How do you honour what’s been shattered – lives, cultures, memories – without losing sight of the light that remains? In Ihsane, Sidi Larbi Cherkaoui turns the stage into a living mosaic of music, dance, and storytelling, inspired by his father’s legacy and the richness of Middle Eastern culture. Through bold collaborations and personal reflections, he reveals how fragility and resilience intertwine, offering us a vision of kindness as both an act of defiance and a path forward.
hube: Ihsane seems deeply personal, reflecting on your family history. Can you share how this piece evolved from your earlier work, Vlaemsch (chez moi)?
Sidi Larbi Cherkaoui: Ihsane feels like a mirror to Vlaemsch (chez moi), but also its opposite. In Vlaemsch, I focused on my mother’s influence – on Flemish paintings, medieval music from Flanders, and the muted greys of that culture. But with Ihsane, it’s my father’s world I explore. This time, the colours are vibrant – yellow, red, green, blue – reflecting the vibrancy of Middle Eastern and North African culture. The music draws from Andalusian and Moroccan traditions, showing the richness and spirituality of that world.
My father passed away when I was 19, so this work has a deeply personal connection. It’s been 30 years since his death, and creating Ihsane allowed me to reflect on him and, in a way, honour his memory. At the same time, I wanted to highlight the kindness and hospitality inherent in Middle Eastern culture – qualities that don’t always get the recognition they deserve in broader narratives.
h: The word ‘Ihsane’ has such depth. Why did you choose it, and how does it shape the piece?
SLC: The word itself holds so much meaning – it’s about kindness, a spiritual perfection in how we treat one another. It’s a word that challenges us because it’s not easy to live up to. We’re often caught up in ourselves, and in our individual needs, but Ihsane asks us to think about others and how we interact with them.
Calling the piece Ihsane felt bold. Imagine naming a work ‘kindness’ in a world that can often be the opposite. But that’s what art can do – it can create spaces where we can aspire to be better versions of ourselves.
h: Ihsane explores your relationship with your father and addresses complex themes of identity and loss. How do you weave these personal experiences into the choreography, and what do you hope the audience will take away from this intimate narrative?
SLC: The piece is very much about loss – both personal and universal. For me, it’s about the loss of my father but also about a young man named Ihsane Jarfi, who was murdered in a homophobic attack in Belgium. And beyond these personal stories, it’s about the many invisible losses that don’t get acknowledged in the world.
But loss doesn’t have to end in despair. In Morocco, I’ve seen graveyards that are full of life – flowers blooming, and greenery thriving in spaces associated with death. That contrast, the coexistence of loss and renewal, is what I hope comes through in Ihsane. It’s not about blaming or pointing fingers. It’s about creating space to process loss and recognise life’s fragility – and its resilience.
h: The tragic event affecting the LGBTQ+ community in Belgium serves as a backdrop for Ihsane. Can you elaborate on how this context shapes the choreography and the messages you aim to convey about love and resilience through dance?
SLC: In Ihsane, this dialogue is vital. I brought together dancers from the Ballet du Grand Théâtre de Genève and Eastman, my company in Belgium, to reflect the mix of influences that inspire me. But the heart of this piece is the music – it’s created by musicians from Tunisia, Morocco, Lebanon, and Iran, each bringing their unique traditions to the performance.
People often talk about the ‘Arab world’ as if it’s monolithic, but it’s as diverse as Europe. A Moroccan’s culture is as different from a Lebanese person’s as an Italian’s is from a Dane’s. Exploring these differences – and the connections between them – is what makes this work so rich.
I also worked with Amine Bendriouich, a Moroccan costume designer whose creations push boundaries. His designs for Ihsane are genderless, bold, and deeply artistic. They reflect a freedom of expression that’s often overlooked when people think about Middle Eastern culture. This layering of perspectives and influences is what makes Ihsane a celebration of coexistence and complexity.
h: Your performances incorporate multimedia elements, adding layers of meaning. Can you discuss how you use technology and design in Ihsane and how it enhances the storytelling aspect of the choreography?
SLC: The scenography in Ihsane begins in a traditional way. The stage feels like the entrance to a palace or a sacred space, setting a tone of reverence. But as the piece unfolds, the set transforms. Layers slide away to reveal projections of abstract geometries inspired by Islamic art, along with landscapes from Morocco and footage of historical events, like the Agadir earthquake in the 1960s.
Technology allows us to shift between worlds, between the tangible and the imagined. These visuals amplify the narrative, showing the fragility of life and the resilience of rebuilding. Combined with live music, they create a multidimensional experience that connects the past, present, and possible future. They show not just what’s been lost but what’s still possible.
h: As you transition to leading the Ballet du Grand Théâtre de Genève, how do you envision your leadership impacting the company’s future direction and the types of works being produced?
SLC: My goal has always been to break down barriers between people – whether it’s between dancers and administrators or between departments like costumes and set design. I want everyone to feel they’re part of the creative process. Institutions can sometimes feel slow, even stagnant, and I think it’s because they don’t always foster enough collaboration.
Kindness is a central value for me, not just in my art but in how I lead. I’ve learned that when I take care of myself, I can take better care of others, whether it’s the dancers or the people behind the scenes. By creating an environment where people feel heard and valued, we can take on challenges together and push boundaries in ways that feel authentic to everyone involved.
h: The themes of identity and migration resonate deeply in your choreography. In today’s global context, how do you hope Ihsane will engage with audiences on these issues?
SLC: I grew up as the son of a Moroccan immigrant in Belgium, so these themes are part of my lived experience. My father faced microaggressions, and as a child, I often felt caught between two worlds. That duality shaped me – not just in my identity, but in how I approach storytelling and choreography.
Today, we’re living in a time of increasing division. People are quick to label, to blame, to isolate. With Ihsane, I want to counter that narrative. I want to remind people that our differences can be a source of beauty and strength. Art has the power to build bridges, and through this piece, I hope to create a space where audiences can reflect on their own identities and find empathy for others.
Photography of Ihsane by FILIP VAN ROE courtesy of SIDI LARBI CHERKAOUI
