When Egypt strikes chord in Rome: Rania Yehia and symphony of cultural diplomacy
In a city where stone whispers to time and beauty hangs in the air like an eternal note, the dome of the Egyptian Academy of Arts in Rome rises as a distinctly Arab pulse — the heartbeat of a Cairo spirit that refuses to fall silent. Beneath the Mediterranean sun, within walls steeped in history, sits Dr Rania Yehia: acclaimed flautist, seasoned art critic, and Director of the Academy. Here, she composes a new chapter in Egypt's soft power symphony — one set to a different score.
In a candid conversation, where conviction met clarity and passion echoed through each answer, we sat down with her. This is that encounter.
■ From Cairo to Rome, how did you receive this appointment?
It felt like being called to perform a new national symphony — not on an opera stage, but on the world stage of cultural diplomacy. I don't speak here as an individual; I carry Egypt's voice — a voice that still resonates across the world's great capitals. It's a responsibility akin to performing a solo against the backdrop of history's orchestra.
■ You lead the only Arab arts academy in Europe. How do you see this role?
The Egyptian Academy in Rome is more than a cultural or academic institution. It is a beacon — a prism through which Egypt opens windows to the world. My mission is to ensure that others see our true, civilised identity: deeply rooted, proudly Egyptian, yet fully human and strikingly contemporary.
■ Tell us about your recent initiative, 'Egypt the Embrace.'
I wanted the Academy to be a cultural home for all Arabs, not just Egyptians. 'Egypt the Embrace' was born as a platform for pan-Arab cultural exchange — inviting a different Arab country each month to present its art, literature, and heritage. Together, we write messages of peace through the arts. I must also acknowledge Egypt's Ambassador to Italy, Bassam Rady, whose leadership during a historic gathering of Arab ambassadors at the Academy inspired the initiative's official title: The Egyptian Academy… and the Arab Civilisation.
■ What's the difference between leading Egypt's Institute of Art Criticism and heading the Academy in Europe?
In Cairo, I taught criticism and practised art. In Rome, I live art as a diplomatic mission. The essence is the same, but the scale is different. Every concert here carries a message. Every exhibition becomes a dialogue. The Academy has become a sanctuary for cultural identity, a platform for dignified representation, and a place to challenge stereotypes through opera, cinema, and fine art.
■ Have you faced challenges in becoming Egypt's cultural voice in a nation so fluent in beauty?
Rome reveres art — but by its own classical canon. I had to present Egypt in its full grandeur, beyond the tourist clichés. We are not just the pyramids. We are Naguib Mahfouz, Umm Kulthum, Yehia Haqqi, Mahmoud Mokhtar, and Refaat El-Gammal. Respect came when I introduced Egypt not as a relic, but as a vibrant, living culture. Our present — under wise leadership — affirms Egypt's commitment to art as a medium of peace and intercultural dialogue.
One unforgettable moment was the night Sheikh Mahmoud El-Tohamy performed his mystical hymns. The Academy became a spiritual haven — a space where the East spoke its most eloquent language.
■ Describe a typical day at the Academy.
My mornings begin with a flurry of messages — from Egyptian artists hoping for a European platform, and from Italians fascinated by Egypt's artistic soul. I review the monthly programme, coordinate with embassies, prepare for events, and by evening, I return to being a flautist and a critic. I attend concerts, exhibitions, and film screenings — recharging in one of the world's most beautiful cities.
■ What is your vision for the Academy?
I hope it evolves from a cultural centre into a hub of real influence. I dream of long-term Arab-European artistic collaborations, translation initiatives, fellowships, and partnerships with Italy's top cultural bodies. Egypt deserves to reclaim its soft power status — and we are working tirelessly to achieve that.
■ Now that your life is split between Cairo and Rome, where do you truly feel at home?
I belong to an idea — to art that transcends geography. My home is in a flute's melody in a Roman theatre, and in the eyes of a student in Cairo searching for her voice. I am Egypt's daughter and a devoted envoy of its artistic soul. My presence here is also a testament to Egypt's belief in the potential of its women — not only in preserving culture, but in shaping the future.
■ What has Rome taught you, as both artist and human being?
Rome taught me patience — not because of its traffic, but because true beauty unfolds slowly. Every street corner holds a story; every stone speaks. I've learned to seek depth in details. Great art is that which stays with you long after the curtain has fallen.
This chapter — like my earlier studies in Paris and Cairo — is a transformative one. It has enriched me with new insights and perspective, which I hope to dedicate fully to the service of my country.
■ Do you believe Egypt can reclaim its artistic leadership in the region?
Absolutely. Egypt has the history and the pioneering spirit. But what we need to export is not only our artistic output, but a renewed vision. We must redefine art as a pillar of national identity — not just entertainment. That is our mission at the Academy: to rebuild the bridge between Egypt and the world with confidence, intellect, and professional excellence.
Our cultural legacy is undisputed. The challenge now is to reframe it in a way that resonates globally. I believe we are on the cusp of a true renaissance — one Egypt is more than ready for.
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