Khalid Amine


November 1, 2017
In this interview, IRC-Advisory Board Member Khalid Amine, Professor of Performance Studies, Faculty of Letters and Humanities at Abdelmalek Essaadi University, Tetouan, Morocco, speaks about his focus on interweaving. Describing himself as “a hybrid post-colonial subject located between East and West and between different traditions”, Amine tries to bridge the gap between theory and practice. As the founder of Performing Tangier, an international festival annually taking place in Tangier, and the Founding President of the International Centre for Performance Studies (ICPS) in Tangier, Amine talks about his efforts to show the positive potential of the concept of interweaving and that of collaborations. read more
March 27, 2013
International theatre research has long studied the world before undergoing its revolution from the inside. Should the world study back or, rather, perform back while striving for recognition? The intercultural debate of the 1980s and 1990s implied the possibility of a democratic interweaving of performance cultures across the globe. Still, the task of postcolonial scholarship is further complicated by the existing body of world theatre histories. Our performance cultures are hardly visible in the “universal narrative of capital – History 1”, typically edited out, and otherwise often only mentioned on the borderlines between absence and presence. Europe has always been the silent referent in world theatre history. With rising demands for further democratizing the discipline, new modes of writing theatre history from below have emerged with an earnest desire for inclusion …. read more
October 5, 2009
"Radio Muezzin" (von Stefan Kaegi). Here: Hussein Gouda Hussein Bdawy, Abdelmoty Abdelsamia Ali Hindawy and Mansour Abdelsalam Mansour Namous. On February 26 at the Kule Theatre in Berlin, I saw "Hotel Arabia" by Carola Lehmann and David Merten, who performed their voyage to ‘Arabia’ in a way reminiscent of the early European narratives from Barbary land. The tendency of exoticising otherness was apparent, and the commodification of cultural difference was at times disturbing during the performance. Rimini Protokoll’s intercultural projects, on the other hand, are neither about sublimating otherness nor reversing the gaze, but rather about the possibilities of transferring the debate taking place in developing countries to the metropolis, through the deployment (rather than invention) of the tradition of docu-drama. "Radio Muezzin", which premiered at the HAU 2 on the March 3, 2009, is a prime example of art that bridges the gap between cultures and reaches across the divide to the Other (the not I) during the ‘imperial’ present. read more
September 21, 2009
Moroccan theater exists in a liminal space, between East and West. It is a fusion of Western theatrical traditions and the Arabo-Tamazegh performance cultures. The hybrid nature of such a theater is evident in the way popular performance behavior such as manifested in performance spaces like al-halqa (the circle) has been transposed from public squares and marketplaces like Marrakech’s jemaa-elfna into modern theater buildings. read more
September 12, 2009
The recent debates on the politics of intercultural theatre practice have not only critiqued artistic ‘syncretism’ and negotiations, but articulated an optimistic belief in the achievability of a common “interweaving” across worldwide performance cultures. Erika Fischer-Lichte is justly acclaimed as an exemplary de-mystifier – the thinker who has provided unsurpassed critiques of Eurocentric intercultural performance elements that lurk in the work of various western theatrical enterprises that went East & South. read more