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L'Orient-Le Jour
a day ago
- Entertainment
- L'Orient-Le Jour
In Avignon, Arabic is spoken chiefly through dance
This year, Arabic is the guest of honor at the Avignon Festival. Sweeping away the xenophobic prejudices fostered by politicians, 10 shows from the Arab world — including six choreographic creations — give dance a place of honor. Through these works, pride, resistance, and sometimes disappointed hopes emerge. A hypnotic choreography, Ethiopian melodies, and gripping actresses come together to expose the violence of an invisible system in Lebanon. Everything was in place to provoke the audience's applause at the first show of the Avignon Festival — the opening event of the Arab program. In "When I Saw the Sea," Lebanese choreographer Ali Chahrour immediately breaks the fourth wall and shows us what we all need to hear: a call to stop closing our eyes. On stage, the intertwined destinies of three women from sub-Saharan Africa recount the violence, isolation and humiliation inflicted on them by the kafala system, which oppresses migrant women from Africa and South Asia. This marks a turning point for the Lebanese art scene, where previously silenced voices are now speaking up and finally becoming the subjects of their own stories. In this 79th edition, which stands in solidarity with the people of Gaza — also oppressed and silenced — the artistic approach is eloquent and signifies an act of resistance. In the shadow of the performers, singer Lynn Adib and musician Abed Kobeissy create an immersive atmosphere, managing to elevate a powerful message through a unique composition. The evident vulnerability of Rania, Tenei and Zena is accompanied by a powerfully free choreography, breaking free from resignation to embrace a kind of burning boldness. Our bodies are territories in fray In the same spirit of dissent, the solo performance of Belgian-Tunisian choreographer Mohammad Tubakri stands out. His work with its telling title "Every-body knows what tomorrow brings and we all know what happened yesterday," plays on the double meaning of 'every-body' (each body) and 'everybody' (everyone). It expresses the idea that, individually as well as collectively, our bodies carry the remains of the past and the ability to illuminate our future. This legacy, sometimes palpable, sometimes imperceptible, is one Tubakri urges us to question, especially regarding which dance forms Western standards deem legitimate. Like many Arab dancers in Cairo or Marrakesh, Tubakri had to assimilate into so-called 'legitimate' dances, while other practices were not recognized as art. In the mood for crafts? Kinamania will help you create your own bag Thus, he calls upon classical and contemporary dance just as much as breakdance and hip-hop, which he strives to reclaim for their political and subversive potential, and also the popular Maghreb dance called ' shtih.' Guided by the sharp words of Essia Jaibi, his reflective choreographic work sees the body as a field of tension, traversed by power dynamics, highlighting the challenges faced by dancers and choreographers in the MENASA regions (Middle East–North Africa–South Asia), who are often confronted by dominant expectations and perspectives. His dance is a language that communicates with the body, and not everything is meant to be translated. Sometimes elusive, his performance abolishes hierarchies between genres and reveals a raw force, a deep grounding that connects us to the struggle for freedom to dance in one's own language. Rediscovering a lushness in the desert What brings Mohammad Tubakri's performance close to "Magec/The Desert" by Moroccan choreographer Radwan Mriziga is a shared taste for drawing on various repertoires and a mutual desire to deconstruct imperialist narratives. While one works with language, the other works with space. In Mriziga's piece, the desert is not merely a void or a cruel, inert land; it is a place of passage and transformation, crisscrossed by peoples who bear knowledge, rich in poetry and harmonies forged with the environment. From the outset, this vision sweeps away utilitarian concepts while avoiding Orientalism. In this show, heritage is reappropriated and reinvented. In the dark of night, a mystical procession emerges in the Celestins' cloister, gradually enveloped in incense with red ashes. Under the auspices of a great solar disk revealing the vastness of the desert, we witness delicate rituals associated with Magec, the Amazigh sun king of the Canaries. To the rhythmic beat of little golden finger cymbals, six dancers march masked, wearing costumes that evoke the world of animals and indigenous plants, as well as motifs from cave paintings. They take turns personifying the soul of the Moroccan desert: the graceful antelope, the quick snake and the powerful scorpion each present their noble heritage, slowly shaping a collective dialogue. In the dancers' formations, we see both the idea of architectural composition, the devout movement of the sundial and the geometric sacredness of Belgian choreographer Keersmaeker, who trained Mriziga and who is presenting 'Brel' at Avignon. According to Mriziga, it was the weeks spent in the heart of the desert that forged a genuine bodily grammar, enriched by various inspirations such as the writings of Maia Tellit Hawad, a Franco-Tuareg scholar, or those of poet Hawad Mahmoudan. Craftsmanship of Tunisian women artisans Attending "Laaroussa Quartet" by Selma and Sofian Ouissi is like hearing a concert where the instruments are gestures. A female quartet joins in reading unique choreographic scores, where the movements are meticulous, both firm and delicate. Their fingers sculpt, in the spotlight, an infinitely delicate pottery. Behind them, a wide screen pulls us right into the heart of Sejnan, a modest region of Tunisia where a community of 60 women maintains their mastery of the fire art. "Laaroussa" is, above all, a popular artistic project founded by the choreographers to alleviate the extremely harsh economic conditions affecting this community. In tribute, it is both the sensitive crafting of scores and the making of a choreo-documentary that captures the essence of a demiurgic, ancestral, almost sacred gesture. It gives it new vibrancy, greater visibility and a way to keep existing. Deeply committed, the 79th edition of the Avignon Festival paid homage to its history and values, which are rooted in cultural and intercultural dialogue. Still lingering, however, is the question of why dance was given pride of place at this festival. What explains this predominance, and is it not somewhat bittersweet to see the low representation of contemporary Arab dramatic works at such a major international event that has chosen Arabic as its honored language? Dance indeed is one of the most popular forms of artistic expression in the Arab world, just as poetry is, and readings abounded at this festival. Yet, despite arriving later on the Arab arts scene, dramatic production is no less vital. All the more, now — as words more than ever need to be spoken, carried and heard in France and the West — it is legitimate to wonder why this magnificent vehicle that is theater for the Arabic language is underrepresented, and whether the Avignon Festival's offer remains at the level of a manifesto.
Qatar Tribune
10-07-2025
- Entertainment
- Qatar Tribune
Design Doha, Architect Ibáñez launch public art competition
Tribune News Network Doha Design Doha, Qatar Museums' biennial showcase for excellence and innovation in the design community in Qatar and the Middle East, North Africa and South Asia (MENASA) has announced the launch of the Urban Space Design Competition in partnership with architect Javier Peña Ibáñez, founder of the Concéntrico Festival. The competition is part of Design Doha's Public Design Commissions, an ambitious initiative that invites designers to reimagine and enrich Doha's urban spaces through site-specific, community-oriented interventions. This first-of-its-kind competition is open to architects, designers, artists and urban-planning professionals from the MENASA region to submit proposals for permanent urban installations in Doha that promote public engagement and enhance the city's unique physical, cultural, and social identity. The winning designers will each receive awards of QR25,000 and a production budget of up to QR120,000 for the installation of works at key urban locations across Doha as part of Doha Design 2026. The Urban Space Design competition promotes the reimagination of Doha's public spaces by transforming parks, heritage sites, waterfronts, traditional markets, and metro station exteriors into vibrant, community-oriented areas. Each installation will be evaluated for cultural relevance, innovation, adaptability, and sustainability, responding to specific site categories. The competition highlights the intersection of design and local identity, encouraging public interaction through inclusive and accessible urban design. In support of Qatar's sustainable development goals, designs should incorporate locally sourced materials. Fahad Al Obaidly, acting director of Design Doha, said, 'The Urban Space Design Competition is a unique opportunity for designers from the MENASA region to make innovative, sustainable, and publicly beneficial interventions across Doha. As part of the Public Design Commissions and a key component of Design Doha 2026, the winning designs will weave into the cultural and social fabric of Qatar.' Javier Peña Ibáñez, founder of the Concéntrico Festival, said 'I look forward to working with Design Doha and emerging and established designers from the Middle East and North Africa to create new public art and design for Doha. This is the kind of project designers dream of, and it is my honour to help bring some remarkable projects to this one-of-a-kind cityscape.' Selected proposals will be produced in collaboration with designated production partners. Participants are encouraged to use eco-friendly and durable materials, explore innovative shading and cooling techniques tailored to the local climate, and integrate modularity and reuse in their proposals. Applicants can submit multiple proposals, which must be presented digitally via the Design Doha website, by July 26, 2025.
Hi Dubai
19-06-2025
- General
- Hi Dubai
National Pavilion UAE Invites Curators to Shape 2027 Venice Architecture Biennale Showcase
The National Pavilion UAE has opened applications for curators to lead the country's exhibition at the 20th International Architecture Exhibition at La Biennale di Venezia, running from May to November 2027. The open call invites architects, designers, artists, historians, and researchers with ties to the UAE or the broader MENASA region to submit concept proposals that uncover untold stories in the UAE's architectural landscape. Submissions should offer a strong curatorial vision that reflects both local narratives and broader global discourse. Applicants may be UAE citizens, residents, or international professionals with relevant regional experience. Team entries are welcome, provided at least one member is UAE-based. The initiative encourages critical reflection, creative research, and engagement with past National Pavilion UAE exhibitions. Angela Migally, Executive Director of the Salama bint Hamdan Al Nahyan Foundation, described the Biennale as 'a space for rigorous thought' and emphasized the opportunity to anchor global conversations in UAE-specific contexts. Laila Binbrek, Director of the National Pavilion UAE, highlighted the Pavilion's continued role as a platform for culturally significant research and dialogue. Information sessions will be held in Abu Dhabi and Dubai, with dates to be announced. Applications close at midnight UAE time on 30 September 2025. News Source: Emirates News Agency
Qatar Tribune
10-05-2025
- Entertainment
- Qatar Tribune
Qatar Pavilion at 19th International Architecture Exhibition explores forms of hospitality embodied in architecture with Beyti Beytak
Tribune News Network Doha The Qatar Pavilion is presenting 'Beyti Beytak. My Home is Your Home. La mia casa è la tua casa', a two-part exhibition presented at the 19th International Architecture Exhibition—La Biennale di Venezia. Beyti Beytak explores how forms of hospitality are embodied in the architecture and urban landscapes of the Middle East, North Africa, and South Asia (MENASA). The exhibition examines how modern and contemporary architecture responds to the needs of communities while reimagining a sense of belonging. Beyti Beytak is produced by Qatar Museums and organised by the future Art Mill Museum, featuring an installation in the Giardini della Biennale and a presentation at the ACP-Palazzo Franchetti. The 19th International Architecture Exhibition marks the first official participation of Qatar. The presentation at the ACP-Palazzo Franchetti is organized with the support of ACP Art Capital Partners. Beyti Beytak is on view to the public from May 10 to November 23, 2025. Commissioner of the Qatar Pavilion and Chairperson of Qatar Museums Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, said, 'The exhibition Beyti Beytakdemonstrates the commitment of Qatar Museums to amplify the voices of leading modern and contemporary creatives from the Arab world and neighbouring regions. 'This exhibition not only highlights the profound contributions of MENASA architects to global architecture but also reflects our shared values of hospitality, community, and belonging. 'As we continue to shape a cultural landscape of dialogue and exchange, this exhibition serves as a testament to Qatar's role in advancing cultural diplomacy and fostering a deeper understanding of our diverse architectural heritage.' Events inside the Community Centre throughout the duration of the Biennale Architettura 2025 will focus on traditional Qatari forms of welcome, including the serving of coffee and dates on Saturdays and Sundays from 4 to 6 pm. At ACP-Palazzo Franchetti, the exhibition presents the work of more than 30 architects, including several who have not previously shown in Venice. Examining three generations of architects that have worked in the MENASA region, the exhibition features drawings, photographs, models, and important archival documentation. Through these materials, Beyti Beytak explores interconnected themes of community and belonging, organised into sections dedicated to the reinvention of the oasis, city housing, community centres, mosques, museums, and gardens. A section is also devoted to the architecture and urbanism of Doha, which includes several doors from the old city that have been restored with the support of the Aga Khan Trust for Culture. Among the pioneering modern architects represented are Raj Rewal (India), Nayyar Ali Dada (Pakistan), Abdel-Wahed El-Wakil (Egypt), and Minnette de Silva (Sri Lanka). Their work is highlighted along with that of a range of contemporary designers and architects, including Marina Tabassum and Nabil Haque (Bangladesh), Sameep Padora [sP + A] and Balkrishna Doshi, Vastu-Shilpa Foundation (India), DAAZ Studio (Iran), Abeer Seikaly (Jordan), Sumaya Dabbagh (Saudi Arabia), Diller Scofidio + Renfrom (USA), Meriem Chabani with New South (France), among others. Beyti Beytak also reflects on the legacy of pioneering Egyptian architect and urbanist Hassan Fathy, whose work promoted social engagement while embracing vernacular forms, techniques, and materials. Aurélien Lemonier said, 'Conceived as a multidisciplinary institution devoted to art in all forms since 1850, the future Art Mill Museum will include architecture, design, and landscape architecture as core elements of its collections and programmes. Beyti Beytak is a testament to the richness of the MENASA region's architectural heritage and highlights the diversity and creativity of designers and architects from the Arab world and the Global South.' Sean Anderson said, 'Community and belonging are expressions that inform hospitality throughout the world today. As we witness the planet's transformations, mirrored by technology's drive toward a more collective yet divided future, Beyti Beytak responds to how architects and designers have imagined how we gather, where we reflect, and what we feel with and for each other.' The exhibition design explores the spatial possibilities of mesh, a ubiquitous architectural element found in many cultures around the world. The Beyti Beytak scientific committee is composed of Catherine Grenier, Ibrahim Jaidah, Yasmeen Lari, Hafid Rakem, and Raj Rewal.
