Cultural anthropologist (PhD), dance scholar and dramaturge from Beirut - affiliated to the Research Centre in Activity, Knowledge, Transmission, Education (ACTé) of Blaise Pascal University of Clermont-Ferrand, France. Her research interests focus on intercultural dynamics in collective creative processes, arts education (performing arts), embodied knowledge, and transmission of intangible cultural heritage. Since 2009, she is involved with international Arab and European cultural organisations in creating and coordinating performing arts projects and artistic research programs mainly in Lebanon, Egypt, Jordan, France, Germany and Belgium. She is Program & Grant's Associate of Mophradat asbl (Brussels). She co-directs the Institut Supérieur des Arts et des Chorégraphies (ISAC-EUR) at the Académie Royale des Beaux-Arts in Brussels since 2019. Supervisors: Prof. Georgiana Wierre-Gore
Arts - Special Issue Arts and Refugees: Multidisciplinary Perspectives, 2018
In 2017, the City Theater of Munich engaged with a policy of diversity, and decided to include Sy... more In 2017, the City Theater of Munich engaged with a policy of diversity, and decided to include Syrian artists and create the Open Border Ensemble. A German and Syrian refugee and non-refugee cast produced the first performance, “Miunikh–Damaskus: Stories of one city” (May 2018). This mobile play aimed at minimizing stereotypes and deconstructing essentialist cultural identity prejudices. The paper examines how, in this case study, multilayered artistic strategies and relational dynamics came together to implement a ‘third space’. It addresses the challenges and implications of such theater endeavors regarding solidarity and the representation of the figure of the artists within the realm of the migration and refugee discourse.
In 2012, amid a critical and transitional socio-political situation in Egypt, Bibliotheca Alexand... more In 2012, amid a critical and transitional socio-political situation in Egypt, Bibliotheca Alexandrina started an initiative aiming at developing contemporary dance. The project included the organization of dance workshops for amateurs in various cities of Egypt. Led by eleven local dancers, these workshops consisted of trainings aimed at forming trainers. The methodologies used appeared to have strengthened the awareness of the close relationship between body and mind, revealing new perceptions of the body’s potential and awakening a strong feeling of empowerment. By bringing these dynamics to light and examining their implications on the individuals involved in the workshops, the following article aims to open further discussion on how transcultural use of somatic practices can actively participate in enhancing the autonomy of the emergent Egyptian contemporary dance field. It revisits the outcomes of this pioneering project of dance transmission and examines its impact on both dancers and participants.
In July 2010, on the crest of ‘The Arab Spring,’ 28 independent dance teachers from Morocco, Alge... more In July 2010, on the crest of ‘The Arab Spring,’ 28 independent dance teachers from Morocco, Algeria, Tunisia, Malta, Egypt, Palestine, Syria, Jordan, and Lebanon, gathered in Bodrum, Turkey, for the Symposium on Dance Education in Arabic Speaking Countries. This article reflects on the symposium experience, examining the sociopolitical environment and cultural history in which the event took place, while also revisiting the philosophical tensions behind the design and implementation of this dance teaching and learning event. The experiences and voices of the participating teachers are shared, and the opportunities and threats that continue to face dance education in the region are considered. From the symposium, strong questioning of dominant models and meanings of teaching and learning dance emerged, along with a demand for tolerance towards different ideas and approaches. The pedagogical philosophies and challenges expressed by many of the participating dance educators appeared to be parallel wider political discourses on how society might be organized, and how speaking up about these visions can enhance pride and engender solidarity within a diverse dance community.
In July 2010, on the crest of ‘The Arab Spring,’ 28 independent dance teachers from Morocco, Alge... more In July 2010, on the crest of ‘The Arab Spring,’ 28 independent dance teachers from Morocco, Algeria, Tunisia, Malta, Egypt, Palestine, Syria, Jordan, and Lebanon, gathered in Bodrum, Turkey, for the Symposium on Dance Education
in Arabic Speaking Countries. This article reflects on the symposium experience, examining the sociopolitical environment and cultural history in which the event took place, while also revisiting the philosophical tensions behind the design and implementation of this dance teaching and learning event. The experiences and voices of the participating teachers are shared, and the opportunities
and threats that continue to face dance education in the region are considered. From the symposium, strong questioning of dominant models and meanings of
teaching and learning dance emerged, along with a demand for tolerance towards different ideas and approaches. The pedagogical philosophies and challenges expressed by many of the participating dance educators appeared to be parallel wider political discourses on how society might be organized, and how speaking up about these visions can enhance pride and engender solidarity within a diverse dance community.
Revue des Mondes Musulmans et de la Méditerranée, 2012
Raising Dust se presente comme une fouille archeologique tentant de depoussierer l'histoire p... more Raising Dust se presente comme une fouille archeologique tentant de depoussierer l'histoire passee et contemporaine de la danse en Palestine, en l'articulant au contexte politique fort mouvemente de ce territoire. L'objectif principal du livre est d'eclairerla facon dont la danse, en tant que pratique sociale et artistique, est reliee au politique ; comment les deux se font echoet peuvent etre porteurs et reflets du changement social. A cet effet, l’auteur privilegie l'approche historique et ...
The Palgrave Handbook of Global Arts Education, 2017
This chapter presents a case study on applied phenomenology where concepts of deterritorializatio... more This chapter presents a case study on applied phenomenology where concepts of deterritorialization and embodied knowledge in arts education can be discussed. It explores the relationship between creative learning methods utilized in the arts and education by focusing on a dance educational experience in Cairo in 2014, part of a dance training of trainers entitled SEEDS.
In 2017, the City Theater of Munich engaged with a policy of diversity and decided to include Syr... more In 2017, the City Theater of Munich engaged with a policy of diversity and decided to include Syrian artists and create the Open Border Ensemble. A German and Syrian refugee and non-refugee cast produced the first performance,“Miunikh–Damaskus: Stories of one city”(May 2018). This mobile play aimed at minimizing stereotypes and deconstructing essentialist cultural identity prejudices. The paper examines how, in this case study, multilayered artistic strategies and relational dynamics came together to implement a ‘third space’. It addresses the challenges and implications of such theater endeavors regarding solidarity and the representation of the figure of the artists within the realm of the migration and refugee discourse.
In July 2010, on the crest of ‘The Arab Spring,’ 28 independent dance teachers from Morocco, Alge... more In July 2010, on the crest of ‘The Arab Spring,’ 28 independent dance teachers from Morocco, Algeria, Tunisia, Malta, Egypt, Palestine, Syria, Jordan, and Lebanon, gathered in Bodrum, Turkey, for the Symposium on Dance Education in Arabic Speaking Countries. This article reflects on the symposium experience, examining the sociopolitical environment and cultural history in which the event took place, while also revisiting the philosophical tensions behind the design and implementation of this dance teaching and learning event. The experiences and voices of the participating teachers are shared, and the opportunities and threats that continue to face dance education in the region are considered. From the symposium, strong questioning of dominant models and meanings of teaching and learning dance emerged, along with a demand for tolerance towards different ideas and approaches. The pedagogical philosophies and challenges expressed by many of the participating dance educators appeared to be parallel wider political discourses on how society might be organized, and how speaking up about these visions can enhance pride and engender solidarity within a diverse dance community.
A short presentation of Boléro at the Opéra National de Paris, a repertoire performance by Sidi L... more A short presentation of Boléro at the Opéra National de Paris, a repertoire performance by Sidi Larbi Cherkaoui, Damien Jalet, Marina Abramovitch
Revue Des Mondes Musulmans et de La Méditerranée, Feb 15, 2012
Raising Dust se présente comme une fouille archéologique tentant de dépoussiérer l'histoire passé... more Raising Dust se présente comme une fouille archéologique tentant de dépoussiérer l'histoire passée et contemporaine de la danse en Palestine, en l'articulant au contexte politique fort mouvementé de ce territoire. L'objectif principal du livre est d'éclairer la façon dont la danse, en tant que pratique sociale et artistique, est reliée au politique ; comment les deux se font écho et peuvent être porteurs et reflets du changement social. À cet effet, l’auteur privilégie l'approche historique et socio-politique pour l'étude des pratiques dansées.
This article demonstrates empirically, through the observation and analysis of a process of chore... more This article demonstrates empirically, through the observation and analysis of a process of choreographic composition, how the hierarchical asymetry in the choreographer-dancer interaction is reconfigured through the key role played by the choreographer’s assistant as intermediary figure. It provides an account of the relational dynamic at play between inter-actants, which contributes to the very process of artistic creation.
The Palgrave Handbook of Global Arts Education, Bagulay M. & Barton G. (eds), Palgrave MacMillan Edition, 2017
This chapter presents a case study on applied phenomenology where concepts of deterritorializatio... more This chapter presents a case study on applied phenomenology where concepts of deterritorialization and embodied knowledge in arts education can be discussed. It explores the relationship between creative learning methods utilized in the arts and education by focusing on a dance educational experience in Cairo in 2014, part of a dance training of trainers entitled SEEDS.
La main tient une position symbolique privilégiée par rapport aux autres parties du corps, sa rep... more La main tient une position symbolique privilégiée par rapport aux autres parties du corps, sa représentation fait l’objet d’un traitement singulier. Pour les arts de mise en scène et de cadrage du geste, de recréation du corps et de son image, la main de l’homme s’avère comme donnée anthropologique inévitable A partir d’entretiens et d’une analyse esthétique de certains spectacles de Sidi Larbi Cherkaoui, ce chapitre revient sur les différents traitements de la main dans le travail chorégraphique de cet artiste.
Les collectifs en Art depuis 1980 à nos jours- Editions L'Entretemps, 2014
Une analyse de la notion de collectif en tant qu’expérience coopérative artistique intentionnelle... more Une analyse de la notion de collectif en tant qu’expérience coopérative artistique intentionnelle et fondatrice d’un espace transculturel de partage à partir d'un travail de terrain ethnographique mené lors du processus de création de la pièce Myth de Sidi Larbi Cherkaoui en 2006-2007 à Anvers, en Belgique.
Arts - Special Issue Arts and Refugees: Multidisciplinary Perspectives, 2018
In 2017, the City Theater of Munich engaged with a policy of diversity, and decided to include Sy... more In 2017, the City Theater of Munich engaged with a policy of diversity, and decided to include Syrian artists and create the Open Border Ensemble. A German and Syrian refugee and non-refugee cast produced the first performance, “Miunikh–Damaskus: Stories of one city” (May 2018). This mobile play aimed at minimizing stereotypes and deconstructing essentialist cultural identity prejudices. The paper examines how, in this case study, multilayered artistic strategies and relational dynamics came together to implement a ‘third space’. It addresses the challenges and implications of such theater endeavors regarding solidarity and the representation of the figure of the artists within the realm of the migration and refugee discourse.
In 2012, amid a critical and transitional socio-political situation in Egypt, Bibliotheca Alexand... more In 2012, amid a critical and transitional socio-political situation in Egypt, Bibliotheca Alexandrina started an initiative aiming at developing contemporary dance. The project included the organization of dance workshops for amateurs in various cities of Egypt. Led by eleven local dancers, these workshops consisted of trainings aimed at forming trainers. The methodologies used appeared to have strengthened the awareness of the close relationship between body and mind, revealing new perceptions of the body’s potential and awakening a strong feeling of empowerment. By bringing these dynamics to light and examining their implications on the individuals involved in the workshops, the following article aims to open further discussion on how transcultural use of somatic practices can actively participate in enhancing the autonomy of the emergent Egyptian contemporary dance field. It revisits the outcomes of this pioneering project of dance transmission and examines its impact on both dancers and participants.
In July 2010, on the crest of ‘The Arab Spring,’ 28 independent dance teachers from Morocco, Alge... more In July 2010, on the crest of ‘The Arab Spring,’ 28 independent dance teachers from Morocco, Algeria, Tunisia, Malta, Egypt, Palestine, Syria, Jordan, and Lebanon, gathered in Bodrum, Turkey, for the Symposium on Dance Education in Arabic Speaking Countries. This article reflects on the symposium experience, examining the sociopolitical environment and cultural history in which the event took place, while also revisiting the philosophical tensions behind the design and implementation of this dance teaching and learning event. The experiences and voices of the participating teachers are shared, and the opportunities and threats that continue to face dance education in the region are considered. From the symposium, strong questioning of dominant models and meanings of teaching and learning dance emerged, along with a demand for tolerance towards different ideas and approaches. The pedagogical philosophies and challenges expressed by many of the participating dance educators appeared to be parallel wider political discourses on how society might be organized, and how speaking up about these visions can enhance pride and engender solidarity within a diverse dance community.
In July 2010, on the crest of ‘The Arab Spring,’ 28 independent dance teachers from Morocco, Alge... more In July 2010, on the crest of ‘The Arab Spring,’ 28 independent dance teachers from Morocco, Algeria, Tunisia, Malta, Egypt, Palestine, Syria, Jordan, and Lebanon, gathered in Bodrum, Turkey, for the Symposium on Dance Education
in Arabic Speaking Countries. This article reflects on the symposium experience, examining the sociopolitical environment and cultural history in which the event took place, while also revisiting the philosophical tensions behind the design and implementation of this dance teaching and learning event. The experiences and voices of the participating teachers are shared, and the opportunities
and threats that continue to face dance education in the region are considered. From the symposium, strong questioning of dominant models and meanings of
teaching and learning dance emerged, along with a demand for tolerance towards different ideas and approaches. The pedagogical philosophies and challenges expressed by many of the participating dance educators appeared to be parallel wider political discourses on how society might be organized, and how speaking up about these visions can enhance pride and engender solidarity within a diverse dance community.
Revue des Mondes Musulmans et de la Méditerranée, 2012
Raising Dust se presente comme une fouille archeologique tentant de depoussierer l'histoire p... more Raising Dust se presente comme une fouille archeologique tentant de depoussierer l'histoire passee et contemporaine de la danse en Palestine, en l'articulant au contexte politique fort mouvemente de ce territoire. L'objectif principal du livre est d'eclairerla facon dont la danse, en tant que pratique sociale et artistique, est reliee au politique ; comment les deux se font echoet peuvent etre porteurs et reflets du changement social. A cet effet, l’auteur privilegie l'approche historique et ...
The Palgrave Handbook of Global Arts Education, 2017
This chapter presents a case study on applied phenomenology where concepts of deterritorializatio... more This chapter presents a case study on applied phenomenology where concepts of deterritorialization and embodied knowledge in arts education can be discussed. It explores the relationship between creative learning methods utilized in the arts and education by focusing on a dance educational experience in Cairo in 2014, part of a dance training of trainers entitled SEEDS.
In 2017, the City Theater of Munich engaged with a policy of diversity and decided to include Syr... more In 2017, the City Theater of Munich engaged with a policy of diversity and decided to include Syrian artists and create the Open Border Ensemble. A German and Syrian refugee and non-refugee cast produced the first performance,“Miunikh–Damaskus: Stories of one city”(May 2018). This mobile play aimed at minimizing stereotypes and deconstructing essentialist cultural identity prejudices. The paper examines how, in this case study, multilayered artistic strategies and relational dynamics came together to implement a ‘third space’. It addresses the challenges and implications of such theater endeavors regarding solidarity and the representation of the figure of the artists within the realm of the migration and refugee discourse.
In July 2010, on the crest of ‘The Arab Spring,’ 28 independent dance teachers from Morocco, Alge... more In July 2010, on the crest of ‘The Arab Spring,’ 28 independent dance teachers from Morocco, Algeria, Tunisia, Malta, Egypt, Palestine, Syria, Jordan, and Lebanon, gathered in Bodrum, Turkey, for the Symposium on Dance Education in Arabic Speaking Countries. This article reflects on the symposium experience, examining the sociopolitical environment and cultural history in which the event took place, while also revisiting the philosophical tensions behind the design and implementation of this dance teaching and learning event. The experiences and voices of the participating teachers are shared, and the opportunities and threats that continue to face dance education in the region are considered. From the symposium, strong questioning of dominant models and meanings of teaching and learning dance emerged, along with a demand for tolerance towards different ideas and approaches. The pedagogical philosophies and challenges expressed by many of the participating dance educators appeared to be parallel wider political discourses on how society might be organized, and how speaking up about these visions can enhance pride and engender solidarity within a diverse dance community.
A short presentation of Boléro at the Opéra National de Paris, a repertoire performance by Sidi L... more A short presentation of Boléro at the Opéra National de Paris, a repertoire performance by Sidi Larbi Cherkaoui, Damien Jalet, Marina Abramovitch
Revue Des Mondes Musulmans et de La Méditerranée, Feb 15, 2012
Raising Dust se présente comme une fouille archéologique tentant de dépoussiérer l'histoire passé... more Raising Dust se présente comme une fouille archéologique tentant de dépoussiérer l'histoire passée et contemporaine de la danse en Palestine, en l'articulant au contexte politique fort mouvementé de ce territoire. L'objectif principal du livre est d'éclairer la façon dont la danse, en tant que pratique sociale et artistique, est reliée au politique ; comment les deux se font écho et peuvent être porteurs et reflets du changement social. À cet effet, l’auteur privilégie l'approche historique et socio-politique pour l'étude des pratiques dansées.
This article demonstrates empirically, through the observation and analysis of a process of chore... more This article demonstrates empirically, through the observation and analysis of a process of choreographic composition, how the hierarchical asymetry in the choreographer-dancer interaction is reconfigured through the key role played by the choreographer’s assistant as intermediary figure. It provides an account of the relational dynamic at play between inter-actants, which contributes to the very process of artistic creation.
The Palgrave Handbook of Global Arts Education, Bagulay M. & Barton G. (eds), Palgrave MacMillan Edition, 2017
This chapter presents a case study on applied phenomenology where concepts of deterritorializatio... more This chapter presents a case study on applied phenomenology where concepts of deterritorialization and embodied knowledge in arts education can be discussed. It explores the relationship between creative learning methods utilized in the arts and education by focusing on a dance educational experience in Cairo in 2014, part of a dance training of trainers entitled SEEDS.
La main tient une position symbolique privilégiée par rapport aux autres parties du corps, sa rep... more La main tient une position symbolique privilégiée par rapport aux autres parties du corps, sa représentation fait l’objet d’un traitement singulier. Pour les arts de mise en scène et de cadrage du geste, de recréation du corps et de son image, la main de l’homme s’avère comme donnée anthropologique inévitable A partir d’entretiens et d’une analyse esthétique de certains spectacles de Sidi Larbi Cherkaoui, ce chapitre revient sur les différents traitements de la main dans le travail chorégraphique de cet artiste.
Les collectifs en Art depuis 1980 à nos jours- Editions L'Entretemps, 2014
Une analyse de la notion de collectif en tant qu’expérience coopérative artistique intentionnelle... more Une analyse de la notion de collectif en tant qu’expérience coopérative artistique intentionnelle et fondatrice d’un espace transculturel de partage à partir d'un travail de terrain ethnographique mené lors du processus de création de la pièce Myth de Sidi Larbi Cherkaoui en 2006-2007 à Anvers, en Belgique.
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in Arabic Speaking Countries. This article reflects on the symposium experience, examining the sociopolitical environment and cultural history in which the event took place, while also revisiting the philosophical tensions behind the design and implementation of this dance teaching and learning event. The experiences and voices of the participating teachers are shared, and the opportunities
and threats that continue to face dance education in the region are considered. From the symposium, strong questioning of dominant models and meanings of
teaching and learning dance emerged, along with a demand for tolerance towards different ideas and approaches. The pedagogical philosophies and challenges expressed by many of the participating dance educators appeared to be parallel wider political discourses on how society might be organized, and how speaking up about these visions can enhance pride and engender solidarity within a diverse dance community.
A partir d’entretiens et d’une analyse esthétique de certains spectacles de Sidi Larbi Cherkaoui, ce chapitre revient sur les différents traitements de la main dans le travail chorégraphique de cet artiste.
in Arabic Speaking Countries. This article reflects on the symposium experience, examining the sociopolitical environment and cultural history in which the event took place, while also revisiting the philosophical tensions behind the design and implementation of this dance teaching and learning event. The experiences and voices of the participating teachers are shared, and the opportunities
and threats that continue to face dance education in the region are considered. From the symposium, strong questioning of dominant models and meanings of
teaching and learning dance emerged, along with a demand for tolerance towards different ideas and approaches. The pedagogical philosophies and challenges expressed by many of the participating dance educators appeared to be parallel wider political discourses on how society might be organized, and how speaking up about these visions can enhance pride and engender solidarity within a diverse dance community.
A partir d’entretiens et d’une analyse esthétique de certains spectacles de Sidi Larbi Cherkaoui, ce chapitre revient sur les différents traitements de la main dans le travail chorégraphique de cet artiste.