CAIRO: The mummified remains of 22 ancient Egyptian kings and queens will be paraded through the streets of Cairo Saturday, in an eye-catching royal procession to a new resting place.
Dubbed the Pharaohs’ Golden Parade, the 18 kings and four queens will travel in order, oldest first, each aboard a separate float decorated in ancient Egyptian style.
They are being moved from a decades-long residency at the Egyptian Museum in central Cairo for display at the National Museum of Egyptian Civilization.
The new museum, in the south of the capital, opened its doors to limited exhibits from 2017 and will open fully on Sunday, before the mummies go on display to the general public from April 18.
Upon arrival, they will occupy “slightly upgraded cases,” said Salima Ikram, professor of Egyptology at the American University in Cairo.
“The temperature and humidity control will be even better than it was in the old museum,” added Ikram, a mummification specialist.
Emblazoned with the name of their allocated sovereign, each of the gold-colored carriages will be fitted with shock absorbers for the 40-minute journey through Cairo, to ensure none of the precious cargos are accidentally disturbed by uneven surfaces.
Seqenenre Tao II, “the Brave,” who reigned over southern Egypt some 1,600 years before Christ, will be on the first chariot, while Ramses IX, who reigned in the 12th century BC, will be at the rear.
Ramses II and Queen Hatshepsut, the most powerful female pharaoh, will also make the journey.
Beginning at 6:00 p.m. (1600 GMT) on Saturday, the procession will take place under the watchful eyes of hefty deployments of security forces.
The parade will be spurred on by music and performances from Egyptian artists, all broadcast live on state television.
Discovered near Luxor from 1881 onwards, most of the 22 mummies have lain since the early 1900s in the Egyptian Museum, on the capital’s iconic Tahrir Square.
From the 1950s, they were put on display in a small room, one next to the other, unaccompanied by explanatory blurbs.
Ahead of their departure onto Cairo’s streets, the mummies will be placed in special containers filled with nitrogen, under conditions similar to their regular exhibition boxes.
In their new home, they will be showcased individually, each next to a sarcophagus — and in some cases, a statue — in an environment redolent of underground royal tombs.
Exhibits will be signposted by a brief biography and, in some cases, copies of computerised tomography (CT) scans.
“The mummies will be shown for the first time in a beautiful way, for education, not for a thrill,” another Egyptologist, Zahi Hawass, told AFP.
The macabre appearance of the mummies has over the decades put off some visitors.
Among the most prominent was a fellow royal — Princess Margaret, sister to British monarch Queen Elizabeth II.
“I will never forget when I took Margaret to the museum,” said Hawass, a former antiquities minister.
“In the gallery was the mummy of Ramses II... (Princess Margaret) closed her eyes and ran away — she couldn’t stand” what she saw before her.
The National Museum of Egyptian Civilization was completed in 2010, and “I was planning to open this museum in 2012,” Hawass said.
“But because of what happened in Egypt we could not,” he added, referring to the country’s 2011 popular revolution and subsequent turmoil.
In the coming months, the country is due to inaugurate another new facility, the Grand Egyptian Museum, near the Giza pyramids.
It will also house pharaonic collections, including the celeberated treasure of Tutankhamun.
Discovered in 1922, the tomb of the young ruler, who took the throne briefly in the 14th century BC, contained treasures including gold and ivory.
A so-called “curse of the pharaoh” emerged in the wake of Tutankhamun’s unearthing in 1922-23.
A key funder of the British dig, Lord Carnarvon, died of blood poisoning months after the tomb was opened, while an early visitor died abruptly in 1923.
With the planned parade coming only days after several disasters struck Egypt, some have inevitably speculated on social media that the mummies’ looming disturbance has provoked them into unleashing curses.
Recent days have seen a deadly rail collision and a building collapse in Cairo, while global headlines were dominated by the fate of the giant container ship the MV Ever Given that blocked the Suez Canal for almost a week.
Both Hawass and Ikram were at pains to dispell any notion of a link between the mummies’ parade and recent events.
“You know that everyone loves a story like this,” said Ikram. “It makes things far more dramatic.”
March of the mummies: Egypt readies for pharaohs’ parade
https://arab.news/4kh8p
March of the mummies: Egypt readies for pharaohs’ parade
- The 18 kings and four queens will travel in order, oldest first, each aboard a separate float decorated in ancient Egyptian style
- Some have inevitably speculated on social media that the mummies’ looming disturbance has provoked them into unleashing curses
Saudi actress Maria Bahrawi rings in 2025 with a heartfelt message
- Bahrawi wishes family, friends, fans ‘joy, love, and endless blessings’
- Star of ‘Norah,’ first Saudi movie to premiere at Cannes Film Festival
DUBAI: Saudi Arabia actress Maria Bahrawi, who made history starring in the first movie from the Kingdom to premiere at the Cannes Film Festival in 2024, “Norah,” welcomed the new year with a heartfelt Instagram post.
“Hello 2025, may this year bring joy, love, and endless blessings to all of us,” the rising star wrote. “Here’s to new beginnings, big dreams, and beautiful memories. Happy New Year.”
The 18-year-old actress, who was born and raised in Jeddah, also highlighted the joy of being surrounded by her sisters, posting a picture with them, but covering their faces to protect their privacy.
“I am happy to be starting 2025 with my sisters around. Your presence is the biggest blessing in my life and the best feeling,” she added.
In her Instagram Stories, she shared a short video reflecting on milestones from 2024. The clip showcased her graduation, appearances at international festivals, and red-carpet moments.
It also had billboards featuring her across city streets, film screenings, interviews, behind-the-scenes glimpses from sets and shoots, her birthday, trips to AlUla and attendance at the Red Sea Film Festival.
Bahrawi’s film “Norah,” the debut feature of Saudi Arabia filmmaker Tawfik Alzaidi, premiered in the Cannes Film Festival’s Un Certain Regard section, which highlights unique storytelling and innovative styles. The film received the Special Mention accolade, honoring its outstanding achievements.
The movie, shot entirely in AlUla, is set in 1990s Saudi Arabia when the professional pursuit of all art, including painting, was frowned upon.
Besides Bahrawi, the movie also stars Yaqoub Al-Farhan and Abdullah Al-Satian. It follows the story of Norah and failed artist Nader as they encourage each other to realize their artistic potential in rural Saudi Arabia.
The movie was backed by the Red Sea Fund — one of the Red Sea Film Foundation’s programs — and was filmed with an all-Saudi cast and a 40 percent Saudi crew.
“I’m living the dream. Inshallah, I’ll reach bigger and higher goals. I have all the opportunities in the world, now it’s up to me to take them,” Bahrawi previously told Arab News while discussing the film.
Disney’s ‘The Magic Box’ to debut in Abu Dhabi in February
DUBAI: Disney fans in Abu Dhabi are in for a treat as “The Magic Box,” an innovative theatrical production celebrating a century of Disney, is set to premiere at the Etihad Arena from Feb. 6 to 15, 2025.
Created and co-written by Felipe Gamba Paredes, the show combines more than 75 Disney songs with immersive visuals and an original narrative.
Gamba, a former Disney executive with over 15 years of experience, describes “The Magic Box” as a “love letter” to the timeless stories and music that have defined generations.
“In creating ‘The Magic Box,’ I wanted audiences to reconnect with their own inner child, and to do so, we chose not to tell one singular story from one single Disney film but instead blend them all into one unforgettable journey to the feelings and joy they triggered when we first saw them,” he told Arab News.
At its core is the tale of Mara, a woman rediscovering her inner child through Disney’s evocative melodies.
The production spans Disney’s vast musical history, featuring songs from as early as 1929 alongside contemporary hits from 2023, which Gamba said was “not an easy task.”
He said: “We spent many months just combing through the catalog. We knew we wanted to curate a collage that would resonate across multiple generations so that everyone would find their emotional place inside our show. Balancing content was important.”
The decision to debut “The Magic Box” in Abu Dhabi is based on the UAE capital’s diverse demographics.
“So, I know our show will feel right at home in Abu Dhabi, which is home to so many diverse cultures and represents such a rich tapestry of humanity,” Gamba said.
Hans Zimmer to perform in Abu Dhabi
DUBAI: Multi-Academy Award-winning composer Hans Zimmer will perform in Abu Dhabi for the first time on May 31.
The performer will bring his “Hans Zimmer Live” concert to the UAE capital and will perform works from his most iconic soundtracks, including “Interstellar,” “The Lion King,” “Dune,” and more.
“I am very excited to be performing for the first time in the city where ‘Dune Two’ was filmed and served as the inspiration for the score.” said Hans Zimmer, referring to the Denis Villeneuve-directed blockbuster released in 2024.
Zimmer previously performed in Dubai in the summer of 2024.
Zimmer’s musical legacy, marked by the creation of memorable movie scores, secured him two Academy Awards and four Grammy Awards, along with nominations for three Emmys and a Tony.
With an impressive repertoire, he has composed the music for movies like “The Dark Knight,” “Top Gun Maverick,” “Pirates of the Caribbean,” and most recently “Dune” and “Dune: Part 2” — among other iconic movies.
Ali and Walaa Hennaoui embrace 2025 after Ralph Lauren campaign
DUBAI: Dubai-based influencer couple Ali and Walaa Hennaoui are gearing up for the new year after closing out 2024 on a high note with a Ralph Lauren campaign.
The duo shared an inspiring message on their joint Instagram account, writing: “And to 2025, we say: no matter what you hold, we are ready for you — together. Sky’s the limit, always. Dream big, live boldly, and most importantly—believe in yourself.
“Here’s to a new year, stronger hearts, and endless possibilities. Happy New Year, everyone,” they added.
The couple, who have two children, reflected on their achievements in 2024, including their latest milestone: Starring together in a campaign for US fashion label Ralph Lauren during the festive season.
In a clip shared on their Instagram profile, they are featured aboard a yacht showcasing the brand’s latest collection, which includes clothing, accessories and perfumes. The video shows the couple preparing together on the yacht as it sails through locations such as Doha, Abu Dhabi and Dubai, with the region’s landmarks featured prominently in the background.
“Getting ready together…but this time aboard @ralphlauren yacht. Sailing through Doha, Abu Dhabi and Dubai,” the post’s caption reads.
Ali was dressed in a crisp white shirt and black trousers, with a tailored maroon knit sweater layered over his shoulders. Meanwhile, Walaa donned an off-white, full-sleeved knit sweater with a high neckline, featuring intricate patterns. She paired it with a flowing, pleated off-white maxi skirt, cinched at the waist with a statement brown leather belt that had a bold buckle.
In another image shared on their profile, Ali wore a tailored navy double-breasted blazer paired with a striped shirt and cream linen trousers, while Walaa opted for a navy blazer adorned with an embroidered crest on the chest.
The couple also took the opportunity to share heartfelt reflections on the past year.
“This year, we learned to embrace the beauty of the small things and truly understood the meaning of family first. Through every challenge and every doubt, we found strength in each other, solidifying our love, our marriage, and our smallest, most sacred circle,” they said on Instagram.
The pair share daily updates on family life on their social media feeds, including Instagram and TikTok, and have worked with fashion and homeware brands in the past. They also frequently attend runway presentations by Lebanese couturier Elie Saab, including his recent shows in Paris and Riyadh.
French Algerian animator aims to draw on experiences of peers in Saudi Arabia’s Diriyah Art Futures program
DUBAI: Samia Dzair, a French Algerian animator handpicked by Saudi creative hub Diriyah Art Futures for its inaugural Emerging New Media Artists Program, said she hopes to broaden her horizons as part of the initiative alongside an international cohort of artists.
The year-long program, based in the UNESCO World Heritage site of Diriyah in Riyadh, will provide the chosen participants with access to professional equipment and facilities, a production budget, the opportunity to learn from guest lecturers from around the world specializing in new media art, and mentorships.
Dzair told Arab News she intends to use the opportunity to “fully question the various themes I address in my artistic work, such as myths, immigration and uprooting, while at the same time having the chance to produce quality work, with a real budget.”
She will join fellow artists from Jordan, Egypt, Saudi Arabia, China, Wales and other countries who were selected for the initiative, and said this varied, international collection of up-and-coming talents was a particularly appealing aspect of the program.
“Being in a group with other artists from different backgrounds is going to be very inspiring,” Dzair said. “We’ll be able to exchange our experiences, our respective world outlooks and inspire one another.”
She will be aiming develop her skills in the field of animation, specifically the 2D and stop-motion varieties, which is something she says she was drawn to as a child.
“My first encounter with art was with animated films,” she said. “I come from a social environment where institutional culture was not very accessible (and) my father used to buy me a lot of cartoons that were sold in tobacconists’ shops, except that they weren’t always animated films for children.
“That’s how I started watching a lot of animated films like ‘Ghost in the Shell,’ which weren’t for my age but which forged my aspirations and my aesthetic,” she added, referring to the 1995 anime film directed by Mamoru Oshii.
She was also attracted to the medium as a creator in part because of the relatively limited resources required for an animation project. While sculptors might require blocks of marble and a set of chisels and other tools, and painters need a studio stocked with shelves of paint and brushes, Dzair said she is able to “make a film all by myself in my room with a camera or a computer, a head full of ideas and a few scraps of paper. I love it.”
She added: “The fact that you can find a-thousand-and-one ways to give an impression of movement, to bring to life an environment, a character, an interaction or an idea is simply fascinating.”
The director graduated from the KASK School of Arts in Belgium before directing two short films — “Soufre” in 2021 and “Le Poids De La Terre En Grammes” in 2022 — and also developed a TV series titled “Blue Weddings” that explores North African lore through its depiction of the ogress Teryel, a fearsome mythological character.
“(The) project … began as an emotional outlet. My quest to understand my family's neuroses and traumas led me to write this project, which originally took the form of a tale. The tale of a subversive woman, an ogress, hated by all, but who symbolizes the anger of an entire land dispossessed of its culture,” Dzair explained.
“Like my protagonist, I grew up in the north of France, and was separated from the land of my elders, and also separated from my mother at a very early age, a mother who grew up during the Algerian civil war, who faced violence and lack of education. Nonetheless she was politicized by her elders and this knowledge made her rebellious and violent because she couldn’t do anything as a ‘third world’ villager and a woman.”
Dzair’s series seeks to use the story of the ogress to explore issues relating to uprooting, war, colonization and capitalism — “what particularly interests me in the tales I refer to is the figure of the angry murdered rebel ogress, which I believe perfectly sums up the resistance shown by Algeria and all formerly colonized African countries,” she said.
