‘House of Arabic Singing’ … Cultural Tourism Destination in Egypt

Prince Bashtak Palace (Cultural Development Fund).
Prince Bashtak Palace (Cultural Development Fund).
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‘House of Arabic Singing’ … Cultural Tourism Destination in Egypt

Prince Bashtak Palace (Cultural Development Fund).
Prince Bashtak Palace (Cultural Development Fund).

It is a trip in the world of classic art, and not only a visit to an ancient palace or a unique architectural model from the Mamluk era in Egypt. Cairo’s Prince Bashtak Palace embraces a hub of creativity that truly pleases its visitors: it is the “House of Arabic Singing”, which presents charming voices and great Arabic songs.

While in Egypt, you can satisfy your crooning cravings in many prestigious places such as the Cairo Opera House and the Institute of Arabic music, yet, at the Bashtak Palace, it is a different experience, where delight goes beyond the limits, and music and singing meet civilization and history.

The connection between music and historic landmarks in Egypt is not nascent. While touring the Bashtak Palace before attending a concert, you can see engravings of cemeteries and temples on a varied collection of instruments. And if a touristic guide accompanies you on the tour, they will definitely link the palace to Egyptian musical history.

During my last visit to the “House of Arabic Singing”, guide Ahmad Abdul Samih told me: “Music was an integral part of the ancient Egyptian civilization. Many dead were buried with instruments, which indicates that music was a major aspect of the ancients’ daily life, as well as religious rituals.” Abdul Samih describes this cultural center specialized in singing as a “touristic destination boasting the Arabic musical heritage and a vital tool to preserve it.”

It offers an insight into the restoration and exploitation of the historic houses around old Cairo, which transformed the area into a special destination for cultural tourism. The palace also hosts concerts and workshops that aim to preserve the artistic identity and elevate the musical taste of visitors.

The House of Arabic Singing offers a monthly program of concerts that entertain visitors with diverse music colors including poems, religious chants, and crooning.

It also hosts emerging, highly-skilled talents who sing some of the greatest Arabic songs, as well as concerts that recall the masterpieces of Arab legends including Umm Kulthum, Mohammed Abdel Wahab, Farid al-Atrash, Abdel Halim Hafez, Wadih el-Safi, and Fairuz.

All you have to do before visiting is to check the concert program on the website of the Cultural Development Fund. You will be so lucky if you get the chance to attend a special concert that commemorates an esteemed singer, or if your visit overlaps with the monthly event, the “Maqamat Salon”.

You are also advised to inquire about the workshops held by the palace to preserve the musical heritage, which allow you to study music with some of the best young musicians, and get the chance to explore different music genres and rare oriental instruments. And if you are a fan of paintings, you will be delighted to visit the art gallery.

You might be surprised to see such an artistic momentum in the old, popular region known as “Darb Kormoz”, but it is not a coincidence. The Egyptian culture ministry wanted to introduce the popular Arabic singing in a way that brings it closer to the mainstream audience, and upscale their musical taste.

Before leaving the place, don’t forget to stop by the library which includes rare books and valuable encyclopedias on Arabic music and singing, or you can pass by the recording store to buy some rare releases.

From the magic of music, the palace, described by Al-Maqrizi as “one of the greatest establishments in Cairo,” takes you on a trip in history. Located in Al-Muizz li-Din Allah al-Fatimi Street, the palace was built by Prince Sayf al-Din Bashtak al-Nasiri on a part of the “Grand Eastern Palace Land”, between 1334-1339 AD.

When you wander in it, the palace triggers your imagination and prompts so many questions about it and its owner, especially when you hear some of the relevant anecdotes, such as what Al-Maqrizi said about “Prince Bashtak who never lived in this palace despite its breathtaking beauty, and that he felt horrible every time he visited it, until he sold it.”

Tickets of concerts at the House of Arabic Singing sell for 65-100 Egyptian pounds ($1=31 Egyptian pounds).



Pakistan's Last Antique Restorers Give Old Treasures New Life

Restorer Shakeel Ahmed works on an antique at his workshop in Rawalpindi. Farooq NAEEM / AFP
Restorer Shakeel Ahmed works on an antique at his workshop in Rawalpindi. Farooq NAEEM / AFP
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Pakistan's Last Antique Restorers Give Old Treasures New Life

Restorer Shakeel Ahmed works on an antique at his workshop in Rawalpindi. Farooq NAEEM / AFP
Restorer Shakeel Ahmed works on an antique at his workshop in Rawalpindi. Farooq NAEEM / AFP

Sitting outside his small shop in a warren of alleyways in the ancient Pakistani city of Rawalpindi, Ahsan Shakeel buffed an antique brass pot to a high shine, pressing it against a mechanized wheel.

"We've removed all the dents, but it still needs polishing," the 72-year-old restorer, among the last still practising his craft, told AFP as the spinning buffer sent fine metal dust into the air.

Quitting a job as a hotel cook, Shakeel followed in his father's footsteps to become an antiques restorer, opening his workshop in the Bhabra Bazaar market in densely populated Rawalpindi in 1980.

Today, he is one of the last master restorers preserving antique metalware in Pakistan.

Rawalpindi's roots stretch back to prehistoric human settlements and over centuries the garrison city evolved into a major commercial hub where metalcraft from the Mughal and British colonial periods converged.

Moving inside his shop, Shakeel navigated wall-to-wall shelves stacked with centuries-old ewer jugs, samovars for boiling, dishes, jars and teapots, most of which were made of copper or brass.

He took down various items and enthusiastically explained to AFP their materials and origins.

The vintage items are now increasingly rare in the modern era in which they have been replaced by stainless steel and plastic kitchenware.

"I used to travel everywhere, Lahore, Gujranwala, Karachi, back and forth (to purchase antiques)," he said.

- 'Life back into the dead' -

Shakeel procures the items he restores mostly from scrap yards, ports, or household clearances.

"Often, the condition of the items is so bad that no one would buy them," he said.

The shop owner and his colleague Shakeel Ahmed restore the battered items by hammering out dents, re-tinning the interiors over coal fires, and polishing the metal. A badly damaged item could take a few days to fix.

After restoration, a piece can sell between $100 and $1,000. Shakeel's customers are mostly collectors or antique enthusiasts, including foreigners.

Today, he mostly relies on online platforms and messaging applications to buy and sell antiques.

"I don't have the same health anymore, so I travel less," he said.

Prices for antiques are on the increase but the number of customers has fallen over time, Shakeel said.

"The money doesn't turn over quickly in this business. It's a very slow trade," he said.

"Customers who still exist, they are not many. They collect these things because they understand these items. Those who don't understand them would think it's all useless," Shakeel added.

Ahmed said he enjoyed restoring worn and damaged objects because they carry stories within them from different communities in the past or historical periods.

"This is a very old thing," the 56-year-old man said at his own dimly lit workshop, as he gently used a small hammer to smooth out little dents on a large brass hookah pipe for smoking tobacco.

"What we do is like putting life back into the dead," Ahmed said.


Qassim Artisans Repurpose Date Pits into Value-Added Prayer Beads

Qassim Region are converting discarded date pits into handcrafted prayer beads (subha)
Qassim Region are converting discarded date pits into handcrafted prayer beads (subha)
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Qassim Artisans Repurpose Date Pits into Value-Added Prayer Beads

Qassim Region are converting discarded date pits into handcrafted prayer beads (subha)
Qassim Region are converting discarded date pits into handcrafted prayer beads (subha)

In a creative convergence of traditional heritage, sustainable manufacturing, and resource efficiency, artisans in Qassim Region are converting discarded date pits into handcrafted prayer beads (subha), transforming an agricultural by-product into a high-value consumer item, the Saudi Press Agency reported.

The production journey involves a multi-stage process encompassing sorting, cleaning, drying, precise drilling, sanding, polishing, stringing, and final packaging. The resulting product retains the natural texture, color variations, and contours of the palm seed, reflecting the Kingdom's broader drive to foster innovative secondary industries across the date value chain.

The production journey involves a multi-stage process encompassing sorting, cleaning, drying, precise drilling, sanding, polishing, stringing, and final packaging.

Speaking to the Saudi Press Agency, artisan Noura Al-Harbi explained that the craft requires meticulous manual skill. She stated that after selecting pits of comparable size, artisans drill them for threading, buff rough contours, and polish the surfaces to showcase their organic aesthetic before assembling them with regional decorative motifs. Because no two date pits are identical, each finished rosary possesses a distinct texture and individuality.

Al-Harbi emphasized that the market value of date-pit rosaries is elevated by their symbolic connection to the date palm, a central fixture of Saudi agricultural and cultural identity. This narrative creates strong commercial potential within cultural tourism, corporate gifts, and keepsake sectors, allowing visitors to acquire a product directly tied to local heritage.

The enterprise embodies principles of the circular economy by repurposing agricultural waste from farms and processing plants into marketable craft products. Al-Harbi noted that integrating semi-automated tools for drilling and cutting with manual finishing could scale production volumes while maintaining artisanal quality.

Bridging agriculture, creative entrepreneurship, and tourism, the craft highlights how supporting local artisans and modernizing packaging can expand the economic footprint of the Kingdom's date sector beyond food consumption, creating new avenues for sustainable cottage industries.


Riyadh Art Brings Monumental Works by Saudi Artist Mohammed Al Saleem to its Permanent Collection of Public Art

Created by Saudi-based architecture and engineering consultancy Omrania, the Western Metro Station reinterprets desert sand dunes through earth-colored forms that define entrances - SPA
Created by Saudi-based architecture and engineering consultancy Omrania, the Western Metro Station reinterprets desert sand dunes through earth-colored forms that define entrances - SPA
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Riyadh Art Brings Monumental Works by Saudi Artist Mohammed Al Saleem to its Permanent Collection of Public Art

Created by Saudi-based architecture and engineering consultancy Omrania, the Western Metro Station reinterprets desert sand dunes through earth-colored forms that define entrances - SPA
Created by Saudi-based architecture and engineering consultancy Omrania, the Western Metro Station reinterprets desert sand dunes through earth-colored forms that define entrances - SPA

Riyadh Art announced the addition of seven monumental sculptures by pioneering Saudi artist Mohammed Al Saleem to the Riyadh Art permanent collection. Six works have been installed at Western Metro Station on Line 3 (Orange Line) in Riyadh, with the seventh scheduled for installation at a later date.

The sculptures bring an important part of Al Saleem's artistic practice into the city for which they were originally conceived.

Created in 1985 for a Riyadh Municipality public art competition but never installed, the seven works remained in Al Saleem's workshop for decades. In 2022, the Royal Commission for Riyadh City acquired the sculptures and undertook their restoration and conservation, supervised by his daughter, Najla Mohammed Al Saleem, and Al Saleem's foundation, Dar Al-Funoon Al-Sa'udiyyah, to preserve the artist's original vision, SPA reported.

The seven works are Al Showkah Al Khumasiyah (The Pentagon Thorn), Shurfa (Parapet Merlon), Al Kurah (The Ball), Al Mouthalathat (The Triangles), Bur'aum Al Zahrah (The Flower Bud), and Al Ahilla (The Crescents), all installed this August, with Al Nafourah Al Halazouniyah (The Spiral Fountain) due to be installed at a later date. Drawing on desert landscapes, Najdi architecture, geometric forms, and celestial references, the sculptures reflect Al Saleem's distinctive approach to abstraction and the influence of Riyadh and Najd on his practice.

Created by Saudi-based architecture and engineering consultancy Omrania, the Western Metro Station reinterprets desert sand dunes through earth-colored forms that define entrances, allow natural light, and provide shade for pedestrians. Located within Western Station's outdoor plaza, the works bring these references into a contemporary public setting shaped by movement and connection.

"Mohammed Al Saleem holds an important place in the history of modern Saudi art, and his work is deeply connected to Riyadh and the landscape and architecture of Najd," said Senior Director of Riyadh Art Bader AlShenaifi. "Bringing these works into the Riyadh Art permanent collection preserves an important part of Saudi Arabia's artistic heritage while giving Al Saleem's work a lasting presence in the public life of the city that inspired so much of his practice."

The works join the Riyadh Art permanent collection, a citywide collection of public artworks installed across neighborhoods, public spaces, and major transport corridors throughout the capital. The Riyadh Art permanent collection now comprises 82 artworks across the capital.