*Dounia chooses to appropriate the term "Beurette," which carries both a racist and sexist connotation. "Beur," or "rebeu," is an informal racist term in French used to refer to people born in Europe whose parents or grandparents are immigrants from the Maghreb. The term for a female "beur" is "beurette." The term has a sexist and degrading connotation, particularly due to the fetishization of North African women. For years, the racial category "beurette" was the most popular on porn sites in France.
**Peau de pêche refers to a pair of sweatpants that were once popular among North African boys in France and Belgium.
Beurette En Peau de pêche forms a landscape of traces, memories, thoughts, which together create a rhythmic poem; an atypical song about crossing out and crossing out oneself, about erasing what was and washing what is, about repressing intrusive thoughts, toxic things, about scars, wounds, and bacteria we carry. Two bacteria wander across the landscape of skin. They read the signs left behind and tell what happened beneath the surface.
From a gentle environment, Dounia – along with a wonderful team – presents an intimate, playful, colorful, relaxed performance, which aims to untangle what has become complicated.
ARTISTIC LANGUAGES & ACCESSIBILITY
IT’S OK IF YOU DON’T UNDERSTAND ME, I DON’T UNDERSTAND MYSELF EITHER.
IT’S OK IF YOU DON’T UNDERSTAND ME, I DON’T UNDERSTAND MYSELF MOST OF THE TIME.
Hanna Zaouad - NEOHUMAIN
This performance is linguistically understandable for different people with different needs at different times. Some parts may be more felt or experienced than understood.
At times, only Flemish sign language is used, sometimes through music, images, spoken language, and other times through lively written language. To give space to the intimacy and poetry of each of these languages, we choose not to translate everything literally and simultaneously, yet ensuring that the dominant perspective doesn’t prevail. Both the spoken and written language are in Dutch.
This work is about mental vulnerability and aims to create a safe, flexible space for both the audience and the involved team. The performance will be a snapshot of a process that continues. We share a moment that is true to itself and made with love, and that wants to be shared. Since care is at the center, we do not want to respond to the demanding production logic that has already excluded or burned out many people, transforming artistic intuition into solution-oriented thinking, thus crushing the soul of the work. The duration or form of the work may therefore differ from the regular full-length performance.
This project aims to be as accessible as possible. We are looking for the intimate, open stance that this sensitive material requires. The audience is free to come and go, make noise, or move around, and this is not discouraged. Staff members are available for any questions, and there are rest areas for those who wish to unwind. We choose wheelchair-accessible venues and locations and work with a sign language interpreter. Loud sounds or bright lights will be announced if they occur. A "relaxed pack" will be available on the websites of the different locations, including the schedule and exact duration of the performance, as well as photos of the theater, the performance, and the performers. There will also be trigger and content warnings, as well as information on accessibility and routes, including available facilities. This is still in development, as the creative process is ongoing.
Concept, text, and performance: Dounia Mahammed
Artistic and dramaturgical advice: Hannah Zaouad
Scenography: Musia Mwankumi, Geertje Vangenechten
Lighting: Louise Crabbé
Motion graphics: Jacques Muela Kabeya
Music / sound: Alan van Rompuy
Sign language interpreter: Kristien Desmettre
Production: Flo Delameilleure
Confidential contact person: Shari Aku Legbedje
Producer: Moussem Nomadic Arts Center
Co-producers: KAAP, Monty, Brakke Grond, viernulvier
Graphic Designer: Yasmine Chakib
With the support of the Flemish Community
With thanks to: Zindzi Tillot Owusu, Silke Huysmans, Hannes Dereere, Simon d’Huyvetter, De FIGURANTEN, GC Felix Sohie, and Kunstenwerkplaats
*Dounia chooses to appropriate the term "Beurette," which carries both a racist and sexist connotation. "Beur," or "rebeu," is an informal racist term in French used to refer to people born in Europe whose parents or grandparents are immigrants from the Maghreb. The term for a female "beur" is "beurette." The term has a sexist and degrading connotation, particularly due to the fetishization of North African women. For years, the racial category "beurette" was the most popular on porn sites in France.
**Peau de pêche refers to a pair of sweatpants that were once popular among North African boys in France and Belgium.
Beurette En Peau de pêche forms a landscape of traces, memories, thoughts, which together create a rhythmic poem; an atypical song about crossing out and crossing out oneself, about erasing what was and washing what is, about repressing intrusive thoughts, toxic things, about scars, wounds, and bacteria we carry. Two bacteria wander across the landscape of skin. They read the signs left behind and tell what happened beneath the surface.
From a gentle environment, Dounia – along with a wonderful team – presents an intimate, playful, colorful, relaxed performance, which aims to untangle what has become complicated.
ARTISTIC LANGUAGES & ACCESSIBILITY
IT’S OK IF YOU DON’T UNDERSTAND ME, I DON’T UNDERSTAND MYSELF EITHER.
IT’S OK IF YOU DON’T UNDERSTAND ME, I DON’T UNDERSTAND MYSELF MOST OF THE TIME.
Hanna Zaouad - NEOHUMAIN
This performance is linguistically understandable for different people with different needs at different times. Some parts may be more felt or experienced than understood.
At times, only Flemish sign language is used, sometimes through music, images, spoken language, and other times through lively written language. To give space to the intimacy and poetry of each of these languages, we choose not to translate everything literally and simultaneously, yet ensuring that the dominant perspective doesn’t prevail. Both the spoken and written language are in Dutch.
This work is about mental vulnerability and aims to create a safe, flexible space for both the audience and the involved team. The performance will be a snapshot of a process that continues. We share a moment that is true to itself and made with love, and that wants to be shared. Since care is at the center, we do not want to respond to the demanding production logic that has already excluded or burned out many people, transforming artistic intuition into solution-oriented thinking, thus crushing the soul of the work. The duration or form of the work may therefore differ from the regular full-length performance.
This project aims to be as accessible as possible. We are looking for the intimate, open stance that this sensitive material requires. The audience is free to come and go, make noise, or move around, and this is not discouraged. Staff members are available for any questions, and there are rest areas for those who wish to unwind. We choose wheelchair-accessible venues and locations and work with a sign language interpreter. Loud sounds or bright lights will be announced if they occur. A "relaxed pack" will be available on the websites of the different locations, including the schedule and exact duration of the performance, as well as photos of the theater, the performance, and the performers. There will also be trigger and content warnings, as well as information on accessibility and routes, including available facilities. This is still in development, as the creative process is ongoing.
