Seven men exalt the power of the collective in an intense and acrobatic dance. Their engine? The rhythm! Unceasing, obsessive, it causes boiling and breathes energy into the bodies. Näss is a dialogue between the traditional dances and music of North Africa, which rocked the choreographer’s childhood, and their rewriting in the light of the urban cultures he discovered and embraced in France. On the borderline between the profane and the sacred, between unbridled modernity and attachment to the rituals that still defend it, Näss dares and confronts these contradictory body states, and affirms the syncretism of the popular and urban dimension of hip-hop dance. It questions its roots and proposes to place them in its journey back to our current practices. The rhythms of traditional Moroccan dances and the mysticism of the Gnawa tradition have been essential sources of inspiration. Näss thus has a universal dimension, the permanent quest of men towards an elsewhere, spiritual or physical with as common language the rhythm, the one that unites and moves the bodies. Fouad Boussouf thus claims loud and clear a hip-hop dance connected to his tribal and African roots.
« The story of the famous Nass el Ghiwane* group from the 1970s in the Maghreb was an important element in my inspiration. The texts and language used by this group reminded me of the strange link that could exist with the anti-rap movement and hip-hop culture of the same period in the United States. In their lyrics, I discovered a more incarnate hip-hop, imbued with ancestral traditions, still alive because it is deeply inhabited. I composed Näss as a breath, both physical and mystical, that reminds me of the need to be firmly anchored to its land in order to better feel its vibrations. » Fouad Boussouf
« Being a Ghiwane is first and foremost an ancestral custom that allows people, known for their probity and ability, to describe with simplicity the daily life through words and gestures. These singers and troubadours passed on their wisdom from village to village, thanks to the only means in their possession, the theatre in the form of Halqa and song.  » Khalid Benslimane, « L’Hâl ou La trance cabalistique du phénomène El Ghiwane », 2004
Halka: troops who give themselves up in a pubic place where they form circles of spectators (halka), next to other circles, storytellers, snake charmers, acrobats…. Marrakech and Jemah el Fna Square perpetuate this tradition.

Translated with www.DeepL.com/Translator




Always follow through with things.
A simple sentence on the surface, which my father often reminded me of. A sentence that requires a certain rigour, a certain motivation, as well as an intelligence to adopt on the way, that of taking pleasure in going there.
The end of a phone call is a dream, a will, a goal. We often look for shortcuts to achieve our goals as quickly as possible. But by trying at all costs to save time, we sometimes end up losing it. The thread of life shows us all the colours so that no one knows in advance what awaits him, or even the length of it. By taking certain paths, we forge our characters and principles, and our ideas take shape whether they are good or bad; it is then impossible not to go to the end of things. The end of a wire can be seen from very far away. Sometimes you don’t see it coming, unfortunately. But we have to deal with it, because we are not in control of all the strings of this world.
So today I want to take other paths, walk different paths, look further than the tip of my nose. I was told to go and see what I wanted, I would go and see what I could find on the other end of my phone and take you there. Let us hope that the horizon will not end there; but even if we reach the end, we will only have to turn around to contemplate the thread we have unrolled. There will surely be a few knots, worn out pieces of rope and other pawed threads, that our lives will bear witness to it, no matter how deep down we are, as long as we come out of it without remorse or regret. The future will tell us.
« I know the way, it is narrow as the thread of a sword. I am happy if I can follow him. I cry if I deviate from it. For God tells us: Only he who tries to follow the path will never perish » – GHANDI
The many choices we have to make every day are the beginning of a new page, good or bad. That is why it is important to have all the cards in hand, to know the different proposals and their consequences in order to make the right decision. As we could do in life, by logic or common sense, but also by curiosity, opportunism, obligation or constraint.
« I have learned over time that when we are firmly resolved, our fear decreases » ROSA PARKS
The unknown is often scary. It can make us hesitate, doubt, even retract. That doesn’t mean you shouldn’t go. It is simply a matter of thinking about it, several times and with a cool head, if time permits. Then choose to act and move in that direction or take another direction.
Dance is a risk-averse art; as in life, it is not always about taking the easiest path. Discovery and adventure are two things that drive us. You just have to be resolved when you have made your choice. Because if we reconsider our decision, what may be judicious or even necessary sometimes is that somewhere we had rushed our first choice.
« The habit starts like a silk thread and quickly turns into a steel cable » Spanish proverb
So, if this time, let’s take the time to go!? Are we in such a hurry? Besides, enjoying the path is not a waste of time. It is better to adapt your rhythm and take care of your steps, knowing how to slow down the pace and keep smiling until you grasp the beauty that comes out of it.
But then, what happens when you’re at the end of the line? Is there anything else to see?
My enigmatic character is on the road, looking for answers to his questions. Sometimes out of breath, sometimes a blaster, his steps will sometimes be awkward but will lead him no matter what happens to the unknown he is looking for. From the magic tree, the performer’s faithful sidekick on stage, life stories emerge.
A trendy show between hip hop and contemporary, performed with joy and amusement, that will take you on a journey as much as the character.



Outoungou 2

Identity as the starting point of existence. Outoungou[sous(f)france] is a show that draws its energy from the social, geopolitical and cultural controversies of Mayotte:
Mayotte residents claiming their rights as French citizens; children growing up in Mayotte, from immigrant backgrounds, waiting for papers; metropolitans looking for a new place… Through their personal testimonies and experiences, the 4 dancers of Mayotte have challenged themselves to give themselves in all sincerity by dancing their inner suffering.