Vidéo réalisée par le Festival Nuits d'Orient en 2008 : nuitsdorient.free.fr/
Hommage au chorégraphe égyptien Ibrahim Akef à travers le parcours d’une danseuse qui a été son élève Juliette Uebersfeld, et des images d’archives inédites.
Plus d'informations sur le spectacle : mabeloctobre.net/creations/qui-a-tue-ibrahim-akef/
mise en scène Judith Depaule
régie Olivier Heinry
photographie Rachel Planta
vidéo Miriam Adan, Judith Depaule, Philippe Pastor
musiques Zeina, Enta Oumri, Ya Messafer Wahdak de Mohamed Abdelwaheb
master audio Fred Costa
poèmes de Atef Akef, Ahmed Shafik Kamel
traduction française Jean-Charles Depaule
costumes Christelle Clément, Sahar Okasha
avec Juliette Uebersfeld (danse), Hussein El Azab (percusions)
et avec la voix d’Atef Akef
avec la complicité artistique de Randa Kamal
Raconter la pratique de la danse orientale sous forme d’hommage à un grand maître.
Sur un plateau nu où seule la lumière dessine l’espace, la danseuse évolue devant un grand rideau blanc servant à la fois d’écran de projection et de cyclo lumineux.
Tout au long du spectacle la danseuse tisse un rapport triangulaire entre l’image d’Ibrahim Akef, présent grâce à la vidéo, et le percussionniste, partenaire de jeu immédiat et réel, avec lesquels elle entretient un véritable dialogue.
Orient nights - From November 29th to December 14th 2008 - Dijon – France
« Who killed Ibrahim Akef ? »
Even though the night has been long, don’t tire yourself out, don’t grow tired.
Fill your heart with tenderness and dance because the sun is back.
Let your soul dance in the wind, let your life drift to the rhythm of destiny.
Judith Depaule – theatre director
“I had known Juliette for some time, I enjoyed seeing her dance, and I had been telling her for quite some time that I would like to do a show with her. And while discussing with her, she told me about her meeting with a great Egyptian choreographer whose name is Ibrahim Akef. Since he was living in Cairo, she saw him only when she was travelling there. She learned this choreography with him, that is, she was trained by him. Long enough to understand a very particular universe, to be able to recreate it, and to transmit it to her students, because she is also a teacher herself. In that matter, she is very exigent. So we started writing a show together. A show, which would pay tribute to this great choreographer through the story of one of his students.”
“The master hands over his knowledge through choreography. The student reproduces the sequence of steps until she/he memorises them. The master dismisses the student who appropriates the choreography to find her/his own dance. One says about the student that she/he kills her/his own master in order to stand on her/his own two feet and find a dance that resembles her/him.”
“Before the choreographer died, it had been several years that he had been completely forgotten, notably by his peers. Nobody was taking care of him, he died in loneliness and misery.”
“So of course we show him in the play. He is re-convoked on stage. In some way, he is there with us. The thing is, we called the play “Who killed Ibrahim Akef?” and the first time we presented the show to the public it was still at an early stage. And in fact, he died when we were presenting the show. We found out about it just after we travelled to Cairo to go see him. We were told that he died exactly during the presentation. So even though his presence/absence is a huge matter, the show is not about wanting to know who killed him, for he died peacefully in old age. It’s about the student who kills the master, the environment that kills the child, the abandoning father, etc. All of these psychological and analytic meanings are involved…”
“The question is: how did this dance, which is today somehow tarnished, have its moment of glory and what does this exactly mean? Because, unfortunately, for most people, oriental dance is something that is innate in certain cultures or something that you learn just by taking a few lessons. Yet it is a dance just like any other. A dance, which requires a very particular technique, and hence quite a long training and a definite practise. Moreover, with time, the aesthetic quality is wearing away, giving the dance a somewhat enticing inclination, whereas this is not at all what oriental dance originally is. Oriental dance is a voluptuous dance, which tells about an emerging love story or a heartbreak. The matter is a wounded heart and a woman who tries to put all her tenderness in what she feels when she is dancing. There’s nothing about sexuality or pornography. So this is what I wanted to do: to restore oriental dance through this type of show. Thus, we follow the evolution of a student and we see, little by little, how dance matures."