting in the middle of bloomsbury that holes so much material from all around the world. but we're here specifically talk to talk about the parthenon. sculptures refuses to have that conversation. and i can explain in a moment why that is, is a matter of professional embarrassment. i was just tapping to that wouldn't say what's in right now. yeah, honest. this is tom tom, princess and no and m. how do we lun, stolen goods to their rightful owner? yeah, well that's, that's a good point and that's precisely why the big government cost consistently hustle, refused to contemplate to us along solution race one, some of those bug to be reunited about us with a restful thermometers permanent. you're not alone. and i'm slightly optimistic

that we'll, we'll get in the near future. why are you optimistic? well, i don't know. there is a yet received in the british museum stands. what i can see for sure is that sense of language. let me remind everyone of the president, the sales process of the british museum jaws. osborne sent a couple of months ago that there is a deal to be done. so that's built on that statement and tried to reach a deal with his resume. all right. and what is it like a somebody who's going to have your treasures in a british museum? what does that look like? well look, i think come in, this is a to folk thing. there are ha lanes like myself in the great diaspora and also phil helene. and so i don't think i don't think you can differentiate. i think phil helene, feel strongly about this issue as elaine's, but as a helene icons,

i can say that it sam, as, as the famous molina, mccurry said, you know, they are our heart there are. so there our passion, i mean, we are very aware that we have a very low, a long history. they were carved and created here 2 and a half and go in athens and, and we as great still very strongly that they should be re united not just, not just they, they need to be reunited as, as part of the building. and they can't be on the building, but the next best thing, of course, is the acropolis, miss him to be as one at work. and i think fill her lanes around the world. agreed with that. can you tell people who are not hennings, what and holiness? well as lane, i guess it's someone that identifies the same great as great parents and ancestry, great parents and grandparents. so calculus museum was built because the british

museum said, well, in athens, you don't have anyone suitable to put your own treasures in. so then the greeks built this incredibly beautiful museum and then the visuals in still didn't give the treasures back tristan yet because of a 2 acts which for both british music and to give away what's in the museum that they probably looted or stole all acquired an unethical ways tristan, well i, i do want to pay tribute to greece. ready for building such a beautiful museum, it is absolutely stunning. and at the very top floor is like a great big glass case that looks across the valley to the acropolis. and you can see the parthenon with as you walk around the sculptures. but just to go back to the point that any was making and connected with what are saying about

relationships in this dysfunctional relationship between britain and greece. there are 3 players. there's the greek government, there's a british museum. and there is the british government. and the reason that the 2 national governments are so important is that by statute that was passed in 1963, the british museum is not allowed to divest itself of certain thing of anything in the collection unless it meets certain conditions. and that's why we have this merry go round of the british museum saying we can't discuss it because we're forbidden from parting with these, this material by actor parliament. and the poem and parliament says, we can't discuss it because it's british museum business or you go round and round

in a wonderful. i still like that. just him. surely. that's got a printing address. it's an a hugo, happy. it's a built on an ad st yet. so you don't have to return the path in scott, it's a wall, it's a no, it's a no exactly. and if you, if you look me are the, what, what christine does describe is, is what we call in greece, a game of ping pong, doing that with british museum and the british government. because bits museum says that because of the british museum, asked that we cannot give you the mob was bug until the other hand, the british government says a bit of museum is the owner of the models. don't talk to me, talk to the museum. and while this is technically true, find me, know, is it, in fact the british government that could introduce the necessary legislation to allow this cultures within degrees. but the simply the thought, the one to do it at least, ah, not for the time being. i'm optimistic that these will sans in the future, and i have to say for hats and had eyes at the chester. i said look,

are you guys as just like a 2nd? my head i scat. well, thank you. i just wanted to say that there is good reason for young. this is optimism because there is precedent when the, when parliament sees something that is clearly not right and unjust. it has intervened in the past in 2004. 0, there was an actor, parliament in which museums were added, which allowed them and enable them to give back human tissue human remains, bones, skulls to source communities. because parliament regarded this as completely unjust, that source communities should not be able to reclaim their ancestors. so there's a precedent there that was in 2004 in 2009. and we had a big scandal about nazi spa, lated, art that was in the british museum and in other museums. and again,

material which had been stolen by the nazis and ended up in our national collections out was the subject to enabling legislation which allowed this to be returned. so that is good precedent for parliament stepping in, doing the right thing when the right thing needs to be done. just talking about par and i was just curious about how many barriers prime minister has said we cannot possibly return. it's interesting that we call them the path and then sculpture rather than the alga model lot. but i think that that shows a little bit of a public opinion change here. but i, i want to go back a few years. i went back to 1999. have a look here, my laptop, 1st and headlines about the path and the sculptures blair blots return of alga marbles. david cameron, jack's call to return, passing the marbles to greece. we've got one from paris johnson r i p. boys,

johnson says british museum trustees must decide fate a path then marbles with kicking over to the british museum. and then one more from the very shortly 50 k prime minister list ross says she does not support. we paint cheating the popular marbles to grease. so prime ministers doesn't really matter who they are or even what party therein. yeah, unless they don't seem to be behind the idea of these path and, and sculptures. going back to athens, are you getting something different from the british public? that yes, laws because because 1st of all, let me remind that run the, the extra you just read from her is joseph johnson has the prime minister sent that to me in an exclusive interview with the a year ago. but we also reveal the last summer that when goes docile, was an undergraduate in oxford university. he said exactly the opposite, that the mobs belonged to greece. and actually he provided proof that says that law document had stolen tomorrow's. so i think that there does make,

says i'm in his current position but, but yes, because humans young, the british public, there are a serious there's a series of opinion. pause the latest one was released a few days ago, but says that overwhelmingly their biggest public. busy supports the re unification of the path alarms. there's a broader conversation to be had not just about the performance sculptures or the alga marbles, however you want to call them. but what it really means to have art from another culture and another country shut up in a different museum on the other side of the world. his ga. gov is what she told us a few hours ago in a broader sense, proud of the contribution of the ancient greeks. but most relevant, the marbles are a symbol of the thousands of similar items in museums in the u. k. in germany and france. items that in many cases were acquired through questionable methods and as to whether they should be returned. it's not a matter of if,

but when obviously the british museum is worried about opening the floodgates and they should be items from egypt, india, nigeria. we should be having conversations about all of the returning all of the ill gotten artifacts to their home countries. one is so bad about art going back the country of its birth, the country, and the country, men and women who created it. l e y, a disaster. well, it, it, well, it's not a disaster. i mean, look at it. i suppose it depends on the, on the spectrum. if the, that your talking about is, is a, she little pace of a nation, a couch of history. then of course, it's important if it's a sculpture or a piece of work that are the instances is,

is quite hartsville assemblage is more common been a way for that to have. i mean, that's what purpose of the universe museum is to. it's wonderful things from heritage all as well, and they are great. we love the museums, but there are please the facts that are unique, like the popular sculptures. and this is the case that we make. they are unique. there is nothing else like them. they are not one single piece of work, not you can't just take a river god from from the payment and say it's a statue, not a statue, the whole phrase and the whole pay them and of the past and on. and the major piece . they are one unified monument, is way describe it, and they, they wait just robinson has called a show real of ancient athens, the mythology,

the history of ancient athens. they cannot take these paces out and assemble them and nor should they be in, they need to be re unified because quite simply, it is a unique monument, and it is representative of a couch, a love, a history that goes back such a little way that the people but created this and it's just really imperative that it comes together as one crystal. i'm just looking at a page on the british museums, web site, core contested objects from the collection as just take a look here. and it's really interesting the way that the british museum writes about how the path m sculptures ended up in the british museum. i think it's an interesting narrative that they chosen to, to share with the public. but we happening bronzes. you've got human remains. we have an early show from australia puffing and sculptures. is it possible that if the passionate sculptures go back to offense,

that then the pictures and will begin to lose what they value so much richer as well culture, an art that they feel. and they have actually said to us in a statement that they can make those connections between art around the world. and the police machine is the best place to do that. well, this is the universalist argument, and it has been made very strongly by various directors of the british museum. neil mcgregor was a great ambassador for that idea, but it is largely discredited now. and i wanted to come back on ellis point, and just to add to it, i agreed with everything she said, but what makes the parthenon sculptures so unique? is that the building from which they were hacked by the earl of elkin. that building still exists. it is there, and that makes them very,

very particular. they only comparative item in the british museum collection to that would be they beard of the sphinx got the strength to stella in the desert of egypt. but i do want to emphasize the fact that these are a very, very special assemblage of items that as ellie says, they were part and parcel of a building. they were part of the structure of the building. and it's not a coincidence. but in greece, these sculptures are regard, are referred to as blocks because they are relief carvings on the blocks that form the part of the structure. el, again, got local stonemasons to saw them off so he could get ship them back to britain. and so they're called slabs in britain, and that's because they've already be mutilated. and so you can see in the form

today that disco disconnection really from that wonderful building, which stands as a monument to classical ideas and principles that echoed down the centuries down the millennia. and it is a national disgrace that even they are arguing about it. and i give an example of what we some is sank like now does, does the exam do that? think, think of athena, regardless of athena, her head and head neck is in the acropolis museum, one here, right breast remains to the british museum. does that make sense? to you? no, nobody wants to have just one brass. all right. how came to share it? if you will send alicia? i had, i came to charlotte tote. is this a little bit earlier? i think it really is aimed at the british museum who's not in this conversation,

but we mentioned many, many times to have a listen that had a luck. it's good news that the british museum has fire willing to talk, but it shouldn't be a negotiation. the idea of a loan, however long term it is, is only adding insult to injury. what the british museum and government should do. ready immediately is faster than the sculptors, 2nd apologize for keeping them for so long. and 3rd. org with greek scholars on, on some mounting, an exhibition at the british museum that explains how these artifacts were acquired and returned. it's never too late. ready to the colonize is our audience who are watching right now, and where is the british museum in this conversation with talking about them, but they're not here to speak for themselves. i am wondering, ellie, how long is this conversation? this persuasion going to go on out one year, 5 years, 20 years, or do you think? well, of course it's actually been going on to 200 years. i mean,

he also was the 1st that they requested, not long after the 1st great state was formed. but i guess the campaign in the last 3040 years has really been advocating very strongly. but i think the conversation is, danny said that the very beginning i feel, but there is a shift. there is a change. i think this really has changed and it just, it's picking up momentum. it's just, it's wrong on so many levels. and of course, one thing we haven't discussed, which i'd like to touch on is the, is the solution. you know, what is the solution? yes, they should just give them back and it should be a political, a political will. it should just be a decision made. but then you know, what can the solution look like there and, and you can, you, can you the solution in one sentence because we're right at the very end by show you what is what, ok, the solution. wrists are 3 d digital printing of

a beautiful set of copies and, and or a rotation exhibition of the wonderful out switch. the great government is prepared to give the loan and as an exhibition, ok. and he's got the solution right here. why? we've been discussing this for 200 years. we could have just asked eli eli tristram and yon as an old of, of us who watching on youtube. i'm watching around the well, thanks for joining us. i see you next time. take a ah, in november on a jesse, you know,

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