
How Karen Garcia Became the Go-To Guide for Mexicans in Egypt
When Karen first moved to Egypt from Mexico, she didn't plan on staying. Now, nine years later, she travels around the country, documenting it for Spanish-speaking travellers.
When Karen Garcia first stepped onto Egyptian soil on a cool January night in 2016, the plan was simple: teach Spanish for a short while, then move on. But plans, as she quickly learned, have a way of shifting when you're in Egypt. The first week was a blur of uncertainty—loud voices, honking cars, the sheer density of life. For seven days, she barely left the compound where she was staying, wondering if she had made a mistake. But then she allowed herself to step outside.
Cairo wrapped itself around her like a chaotic embrace—warm, unfiltered, and full of contradictions. Shopkeepers called out greetings, the scent of freshly baked baladi bread wafted through the air, and— despite the apparent disorder—she found an unexpected rhythm to it all.
Her world expanded in ways she hadn't foreseen. A chance encounter led her to begin helping Spanish-speaking travellers navigate Egypt. At first, it was just a favour—friends of friends staying in her spare room, people asking for advice on where to go. Before she knew it, she was collaborating with tour agencies, ensuring Spanish-speaking visitors experienced more than just pyramids and papyrus shops. She wasn't a licensed guide, but she was something else—a bridge between Egypt and people who, like her, were about to discover a whole new world.
'I wish I had someone like me when I first arrived,' Karen tells SceneTraveller. 'It would have made everything easier.' Now, she does for others what she once needed herself. She helps them settle in, find the right places, and get comfortable with the chaos of Cairo. Some stay in her home, renting out a room for a few nights or weeks, and through them, she gets to see Egypt for the first time again and again. 'Sometimes, people arrive feeling overwhelmed, so, if there's one special thing I do, it's to make them feel at home.'
Karen's approach is refreshingly unpretentious, which is perhaps the key to her success. She doesn't call herself a guide, nor does she see what she does as a business. 'If I have an extra bed, why not let someone stay? If I'm going to Luxor and someone else wants to come, why not go together?'
Yet, despite Karen's nine-year run in the country of pharaohs, she still wavers. Every year, she tells herself she might leave, that this will be the year she moves on. Yet, every year, she stays. The idea of Kuwait or Saudi Arabia hovers on the horizon, but so does something deeper—the realisation that Egypt has shaped her in ways she never anticipated.
She no longer fights the system. Where once she bristled at inefficiencies, she now watches a sunset from a stalled taxi and sees beauty instead of delay. 'Every time you go out of your house in Egypt you will have an experience—either good or bad—but you will have something to tell after. That's the magic of this country.'
Egypt, she has come to understand, isn't a place you control—it's a place you surrender to. And in that surrender, she has found something close to home.

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CairoScene
a day ago
- CairoScene
How Karen Garcia Became the Go-To Guide for Mexicans in Egypt
How Karen Garcia Became the Go-To Guide for Mexicans in Egypt When Karen first moved to Egypt from Mexico, she didn't plan on staying. Now, nine years later, she travels around the country, documenting it for Spanish-speaking travellers. When Karen Garcia first stepped onto Egyptian soil on a cool January night in 2016, the plan was simple: teach Spanish for a short while, then move on. But plans, as she quickly learned, have a way of shifting when you're in Egypt. The first week was a blur of uncertainty—loud voices, honking cars, the sheer density of life. For seven days, she barely left the compound where she was staying, wondering if she had made a mistake. But then she allowed herself to step outside. Cairo wrapped itself around her like a chaotic embrace—warm, unfiltered, and full of contradictions. Shopkeepers called out greetings, the scent of freshly baked baladi bread wafted through the air, and— despite the apparent disorder—she found an unexpected rhythm to it all. Her world expanded in ways she hadn't foreseen. A chance encounter led her to begin helping Spanish-speaking travellers navigate Egypt. At first, it was just a favour—friends of friends staying in her spare room, people asking for advice on where to go. Before she knew it, she was collaborating with tour agencies, ensuring Spanish-speaking visitors experienced more than just pyramids and papyrus shops. She wasn't a licensed guide, but she was something else—a bridge between Egypt and people who, like her, were about to discover a whole new world. 'I wish I had someone like me when I first arrived,' Karen tells SceneTraveller. 'It would have made everything easier.' Now, she does for others what she once needed herself. She helps them settle in, find the right places, and get comfortable with the chaos of Cairo. Some stay in her home, renting out a room for a few nights or weeks, and through them, she gets to see Egypt for the first time again and again. 'Sometimes, people arrive feeling overwhelmed, so, if there's one special thing I do, it's to make them feel at home.' Karen's approach is refreshingly unpretentious, which is perhaps the key to her success. She doesn't call herself a guide, nor does she see what she does as a business. 'If I have an extra bed, why not let someone stay? If I'm going to Luxor and someone else wants to come, why not go together?' Yet, despite Karen's nine-year run in the country of pharaohs, she still wavers. Every year, she tells herself she might leave, that this will be the year she moves on. Yet, every year, she stays. The idea of Kuwait or Saudi Arabia hovers on the horizon, but so does something deeper—the realisation that Egypt has shaped her in ways she never anticipated. She no longer fights the system. Where once she bristled at inefficiencies, she now watches a sunset from a stalled taxi and sees beauty instead of delay. 'Every time you go out of your house in Egypt you will have an experience—either good or bad—but you will have something to tell after. That's the magic of this country.' Egypt, she has come to understand, isn't a place you control—it's a place you surrender to. And in that surrender, she has found something close to home.


CairoScene
2 days ago
- CairoScene
Beneath Alexandria Lies a Roman Necropolis in Stone
Thirty meters under Alexandria, the Catacombs of Kom El Shoqafa hold a world where Roman, Greek, and Egyptian beliefs were carved together into the rock. Somewhere deep in the heart of modern Alexandria, past the thrum of midday traffic and the chaos of satellite dishes and tangled wires, lies a quiet descent into the ancient. The Catacombs of Kom El Shoqafa—Arabic for 'Mound of Shards"—are easy to miss. There are no looming colonnades or ostentatious façades above ground to signal their presence. Just a low entrance, modest and sun-blanched, tucked into the old Carmous district west of Pompey's Pillar. But thirty meters below the street, the silence thickens. The catacombs were discovered by accident in 1900 when a donkey reportedly vanished into a hole in the ground—an apt metaphor, perhaps, for how so much of Alexandria's Roman past has disappeared into the city's layered depths. What the donkey found, and what archaeologists soon unearthed, was a vast necropolis carved directly into the bedrock during the 2nd century CE, likely during the Antonine era of Roman rule. Today, the site is considered one of the Seven Wonders of the Middle Ages. Altogether, the catacombs span three tiers and several chambers, forming one of the largest known Roman burial sites in Egypt. Originally built for a single affluent family, the necropolis was later expanded for communal use. Whether this shift came from necessity, generosity, or profit is—like so much of Alexandria's past—lost to history. The descent begins at a spiral staircase, which once served as a practical pulley shaft for lowering bodies. Hollowed niches are still visible along the shaft walls, possibly once lit by lamps. The stairs circle around a central well, now dry, that draws the visitor's eye downward. This architectural decision, both functional and ceremonial, marks the beginning of a slow immersion into the underworld of Roman Alexandria. At the bottom of the staircase, the first chamber appears: a vestibule that opens into a six-pillared rotunda crowned with a domed ceiling. In the middle lies a circular opening to another shaft, which once functioned as the primary point of descent to the burial levels below. This uppermost tier houses the more ceremonial aspects of the catacombs. To the left of the rotunda is the triclinium , or banquet hall, which is an open space measuring approximately nine by eight and a half metres. There are still stone benches lining the walls where mourners would recline to share meals in honour of the deceased. It was here that the catacombs earned their name—archaeologists found heaps of broken terracotta plates and jars, funeral remnants that were shattered after use, never to be repurposed again. Beyond the rotunda lies the principal tomb chamber with a design that halts the visitor in place: a façade carved to resemble a miniature temple, complete with twin columns crowned by a hybrid of Egyptian papyrus and lotus motifs, intertwined with acanthus leaves, an unmistakable Greco-Roman flourish. Above these, a carved winged sun disk spreads its wings wide, flanked by Horus falcons, gazing out with eternal vigilance. Step inside, and syncretism becomes the dominant language. Three fixed-lid sarcophagi are embedded in the chamber walls, inaccessible except by a service passage that allowed bodies to be inserted from behind. Contrary to an initial inspection, these are not simple coffins. Each one is adorned with carved garlands and niches, shaped to hold the remains of up to three individuals. Reliefs show Anubis, the jackal-headed Egyptian god of embalming, dressed in Roman military uniform, a legionary's tunic and boots. Nearby, there is an etched head of Medusa serving a kind of Greek protective symbol, while images of the Apis bull and Isis add another layer of Egyptian funerary iconography. In no other place within the catacombs does one find a more potent depiction of such startling polytheism. Off one of the side passages lies a peculiar annex: the Hall of Caracalla. Named after the Roman emperor who infamously ordered a massacre in Alexandria around 215 CE, this chamber contains a tangled history. Human and horse remains were found here, buried unceremoniously. Some scholars believe it to be a communal grave for young Christian men and their horses, slaughtered in the emperor's purge. Others interpret it as a later addition with an uncertain function. Deeper still, the catacombs continue, though the lowest tier is now submerged due to groundwater seepage. To this day, it remains inaccessible. Archaeologists believe this bottom level held additional tombs, perhaps once reached by the same shaft that connects the upper levels. What lies beneath remains unknown. And yet, even in partial silence, the site speaks. The Catacombs of Kom El Shoqafa reveal a city in flux—a place where Egyptian, Greek, and Roman cultures didn't just coexist, but collided, fused, and reformed into something wholly Alexandrian. Here, the dead were laid to rest beneath symbols from all three traditions—perhaps in search of a unity that eluded the living. And as you descend into the depths of the catacombs, so too do you fall into the folds of a city that was never just one thing—but always, somehow, all things at once.


Al-Ahram Weekly
4 days ago
- Al-Ahram Weekly
'Faces from Nepal' captivating photography exhibition is a must see - Exhibitions - Al-Ahram Weekly
Cairo Opera Complex Gezira Exhibition Grounds, Zamalek Salah Taher gallery Tel 02 2739 0132/0144 'Faces from Nepal' a captivating photography exhibition showcasing the vibrant culture and soulful portraits of Nepal. The exhibition offers a unique glimpse into the lives, traditions, and landscapes of Nepal through the lens of Egyptian photojournalist Yasser Alaa Mubarak. It features 30 photos taken by Mubarak in the Pashupatinath complex in Kathmandu on the occasion of the Mahashivaratri festival of 2024 (closing 3 July). Miscellaneous exhibition by Misr University (19 - 24 July). Ziad Bakir gallery Painting exhibition by Hanaa Galal (5 -7 July). Palace of Arts Bab Selim Hall The 54 General Exhibition (15 June -15 July). Cervantes Institute 20 Boulos Hanna St, Dokki, Tel 02 3760 1746 An exceptional caricature exhibition by late Spanish artist Juan Sintes, the first to introduce caricature to Egyptian newspapers in the early 20th century. The exhibition includes a collection of rare caricatures that reveal the sarcastic and humane spirit of an artist who lived in the heart of Cairo and depicted its political and social landscape with his unique style. Sintes, an artist who came from the Spanish city of Valencia at the invitation of Prince Youssef Kamal in 1908, taught the art of engraving and left a unique artistic imprint (25 June – 20 July). Czech Embassy 4 Al Dokki Street, Giza, behind the German School, Tel 02 3333 9700/01 'Treasures of Czechia', an exhibition on Czechia's UNESCO heritage. Czech artist Markéta Zlesáková displays her unique work inspired by Czech folk ornamentation and Arabic calligraphy and ornament. The artworks will remain on display along the Czech Embassy wall (2 April- end of July). Duroub 4 Amrika Al-Latiniya St, Garden City, Tel 02 2796 2881/ 2794 7951 'Back to Life' exhibition by artist Salah Shehata (5-30 July). Italian/Egyptian Centre for Restoration and Antiquities (CIERA) 31 Al Suyuffeya St, Al Helmeya, Cairo, visitors are welcomed by appointments so contact the manager Mr. Salah Ramadan 0100 8716067 Architectural complex of the Mevlevi Dervish 'Samaa Khana, Restorations and Restorers' permanent exhibition of the activities of the working/formation sites for the restoration and recovery of the monuments. Visitors are welcomed during the opening hours determined by the Ministry of Antiquities. Mashrabia Gallery of Contemporary Art 15 Mahmoud Bassiouny St, Downtown, Cairo, Tel 02 2578 4494, open daily from 11am to 8pm except Fridays 'Echoes and Currents: 35 Years of Contemporary Art' exhibition is stressing the gallery's pioneering role in Cairo's contemporary art scene, the exhibition opens a dialogue between established and emerging artists who have shaped its journey. Since its founding, Mashrabia has supported young talent, amplified women's voices, and fostered connections between local and international art communities. Rather than a retrospective, this exhibition offers an open, evolving archive formed by memory, conversations, and the relationships that continue to grow around the gallery (29 June - 11 September, closed in August). Naguib Mahfouz Museum Tekkeyet Mohamed Bek Abul-Dahab, next to Al-Azhar Mosque, Al-Darb Al-Ahmar, Tel 0122 723 1573 'Algamalia in the Eyes of its Lovers' group photo exhibition is organized in collaboration with In Focus Photography Club (27 June -19 July). Picasso East Villa No 39 Al Narges 35th settlement, 90's St, in front of Lake View Compound, New Cairo, Tel 0122 0000035 'Summer Collection' group exhibition of painting and sculpture (25 June - 15 July). Safarkhan 6 Brazil St, Zamalek, Tel 012 70169291 The second edition of the gallery's 'Anthology' series. Anthology 2025 is as usual headlined by some of the gallery's marquee resident talents, as well as some of our familiar guest names and features a pair of new ones that we are thrilled to be unveiling to the art loving community here in Egypt for the very first time. This collection sees an impressive assortment of mediums too, with the inclusion of various artforms spanning; sculpture, photography, fabric appliqué, mosaics, and various forms of painting. This year's anthology gathers new works from established Safarkhan artists: Ibrahim Khatab, Ahmed Saber, Karim Abd Elmalak, Katherine Bakhoum, Neama El Sanhoury, Omar Abdel-Zaher and Tasneem El-Meshad (1 June and running throughout summer). Swailam 14 El-Saleh Ayoub St, Zamalek, Tel 02 2735 8900/0111232 4002 'Special Space' exhibition by Hend El-Falafly features works that reflect the artist's deep engagement with themes of female strength, presence, and emotion, forming a unique artistic expression (closing 3 July). UBUNTU 20 Hassan Sabry St, (entrance from Ibn Zinki St), Zamalek, Tel 0100 2792223 'UBUNTU Revisited - 8th edition' is the gallery's end of the season show featuring exclusive pieces in a variety of sizes, directions and mediums. All artworks are available for immediate purchase, and so the selection on display may change throughout the duration of the exhibition. Featuring works by Ahmed El- Badawy, Aya Mostafa, Amany Fahmy, Doaa Fakher, Ihab Shaker, Khaled Sirag, Omar Zaki, Louis Barthelemy, Maged Mekhail, Mina Milad, Mohamed Sabry Sayed, Nevine Farghaly, Omar Gabr, and many more (25 June - 9 August). Yassin art gallery 159, 26th July St, Behind Diwan Bookstore, Zamalek, Tel 01271170035 'Different Space 4th Edition' is a contemporary group visual art exhibition that celebrates the experiences of a select group of contemporary sculptors and painters. Their works reflect modern visual perspectives rooted deeply in the aesthetic and cultural references of ancient Egyptian art (17 June- 31 August). ALEXANDRIA Bibliotheca Alexandrina Port Said St, Chatby, Alexandria 21526, Tel (03) 4839999 Archeological Museum A permanent exhibition on the results of the Archaeological Mission of the University of Turin in Nelson Island. * A version of this article appears in print in the 3 July, 2025 edition of Al-Ahram Weekly Follow us on: Facebook Instagram Whatsapp Short link: