To say who Tito Vivas is would be quite a challenge. As he himself puts it, "a traveler and wanderer by vocation." Tito Vivas is an Egyptologist, historian, and archaeologist. He earned his degree in History from the University of Alcalá (UAH), with specialization in Egyptology from the Università degli Studi di Pisa, Italy (UNIPI). He developed his postgraduate studies specialized in Religions of the Ancient World at the Institute of Religious Sciences of the Universidad Complutense de Madrid (UCM), and those on Egyptology first at the University of Jaén (UJA) and later at the Universitat Autònoma de Barcelona (UAB).
He has participated in several archaeological projects in the Near East, as well as in Spain and in Egypt, in the area of Deir el Bahari, Luxor, the excavation inside the QH33 tumulus in the pharaonic necropolis of Qubbet el-Hawa, in Aswan, or that of monument TT353 of the steward of Amun, Senenmut, on the western bank of Luxor.
He has conducted research stays in Egypt for several years at centers such as the Supreme Council of Antiquities of the Egyptian Government's Ministry of Antiquities or at the American University in Cairo.
He is the author of books like Tutankhamun, Howard and I (Wind Editions, 2022), Fabulous History of a Journey to Ethiopia (Wind Editions, 2020), The Journey of an Inexperienced Egyptologist (Wind Editions, 2017) and Entry into the Underworld. False Door Steles in Ancient Egypt (Dilemma Editorial, 2019).
Since 2023 he has been an International Visiting Professor at the Programs of Egyptology at Universidad Pontificia Bolivariana de Medellín, Colombia (UPB), forming part of the faculty that spearheads the introduction of Egyptological studies in this country.
In addition to his career as a researcher and disseminator, he is the founder of the Historical Society of Travel and Expeditions (https://www.sociedadhistorica.com/), an institution that organizes trips and expeditions to the Ancient World.
- Where does his passion for Archaeology, especially Egyptology, come from?
My passion for archaeology began completely unexpectedly. When I was ten years old, my parents planned a trip to Egypt with some friends. A few days before leaving, one of them had to cancel due to work reasons, and my father decided to take me in his place so that his friend wouldn't lose the money from the trip. Thus, without having planned it, I ended up in a country that captivated me completely.
- As we mentioned earlier, he has participated in numerous archaeological projects, which one would you highlight and why?
I have had the luck to participate in several archaeological projects in Egypt, each with its own challenges and lessons, but if I were to highlight one, it would undoubtedly be the one I am currently developing at Deir el-Bahari, which is also part of my doctoral thesis. This project, which brings me back to one of the most emblematic places in Egyptian archaeology, has a special meaning for me because it allows me to approach archaeology from a broader perspective, combining landscape and archaeoastronomy studies with the history and architecture of this fascinating enclave.
My first experience in Egypt was precisely here, on a restoration project of a large monument belonging to Senenmut from the 18th dynasty. I ended up becoming deeply knowledgeable about it. It couldn't have been better for my entry into the world of Egyptology: suddenly, at the epicenter of global archaeology, in a place that had captivated giants like Howard Carter. Later, in Aswan, I worked on the excavation of a large Middle Kingdom tomb in Qubbet el-Hawa, an exciting experience that allowed me to delve deeper into the funerary mysteries of the time and the intricacies of the academic world.
But this last project at Deir el-Bahari is the one that has touched me personally the most because it's not about excavating or restoring and waiting to see what comes up, but trying to understand how ancient Egyptians conceived sacred space and their relationship with stars and natural surroundings from a complete understanding of their thought. It's a way of reading the past from an intellectual rather than material perspective, and that motivates me immensely.
- Following on from the previous question, what differences does he find between excavating in Spain and Egypt?
The differences between excavating in Spain and Egypt are enormous, not only from an archaeological point of view but also logistically, administratively, and humanly.
First of all, there is the issue of funding. In Spain, the projects I have worked on or directed were completely private, within the framework of emergency archaeology. But in Egypt, financing is a constant challenge, especially for foreign projects that depend on universities or entities willing to support them. Additionally, permits are a long and bureaucratic process since any excavation in Egypt must be approved by the Ministry of Tourism and Antiquities, which can take months or even years.
But what stands out most is the difference in daily life on-site. Excavating in Egypt requires getting used to an entirely different rhythm of life marked by extreme weather conditions, early morning shifts, and working with multidisciplinary teams where cultural differences play a significant role. Many excavations are often isolated enclaves (not always geographically speaking), where contact with the outside world is minimal or at least different, and conditions can be harsh. This demands adaptability and also great mental strength to cope with solitude and isolation that comes from working in the desert, both literally and figuratively.
However, despite all these challenges, the reward is immense. Discovering a structure or an object unseen for thousands of years in a place as fascinating as Egypt is a sensation hard to describe and makes all efforts worthwhile.
- In popular imagination, the archaeologist is an adventurous individual, treasure hunter, and whip user. How does he believe this image (both positively and/or negatively) has affected social perception of this profession? Has it impacted his own work in any way?
The figure of the adventurous archaeologist with a whip and hat has sunk so deeply into popular imagination that, for many, it remains the reference image when talking about archaeology. And although this may seem like a cliché, I don't necessarily see it as something negative. In fact, I believe Indiana Jones has been one of the best things to happen to archaeology in terms of public awareness and social appeal.
It's easy to fall into criticizing that Indiana Jones is not an archaeologist but a tomb raider. But this view is too simplistic and anachronistic, ignoring something fundamental: Indiana Jones is a fictional character representing early 20th-century archaeologists. It doesn't make sense to judge him with modern ethical and methodological standards of archaeology. Of course, today he wouldn't be an archaeologist, but in his time, archaeologists didn't excavate with brushes and meticulous records; they used shovels and picks, often with methods we would now consider destructive. Archaeology as a discipline has evolved immensely, and the figure of Indiana Jones reflects various early stages of that evolution. Saying "Indy is not an archaeologist" is presentism: it's judging the past with today's values.
On a personal level, Indiana Jones was a huge influence in my life. I remember perfectly when I saw Indiana Jones and the Last Crusade at Paz Cinema in Alcalá de Henares' city center, and how that reinforced my desire to become an archaeologist. But what really marked me wasn't the action or treasure hunting but the idea that archaeology was a way of discovering the past, connecting with vanished civilizations, and understanding who we are through what they left behind. That's what truly attracted me, and I believe it is the most valuable message conveyed by the saga. And the one about "laughing" in a certain way at pseudoarchaeologists from each era.
As for its impact on professional perception, of course, it has had positive and negative effects. On the one hand, it has made archaeology fascinating to the public, which has helped generate interest and support for the discipline. Without Indiana Jones, fewer children would have dreamed of being archaeologists, and perhaps many wouldn't be here today. But on the other hand, it also created unrealistic expectations: there are those who believe that archaeology consists of unearthing spectacular treasures or discovering hidden secrets that will change history when in reality fieldwork is meticulous, slow, and at times monotonous.
But in my experience, this hasn't had a negative impact on my work but quite the opposite. It has allowed me to connect with the public more closely because ultimately what we do in archaeology isn't so different from what Indiana Jones does in movies: we seek to understand the past through material remains that we find.
- Currently, we live in the Information Age but also "the age of disinformation," as seen in his collaboration with Jesús Calleja on Instagram videos called #YoEstuveAllí. How can we combat fake news and hoaxes? What role do professionals and cultural-historical disseminators have in these situations?
We live in a paradoxical moment: never before have we had so much access to information, and never before have we been exposed to disinformation. Because information is not synonymous with knowledge. It's the other side of the coin of the Digital Age: the ease with which data circulates allows us to learn more than ever, as long as our critical thinking can discern truth from falsehood. Because these channels also allow false claims, hoaxes, and pseudoscientific theories to spread at unprecedented speed and reach.
But this is not new; what makes it interesting to ask: why do these theories worry us so much today if they've been circulating for over half a century? The so-called "mystery journalism" isn't new; it's been selling pseudoscientific stories about lost civilizations, impossible technologies, and extraterrestrial contacts since the 1950s and 60s. Erich von Däniken popularized the idea of ancient astronauts in the 1960s, and since then there has been an entire industry profiting from these narratives. The difference is that before these ideas were relegated to specific niches: esoteric magazines, late-night radio shows, or books found in marginal sections of bookstores. Today, thanks to the internet and social media, these theories have come out of those margins and become part of mainstream discourse.
And here is where we as professionals and disseminators have a huge responsibility. Because, in my opinion, disinformation has a dual nature: it's not just a problem of ignorance but also of narrative. Pseudosciences triumph because they offer attractive, exciting stories that spark curiosity and provide easy answers to complex questions. And if we want to combat them, simply debunking them coldly isn't enough; we need to do dissemination with the same passion as they sell their tales.
In my case, I've tried to combat these false narratives through social media, TV, and radio. That's what happened in those #YoEstuveAllí videos with Jesús Calleja. And always try to do it from knowledge, yes, but also from humor, fun, irony, and sarcasm. Something that isn't easy because ridiculing these discourses isn't always the best way to dismantle them. You need a deft hand not to hurt sensibilities, to generate empathy. We can't limit ourselves to saying "this is not true" or "you are ignorant" with a condescending and paternalistic attitude because that only reinforces the gap between science and the general public. We have to tell the truth in an attractive, didactic, and above all accessible way.
The role of professionals cannot be that of guardians of elitist knowledge but rather bridges between academia and society. We must use every means at our disposal—social media plays a crucial role here—to make history and archaeology more fascinating than fantasy.
- What does his collaboration in the program "Universo Calleja" consist of?
My collaboration with the program Universo Calleja has been very special because it has allowed me to combine my passion for archaeology, history, and dissemination with an innovative format that, beyond adventures, seeks to offer a discovery and learning experience through pure entertainment. Universo Calleja is a new format by Jesús Calleja in which, through various episodes, fascinating places around the world are explored but with a more personal and profound approach. Jesús no longer ventures into these places from an adventure sports perspective but also seeks to understand the stories, cultures, and secrets that these destinations hold, immersing himself in their history and heritage.
In my case, my role on the show has been one of trusted companion and exceptional guide for Jesús and his friends during their adventure in Egypt. Over several episodes, I accompanied Jesús through some of the most iconic and mysterious places in the country, contributing my knowledge in archaeology and history. We led them through monuments, temples, tombs, and Egyptian landscapes, sharing details, anecdotes, and explanations that allow viewers not only to enjoy the marvels of Egypt but also to understand them in their historical and cultural context.
Beyond being a mere guide, my goal was also to create an authentic experience for the program participants, showing them deep Egypt, full of mystery but also personal discoveries that are based on research and knowledge. In this format, each episode will be an opportunity to share the true story of Egypt and debunk the erroneous theories that have so distorted perceptions of Egyptian civilization. Adventure and learning intertwine, and it's a privilege to be part of this project that brings archaeology and history closer to a wider audience.
- Within his research line is Biblical Archaeology. It's an interesting but also unknown field that studies the material remains of cultures mentioned in the Bible without dogmatic interpretations. What are the main challenges this field of study faces?
Biblical archaeology is a fascinating and at the same time complex field. Although I don't consider myself an expert in Biblical Archaeology, my approach is more focused on Religious Studies, which allows me to address ancient religions from a broader, interdisciplinary, and cultural perspective. However, I've had the opportunity to participate in expeditions based on major biblical milestones such as the search for the Ark of the Covenant, Noah's Ark, or research into the historical existence of Jesus.
The main challenges this field of study faces are numerous and go beyond archaeological aspects. First, there is the issue of dogmatic interpretations that have influenced how certain topics are researched in many cases. There is a tendency for questions and answers about biblical topics to be oriented towards religious or theological approaches, which can close doors to an objective analysis based on material remains and historical contexts in which these texts were written.
The other challenge, perhaps the biggest one, is identity. For me, these expeditions aren't about finding objects or relics but exploring cultural roots. I seek to understand how these religious narratives and figures have influenced thought, morality, and collective identity of entire civilizations. The Bible, as a central text in Western culture, has left a deep mark, but not necessarily as an unmovable truth. The real question is how, over the centuries, those stories were interpreted, adapted, and lived, regardless of whether they are true or fantastic elements that narrate.
Lastly, there's the issue of preservation of sites and materials. In many cases, places of biblical interest are subject to destruction due to various causes such as armed conflicts, mass tourism, or always common budget limitations for conservation.
- He has written numerous books inspired by archaeological work and discoveries in the Near East and Ethiopia. Is there a new publication project? What would you highlight about his role as a writer?
Yes, there is an upcoming editorial project, a book titled Guide to Egypt for Pyramidologists and Martians (Wind Editions, 2025). It's a new adventure that, like my first book, The Journey of an Inexperienced Egyptologist, delves into Egypt but with one crucial difference: this time I'm not so naive.
The book is an exploration of the great mysteries that pseudoscience has attributed to Egypt over the years, analyzed from a critical and humorous perspective. However, it doesn't just debunk myths with rational explanations; it goes much further: it delves into the roots of human superstition and why we need to believe in the extraordinary. Through this journey, not only are myths debunked but also reflection is made on how humans construct their certainties, fears, and beliefs.
Additionally, the story unfolds alongside a very special character whose identity I won't reveal yet, but who pays homage to a great classic work of adventure literature, just as I paid tribute to authors like Nigel Barley in my previous books.
As for my role as a writer, writing has always been a way of sharing. Not so much my knowledge (that would be pretentious), but rather my questions, concerns, and amazements. It's not just about disseminating history or archaeology; it's also about telling stories that hook you, invite reflection, and allow travel through the pages. At the end of the day, the best knowledge is that which is transmitted in an engaging and passionate way, and that's what I strive to capture in each of my books. That's why I don't indulge in historical essays but rather adventure literature.
- As founder of the Historical Society of Travel and Expeditions, what do you believe are the main mistakes we make when traveling to historic sites?
One of the main mistakes we make when traveling and visiting historical places is confusing travel with mere displacement. Despite companies trying to differentiate between "tourist" and "traveler," they often hide behind words like "sustainability" and "experientiality," but rarely reach the levels of adventure and exploration that defined great Victorian-era journeys or geographical society expeditions. Back then, every voyage had a purpose: to discover, map, understand... There was a goal, an achievement to be reached, which turned travel into an epic enterprise.
Today, however, we travel without a goal, consuming destinations as if they were products on a supermarket shelf. The search for discovery has been replaced by the search for "the moment," the perfect photo seen on another's Instagram feed, the fleeting instant that dissolves in social media algorithms. But traveling should be much more than that.
That's why in the journeys I propose and organize through the Historical Society of Travel and Expeditions, the thematic argument always comes first. It's not about going to Egypt, Ethiopia or Israel just because they are there; it's not about collecting another card as Susan Sontag said. It's about living a journey that has a narrative, a purpose, a story to tell. By putting the story before the place, we avoid turning historical scenes into mere theme parks. Instead, we return travelers to the essence of exploration: it's not just about seeing but discovering.
- And finally, what advice would you give to young (and not so young) people considering a career in Archaeology and specifically those who want to specialize in Egypt and/or the Near East?
My advice for those dreaming of a career in archaeology, especially in Egypt and the Near East, is simple: abandon all romanticism. Archaeology isn't traveling around the world, living adventures, or finding treasures. It's not unwrapping mummies with epic music playing in the background, nor discovering hidden temples with a revolver in one hand and a whip in the other. Archaeology is method, patience, and bureaucracy. It involves hours under the sun recording stratigraphies, battling for permits, seeking funding, and dealing with administrations that have more layers than the tombs you want to uncover. It's writing reports, filling out paperwork, and at best finding a ceramic shard that brightens your day. In short: it's hard work, poorly paid, and full of challenges.
Now, if after hearing all the complaints about the profession from everywhere you still want to pursue archaeology or Egyptology, congratulations. It means you've understood the essence of what I see as the matter: archaeology isn't a profession; it's a way of looking at the world. It's not a romantic hobby; it's a commitment to history and truth. And then yes. If you make up your mind, you'll travel around the world, live adventures, and with some luck find treasures (though they may be of another nature than what you imagine). At least I've managed that. And it amuses me greatly.
If you manage to do so, if you don't succumb, if you resist, if you succeed in making archaeology a way of life, then you'll be part of an exclusive club. Because archaeology is above all else a way of seeing the world, interpreting the past, and telling stories like no one else can.
You can find more information about Tito Vivas through his profiles and projects at the following links:
LinkedIn: https://www.linkedin.com/in/titovivasoficial/
Instagram: https://www.instagram.com/titovivas/
Facebook https://www.facebook.com/p/oficial.titovivas
YouTube: https://www.youtube.com/@sociedadhistoricadeviajes
Interviewed by:
Mª Dolores Rodas Romero
Communication Area
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