Click here http://www.cifcet.gov.eg/ for the CIFCET Website.
The Cairo International Festival for Contemporary and Experimental Theatre (CIFCET) was founded in 1988 as Cairo International Festival for Experimental Theatre. After it concluded its twenty-second edition in 2010 it was suspended/adjourned in 2011 until 2015.
The festival is back! From 20th to 30th September, 2016.
This year a large number of Arab and international theatre companies are participating, in addition to a long list of Egyptian productions. The festival includes six workshops led by major international artists from Chile, USA, Pakistan and India.
There will also be four major panels focusing on Arab theatre and the West scheduled on the Fringe.
On Saturday 14 May 2016 we’re going to dance all night long. We’d love to see you there.
For details on this event, click on the image to enlarge.
Music is in many ways an exploration of who we are. In recent times, more and more singers of mixed parentage have emerged out of Africa and Europe, adding new flavours to the music scene.
In a series on race and identity in African music, journalist Maimouna Jallow speaks with Kenyan contemporary musician Maia von Lekow.
In early 2005, I was invited to write a new script for performance at The Wereld Muziek Theatre Festival. In 2006 KigeziNdoto, the product of three-months writing and rehearsal, toured Holland, Belgium and Italy; the show is a musical performance celebrating African heroes and providing an African perspective on Kenyan history.
KigeziNdoto: A Hook for Dreams is the second part of a trilogy, which includes The Voice of a Dream and They Call Me Wanjikũ. The performers examine the dreams of East Africans through music, dance and story, looking at pre- and post-colonial history and the lessons that might be learned today from our past.
“THEY CALL ME WANJIKŨ” started out as a play about hierarchy and citizenship, and the place of women in Kenya. It seemed necessary to examine names and naming.
AFTER having to get my husband’s written permission to have our children included in my passport, I began to question what it means to be a female citizen of Kenya. Because it was bad enough that I wasn’t allowed to use my own words to prove that I was the mother of my children. According to the law, my husband, who wasn’t Kenyan, had more legal authority than I did. It alarmed me.