Tutankhamun: Egyptians Bid to Reclaim their History

The sarcophagus of boy pharaoh King Tutankhamun is on display in his newly renovated tomb in the Valley of the Kings in Luxor, Egypt January 31, 2019. REUTERS/Mohamed Abd El Ghany
The sarcophagus of boy pharaoh King Tutankhamun is on display in his newly renovated tomb in the Valley of the Kings in Luxor, Egypt January 31, 2019. REUTERS/Mohamed Abd El Ghany
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Tutankhamun: Egyptians Bid to Reclaim their History

The sarcophagus of boy pharaoh King Tutankhamun is on display in his newly renovated tomb in the Valley of the Kings in Luxor, Egypt January 31, 2019. REUTERS/Mohamed Abd El Ghany
The sarcophagus of boy pharaoh King Tutankhamun is on display in his newly renovated tomb in the Valley of the Kings in Luxor, Egypt January 31, 2019. REUTERS/Mohamed Abd El Ghany

It's one of the 20th century's most iconic photos: British archaeologist Howard Carter inspecting the sarcophagus of Tutankhamun in 1922 as an Egyptian member of his team crouches nearby shrouded in shadow.

It is also an apt metaphor for two centuries of Egyptology, flush with tales of brilliant foreign explorers uncovering the secrets of the Pharaohs, with Egyptians relegated to the background, AFP said.

"Egyptians have been written out of the historical narrative," leading archaeologist Monica Hanna told AFP.

Now with the 100th anniversary of Carter's earth-shattering discovery -- and the 200th of the deciphering of the Rosetta Stone which unlocked the ancient hieroglyphs -- they are demanding that their contributions be recognized.

Egyptians "did all the work" but "were forgotten", said chief excavator Abdel Hamid Daramalli, who was born "on top" of the tombs at Qurna near Luxor that he is now in charge of digging.

Even Egyptology's colonial-era birth -- set neatly at Frenchman Jean-François Champollion cracking the Rosetta Stone's code in 1822 -- "whitewashes history", according to specialist researcher Heba Abdel Gawad, "as if there were no attempts to understand Ancient Egypt until the Europeans came."

The "unnamed Egyptian" in the famous picture of Carter is "perhaps Hussein Abu Awad or Hussein Ahmed Said," according to art historian Christina Riggs, a Middle East specialist at Britain's Durham University.

The two men were the pillars, alongside Ahmed Gerigar and Gad Hassan, of Carter's digging team for nine seasons. But unlike foreign team members, experts cannot put names to the faces in the photos.

- 'Unnoticed and unnamed' -
"Egyptians remain unnoticed, unnamed, and virtually unseen in their history," Riggs insisted, arguing that Egyptology's "structural inequities" reverberate to this day.

But one Egyptian name did gain fame as the tomb's supposed accidental discoverer: Hussein Abdel Rasoul.

Despite not appearing in Carter's diaries and journals, the tale of the water boy is presented as "historical fact", said Riggs.

On November 4, 1922, a 12-year-old -– commonly believed to be Hussein -– found the top step down to the tomb, supposedly because he either tripped, his donkey stumbled or because his water jug washed away the sand.

The next day, Carter's team exposed the whole staircase and on November 26 he peered into a room filled with golden treasures through a small breach in the tomb door.

According to an oft-repeated story, a half-century of Hussein's ancestors, brothers Ahmed and Mohamed Abdel Rasoul, found the Deir el-Bahari cache of more than 50 mummies, including Ramesses the Great, when their goat fell down a crevasse.

But Hussein's great-nephew Sayed Abdel Rasoul laughed at the idea that a goat or boy with a water jug were behind the breakthroughs.

Riggs echoed his skepticism, arguing that on the rare occasions that Egyptology credits Egyptians with great discoveries they are disproportionately either children, tomb robbers or "quadrupeds".

The problem is that others "kept a record, we didn't", Abdel Rasoul told AFP.

- 'They were wronged' -
Local farmers who knew the contours of the land could "tell from the layers of sediment whether there was something there," said Egyptologist Abdel Gawad, adding that "archaeology is mostly about geography".

Profound knowledge and skill at excavating had been passed down for generations in Qurna -- where the Abdel Rasouls remain -- and at Qift, a small town north of Luxor where English archaeologist William Flinders Petrie first trained locals in the 1880s.

Mostafa Abdo Sadek, a chief excavator of the Saqqara tombs near Giza, whose discoveries have been celebrated in the Netflix documentary series "Secrets of the Saqqara Tomb", is a descendant of those diggers at Qift.

His family moved 600 kilometers (370 miles) north at the turn of the 20th century to excavate the vast necropolis south of the Giza pyramids.

But his grandfathers and great-uncles "were wronged", he declared, holding up their photos.

Their contributions to a century of discoveries at Saqqara have gone largely undocumented.

- 'Children of Tutankhamun' -
Barred for decades from even studying Egyptology while the French controlled the country's antiquities service, Egyptians "were always serving foreigners", archaeologist and former antiquities minister Zahi Hawass told AFP.

Another Egyptologist, Fatma Keshk, said we have to remember "the historical and social context of the time, with Egypt under British occupation."

The struggle over the country's cultural heritage became increasingly political in the early 20th century as Egyptians demanded their freedom.

"We are the children of Tutankhamun," the diva Mounira al-Mahdiyya sang in 1922, the year the boy pharaoh's intact tomb was found.

The same year Britain was forced to grant Egypt independence, and the hated partage system that gave foreign missions half the finds in exchange for funding excavations was ended.

But just as Egyptians' "sense of ownership" of their heritage grew, ancient Egypt was appropriated as "world civilization" with little to do with the modern country, argued Abdel Gawad.

"Unfortunately that world seems to be the West. It's their civilization, not ours."

While the contents of Tutankhamun's tomb stayed in Cairo, Egypt lost Carter's archives, which were considered his private property.

The records, key to academic research, were donated by his niece to the Griffith Institute for Egyptology at Britain's Oxford University.

"They were still colonizing us. They left the objects, but they took our ability to produce research," Hanna added.

This year, the institute and Oxford's Bodleian Library are staging an exhibition, "Tutankhamun: Excavating the Archive", which they say sheds light on the "often overlooked Egyptian members of the archaeological team."

- Excavators' village razed –
In Qurna, 73-year-old Ahmed Abdel Rady still remembers finding a mummy's head in a cavern of his family's mud-brick house that was built into a tomb.

His mother stored her onions and garlic in a red granite sarcophagus, but she burst into tears at the sight of the head, berating him that "this was a queen" who deserved respect.

For centuries, the people of Qurna lived among and excavated the ancient necropolis of Thebes, one of the pharaohs' former capitals that dates back to 3100 BC.

Today, Abdel Rady's village is no more than rubble between the tombs and temples, the twin Colossi of Memnon -- built nearly 3,400 years ago -- standing vigil over the living and the dead.

Four Qurnawis were shot dead in 1998 trying to stop the authorities bulldozing their homes in a relocation scheme.

Some 10,000 people were eventually moved when almost an entire hillside of mud-brick homes was demolished despite protests from UNESCO.

In the now deserted moonscape, Ragab Tolba, 55, one of the last remaining residents, told AFP how his relatives and neighbors were moved to "inadequate" homes "in the desert".

The Qurnawis' dogged resistance was fired by their deep connection to the place and their ancestors, said the Qurna-born excavator Daramalli.

But the controversial celebrity archaeologist Hawass, then head of Egypt's Supreme Council of Antiquities, said "it had to be done" to preserve the tombs.

Egyptologist Hanna, however, said the authorities were bent on turning Luxor into a sanitized "open-air museum... a Disneyfication of heritage", and used old tropes about the Qurnawis being tomb raiders against them.

Sayed Abdel Rasoul's nephew, Ahmed, hit back at what he called a double standard.

"The French and the English were all stealing," he told AFP.

"Who told the people of Qurna they could make money off of artefacts in the first place?"

- 'Spoils of war' –
Over the centuries, countless antiquities made their way out of Egypt.

Some, like the Luxor Obelisk in Paris and the Temple of Debod in Madrid, were gifts from the Egyptian government.

Others were lost to European museums through the colonial-era partage system.

But hundreds of thousands more were smuggled out of the country into "private collections all over the world," according to Abdel Gawad.

Former antiquities minister Hawass is now spearheading a crusade to repatriate three of the great "stolen" treasures -- the Rosetta Stone, the bust of queen Nefertiti and the Dendera Zodiac.

He told AFP he plans to file a petition in October demanding their return.

The Rosetta Stone has been housed in the British Museum since 1802, "handed over to the British as a diplomatic gift", the museum told AFP.

But for Abdel Gawad, "it's a spoil of war".

Nefertiti's 3,340-year-old bust went to Berlin's Neues Museum a century later through the partage system, but Hawass insisted it "was illegally taken, as I have proved time and again."

The Frenchman Sebastien Louis Saulnier meanwhile had the Dendera Zodiac blasted out of the Hathor Temple in Qena in 1820.

The celestial map has hung from a ceiling in the Louvre in Paris since 1922, with a plaster cast left in its place in the southern Egyptian temple.

"That's a crime the French committed in Egypt," Hanna said, behavior no longer "compatible with 21st century ethics."



Coffee Regions Hit by Extra Days of Extreme Heat, Say Scientists 

17 April 2012, North Rhine-Westphalia, Vluyn: A general view of Arabica Coffee beans. (dpa)
17 April 2012, North Rhine-Westphalia, Vluyn: A general view of Arabica Coffee beans. (dpa)
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Coffee Regions Hit by Extra Days of Extreme Heat, Say Scientists 

17 April 2012, North Rhine-Westphalia, Vluyn: A general view of Arabica Coffee beans. (dpa)
17 April 2012, North Rhine-Westphalia, Vluyn: A general view of Arabica Coffee beans. (dpa)

The world's main coffee-growing regions are roasting under additional days of climate change-driven heat every year, threatening harvests and contributing to higher prices, researchers said Wednesday.

An analysis found that there were 47 extra days of harmful heat per year on average in 25 countries representing nearly all global coffee production between 2021 and 2025, according to independent research group Climate Central.

Brazil, Vietnam, Colombia, Ethiopia and Indonesia -- which supply 75 percent of the world's coffee -- experienced on average 57 additional days of temperatures exceeding the threshold of 30C.

"Climate change is coming for our coffee. Nearly every major coffee-producing country is now experiencing more days of extreme heat that can harm coffee plants, reduce yields, and affect quality," said Kristina Dahl, Climate Central's vice president for science.

"In time, these impacts may ripple outward from farms to consumers, right into the quality and cost of your daily brew," Dahl said in a statement.

US tariffs on imports from Brazil, which supplies a third of coffee consumed in the United States, contributed to higher prices this past year, Climate Central said.

But extreme weather in the world's coffee-growing regions is "at least partly to blame" for the recent surge in prices, it added.

Coffee cultivation needs optimal temperatures and rainfall to thrive.

Temperatures above 30C are "extremely harmful" to arabica coffee plants and "suboptimal" for the robusta variety, Climate Central said. Those two plant species produce the majority of the global coffee supply.

For its analysis, Climate Central estimated how many days each year would have stayed below 30C in a world without carbon pollution but instead exceeded that level in reality -- revealing the number of hot days added by climate change.

The last three years have been the hottest on record, according to climate monitors.


Dog Gives Olympics Organizers Paws for Thought

A dog wanders on the ski trail during the women's team cross country free sprint qualification event of the Milano Cortina 2026 Winter Olympic Games at Tesero Cross-Country Skiing Stadium in Lago di Tesero (Val di Fiemme), on February 18, 2026. (Photo by Anne-Christine POUJOULAT / AFP)
A dog wanders on the ski trail during the women's team cross country free sprint qualification event of the Milano Cortina 2026 Winter Olympic Games at Tesero Cross-Country Skiing Stadium in Lago di Tesero (Val di Fiemme), on February 18, 2026. (Photo by Anne-Christine POUJOULAT / AFP)
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Dog Gives Olympics Organizers Paws for Thought

A dog wanders on the ski trail during the women's team cross country free sprint qualification event of the Milano Cortina 2026 Winter Olympic Games at Tesero Cross-Country Skiing Stadium in Lago di Tesero (Val di Fiemme), on February 18, 2026. (Photo by Anne-Christine POUJOULAT / AFP)
A dog wanders on the ski trail during the women's team cross country free sprint qualification event of the Milano Cortina 2026 Winter Olympic Games at Tesero Cross-Country Skiing Stadium in Lago di Tesero (Val di Fiemme), on February 18, 2026. (Photo by Anne-Christine POUJOULAT / AFP)

A dog decided he would bid for an unlikely Olympic medal on Wednesday as he joined the women's cross country team free sprint in the Milan-Cortina Games.

The dog ran onto the piste in Tesero in northern Italy and gamely, even without skis, ran behind two of the competitors, Greece's Konstantina Charalampidou and Tena Hadzic of Croatia.

He crossed the finishing line, his moment of glory curtailed as he was collared by the organizers and led away -- his owner no doubt will have a bone to pick with him when they are reunited.


Olives, Opera and a Climate-Neutral Goal: How a Mural in Greece Won ‘Best in the World’ 

A building with the mural entitled “Kalamata” depicting opera legend Maria Callas by artist Kleomenis Kostopoulos is seen in Kalamata town, about 240 kilometers (150 miles) southwest of Athens, Monday, Feb. 9, 2026. (AP) 
A building with the mural entitled “Kalamata” depicting opera legend Maria Callas by artist Kleomenis Kostopoulos is seen in Kalamata town, about 240 kilometers (150 miles) southwest of Athens, Monday, Feb. 9, 2026. (AP) 
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Olives, Opera and a Climate-Neutral Goal: How a Mural in Greece Won ‘Best in the World’ 

A building with the mural entitled “Kalamata” depicting opera legend Maria Callas by artist Kleomenis Kostopoulos is seen in Kalamata town, about 240 kilometers (150 miles) southwest of Athens, Monday, Feb. 9, 2026. (AP) 
A building with the mural entitled “Kalamata” depicting opera legend Maria Callas by artist Kleomenis Kostopoulos is seen in Kalamata town, about 240 kilometers (150 miles) southwest of Athens, Monday, Feb. 9, 2026. (AP) 

Long known for its olives and seaside charm, the southern Greek city of Kalamata has found itself in the spotlight thanks to a towering mural that reimagines legendary soprano Maria Callas as an allegory for the city itself.

The massive artwork on the side of a prominent building in the city center has been named 2025’s “Best Mural of the World” by Street Art Cities, a global platform celebrating street art.

Residents of Kalamata, approximately 240 kilometers (150 miles) southwest of Athens, cultivate the world-renowned olives, figs and grapes that feature prominently on the mural.

That was precisely the point.

Vassilis Papaefstathiou, deputy mayor of strategic planning and climate neutrality, explained Kalamata is one of the few Greek cities with the ambitious goal of becoming climate-neutral by 2030. He and other city leaders wanted a way to make abstract concepts, including sustainable development, agri-food initiatives, and local economic growth, more tangible for the city’s nearly 73,000 residents.

That’s how the idea of a massive mural in a public space was born.

“We wanted it to reflect a very clear and distinct message of what sustainable development means for a regional city such as Kalamata,” Papaefstathiou said. “We wanted to create an image that combines the humble products of the land, such as olives and olive oil — which, let’s be honest, are famous all over the world and have put Kalamata on the map — with the high-level art.”

“By bringing together what is very elevated with ... the humbleness of the land, our aim was to empower the people and, in doing so, strengthen their identity. We want them to be proud to be Kalamatians.”

Southern Greece has faced heatwaves, droughts and wildfires in recent years, all of which affect the olive groves on which the region’s economy is hugely dependent.

The image chosen to represent the city was Maria Callas, widely hailed as one of the greatest opera singers of the 20th century and revered in Greece as a national cultural symbol. She may have been born in New York to Greek immigrant parents, but her father came from a village south of Kalamata. For locals, she is one of their own.

This connection is also reflected in practice: the alumni association at Kalamata’s music school is named for Callas, and the cultural center houses an exhibition dedicated to her, which includes letters from her personal archive.

Artist Kleomenis Kostopoulos, 52, said the mural “is not actually called ‘Maria Callas,’ but ‘Kalamata’ and my attempt was to paint Kalamata (the city) allegorically.”

Rather than portraying a stylized image of the diva, Kostopoulos said he aimed for a more grounded and human depiction. He incorporated elements that connect the people to their land: tree branches — which he considers the above-ground extension of roots — birds native to the area, and the well-known agricultural products.

“The dress I create on Maria Callas in ‘Kalamata’ is essentially all of this, all of this bloom, all of this fruition,” he said. “The blessed land that Kalamata itself has ... is where all of these elements of nature come from.”

Creating the mural was no small feat. Kostopoulos said it took around two weeks of actual work spread over a month due to bad weather. He primarily used brushes but also incorporated spray paint and a cherry-picker to reach all edges of the massive wall.

Papaefstathiou, the deputy mayor, said the mural has become a focal point.

“We believe this mural has helped us significantly in many ways, including in strengthening the city’s promotion as a tourist destination,” he said.

Beyond tourism, the mural has sparked conversations about art in public spaces. More building owners in Kalamata have already expressed interest in hosting murals.

“All of us — residents, and I personally — feel immense pride,” said tourism educator Dimitra Kourmouli.

Kostopoulos said he hopes the award will have a wider impact on the art community and make public art more visible in Greece.

“We see that such modern interventions in public space bring tremendous cultural, social, educational and economic benefits to a place,” he said. “These are good springboards to start nice conversations that I hope someday will happen in our country, as well.”