Sunday, November 2, 2008

The Mysterious Boy-King

Copyright © Egypt, Cradle of Civilization

Was it a natural death or was he murdered? After almost 3,000 years and with very little evidence and so many conspiracy theories it's hard to determine exactly how the boy-king died! 28 years ago after X-rays were taken of his mummy by the anatomy department of the University of Liverpool everyone was convinced that Tutankhamun died of unnatural causes, presumably a blow to the back of the head.



The main suspect was Aye, his vizier in conspiracy with Horemheb, the commander-in-chief of the army. Seeming to gain from the king's death, Aye succeeded, ruling Egypt for 4 years before he died and was then succeeded by Horemheb. Both were powerful men who were present during the reign of King Tut. But they both would have had no reason to murder him since he was young and did not hold much authority and they were probably making the decisions any way. And as it happened, Tutankhamun had no enemies; he was loved by the priests and the population because he was the one to re-establish the religion of Amun-Re after the death of his heretic father Akhenaten, who outlawed it, replacing it with the monotheistic worship of Aten.



Tutankhamun belonged to the Eighteenth dynasty and ruled Egypt at a time of turbulence. Originally Tutankhaten, meaning the "Living Image of Aten", was changed when he came to power to Tutankhamun, meaning the "Living Image of Amun". Tutankhamun was the son of Akhenaten also known as Amenhotep ΙV, and his minor wife Queen Kiya. He came to reign at the age of 9 and at the age of 13 married Ankhesenamun, who was probably his half-sister, as it is recorded that Ankhesenamun as one of the six daughters of Akhenaten and Nefertiti. At the age of 19 the king died suddenly and was buried in a crammed tomb in the "Valley of the Kings", now known as Al-Amarna. The Valley of the Kings was declared a World Heritage Site in 1927, it lies on the west bank just across the Nile from Thebes (modern Luxor), and is the valley where, for 500 years, tombs for kings of the New Kingdom were constructed.



KV62 (the tomb of Tutankhamun) was first discovered, by the British archaeologist Howard Carter in 1922, who came upon it by chance. The tomb remains the only royal Egyptian tomb discovered in modern times virtually intact. The rubble that concealed the tomb and its occupant protected it for over 30 centuries, preserving its treasures from grave robbers of antiquity who looted so many other tombs. His tomb was robbed at least twice in antiquity, but from the items taken (including perishable oils and perfumes) and the evidence of restoration of the tomb after the intrusions, it is clear that these robberies took place within several months at most of the initial burial.



The tomb of Tutankhamun consists of 3 chambers within which is crammed thousands of masterpieces of jewelry, furniture, and art objects. Over 5000 artifacts, the treasures included four nested boxes, or shrines, of gilded wood, then three mummy-shaped coffins (two gilded and one of solid gold) all inside a red quartzite sarcophagus. But the most significant finding was the mummy of King Tut himself, with a stunning mask of gold covering his head and shoulders. More so this was a first in modern history, the discovery of the mummy of an Egyptian king, lying intact in his original burial furniture.



To remove the jewelry and amulets from the body, Carter and his team had to cut up the mummy into various pieces: the arms and legs were detached, the torso cut in half and the head was severed. Hot knives were used to remove it from the golden mask to which it was cemented by hardened embalming resin. This had taken its toll on the mummy's condition and is one of the reasons why it is difficult to conclude how Tutankhamun died exactly.


King Tutankhamun still rests in his tomb in the Valley of the Kings, in a temperature-controlled glass case. But his world tour "Tutankhamun and the Golden Age of the Pharaohs" back from London this August, is currently touring the U.S.A, starting this 15th of November it will be at the Atlanta Civic Center through to May of 2009. The exhibition is organized by National Geographic, Arts and Exhibitions International and AEG Exhibitions, with cooperation from the Egyptian Supreme Council of Antiquities. The tour's proceeds will help raise money to preserve Egypt’s treasures, including the construction of the new Cairo museum (the GEM) which is expected to house 100,000 exhibits making it larger than the British Museum.

Wednesday, October 29, 2008

In a Whirl of Color!

Copyright © Egypt, Cradle of Civilization

The Tanoura Dance Troupe performed this week as they do every week, at the picturesque Al-Ghouri Mousoleum near Khan el Kalili bazaar. They perform twice a week on Wednesday and Saturday at 8:30 p.m. and the admission is free! So it's hard to be disappointed since the experience is bewitchingly amazing.



The practice of Tanoura or Sufi whirling is a type of meditation that originated among Sufis over 700 years ago. The word "Tanoura" may refer to the dance, dancer, or the large skirt used in the performance.

Sufism is the spiritual tradition known to many Westerners through the mystical poetry of Rumi and Hafiz. Sufism is a mystical tradition dating back two millennia. It is generally understood to be the mystical dimension of Islam, and the practitioner of this tradition is known as Sufi or "Dervish." The word is Persian in origin and literally means "the sill of the door", but it is used by the Arabic and Turkish language to describe the Sufi, who is the one who is at the door to enlightenment.


Sufi Masters have developed a variety of practices to induce mystical states of consciousness. Jalaluddin Rumi, a thirteenth-century Persian Sufi and founder of the Mevlana Order, developed the ritual dance which consisted mostly of turning in place or spinning around a central point or pillar.


Mevlâna Jalâluddîn Rumi says, "All loves are a bridge to Divine love. Yet, those who have not had a taste of it do not know!"

The Egyptian Sufi dancing is different to the Mevlana Dervishes in Turkey. It is more colourful and with more people involved in the performance. The concept is built around the idea that the universe stems from the same point of rotation. Starting and ending at the same point, represented by the senior dancer, "Lafife" and symbolizes the Sun, while the junior dancers "Hanatia" are the constellation revolving around him. The whirling motion itself reflects the importance of circles in Sufi philosophy and cosmology, within which revolution is the fundamental state of all beings. The aim during this ritual is to desert "the nafs" or ego (or personal desires) and listening to their master and Sufi music, thinking about God and whirling on a spiritual journey to reach the "Kemal" (the perfect).


"For a dervish, there must be a purpose, a cause for existence, and inside the cause, a True Human Being." Jelaluddin Rumi

The musical instruments used include rebaba (folk fiddle), ney (flute), mizmar (shawm), frame drums, sagat (cymbals), and tabla (doumbek drum). In the Sufi tradition the ney holds great significance as air has to be breathed in and out rather than blown into it, and that the wind passing through the flute is not just the breath of the player but the breath of God. So once the breath enters the journeyer (the dancer), he seeks union with God through the whirling movements. There is also the chanting of "thikr", which is the repletion of "la illaha illa'llah" (there is no god but God). However, some Dervish may only repeat "Allah" because they believe man can die at any moment, and they want only the name of God on their lips and in their hearts.


The changes in music, body language, and facial expressions are intended to communicate. The tannoura contained a cohesive message, communicated sequentially over the course of the show. The dancers whirl continuously sometimes for up to 45 minutes straight, varying their pace to match the music, then stop and be completely fine. As they turn, they manipulate long skirts in a colorful display and executing skilled moves, such as throwing the skirts in the air, spinning the skirts at different levels and angles, even spinning the skirt over head and while lying down. When the dancer tilts at an angle where the right hand is raised up and the left almost touches the ground, it signifies a union of the heaven and earth.


It is a rare occurrence of religious ceremony transcending into performing art. But it is obviously more entertainment than religious ceremony. It is also claimed that the trance-like state that the Dervish goes into extends to the observing audience, so don't feel surprised if you find yourself transfixed watching these well trained performers on their spiritual journey!

Monday, October 20, 2008

Happy Birthday Ramses!!

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Abu Simbel was unheard of in the Egyptological world until J. L. Burckhardt in 1813 stumbled on the upper part of a temple façade almost covered by sand. The entrance leading into the temple was discovered four years later by Giovanni Battista Belzoni and since then it has attracted many who have been awe-struck by the colossal façade of the temple.



Although the temple attracts tourists all year round its worth everything to visit this 3000 year old inspiring rock mountain on the 22nd of February and the 22nd of October, when the Sun illuminates the sanctuary statues.

The temple was actually built further down the Nile, in the same relative position, but due to the rising waters of Lake Nasser that grew behind the Aswan Dam, the temple had to be moved on the desert plateau 200 feet above and 600 feet west of their original location. In a massive archeological rescue plan by the UNESCO in the 1960s the complex of temples was moved to its site today from the original locations that are presently underwater.


Abu Simbel lies 280 km south of Aswan and only 40 km north of the Sudanese border. Archaeologists have concluded that the immense sizes of the statues in the Great Temple were intended to scare potential enemies approaching Egypt's southern region, as they traveled down the Nile from out of Africa.

The massive façade of the main temple is dominated by four seated colossal statues of Ramses II himself. Each statue 67 feet high is seated on a throne and wears the double crown of Upper and Lower Egypt and all are sculpted directly from the rock face. The thrones are decorated on their sides with Nile gods symbolically uniting Egypt. Between the legs and on each of their sides stand smaller statues of members of the royal family. The smaller statues of relatives were of his wife Queen Nefertari, his mother Tuya the great wife of Seti Ι, and of many of his children.



There are two main temples, that of Ramses II dedicated to sun gods Amun Ra and Ra-Harakhte and the smaller was built in honor of Nefertari, his wife and dedicated to the goddess Hathor. The temples are as impressive in the day as they are by night, since each night there are three Sound and Light Shows in seven different languages.

The Abu Simbel Sun Festival is one of the world's most unique events to date. This week the Solstice occurrence can be witnessed again by crowds that pack into the temple before sunrise. The two dates, February and October the 22nd commemorate King Ramses' ΙΙ ascension to the throne and his birthday respectively.

The Sun Festival starts at dawn as the visitors watch the shafts of light slowly creep into the temple lighting up this sanctuary. Curiously enough the sun illuminates the status of Amun-Ra, Ra-Harakhte and Ramses the god; whilst the statue of Ptah, the god of darkness remains in the shadows.



So on the 22nd of this month unlike any of us, Ramses will not be having candles lite up on his birthday, but the first rays of the Sun will light up his face before it lights up his architectural phenomena and the rest of Egypt!


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Monday, October 13, 2008

Cairo Opera House 20th Anniversary

Copyright © Egypt, Cradle of Civilization

This year the Cairo Opera House celebrates its 20th anniversary with performances by international artists and several special shows. The Opera House has always aimed out to promote the arts of music and dance and to especially preserve, renew traditional Arab music and cultural heritage while sharing the passion for the arts. Performances of ballet, operatic or symphonic works are staged with Egyptian companies or in cooperation with foreign ensembles or soloists. Seminars and cultural conferences covering a wide range of artistic and intellectual issues are held regularly.


The first opera house in Cairo was The Khedivial Opera House (or Royal Opera House). It was built in 1869 by the Khedive Ismail, but burnt to the ground in 1971 because it was made mostly of wood. It received the premiere of Verdi's Opera Aida in 1871. After its destruction, Cairo was without an opera house for 2 decades until the opening of the new opera house that now stands in close to downtown Cairo.

The new Cairo Opera House is part of Cairo's National Culture Center. The funds for the complex were a gift from the nation of Japan to Egypt. In October of 1988 it was inaugurated by President Hosni Mubarak and His Highness, Prince Tomohito of Mikasa, the younger brother of the Japanese Emperor in a remarkable ceremony. It was the first time for Japan to stage a Kabuki show, a traditional popular drama with singing and dancing, in Africa or the Arab World. In recognition of the Cairo Opera House, the London Royal Philharmonic Orchestra chose it as a venue for their first performance in the Middle East and Africa in January 2007.

The museum on the first floor of the Main Hall exhibits rare photos including some from the night the Khedival Opera House burnt down. There are also photos of the most important artistic performances and a number of brochures of concerts that were given in the Opera House before it was destroyed. This wing also exhibits costumes, jewelery, and musical scores of the opera Aida. Some historic documents written in Italian about the artistic performances of the Khedivial Cairo Opera House from 1869 until 1907 are shown as well. The museum also displays a huge wooden nay (oriental flute) about 10cm wide and more than 2m long and a rare piano with additional keys to allow for oriental tunes to be played.


The celebrations this year were launched by the commencement of the Swiss Tales which was attended by Mrs. Suzanne Mubarak and the Swiss President Pascal Couchiepin. The first of the concert was for Francois Lindemann’s seven grand pianos orchestra, “Piano Seven” played by seven Swiss pianists and part of the “Swiss Tales” programme for cultural exchange between Egypt and Switzerland. Over the course of the year a number of prestigious groups have performed at the Cairo Opera House and attracted various audiences and supporters.


Germany participated in this celebration with a performance of the popular Ballet Mannheim and the Twelve Pianists’ concert in which 12 pianists play melodies at one piano. The British Royal Philharmonic Orchestra performed three concerts, with earnings dedicated to the New Children’s Cancer Hospital and Abo El-Reesh Children’s Hospital.

Also participating this year was a performance by the famed Lebanese singer and oud player Marcel Khalifa. The famous Belarus National Academic Bolshoi Ballet Theatre performed their ballet "Swan Lake". There were also performances from the American Smithsonian Jazz Master Works Orchestra and the Irish Lord of the Dance troop.

Wednesday, October 8, 2008

The Tale of Sinuhe

Copyright © Egypt, Cradel of Civilization

The Tale of Sinuhe (pronounced as "sA-nht") is considered a supreme achievement of Ancient Egyptian literature. It was probably written during the 12th Dynasty of the Middle Kingdom in the aftermath of the death of Pharaoh Amen-em-hat I, in the early 20th century BC. Historically it is debated as to whether or not the tale is based on actual events involving an individual named Sinuhe, although the more probable consensus being that it is most likely a work of fiction.

The story is told in the first person by Sinuhe himself, and written in the form of a poem, combining in a single narrative an extraordinary range of literary styles. The poem continually examines the reasons for Sinuhe's flight and his possible culpability for it, without reaching a conclusion.This biography yields information about political and social conditions of the time. The poem also explores the nature of what it is to be an Egyptian, without ultimately undermining the Egyptian assumption that life outside Egypt is meaningless, by placing an Egyptian character in a non-Egyptian (i.e. Asiatic) society.

His tomb has not been found, but the account of his adventures was a favorite tale in Ancient Egypt and was written many times on papyrus and read for hundreds of years after his death. Specifically, it has been recorded on 6 papyri and 26 ostraca (singular for ostracon and is a piece of pottery or stone, usually broken off from a vase or other earthenware vessel), making it one of the most popular literary works, and one of the oldest.

The tale starts with Sinuhe speaking from his tomb. He begins his story while on an expedition to Libya with the eldest son of the King Amen-em-hat Ι. He overhears a messenger speaking of the assassination of the Pharaoh. He decides to flee in a panic, either from fright or because of his complicity it is not clear. He intends to travel southwards but was blown north while crossing the Nile, and continues into the Desert of Sinai and onto Palestine and Lebanon. There he almost dies, and as he gives up all hope for life he hears the low of cattle. He is found and tended to by a Bedouin who recognizes him as an Egyptian of importance.


After this, Sinuhe goes on to the ancient city of Byblos in Syria and further still to the city of Retenu east of the great valley beyond the Lebanon. There he was welcomed by King Ammi-enshi, who adopted him and married him to his eldest daughter. At the height of his power he is challenged to a duel by a Syrian champion. Sinuhe kills his opponent and gains even more power and prestige. But as he approaches old age, he yearns to return to his homeland and to be buried back there, so he sends a letter to the reigning Pharaoh Sen-Usert, begging for forgiveness. He is invited back to Egypt and returns to the palace he once left.


Sinuhe becomes a great man in Egypt and a close friend of the Pharaoh, who lavishes him with land and riches. King Sen-Usert is said to have commissioned an extravagant tomb for Sinuhe to be buried in, where the story of his adventures are carved and decorated on the tomb walls.