mardi 13 octobre 2015

DESIDERATUM 'une partie de ma vie'

DESIDERATUM : UNE PARTIE DE MA VIE

Ghassen Oueslati ©

“To be naked is to be deprived of our clothes and the word implies some of the embarrassment which most of us feel in that condition. The word nude, on the other hand, carries, in educated usage, no uncomfortable overtone. The vague image it projects in to the mind in not of huddled and defenceless body, but of balanced, prosperous and confident body: the body re-formed.”
Kenneth Clark, The Nude.
They are bigger than life, come touch beauty because life is beauty and beauty is art and life is art. Come touch their voluptuous femininity, their delicate features; sincerity and authenticity. But don’t forget to get rid of your atrocious backwardness, your anathema, out of my world to discover those who are not backward in coming forward to show their beauty into my secret garden because this would incite my sheer boredom. DESIDERATUM; has always been a core value, the fountain of my cheer and imagination it carries not only a part of my life but also history and science of art.


Ghassen Oueslati ©

It stands for attraction and fear and at the same time for wondrous pleasure and romantic fatalism. Women, the target I set, my senses arousal, my desires awakening, a shimmer of moonlight in a dark night; should not be hidden away. You are awe-inspiring. I’m part of the process; because of you I overcome ad infinitum obstacles that come along with the concept “NUDITY”.

vendredi 23 mai 2014

Types of Nude Photography

Ce résumé n'est pas disponible. Veuillez cliquer ici pour afficher l'article.

Are U.S. Art Museums Finally Taking Latin American Art Seriously?

Radical Latin American women artists. Latinos and science fiction. A survey of contemporary artists that covers a territory from Tierra del Fuego to the Mexican border. The fall of 2017 will see the launch of 46 exhibitions and events around Southern California devoted to artists and designers of Latin American descent. The initiative, funded in part by $5 million in research grants from the Getty Foundation, is a follow-up to that organization’s successful “Pacific Standard Time: Art in L.A. 1945–1980” series of exhibitions from 2011–12, which focused on documenting and exhibiting theart of Southern California. The new wave of shows—collectively titled “Pacific Standard Time: L.A./L.A. (Los Angeles/Latin America)”—will draw an unprecedented level of attention to art from a region that has been spottily covered in the United States.
James Cuno, president and CEO of the Getty Trust, says the Getty turned its focus to Latin America instead of Asia or elsewhere for a couple of reasons. “One, there is the historic connection Los Angeles has to Latin America,” he explains. “The other is the demographics of this soon-to-be Hispanic city.” According to U.S. Census Bureau estimates from 2012, Latinos make up more than 48 percent of Los Angeles County’s total population. At the national level, Latinos are the largest ethnic minority in the country, comprising almost 17 percent of the total population.


The Getty-funded shows join a spate of exhibitions in various stages of execution that also deal withU.S. Latino or Latin American themes. Last year, the Los Angeles County Museum of Art (LACMA) unveiled “Under the Mexican Sky,” the beguiling retrospective of influential Mexican cinematographer Gabriel Figueroa. Currently, the Museum of Modern Art (MoMA) in New York has the first comprehensive North American exhibition devoted to the work of Brazilian painter and installation artist Lygia Clark, and the Bronx Museum of the Arts is showing “Beyond the Supersquare,” a broad survey that examines the ways in which Latin American artists have dealt with the influences of Modernist design. In Boston, the Museum of Fine Arts provides an overview in the ways that Latin American artists have been in dialogue with their contemporaries around the world. Other exhibitions are also in the works: This week, the International Center of Photography opens an exhibition on six decades of Latin American photographic movements. In June, the Guggenheim Museum debuts “Under the Same Sun,” a survey of more than three dozen Latin Americancontemporary artists from 16 different countries; and next spring MoMA will unveil a major show devoted to the development of architecture in Latin America from 1955 to 1980.

lundi 20 mai 2013

20ème édition des JCE : Du 28 mai au 12 juin en Tunisie


Les Journées du Cinéma européen, JCE, sont programmées pour leur 20ème édition à partir du 28 mai jusqu'au 12 juin 2013 dans les principales villes de la Tunisie. Au programme une panoplie de films européens et maghrébins et plusieurs projections de courts et longs métrages pour petits et grands ainsi que des expositions, master-class et débats à Tunis, Sousse, Sfax, Gafsa et Djerba.
Les dates à retenir pour la 20ème édition des JCE sont :
  • Tunis : Du 28 mai au 7 juin.
  • Sousse : Du 29 mai au 9 juin.
  • Sfax : Du 30mai au 8 juin.
  • Gafsa : Du 31 mai au 8 juin.
  • Djerba : Du 1 er au 12 juin.
La programmation française assurée par l'Institut Français de Tunis, IFT comprend les films et les dates suivantes :

Film : OMBLINE De Stéphane CAZES:
  • TUNIS : Mardi 28 mai à 19h30 – CinéMadart - Carthage – SOIREE D'OUVERTURE 
  • SOUSSE : Mercredi 29 mi à 19h30 – Centre Culturel - SOIREE D'OUVERTURE
  • SFAX : Jeudi 30 mai à 19h – Complexe culturel Jamoussi - SOIREE D'OUVERTURE
Film : AMOUR De Michael Haneke:
  • GAFSA : Samedi 1er juin à 19h30 – Maison de la Culture « Ibn Mandhour »
  • DJERBA : Dimanche 2 juin à 18h30 – Maison de la Culture - Houmt-Souk
  • SOUSSE : Lundi 3 juin à 18h30 – Centre Culturel
  • SFAX : Mercredi 5 juin à 18h30 – Complexe culturel Jamoussi
Film Jeunesse : LE TABLEAU De Jean-François Laguionie, à partir de 6 ans:
  • TUNIS : Samedi 1er juin à 17h – CinéMadart – Carthage
  • GAFSA : Dimanche 2 juin à 18h – Maison de la Culture « Ibn Mandhour »
  • DJERBA : Mercredi 5 juin à 17h – Maison de la Culture - Houmt-Souk
  • SOUSSE : Samedi 8 juin à 16h30 – Centre Culturel
  • SFAX : Dimanche 9 juin à 10h – Complexe culturel Jamoussi
Court métrage : Cul de bouteille:
  • TUNIS : Mardi 4 juin à 19h – Cinéma Le Parnasse
  • SFAX : Vendredi 31 mai à 18h – Maison de la Culture Hincha
  • DJERBA : Mercredi 5 juin à 18h – Maison de la Culture - Houmt-Souk
  • GAFSA : Vendredi 7 juin à 17h30 – Maison de la Culture « Ibn Mandhour »

jeudi 13 décembre 2012

Benjemy

Benjemy, de son vrai nom "Benjemy Ahmed ", est un poète et musicien tunisien, né le 23 octobre 1989.
Son véritable départ se fait en 2007, grâce à une première démo de 4 morceaux sous le nom de Lahab. Le projet prendra ensuite la forme d'un groupe qui donnera de nombreux concerts, dans différentes régions de la Tunisie et dont on retiendra un passage au FEST (Festival Echos Sonores de Tunis), fin 2010.


A la même période, Benjemy obtient le prix "Eclosion de Vers" qui récompense ses travaux poétiques "Les Troglodytes"; un recueil qui se veut accru et corrosif, alliant pornographie et lyrisme.

Le projet "Ritournelles", est donc l'aboutissement d'expériences multiples au sein de différentes formations musicales (Lahab, Rekktvm, Veloursucker...), et qui se veut un laboratoire d'expérimentations, tentant d'allier poésie, musiques et video-art.
L'album qui en découle est structuré en deux parties; une section "Warm" mélangeant acoustique et électronique, et une deuxième; "Cold", purement basée sur les machines.




“Benjemy puisque c’est de lui qu’il s’agit, a été connu jadis avec son titre « Velours » où y dansait la sulfureuse Rym El Benna. Il est un artiste de downtempo sombre et mystérieux à la fois : ”

“« Godot » qui est la nouvelle chanson de Benjemy semble rappeler cette pièce de théâtre tirée de l’absurde de Samuel Beckett : « En Attendant Godot », ce personnage mystérieux que les deux protagonistes attendent tout au long de la pièce de théâtre, sans que le lecteur ne sache ce qu’il est censé rapporté. Toujours est il que Godot représente un espoir de changement. Mais en vain, Godot ne viendra jamais ! Benjemy toujours dans un style mystérieux qui frôle l’absurde nous parle de son Godot à lui, à travers un clip très original. Chapeau-bas pour Benjemy qui reste tout de même, un des rares chanteurs de downtempo en Tunisie.”


Production : InPixStudio
Film / Musique / Texte : Benjemy
Direction de la photographie / Cadres : Bedhiafi Rasha
Assistante de la réalisation : Rym El Benna
Assistant opérateur : Med Amine Khiari
Make-up / Hairstyle : Steevy Aymen
Photographe de plateau : Wassim Grimen
Technicien lumières : Sabry El Atrous

jeudi 15 novembre 2012

JCC TUNISIE: 2012


Près d’un demi-siècle après leur création par le Ministère de la Culture tunisien, les Journées Cinématographiques de Carthage poursuivent leur marche en maintenant le cap fixé par leurs fondateurs : servir la promotion des cinématographies des pays arabes et africains.

Cette manifestation culturelle biennale qui se tient, depuis son lancement en 1966, aux mois d'octobre ou de novembre reste, à ce jour, le plus ancien festival de cinéma du Sud ; un festival qui a su surmonter les écueils et évoluer au fil du temps pour être en phase avec les mutations de la société et de l’industrie cinématographique.

Depuis l’action militante des débuts où il s’agissait d’offrir aux pays du sud, des alternatives à certains monopoles de compagnies de distribution et d’exploitation de films, leur donnant ainsi la possibilité d’élaborer et de diffuser leurs propres images, le festival a su évoluer, s’exprimer et s’adapter aux changements sociaux, politiques, esthétiques et technologiques.

Gagnant en ampleur et en stature, les JCC ont élargi leur ouverture aux images du reste du monde en accueillant des œuvres et des auteurs de tous les horizons. Session après session, leur programmation s’est enrichie de nouvelles sections offrant ainsi plus de choix à un publique toujours plus exigeant.

D’éminentes personnalités des arts et des lettres, écrivains, cinéastes, critiques ont siégé dans les différents jurys des compétions officielles pour attribuer les prestigieux Tanit, du nom de la déesse de la fertilité de la Carthage antique.

Lieu de débats passionnés et de réflexion, les JCC ont toujours contribué à une production intellectuelle de référence à travers les colloques, séminaires et autres rencontres. C’est dans ce même cadre qu’ont été fondées plusieurs organisations professionnelles régionales dont la Fédération Panafricaine des Cinéastes (FEPACI) et l’Union des Critiques Arabes de Cinéma.

Afin de mieux répondre aux attentes et besoins des professionnels du cinéma, les JCC ont élargi leur périmètre d’action avec la mise en place de divers dispositifs de soutien aux acteurs de la région : atelier de projets, Producer’s Network, master class, fonds de financement, marché du film…

Mais la vraie constante des JCC reste l’adhésion d’un exceptionnel public de cinéphiles, fidèle et passionné.

Ancré dans sa spécificité arabe et africaine, ce rendez vous des cinéastes, producteurs, critiques, cinéphiles du Nord et du Sud a su combiner l’abondance de films, l’esprit de proximité entre cinéphiles et professionnels et le sens de la fête.

Ayant réussi à créer dès ses débuts, un espace de rencontres et de visibilité pour le cinéma africain et arabe, le festival a très vite acquis la notoriété d’un révélateur de talents. Il a ainsi permis la découverte de générations d’artistes et d’œuvres originales reflétant les réalités culturelles et sociales des différents pays, leur donnant surtout une portée universelle.

La liste des cinéastes révélés ou confirmés par les J.C.C est longue. OSMANE SEMBENE, YOUSSEF CHAHINE, SOULEYMENE CISSE, NOURI BOUZID, MOUFIDA TLATLI, IDRISSA OUEDRAOGO, DJIBRIL DIOP MAMBETTY, MERZAK ALLOUACHE, NABYL AYOUCH et bien d’autres, sont passés par Carthage !
Tahar Cheriaa : Directeur de la 1ère session

Cette 24ème session sera certainement une de ces étapes charnières qui ont jalonné l’histoire des JCC. A l’instar de celle de 1968 qui a vu le festival initier sa philosophie actuelle ou de celle de 1978 qui a ouvert le festival aux œuvres du « Tiers monde » et a été marquée par l’action militante du mouvement associatif (Fédération Tunisienne des Ciné Clubs, Fédération Tunisienne des Cinéastes Amateurs, Association des Cinéastes Tunisiens) en faveur d’une politique plus appuyée à la production et à la promotion du cinéma tunisien.

Cette session des JCC2012 est la première après les grands événements qui ont bouleversé la Tunisie et le monde arabe depuis le 14 janvier 2011 et cette occasion de rupture est en fait une possibilité de renouveau tout en étant fidèle à l’esprit pionnier des débuts.




Les Journées Cinématographiques de Carthage reviennent dans leur 24ème session, du 16 au 24 Novembre 2012.

Tout d’abord parce qu’il s’agit de la première édition post-Révolution Tunisienne.

Quelle vision, quelles propositions nouvelles, quelles perspectives d’avenir à proposer en réponse aux nombreuses et légitimes attentes du public. Comment surtout répondre aux attentes d’une jeunesse tunisienne qui a semé dans le monde entier des concepts de liberté, de justice et de dignité?

Pour répondre à toutes ces questions, l’équipe en charge de la session n’avait d’autres choix que de mettre l’art et la culture au centre de ses préoccupations. Elle assume cette mission avec la conviction d’un engagement pour défendre la création et le droit à la création. C’est même le seul mot d’ordre qui dicte ses orientations et ses choix.

Le Comité Directeur des JCC a pris le parti de fédérer les associations, les structures professionnelles, les institutions et les compétences nationales autour de l’évènement. C’est dans ce cadre de concertation, de réflexion et de proposition que nous œuvrons à la préparation du festival.

À ses côtés, un Comité d’organisation à l’écoute des préoccupations du secteur du cinéma et du public et qui se fixe une obligation de résultats dans un contexte de rupture avec le passé. Nous faisons cela pour notre public local mais aussi pour nos visiteurs internationaux, pour qui JCC résonnent avec engagement en faveur du cinéma Arabe et Africain et cela depuis bientôt cinq décennies.

Les JCC sont bien plus qu’un évènement phare de la scène artistique tunisienne. Elles sont un acquis et un trésor national précieux. Il revient donc à chacun de les préserver et de les valoriser afin qu’elles continuent à vivre et à servir le rayonnement culturel de la Tunisie.

Mais un festival de cinéma, c’est d’abord des films. Une moisson de films venus du monde entier, offerts au plaisir du plus grand nombre. C’est aussi l’occasion de vivre et d’expérimenter des découvertes, des rencontres, des débats sur des sujets d’actualité et des projets qui se réalisent. Ambitieuse, cohérente, éclectique et de nature à satisfaire les plus exigeants, la programmation promet de belles et stimulantes surprises !

Une chose est sure : La jeunesse sera au cœur de l’édition et c’est elle qui en donnera le La !

Les JCC, c’est aussi un rendez-vous de professionnels de l’industrie du cinéma international. Dans cet environnement sans frontières, les questions de la production et de la distribution des cinémas arabo-africains sont plus que jamais d’actualité. Il s’agit, aujourd’hui, de repenser et de revitaliser ces principes et ces canaux par notre génie propre pour les arrimer à la dynamique d’un monde globalisé, en mutations constantes et immédiates et que les technologies numériques ont rendus à la fois plus proches et, paradoxalement, moins accessibles. Pour toutes ces raisons, je vous le dis chers amis : Marquez les dates !

l'équipe du JCC 2012:




Affiche ofiicielle du JCC 2012: Telechargeable sur PDF
Le Programme du JCC 2012 :Telechargeable sur PDF

vendredi 21 septembre 2012

Dream city Tunisia 2012

Dream CityTunisia 2012
Affiche par Yacine Blaiech

L’Art Rue organise en 2012 la 3ème édition de DREAM CITY, Biennale d’art contemporain en espace public. L’événement aura lieu à Tunis du 26 au 30 septembre et à Sfax du 5 au 7 octobre.

Dans le sillage du soulèvement populaire de janvier 2011 et face aux métamorphoses politiques engagées depuis, une thématique particulièrement symbolique dans la Tunisie d’aujourd’hui a été choisie pour DREAM CITY 2012 : L’artiste face aux libertés.

Cette année, la programmation compte une quarantaine d’artistes, dont une trentaine de Tunisiens et une dizaine d’artistes étrangers. Une invitation spéciale a par ailleurs
été lancée à des artistes originaires de pays vivant sous des régimes autoritaires ou démocratiquement malmenés.

Comme à chaque édition, Dream City investira la médina, cœur historique de la ville, pour semer dans les rues, les maisons, sur les places, sous les porches des œuvres originales et inédites conçues et réalisées selon ce territoire et spécialement pour l’événement.

Call for Dream City Projects 2012 | The Artist facing Freedom or Paradise Now
New social and political stakes, new identity, new urban stakes


Dream City: Artistic Actions in Urban Space
Dream City gives a tremendous importance to the new forms of artistic creations in the urban space, questioning our new political and societal conditions and striking roots all over the city: contextual art, new architectures and new urban landscapes, mobile art, new urban cultures and other forms of critical and artistic appropriation of the city.
The selected projects shall concern at the same time the pertinence of the work of art in
keeping with a place, a territory or a population and the capacity of echoing a collective
memory around the following theme: the artist facing freedom.
The call for projects is open to all the Tunisian artists living and practising in the territory. 15 to 20 Tunisian projects shall be selected.
This year, Dream City is inviting all the Artists of Africa and Central Asia African Artists to submit their projects. 5 selected artists of Africa and Central Asia shall be offered a lodging to develop their work.
Targets

  •  Proposing to the public a new understanding of the urban space and the territorial  problems, through working on the shifting, changing the perception of the territory or even through inviting the public to change his usual surroundings.

  •  Submitting projects which directly tackle the people’s everyday life, their urban   practices and environment while basing ourselves on the territorial characteristics (architectural, social, historical, geographical…)

  • Trying to mobilize the public and to bring about a curious and creative urbanity.The Concerned Artistic FieldsVisual arts, performances, digital arts, street arts, architecture, design, etc....
Examples of the contemplated projects


  •  Performances in public spaces
  •  Participative projects
  •  Population related project
  •  Design and re-allocation of the urban furniture
  •  Urban identification 
  •  Short lived installations and/or architectures
  •  Itinerant projects and artistic routes in the city.

Adress:
Object: cal for Dream City projects
contact@dreamcitytunisie.com
L’Art Rue / Dream City




Dream City : Un événement sous haute sécurité 
Conférence de presse Dream City Tunisia 2012


mardi 19 juin 2012

The IPELSHT theatrical company’s show

Comic & Tragic Scenes from the most famous English & American literary works.

An overview of the eight scenes that will be presented in the show:

*In the tragedy 

The witches from Macbeth by the genius William Shakespeare: 

Analysing the Role of the Witches in William Shakespeare’s “Macbeth” William Shakespeare wrote Macbeth in 1606. It was one of the greatest tragedies of his many works as a playwright and was written for King James 1st who harboured a morbid and fevered fascination with witchcraft and the supernatural. “Macbeth” explores the themes of evil, ambition, violence, guilt, order and disorder and is based on actual events in the history of Scotland of which James as James 6th was also King. The play itself carries a bad omen as it is considered unlucky to say “Macbeth” when performing it therefore it has been awarded the title “The Scottish Play.” During the 16th and 17th centuries people held an obsession for witchcraft that was unconsciously fed by the ideals of the Puritanical church and the conviction that by persecuting these women morality and religion were being upheld. Witches were held to possess unbelievable powers; predicting the future, flying and killing animals with plagues or poxes…

The Tragical History of The Life and Death of Dr. Faustus by Shakespeare’s rival Christopher Marlowe:

For a play that has retained much of its scholarly value over the four hundred and ten years, there is surprisingly little known about Christopher Marlowe’s masterpiece, The Tragical History of the Life and Death of Doctor Faustus. The date of its first performance is unknown, and is highly obscured by the added facts that there are two texts of Doctor Faustus, one published in 1604; the other in 1616 (Ribner VIII). Christopher Marlowe, even in these early times, set a standard for tragic plays, which would not be rivaled until Shakespeare unleashed his literary landmarks at around the same time Marlowe’s career ended. Despite the lack of specifics on this seminal work, it is still easy to feel the pain Christopher Marlowe wished to convey with this text. Within the rich dialogue of The Tragical History of Doctor Faustus, Christopher Marlowe attempts to communicate a personal struggle; both emotional and spiritual, between what Marlowe views as human nature and what the world views as God’s desires for man, and the overwhelming feelings of loss which accompany this struggle…

*In the comedy of manners

The Way of The World by William Congreve:

LADY WISHFORT has a daughter MRS FAINALL, a niece MILLAMANT and a nephew SIR WILFULL WITWOUD. Millamant has two admirers, WITWOUD and PETULANT. Millamant's money is held in trust by her aunt, and if she marries without Lady Wishfort's consent half of it passes to Mrs Fainall. MIRABELL has previously had an affair with Mrs Fainall but is now in love with Millamant. When Mrs Fainall was thought to be pregnant Mirabell arranged for her to marry his penniless friend FAINALL. Mirabell has angered Mrs Marwood by rejecting her advances and Lady Wishfort by flirting with her to gain entry to her house where Millamant and her maid MINCING also live. Mirabell plans to get both Millamant and her fortune by dressing his servant WAITWELL as his uncle Sir Rowland and have him seduce Lady Wishfort ~ she will agree to marry him to disinherit Mirabell, and be publicly embarrassed when he is revealed to be only a servant. Mirabell will then be able to step in to release her from the contract, on condition that he may have Millamant and all her fortune. He has married Waitwell to Lady Wishfort's servant FOIBLE as security that morning. When they discover his plan, Fainall and Mrs Marwood try to turn the tables by revealing Mrs Fainall's affair with Mirabell, on condition that Lady Wishfort turn over all her estate to Fainall.

The Importance of Being Earnest by Oscar Wilde

First performed on 14 February 1895 at St. James's Theatre in London, it is a farcical comedy in which the protagonists maintain fictitious personae in order to escape burdensome social obligations. Working within the social conventions of late Victorian London, the play's major themes are the triviality with which it treats institutions as serious as marriage, and the resulting satire of Victorian ways. Contemporary reviews all praised the play's humour, though some were cautious about its explicit lack of social messages, while others foresaw the modern consensus that it was the culmination of Wilde's artistic career so far. Its high farce and witty dialogue have helped make The Importance of Being Earnest Wilde's most enduringly popular play.

*In the Theatre of Absurd

Waiting for Godot by Samuel Beckett

Waiting for Godot is an absurdist play by Samuel Beckett, in which two characters, Vladimir and Estragon, wait endlessly and in vain for the arrival of someone named Godot. Godot's absence, as well as numerous other aspects of the play, have led to many different interpretations since the play's premiere. It was voted "the most significant English language play of the 20th century" Waiting for Godot is Beckett's translation of his own original French version, En attendant Godot, and is subtitled (in English only) "a tragicomedy in two acts". The original French text was composed between 9 October 1948 and 29 January 1949. The première was on 5 January 1953 in the Théâtre de Babylone, Paris. The production was directed by Roger Blin, who also played the role of Pozzo.

“The Raven” by Edgar Allan Poe. [First published in 1845]




By Khaled Ferjani


Everything has started in one of the classrooms of IPELSH (Institut Preparatoire des Langues et Sciences Humaines de Tunis). Every year M. Selima Lejri, a Drama teacher at the IPELSHT, opens the door of the Workshop to every student who is interested in theatre. The opportunity is alluring mainly to English students, because the workshop is an outlet to practice English in an unorthodox way. Indeed, they are English students from different levels third year, second year students and a first year student from IPELSHT.
It has been eight years now that M. Selima Lejri invites her students to the world of theatre. This year, The IPELSHT Company will be representing its miscellaneous show on the 20th of June at 5:30 at Maison DE La Culture Ibn Khaldoune.

Eight Scenes from variety of famous plays will be played. In the tragedy, there are two performances. The witches’ scene is an extract from Macbeth by the genius William Shakespeare. The witches will be played by Khawla Bouyahya, Ameni Znagui and Aisha Khalfaoui. The Last monologue is another extract which is from The Tragicall History of The Life and Death of Dr. Faustus by Shakespeare’s rival Christopher Marlowe. The role of Dr. Faustus will be played by Chaima Bizani and the devils will be acted by Aida Teyeb and Nadia Hammami. In the comedy of manners, two scenes from two different centuries will be performed. A scene from The Way of The World will be played by Nouha Habouria as Lady Wishfort and Rania Hannachi as the servant. The play was written by William Congreve in the late of 17th century. Moreover, a scene from The Importance of Being Earnest will be played by Cyrine Mami as Gwendolen Fairfax, Hend Hassassi as Cecily Cardew, Rania Hannachi as the servant, Oumayma Ben Abdallah as John Worthing, and Khawla Bouyahya as Algernon Moncrieff. The play was written by Oscar Wilde in the late of 19th century. Two other modern plays from the American literature will be performed on stage. “The Custom’s Officer” will be acted by Cyrine Mami (the officer), Samia Fitouri (the spy), Aida Teyeb and Nadia Hammami (the two bodyguards), and Aisha Khalfaoui (the passenger). The other modern play is ”The Dentist”. The play takes place at a dentist’s cabinet where a woman Rania Hannachi and a man Chaima Bizani are waiting for the dentist. The crazy dentist, Khawla Bouyahya will petrify them. In the end, the crazy dentist will turn to be an imposter and finally the real dentist Aida Teyeb will show up. In the Theatre of Absurd, the audience will enjoy watching an extract from Waiting for Godot by Samuel Beckett. The scene takes place between Estragon and Vladimir who will be acted by Rania Hannachi and Samia Fitouri. Last but not least, a new challenge that our stage director Miss Lejri and the team have engaged in which is to perform a poem on the stage. The poem is “The Raven” by Edgar Allen Poe. The stage directing mainly reflects Miss Lejri’s reading to the poem. It is indeed one of the most exciting experiences. For this, a protagonist (Rania Hannachi), narrators, Sarra Jouini, Nadia Hammami, Nouhe Habouria and Aida Teyeb , The ghost of Lenore,Aisha Khalfaoui, and the raven, Aida Teyeb will be performing “The Raven”.


Chaima Bizani said ;

"As a part of the company, I am proud to say that the team has worked very hard under the supervision of our stage director M.Selima Lejri who has done her best to encourage us and guide us. Each member has sacrificed with their free time to make this show. Indeed, the show represents the fruit of hard work and memorable times. I personally enjoyed being part of such ambitious team with such passionate mentor. Despite the lack of funds, we managed to create our props. Despite the lack of organization of Maison de la culture Ibn Khaldoune, we managed to rehearse. We have done our best to make our dream come true. We hope you come and enjoy the journey with us" .

An interview done by RTCI
The event on Facebook

mardi 29 mai 2012

Maya the Metal bellydance

Maya by Rasha Bedhiafi

"Many experts say belly dancing is the oldest form of dance, having roots in all ancient cultures from the orient to India to the mid-East. Probably the greatest misconception about belly dancing is that it is intended to entertain men..."
some people choose to belly dance on Metal music so here we are with the tunisian metal belly dancer Maya that will told us about her story with this kind of art

-Hello Maya,In this previous days we saw your first metal bellydance video and we noticed from the comments on youtube that there are some people are interested, So first of all can you present yourself?

-Hello, before i start i would like to thank this intiative from "The World Of Art" that invited me for this interview.. Anyway I'm Meryem Hammemi knowen as Maya, I'm Tunisian, I have some turkish in my blood, I'm living in Tunis, I'm a litterature student, I love belly dancing and metal music because i'm a metalhead... So that's it !

-Great, so would you tell us your opinion about those who are interested by your video?

-Actually i'm so happy because of that specially because it is my first one and i would like all the people that supported me and shared my video.


-And how did you get the idea to record this video and be the first Metal belly dancer of Tunisia and how much you've been learning this, because we see you are skilled, and why you choosed a song of Myrath?

-Well, sincerly as i told you i love belly dance since i was a child and i was teaching myself how to do it, i didn't have classes because of some personal problems... anyway from a long period i was always watching some metal belly dance videos of an amazing belly dancer called Kahina Spirit, and i'm so inspired by her, she is really an icreadible belly dancer, so one day i contacted her, and we talked a lot about this kind of dance and i told her that i love to belly dance on Metal; i also told her that i'm ispired by her videos,  then i did show her an old private video of mine wich was filmed one year ago; and when she saw it she told me that i was good and she told me about some mistakes that i have to fix it saying that she believed i would be better if that video filmed one year ago, she really encouraged me a lot to record my first video, hope i will acheive more in the futur!!
For the song, i choosed the music of Myrath because they are great and they are my country band... i'm proud of them and it's an honor  for me to start my videos on a song of them ...

- You said to start with a song of them so you think you will continue in reacording these kind of videos?

- Yes of course and i already filmed another video also on a song of Myrath i will post it soon

-Oh really! also on a song of Myrath? so you think in the futur you'll go on stage with them?
-Sincerly this is not my goal but i really would have totaly the honor to take a part of their show, so who knows...

-And you think your videos will be only on the songs of Myrath

-Well, i just choosed to start my videos on their sound as i told you, but in the futur i think i will record metal bellydance videos on some songs of other bands like Orphaned land, Haggard, Draconian...


-Great! Finally we wish you all the best and the good luck, and we thank you for giving us you time and telling us about your passion of metal belly dance.

-You are welcome!

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dimanche 8 avril 2012

's7i7 walé' [True or Not']

'S7i7 Wale is a group based on two young Tunisian artists (Mehdi Elhamdi and Abdelhaq Cherni) which integrates several styles of music.

Hassen Zouitten:Photographer

Mehdi Elhamdi

Abdelhaq Cherni(KIKO)





.Abdulhaq Cherni, also known as Kiko plays an improvised version of 'Ocean' by John Butler. He says that this song represents the time of change in his life, and in this way relates it to the revolution. Has the revolution 'changed' Tunisia? A lot of questions still remain unanswered, yet on a hilltop overlooking a beautiful valley outside of Kef, it's certainly possible to forget the worries that accompany the new Tunisia.



Mehdi el Hamdi is a great wordsmith. He writes powerful lyrics in Arabic. He just learnt to play the guitar, which has opened up a whole new world for him. He says to me, "when I write songs, I give the listener one chance, then another, and if he still doesn't get it, I use the most direct language I can find". Mehdi's song 'Zafzeferih', which means in English 'When the Wind Blows' simply states: "I just want to be free.. in my country..". He has formed a band with Kiko called 'Shih Wele' which means 'True or Not'. (English subtitles)