RCDF 2021 Brochure English

Concept, Choreographer & Director: Eman Hussein , Assistant Director: Hanin Tarek , DOP: Hassan El Zanaty , Editor: Ahmed Al Sa’aty , Sound Design: Youssra El Hawary , Production Manager: Mariz Kelada , Performers: Amr Taher, Hany Atef, Islam El-Arabi, Mohamed ‘Toto’ Mahmoud, Eman Hussein. About the Artist Eman received her BA degree in acting and directing for theatre from Helwan University in 2017. In 2013- 2014, she joined NAS independent school for street theatre arts. In 2016-2019, she stud- ied in a three-year professional dance program at Cairo Contem- porary Dance Center (CCDC). Different Martial Arts styles are a source of inspiration for the quality of her movement, like Taijiquan, and Shaolin Kung Fu which she has through her education at MAAT|CCDC and later on at Meshkah Martial Art School. She cho- reographed and directed the dance-film: A Skewed Conversation (2019, Egypt), a short film through which the protagonist (Eman) explores the tension in the process of appearing or becoming vis- ible and disappearing in public space in Cairo’s streets. The film is MAAT for Contemporary Art Production and was premiered as part of the MAAT|CCDC Platform. Later, the film was screened in many international film festivals such as: Arabic film festival (fameck) in France, Moving iMages Video dance festival 2019 in Cyprus, Aegean Docs International Documentary Film Festival in Greece, Festival Lumières d’Afrique de Besançon in France. Belia 10 minutes Khalil Sakakini Cultural Center Tuesday 13 July Dance Films Eman Hussein - Egypt 8:30 pm About the Performance As a dancer and filmmaker, Eman always dreamed of being a be- lia: an apprentice to a craft headmaster, because workshops were her first inspiration to learn movement. For a whole year, she ful- filled this dream by working with Usta Amr, the owner of an au- to-body-repair shop in Old Cairo. There, she began to discover new spaces and possibilities for learning a new logic of movement through working and observing the workers and how their bodies move with and around cars. The film explores how dancers deal with these relationships and with the place and its machines and how we can find for our bodies a new dynamic language inspired by the workshop environment. It also emphasizes how dancers are affected by the sound of machines, how this reflects on their bodies’ movement, and on the sound design, which is composed entirely of the real sounds of the workshops.