Ahmed Kamel – Egypt Daily News
Renowned Egyptian archaeologist and former minister of tourism and antiquities Zahi Hawass has announced the launch of a major international campaign to recover an ancient Egyptian obelisk currently held in Britain, renewing long-standing calls for the return of key artifacts removed from Egypt under colonial-era circumstances.
Speaking at a well-attended seminar held at Plaza 1 as part of the institutional track of the 57th Cairo International Book Fair, Hawass addressed an audience of scholars, cultural figures, and heritage enthusiasts during a session titled “The Civilization of Egypt at the Grand Egyptian Museum.” The discussion was moderated by broadcaster Tamer Adel and focused on the future of Egypt’s museums and the global presentation of its ancient civilization.
In his opening remarks, Adel described the Grand Egyptian Museum as one of the most significant cultural projects of the 21st century, noting that it represents a national effort to reintroduce ancient Egyptian civilization to the world in a contemporary language that goes beyond the traditional concept of museums as static repositories.
Building on this introduction, Hawass delivered an expansive and often impassioned assessment of Egypt’s cultural strategy, arguing that the creation of major museums such as the Grand Egyptian Museum, the National Museum of Egyptian Civilization, and the planned Akhenaten Museum was driven not by architectural spectacle, but by deep-rooted cultural and political challenges Egypt has faced for decades.
According to Hawass, a decisive shift occurred in 2002, when Egypt began taking concrete steps to reclaim looted antiquities. At the time, he said, Egypt faced persistent international criticism questioning why it demanded the return of artifacts while already possessing vast archaeological wealth. He argued that such claims ignored the absence, until then, of a coherent national policy or specialized administrative body dedicated to recovering stolen heritage.
Hawass explained that this gap led to the creation of a dedicated department for the restitution of antiquities, which he headed. During that period, Egypt succeeded in recovering approximately 6,000 artifacts, a milestone he described as unprecedented at the time. He also highlighted the high-profile case of the bust of Queen Nefertiti, asserting that Egyptian authorities were able to prove that it left the country illegally. This position, he said, was formally endorsed by the Egyptian prime minister, triggering sharp confrontations with the management of Berlin’s Neues Museum, where the bust remains on display.
He framed these efforts as part of a broader international struggle to defend Egypt’s cultural legacy, emphasizing that the protection of antiquities is inseparable from the defense of national identity. Hawass noted that his role in these global heritage battles contributed to his inclusion in Time magazine’s list of the world’s 100 most influential people.
Turning to the evolution of Egypt’s museum landscape, Hawass reflected on the early debates surrounding the Grand Egyptian Museum. He revealed that initial visions for the project varied significantly, including a proposal to dedicate the museum exclusively to the treasures of Tutankhamun. Another vision, championed by former culture minister Farouk Hosny, aimed to create the largest archaeological museum in the world. Ultimately, Hawass said, the project settled into its current form, emerging as a global cultural landmark intended to reshape how ancient Egyptian civilization is understood and experienced.
The renewed call to recover the obelisk from Britain comes amid growing international debates over the restitution of cultural property and the legacy of colonial-era collecting practices. Hawass indicated that the planned campaign would rely on historical documentation, legal arguments, and public advocacy to press Egypt’s claim, positioning the issue within a wider global movement demanding ethical stewardship of cultural heritage.
His remarks were met with strong engagement from the audience, reflecting continued public interest in Egypt’s efforts to reclaim its past and assert greater control over how its ancient history is represented on the world stage.
