Latest news with #AncientEgypt
See - Sada Elbalad
6 days ago
- Entertainment
- See - Sada Elbalad
Writers' Syndicate Hosts Seminar on Ancient Egypt, Holy Family's Journey
Nada Mustafa - Basant Ahmed The Committee on Ancient Egyptian Civilization at the General Syndicate of the Egyptian Writers' Union organizing a seminar titled 'Ancient Egypt and the Path of the Holy Family's Journey' on Thursday, May 29, 2025, at 4:00 PM. The event will take place at the union's headquarters, located at 11A Hassan Sabry Street, Zamalek. The seminar is held under the patronage of Dr. Alaa Abdel Hadi, Head of the Writers' Syndicate and Secretary-General of the General Union of Arab Writers and Authors. The event will be supervised and attended by writer and literary figure Abdullah Mahdi, Chairman of the Committee on Ancient Egyptian Civilization at the Egyptian Writers' Union. The panel will feature: Dr. Loay Mahmoud Said, Director of the Coptic Studies Center and Professor of Coptology at Sadat University Dr. Q. Yostos Al-Orshalimi, writer, researcher in Egyptian history and heritage, and member of the General Syndicate of the Egyptian Writers' Union Dr. Randa Balygh, Professor of Egyptian Antiquities at the Faculty of Arts, Mansoura University Dr. Shatha Gamal Ismail, Professor of Coptic Antiquities and Arts at the Faculty of Tourism and Hotels, Helwan University In a statement to Misr Al-Balad news outlet, writer Abdullah Mahdi explained that the seminar is part of the committee's contribution to the global and Egyptian Church's annual celebration of the Holy Family's arrival in Egypt, commemorated on June 1 each year. He added that the arrival of Jesus Christ in Egypt was a profound blessing for the land and its people, referencing the biblical verse: 'Blessed be Egypt my people' (Isaiah 19:25). read more New Tourism Route To Launch in Old Cairo Ahmed El Sakka-Led Play 'Sayidati Al Jamila' to Be Staged in KSA on Dec. 6 Mandy Moore Joins Season 2 of "Dr. Death" Anthology Series Don't Miss These Movies at 44th Cairo Int'l Film Festival Today Amr Diab to Headline KSA's MDLBEAST Soundstorm 2022 Festival Arts & Culture Mai Omar Stuns in Latest Instagram Photos Arts & Culture "The Flash" to End with Season 9 Arts & Culture Ministry of Culture Organizes four day Children's Film Festival Arts & Culture Canadian PM wishes Muslims Eid-al-Adha News Ayat Khaddoura's Final Video Captures Bombardment of Beit Lahia News Australia Fines Telegram $600,000 Over Terrorism, Child Abuse Content Arts & Culture Nicole Kidman and Keith Urban's $4.7M LA Home Burglarized Sports Former Al Zamalek Player Ibrahim Shika Passes away after Long Battle with Cancer Sports Neymar Announced for Brazil's Preliminary List for 2026 FIFA World Cup Qualifiers News Prime Minister Moustafa Madbouly Inaugurates Two Indian Companies Arts & Culture New Archaeological Discovery from 26th Dynasty Uncovered in Karnak Temple Business Fear & Greed Index Plummets to Lowest Level Ever Recorded amid Global Trade War Arts & Culture Zahi Hawass: Claims of Columns Beneath the Pyramid of Khafre Are Lies News Flights suspended at Port Sudan Airport after Drone Attacks
Scotsman
28-05-2025
- Entertainment
- Scotsman
'Immersive' Egypt exhibition showing hologram mummification of pharaoh Tutankhamun coming to Glasgow
The Ancient Egypt exhibition had a six month sell-out run in Cairo, Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... He is arguably Ancient Egypt's best-known pharaoh, whose tomb was uncovered almost intact 100 years ago by British archaeologist Howard Carter. Now a sell-out 'immersive' exhibition featuring a hologram room that will demonstrate the full mummification process of Pharaoh Tutankhamun is to come to Scotland. Advertisement Hide Ad Advertisement Hide Ad More than 1.8 million people worldwide have already seen the exhibition. | SEC Tutankhamun: The Immersive Exhibition, which has attracted 1.8 million visitors in 12 cities across three continents, is to hold a 14-week run in Glasgow before going on a wider European tour. The 2,500sqft display will include an 8m-high, 360-degree immersive video mapping room, a seated virtual reality experience and an interactive digital metaverse room. A selection of original ancient Egyptian artefacts from as far back as 4000 BC, including a funerary shabti from the 20th dynasty that belonged to Mr Carter's private collection and statuettes and vases from the reigns of Tutankhamun and Ramses II & III, will also be on show. The hologram room will show the full mummification process of the pharaoh. Tutankhamun: The Immersive Exhibition | Tutankhamun: The Immersive Exhibition Created in collaboration with Egyptologists and historians and blending cutting-edge technology with Egyptian history, the exhibition will transport visitors through six creatively designed galleries that delve into the lives of ancient Egyptians. Advertisement Hide Ad Advertisement Hide Ad The exhibition will launch at Glasgow's SEC on July 24, following successful runs in Madrid, Hamburg, Cairo, Sao Paulo, Barcelona, Vienna, Malmö and London, as well as a sold-out six-month run at the Grand Egyptian Museum in Cairo. Visitors begin their 90-minute experience on an interactive walkway that leads into an area presenting background stories about Egyptian civilisation. They then continue into an immersive video mapping room, which recounts the history of Egypt, its natural landscapes, cultural heritage, the life of Tutankhamun, his tomb, and its groundbreaking discovery. They will embark on a 360-degree seated virtual reality experience, journeying into the mystical Egyptian afterlife before entering another hi-tech space where they will witness a hologram presentation, vividly bringing to life the entire mummification process of Pharaoh Tutankhamun. Advertisement Hide Ad Advertisement Hide Ad Finally, visitors will step into an interactive digital metaverse walk-through of the Valley of the Kings, exploring Mr Carter's basecamp, and reliving the monumental moment of the 1922 discovery. The moment of the discovery of the tomb is described in a recorded interview, with Mr Carter broadcast as part of the exhibition. The exhibition is an 'immersive' journey into the history of Pharoah Tutankhamun. | SEC Angela Smith, head of new business for exhibitions at the SEC said; 'I was lucky enough to visit Tutankhamun: The Immersive Exhibition in London and I can promise visitors they are in for a treat when the event comes to Glasgow. 'Running for 14 weeks, there's plenty of time to see the event, but we are expecting high demand so we're urging visitors to sign up to the wait list so they don't miss out.'
Yahoo
20-05-2025
- Entertainment
- Yahoo
7 of the best new museums to visit this year
This article was produced by National Geographic Traveller (UK). Whether it's getting in touch with different cultures, finding creative inspiration or even sinking your teeth into the history of a specific subject, museums can be intimate and interactive spaces that conjure new trains of thought while transporting visitors into other worlds — even if just for a brief moment. And 2025 is a great year to wander collection-filled halls, get lost in exhibitions and stimulate the senses with new interactive experiences — here's where to do it. A massive 11-metre, 3,200-year-old statue of Ramses II greets visitors at the long-awaited Grand Egyptian Museum in Cairo, the largest archaeological museum in the world. This highly anticipated space dedicated to Ancient Egyptian civilisation has been in the works for over a decade, with multiple pushbacks due to rising costs and the pandemic, but the first galleries finally opened in late 2024. The grand staircase that leads to the main galleries is a statue-stacked celebration of Egypt's gods and kings, holding over 60 significant pieces from the museum's collection. Once upstairs, visitors can peer through the floor-to-ceiling windows that face the Pyramids of Giza before admiring the museum's 100,000-strong collection. Tours are offered every hour in Arabic and English and last 90 minutes, but that's not nearly enough to cover the entire museum. This July will finally see the museum's official grand opening, when the King Tutankhamun collection will be unveiled. Last June — on the anniversary of the Stonewall Rebellion on the 28th of the month — marked the opening of New York City's Stonewall National Monument Visitor Centre, a cultural hub dedicated to all things LGBTQ+. It's set in what was one half of the original Stonewall Inn, a gay bar in Greenwich Village, which was raided by police in 1969, sparking a series of protests. The visitor centre plays host to a variety of talks, live performances, on-site tours and exhibitions highlighting LGBTQ+ history while a modern revival of the original bar occupies the other half of the building next door. A rainbow-coloured Wall of Solidarity greets guests and unveils Stonewall's global legacy while highlighting the voices of revolutionary hope while an old-school jukebox, curated by DJ and activist Honey Dijon, plays inspirational hits that capture the Stonewall community's rebellious spirit and joy. Entry to the visitor centre is free of charge. Giant brick blocks and green pipes decorate the courtyard of the Nintendo Museum, which opened last October in Kyoto, Japan, conjuring up the imaginary world of the global entertainment brand. The museum, spread across three buildings, is dedicated to the history of Nintendo, from its humble roots — founded in 1889 as a maker of hanafuda ('flower cards', traditional Japanese playing cards) — to the company's latest games and consoles, including special editions and concepts that were never publicly released. The main attraction, as expected, is the collection of interactive games, featuring Nintendo's famous characters, from Kirby to Super Mario. End the nostalgia with a visit to the museum gift shop for Nintendo memorabilia, followed by the Hatena Burger restaurant, where visitors can choose from over 270,000 possible ways to build a burger. Tickets are made available by lottery and must be bought at least three months in advance through the museum's website. The sleek, white brutalist building that houses Kunstsilo, Norway's latest museum of contemporary Nordic art, might seem like a recent construction, but it's actually a repurposed flour mill built in 1935. Recognised for its modern, functionalist architecture, the silo is now home to prestigious collections that showcase 8,000 pieces of Nordic art. The Tangen Collection, the largest collection of Nordic modern art, gathers work from Norway, Finland, Sweden, Denmark and Iceland from the late 1890s to present-day. Kunstsilo also offers digital contemporary art and temporary exhibitions, along with lectures, concerts and workshops. There's also a brasserie on the ground floor and the Panorama bar on the ninth, for views of the fjord and archipelago outside the southern port city of Kristiansand. British collector Christian Levett closed his museum of antiquity in Mougins on the French Riviera and reopened it as a dedicated space to art created entirely by women of the 19th to 21st centuries. Femmes Artistes du Musée de Mougins, or Women Artists of the Mougins Museum, holds Levett's personal collection of over 100 paintings and sculptures created by more than 80 artists such as Frida Kahlo, Blanche Hoschedé-Monet (stepdaughter of Claude Monet), Joan Mitchell, Jenna Gribbon, Leonora Carrington and dozens more. The ground floor is dedicated to painters of the impressionist and surrealist movements, while the first floor showcases abstract work from the 20th century. The second floor embodies figurative art and various depictions and expressions of the human body while the basement level is dedicated to 21st-century women artists and their legacies in the art world. The museum is open daily and tickets can be purchased in advance online. A museum dedicated entirely to flavour, the Museum of BBQ allows guests to get lost in the sauces of America's four main barbecue regions: Kansas City, Memphis, Texas and the Carolinas. Opened by food writer and BBQ judge Jonathan Bender, this Kansas City-based museum dives deep into every step of the sizzling practice, from meat cuts and dry rubs to how smoke, wood and fire affect the final result. Visitors can also soak up the history of the craft while enjoying some 'rib ticklers' (BBQ-themed dad jokes) and photos with the championship mustard belt — an ode to South Carolina's famous mustard-based sauce. After the culinary history, it's time to dive into a can of beans — or at least into the giant ball pit that resembles one. Shining a light on often-overlooked Balinese culture and history, the Saka Museum in Bali weaves the island's intimate connection to nature into its state-of-the-art architecture and design. Opened in 2024 by Ayana Bali, a destination resort with four award-winning hotels, the Saka Museum is free for hotel guests and open to others for a small fee. Named after the Hindu solar calendar, the museum showcases preserved ancient texts, gamelan instrument ensembles, stone statues and ogoh-ogoh sculptures from local Balinese communities as well as offers a deep dive behind Nyepi, Bali's annual, island-wide Day of Silence. Saka offers tours, seminars and exhibitions, along with vast indoor and outdoor spaces for weddings and special events. To subscribe to National Geographic Traveller (UK) magazine click here. (Available in select countries only).
CairoScene
15-03-2025
- Entertainment
- CairoScene
The Mummy & the Man Who Remembered: Shadi Abdel Salam's Eternal Cinema
With The Mummy (1969), Shadi Abdel Salam crafted a cinematic tomb—an exquisite meditation on Egypt's past, identity, and memory. A film that transcends time, ensuring history is never forgotten. In 1969, in the dim hush of a screening room, Al-Mummia ( The Mummy , also known as The Night of Counting the Years) unfolded like an ancient funerary text come to life. The film's rhythms were slow and deliberate, its silences more powerful than its words. It was not the bombastic spectacle of Hollywood's Ancient Egypt, filled with golden chariots and cartoonish pharaohs, nor was it an exercise in nostalgia. It was something else entirely—an act of cinematic archaeology. With The Mummy , Shadi Abdel Salam did not merely tell a story set in the past; he resurrected it. To this day, his first and only feature remains one of the most important films in Arab cinema —a quiet yet seismic act of remembering. The Architect of Time Shadi Abdel Salam was not simply a filmmaker. He was an architect of time. Born in Alexandria in 1930, he was raised in a city where Greek, Roman, and Arab legacies coexisted, but his imagination belonged to something far older. He studied architecture at Cairo University, where he became obsessed with the proportions, symmetry, and symbolism of Pharaonic structures. Buildings, he believed, were not just stone and mortar; they were containers of memory, tombs for history itself. Unlike his contemporaries in Egyptian cinema, who gravitated toward neorealism or melodrama, Abdel Salam was drawn to something more monumental. His influences were far-reaching: the sculptural austerity of silent cinema, the philosophical realism of Rossellini, the montage precision of Eisenstein. His visual language was not learned from cinema but from hieroglyphs, murals, and temple carvings. Before becoming a director, Abdel Salam was a sought-after set and costume designer. His obsessive attention to historical accuracy shaped Joseph Mankiewicz's Cleopatra , Youssef Chahine's Saladin the Victorious , and Jerzy Kawalerowicz's Pharaoh . Every carved relief, every textile, every thread mattered. His work caught the eye of Roberto Rossellini, who became an ardent supporter of his filmmaking aspirations. When Abdel Salam finally stepped behind the camera, it was with the precision of a man who had spent his entire life preparing for a single, perfect composition. The Mummy's Curse: A Story of Looted Time At its core, The Mummy is a ghost story, though there are no apparitions. The specters it conjures are not supernatural but historical. The film is based on the true discovery of the Deir el-Bahari Royal Cache in 1881, where the Abdel-Rasoul family—a tribe of tomb raiders in Upper Egypt—had secretly looted and sold the mummies of pharaohs for over a decade. The thieves did not see themselves as desecrators but as survivors; for them, the relics were not objects of reverence but a means to endure in a harsh landscape. The widespread appearance of ancient Egyptian artifacts in the open market and European auctions aroused the suspicions of the government, leading French Egyptologist Gaston Maspero to launch an investigation. His inquiry ultimately revealed the cache—a hidden tomb containing more than 50 royal mummies, including Seti I, Ramesses II, and Thutmose III—one of the most significant archaeological discoveries in Egyptian history. Abdel Salam transforms this into a moral and existential crisis. The film's protagonist, Wanis, is the reluctant heir to this crime. When the elder of his smuggling clan dies, the secret is passed down to him. But Wanis is horrified to discover the full reality—not only are the artifacts sold to Cairo traders for money, but they are also exchanged for prostitutes brought to the village. His disgust deepens, and his refusal to participate leads to a confrontation that ultimately results in the murder of his older brother at the hands of their uncle. Wanis, however, escapes and reaches the Supreme Council of Antiquities, where he reveals everything he knows. The weight of history is not merely a theme but a presence, pressing down on every frame. The film moves with a hypnotic stillness, its dialogue sparse, its emotions restrained. The Mummy doesn't simply transport us back in time to depict ancient Egypt; it instead portrays the everlasting impact the past continues to have on the present, posing fundamental questions about identity, ethics, and legacy. A Language of Stone and Silence Abdel Salam's use of image, sound, and space in The Mummy is unparalleled. Shot by cinematographer Abdel Aziz Fahmy, the film is composed with the precision of a Pharaonic frieze—each figure positioned as though carved in stone. The use of deep shadows, stark desert landscapes, and muted color palettes creates a world where time itself seems petrified. It is a film of whispers, of windswept sands, of men in black moving like specters through the ruins of their own history. The film also eschews colloquial Egyptian Arabic in favor of classical Arabic, making the dialogue feel as though it had been inscribed on temple walls centuries ago. Even the pacing reflects the meditative rhythm of Egyptian ritual—each movement deliberate, each silence sacred. Abdel Salam rejected Western cinematic tropes of Egypt. His was a land not of kitsch and spectacle but of dignity, complexity, and fatalism. His Egypt was not imagined through a foreign gaze—it was remembered. The Book of the Dead and the Death of a Director In the ancient Egyptian Book of the Dead , it is said that a person can only live again if their name is remembered. Abdel Salam weaves this concept into The Mummy in a profound way: Wanis' brother is symbolically erased from existence when his mother declares, 'I no longer know his name.' The film suggests that to forget is to die, but to remember is to grant eternity. Abdel Salam spent the rest of his life on a single project: Akhenaten, a film about the revolutionary pharaoh who sought to redefine Egyptian religion and was ultimately erased from history. It was to be his grand statement, a meditation on power, iconoclasm, and legacy. But it was never made. For years, Abdel Salam meticulously researched, wrote, and sketched the world of Akhenaten , determined to bring it to the screen. But the project was halted due to his declining health and lack of funding. His vision survives only in painstakingly detailed storyboards and notes, now preserved in the Bibliotheca Alexandrina. Abdel Salam died in 1986 at the age of 56. A Monument of Cinema And yet, his work endures. His one film stands taller than most directors' entire bodies of work. The Mummy was not just a film but a monument—a testament to what cinema could be when it dared to look backward not as nostalgia but as a moral imperative. 'I believe many Egyptians don't know much about their history. I feel a deep responsibility to tell them more about it and to share my fascination with them,' Abdel Salam once said in an interview. 'For me, cinema is not merely a consumerist art form for entertainment but a historical document for future generations.' In the final scenes of The Mummy , as the pharaohs' remains are finally taken to the museum at dawn, the sun rises over the horizon. Abdel Salam films this moment like a resurrection, as though the dead are awakening once more, their names intact, their legacy intact. The Book of the Dead says: 'To speak the name of the dead is to make them live again.' Perhaps that is Abdel Salam's greatest achievement. He made us remember.
Yahoo
21-02-2025
- Entertainment
- Yahoo
Archaeologists Discovered the First Royal Egyptian Tomb Since King Tut's Over 100 Years Ago
For the first time in over a century, a royal Egyptian tomb has been uncovered by archaeologists. The tomb was uncovered in 2022, but has only now been confirmed as the final resting place of King Thutmose II. The facts of King Thutmose II's life are disputed, with different sources providing different lengths for his reign, and even applying other names to the late pharoah. Howard Carter's 1922 discovery of King Tutankhamun's tomb kicked off a revived interest in Ancient Egypt that could well be described as 'Mummy Mania.' It launched the name of a previously somewhat lesser pharaoh into the Western vernacular, inspired scholarly studies, and sparked fantastical horror stories of 'mummy's curses.' Fifty full years after King Tut's tomb was discovered, the fascination was still so strong that comedian Steve Martin was able to perform a satirical song about the obsession on the third season of Saturday Night Live, and it became a legitimate hit on the Billboard charts. Well, just in time for SNL's 50th season, Mr. Martin might need to tune up his famous banjo to write another song, because more than 100 years after Howard Carter's excavation, there is finally a new royal mummy's tomb in town. As reported by CBS News, Egyptian officials announced on Tuesday that the tomb of King Thutmose II had been uncovered during a Egyptian-British archaeological mission. Though the confirmation is new this week, the entrance to this particular tomb had actually been uncovered in 2022—exactly 100 years since the last time a royal tomb had been discovered, that of King Tut. When the tomb—which was initially simply called No. C4—was first discovered, 'the team believed it could belong to one of the wives of the kings,' according to Mohamed Ismail Khaled, Secretary-General of Egypt's Supreme Council of Antiquities. That assessment was based on the tomb's proximity to those of the wives of King Thutmose III, who was the son of Thutmose II and his second wife Iset. But, as they excavated further, they discovered fragments of alabaster vessels inscribed with the name King Thutmose II and identifying him as a 'deceased king.' They also bore the name of Queen Hatshepsut, Thutmose II's wife and half-sister, who would have carried out the burial rituals. After careful analysis, officials finally confirmed the discovery in 2025. Also found within the tomb mortar was a funerary text 'with remnants of blue inscriptions and yellow stars, and some paragraphs from the book of 'Imydwat,'' intended to provide guidance for entering the afterlife. What wasn't found in the tomb, however, was the body of King Thutmose II himself. It was found in 1881, within a site officially known as TT320—or, colloquially, as the Royal Cache—in Deir el-Bahari, opposite Luxor in Egypt. The mummy was unwrapped by Egyptologist Gaston Maspero, who noticed the resemblance to Thutmose I (his father) and identified the remains as Thutmose II on July 1, 1886. The National Museum of Egyptian Civilization posits that Thutmose II's body had been relocated to this cache after his original tomb was looted by treasure seekers. Comparatively little is known about the reign of King Thutmose II. In fact, even the length of his time as king is disputed. Some sources suggest he reigned for 13 years (from 1493 until his death in 1479 B.C.), while others suggest it was as short as three years (beginning in 1482). In the Aegyptiaca, a third-century Greek language history of Egypt, the author—an Egyptian priest known as Manetho—throws another potential wrench into our understanding by stating that after Thutmose I's death, 'he was succeeded by his son Chebron, who ruled for 13 years.' This alternative name could be a Greek version of the royal name (known as a prenomen) of Aakheperenre, a name Thutmose II could have bore. This lack of clarity from our written histories is part of what makes this discovery so exciting. Beyond the inherently remarkable fact that a new tomb has finally been discovered for the first time in over 100 years, the fact that it's this particular pharaoh's tomb means that the possibility of finally gaining some concrete answers to his long-disputed history has finally presented itself. The tomb, the experts note note, 'is in a poor state of preservation due largely to exposure to floods shortly after Thutmose II's death,' and much of the tomb's original contents were likely relocated after said floods. That said, the team very much intends to continue their survey work to see what new information can be gleaned. You Might Also Like The Do's and Don'ts of Using Painter's Tape The Best Portable BBQ Grills for Cooking Anywhere Can a Smart Watch Prolong Your Life?
