‘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).



China’s Porcelain City Carries Centuries-old Heritage to New Generation

Chinese porcelain artist Chen Qing holds up two cups after painting them in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)
Chinese porcelain artist Chen Qing holds up two cups after painting them in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)
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China’s Porcelain City Carries Centuries-old Heritage to New Generation

Chinese porcelain artist Chen Qing holds up two cups after painting them in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)
Chinese porcelain artist Chen Qing holds up two cups after painting them in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)

Chinese porcelain artist Chen Qing has a vivid memory of her grandfather. It was the only time he wrote down the formula for her family’s distinctive red pigment.

He asked her mother to memorize it and burned the paper minutes later. The secret has since been passed down orally from one generation to the next.

“My mother did not reveal the formula to me until I was over 30,” Chen said.

Her family has practiced the craft since around 1860 in Jingdezhen, known as China’s “Porcelain Capital.” It is located in Jiangxi province, about 1,180 kilometers (735 miles) southeast of Beijing.

Students practice traditional ceramic craftsmanship at Zhan Shao Ceramic Arts Practice Base in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)

Jingdezhen’s pottery-making history spans more than 2,000 years. It began during the Han Dynasty, and its porcelain sites were inscribed on UNESCO’s World Heritage List in 2026.

Small details take years to master Jingdezhen’s craftsmen have kept alive techniques once used to produce porcelain for the imperial court. That knowledge later spread to private artisans.

Chen’s ancestors adopted some of those traditions after the fall of the Qing Dynasty in 1912.

“The craft is very difficult for an outsider to master,” The Associated Press quoted Chen as saying. “A family might spend nearly a century developing a single technique.”

Two tables in her studio are covered with brushes, unfinished pieces and pigments. She works in silence, a lamp lighting her strokes.

Chen’s fingers never touch the porcelain’s surface. She steadies her hand against its outer edge, holding the brush firmly as she paints delicate, precise strokes.

Painting a porcelain teacup can take days to complete. A single particle of dust or sweat could ruin the piece and require her to start from scratch.

Landscapes are the most difficult scenes to paint because their boundaries are not clear. A mountain summit might be emerald green, gradually shifting to brown and other warmer colors farther down the slope.

“Mastering a craft is a lifelong process,” Chen said. “Few people are willing to spend more than 10 years learning such a painstaking craft.”

Fragments of porcelain reveal a spiritual past Artists like Chen work alongside archaeological sites and museums to preserve China’s porcelain heritage.

Chinese ceramic wheel-throwing artist Zhan Shaolin demonstrates his craft in Jingdezhen, known as China's "Porcelain Capital," in eastern China's Jiangxi province, Tuesday, Sept. 1, 2026. (AP Photo/Achmad Ibrahim)

Jingdezhen’s Imperial Kiln Institute researches and restores ceramics excavated from an adjacent complex, where pieces for emperors were crafted in kilns whose remains are still visible today.

The institute is incorporating new technologies into its work, including artificial intelligence, to help match and reconstruct ancient porcelain fragments.

“By the establishment of our ceramic gene bank, we can collect all kinds of information,” said the institute’s president, Weng Yanjun. “We hope that we can retrieve ancient technology with modern science.”

That research can also shed light on the culture and beliefs that surrounded porcelain-making centuries ago.

Among the tiles made at Jingdezhen’s imperial kilns were those used in the Bao’en Pagoda.

It was part of a Buddhist temple complex that was destroyed during a 19th-century rebellion in the city of Nanjing. Its exterior walls were covered with porcelain tiles, each bearing an image of the Buddha.

Traces of other religious traditions can also be found in porcelain studied by the institute, Weng said.

“Islam, Buddhism, Taoism and, later on, European Catholic Christianity harmoniously blend into the porcelain decorations,” he added.

Porcelain-making was surrounded by its own beliefs Within Jingdezhen’s imperial kiln complex stands a shrine commemorating Tong Bin, the protective spirit of ceramics.

Known as the “Immortal Master of Wind and Fire” or “Kiln God,” Tong was revered during the Qing dynasty for sacrificing himself in protest against the abuse of kiln workers, according to local tradition.

The shrine remains open today, with a statue honoring Tong inside alongside figures representing other traditional roles in porcelain-making.

“In ancient times, the technology was not as advanced as it is today, so, in many cases, people had to rely on their beliefs — their gods — to help bring good luck and better results,” Weng said.

How artisans today honor their craft varies widely Some Jingdezhen craftsmen say they hold no particular beliefs associated with porcelain-making. Others display figures of Budai — or the laughing Buddha — in their workshops as symbols of good fortune and prosperity.

For artisans like master Sun Lixin, however, the work retains a spiritual dimension. He is a fourth-generation practitioner who learned the trade from his father at age 13.

“Some traditional rituals have faded considerably,” Sun said. “Yet in the hearts of craftspeople, that reverence remains.”

Every time he paints or fires a piece, Sun is mindful of the hundreds of millions of years of geological history the white clay has undergone before reaching his hands.

He does not visit Jingdezhen’s shrine, but has a practice of his own. Sun instinctively bows to the Kiln God before a firing, wishing for it to be successful and for fine porcelain to emerge.

“If we do not care for it, paint it with devotion and treasure it, how could we possibly do it justice?” Sun said.

Artists from China and abroad find their way to Jingdezhen While Jingdezhen’s pottery-making continues to be passed down within families, universities and residency programs host new generations of Chinese and international practitioners.

Paola Masi is an Italian ceramic artist in a residency program through October.

She said Song dynasty porcelain shaped her early training. So coming to Jingdezhen feels like going back to the roots of her own path as an artist.

Chinese artist Huang Qi graduated from Jingdezhen Ceramic University in 2015 and left the city to work elsewhere. She eventually decided to come back and is also now an artist-in-residence.

“Jingdezhen is where my dream began,” Huang said. “More and more people are coming and the city is attracting growing attention.”

Encountering fellow craftspeople has allowed her to learn new techniques, while Jingdezhen’s inscription on UNESCO’s World Heritage List makes her optimistic about the future.

“It gives us confidence,” Huang said. “Things will continue to get better.”


Lebanon Returns 37 Artifacts Smuggled Out of Egypt

An artifact dating back to the Egyptian Pharaonic civilization, illegally smuggled out of Egypt, is displayed during a ceremony marking its handover to Egypt at the Lebanese National Museum in Beirut, Lebanon, 16 September 2026. (EPA)
An artifact dating back to the Egyptian Pharaonic civilization, illegally smuggled out of Egypt, is displayed during a ceremony marking its handover to Egypt at the Lebanese National Museum in Beirut, Lebanon, 16 September 2026. (EPA)
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Lebanon Returns 37 Artifacts Smuggled Out of Egypt

An artifact dating back to the Egyptian Pharaonic civilization, illegally smuggled out of Egypt, is displayed during a ceremony marking its handover to Egypt at the Lebanese National Museum in Beirut, Lebanon, 16 September 2026. (EPA)
An artifact dating back to the Egyptian Pharaonic civilization, illegally smuggled out of Egypt, is displayed during a ceremony marking its handover to Egypt at the Lebanese National Museum in Beirut, Lebanon, 16 September 2026. (EPA)

Lebanon on Wednesday returned to Egypt dozens of pharaonic artifacts that had been seized from the Beirut port years earlier.

"Thirty-seven antiquities... were seized from Beirut port in 2020, having arrived from an Arab port," Lebanese Culture Minister Ghassan Salameh said during a handover ceremony at the Beirut national museum.

"After investigating the identity and ownership of these items, it was determined that they belonged to Egypt," he added.

Five of the items were on display at the ceremony, including masks made of fabric, wood and clay.

"Cooperation between states... contributes to preserving humanity's heritage," Egyptian ambassador Alaa Moussa said at the ceremony.

Laura Salloum, an official with Lebanon's directorate of antiquities, told AFP that at the time of their seizure, the items were stored in a single container.

They "had been purchased by a Lebanese national without any official documentation regarding their source -- namely, Egypt," she said.

Antiquities smuggling is common in Egypt. Over the past decade, Cairo has recovered nearly 30,000 archaeological artifacts, according to officials.


Cultural Sector Participates in UNESCO Global Forum on Ethics of AI in Riyadh

The cultural sector's participation in the forum underscores the Ministry of Culture's interest in technological developments - SPA
The cultural sector's participation in the forum underscores the Ministry of Culture's interest in technological developments - SPA
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Cultural Sector Participates in UNESCO Global Forum on Ethics of AI in Riyadh

The cultural sector's participation in the forum underscores the Ministry of Culture's interest in technological developments - SPA
The cultural sector's participation in the forum underscores the Ministry of Culture's interest in technological developments - SPA

The cultural sector is participating in the fourth edition of the UNESCO Global Forum on the Ethics of Artificial Intelligence (AI) in Riyadh, taking part in panel discussions and workshops.

These sessions address cultural and linguistic diversity in AI, the ethical use of AI in museums, and the future of work in the field in the age of AI and digital technologies, SPA reported.

The forum brings together more than 100 international speakers and experts to discuss responsible governance frameworks and the ethical and safe development of emerging technologies, with a focus on issues including digital diplomacy, government readiness assessment, privacy, and the protection of cultural and linguistic diversity.

The cultural sector's participation in the forum underscores the Ministry of Culture's interest in technological developments, support for cultural innovation, and efforts to highlight AI-related cultural initiatives, products, and services.

It also provides a broad platform for exchanging expertise and experience with leading local and international experts and specialists.