Publications

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To order books, contact:

Mustapha Hillal Soussi, ICPS archivist

mhsousi (at) yahoo (dot) com

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Related links

Authorized Paul Bowles Website, The
Archive. Comprehensive information on Bowles, the expatriate US American writer, composer, and traveler who lived in Tangier for 52 years until his death in 1999.

Cadmus Editions
Publisher. Jeffrey Miller, Founder. Authors include: Bowles, Burroughs, Choukri, Hibbard, Hopkins, and Rey Rosa.

Culture Counts Foundation
Project. "Explorant la Diversité - Promounvant le Dialogue"

Hackensberger Blog
Comment. Alfred Hackensberger, Journalist.

Mercury Films
Film. Jennifer Baichwal, founder. Films include "Let it Come Down: The Life of Paul Bowles".

Tales of Tangier
Photography. By the Swiss photographer, Amsel.

Tangier Calling
Comment.

Tangier Research Project
Research. Efforts to draw more attention to the voices of city insiders.


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Dr. Khalid Amine, ICPS President

Dr. Khalid Amine, ICPS President

Khalid Amine

Brief Bio:

Professor of Performance Studies, Faculty of Letters and Humanities at Abdelmalek Essaadi University, Tetouan, Morocco, Senior Research Fellow at the Institute of Interweaving Performance Cultures, Free University, Berlin, Germany (2008-2010), and winner of the 2007 Helsinki Prize of the International Federation for Theatre Research. Since 2006, Founding President of the International Centre for Performance Studies (ICPS) in Tangier. He is member of IFTR Ex-Com between 2011 and 2015. Among his published books: Beyond Brecht. Meknes: Sindy Publications, 1996. Moroccan Theatre Between East and West, Faculty of Letters Publications, Abdelmalek Essaadi University, Tetouan, Morocco, 2000. Fields of Silence in Moroccan Theatre Rabat: Union of Moroccan Writers, 2004). Dramatic Art and the Myth of Origins: Fields of Silence (International Centre for Performance Studies Publications, 2007). He has numerous publications in International Theatre Journals: TDR, Theatre Journal, Documenta, Etrcetera, Journal of Middle Eastern and North African Intellectual and Cultural Studies, FIRT Journal… Amine’s recent contribution is an article entitled “performing Postcoloniality in the Moroccan scene: Emerging Sites of Hybridity” which appeared in the edited volume Contesting Performance: global sites of research, published by Palgrave in 2010. He is currently co-authoring with Distinguished Professor Marvin Carlson a book project entitled Theatre in North Africa: The Performative Turn in Morocco, Algeria and Tunisia to appear in Palgrave Series: Studies in International Performance edited by J. Reinelt & B. Singleton.

Contact details: Residence Al Andalous N° 11, Rue Birr Anzaran, Tanger 90 000, Maroc Adresse: E-mail: khamine55@gmail.comThis e-mail address is being protected from spam bots, you need JavaScript enabled to view it , Tél/Fax: (212) 5393330466, Portable: 0664596791

Vision, Statutes, Membership, Support

The centre welcomes your membership, support, participation, and collaboration.

As a newly established Morocco-based NGO, we especially need the financial and affirmative contributions of individual members (30 euro equivalent) and University support as well as a broad range of stakeholders.

Our vision, statutes (English and français), membership form, contact, and bank information are listed below.

We welcome memberships, contributions, and support of all kinds from:

• Individuals (academics, students, non academics, professionals, officials, artists, etc. )
• Universities
• University Departments
• Governmental Agencies
• Non Governmental Institutions
• Private Sector
• All others
  

Membership Form, click here

Donation Form, click here

Vision

Le Centre International des Etudes de Spectacle a une culture intellectuelle vibrante qui fournit la base pour une recherche scientifique solide dans et à travers les domaines des études de Spectacle. Il est l’espace d’une grande variété de types de recherche ayant comme but la promotion de la diversité culturelle et les arts du spectacle comme moyens de soutien des objectifs du millénaire pour le développement durable.

Statuts du Centre international des Etudes du Spectacle

The International Centre for Performance Studies has a vibrant intellectual culture which provides the basis for cutting-edge research and scholarship in and across the fields of Performance Studies. It is home to a great variety of research types that promote and mobilize cultural diversity and the performing art forms as a means to support the UN Millennium Sustainable Development Goals.

Statutes of the International Centre for Performance Studies

Address and Contact
Please direct all correspondence to:
Résidence AYA N° 50, Rue Mahatma Ghandi, Tanger 90 000
E-mail : khamine@gmail.com, Tél/Fax : (212) 39330466, Portable: 064596791

Bank Information
Please wire transfer all payments (membership fees, grants, contributions, etc.) directly to:
Compte Bancaire : 164 -640- 21214 90077510009 -61 (Banque Populaire Tanger-Tétouan, Ain Ktiout)

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Spectacle et diversité culturelle

Program of Performing Cultural Diversity Conference
Faculty of Letters, ASU Tetuoan
March 14-15, 2008

• Images and reports from the conference, click here and here
• Photo album from the conference, including Samira Kadira, click here and here
  

1. Poster
2. Appel à contributions
3. Program

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Call for Papers

Performing Tangier 2008
Borders, Beats, and Beyond

Tangier, Morocco
Chellah Hotel
May 16, 17, 18, 19, 2008

Organized by

• International Center for Performance Studies, Morocco
• Research Group of Performance Studies, Abdelmalek Essaâdi University, Morocco
• University of London Institute in Paris
• Middle East Center, Middle Tennessee State University, USA
• Department of European Languages University of Wales, Aberysthwith, UK

The fourth international Tangier conference will focus on the city as a site of trans-cultural encounters in art, literature, music, and politics in all periods up through the present and projecting into the future. We especially invite papers and panels to investigate the dynamics of the city’s cultural, spatial, and performative interactions, past, present, and future, including issues of change, confrontation, and alterity. We also invite a continuation of panels and discussions begun in previous conferences – following the methods and techniques of Juan Goytisolo’s as well as Andrew Hussey’s creative deconstruction of the urban morphology of Paris – of how Tangier might be re-invented as one of the World capitals of the twenty-first century. In broad historical terms we invite continuing evaluation of specific writers and artists who have come to or out of Tangier, from Tahar Ben Jelloun, Mohamed Choukri, Mohammed Azeddine Tazi, Ahmed Beroho, Souad Bahechar, Moumen Smihi, Farida Belyazid, Anouar Majid, Jillali Farhati, Zobeir Ben Bouchta, to Mohammed Mrabet and including the oral tradition some of whose storytellers and artists who were translated by Paul Bowles, as well as modernist painters like Matisse, existentialist writers such as Bowles, dramatists of various stripes such as Jean Genet and the brilliant minimalist Samuel Beckett, “Beats” such as Jack Kerouac, William S. Burroughs, Allen Ginsburg, and others, as well as more general movements associated with the various African, Andalusian or Islamic influences on western music in general and more particularly on American jazz and blues like the outstanding collaborations of Dar Gnawa in Tangier with Jazz legend Randy Weston. Our perspectives and horizons are all-inclusive.

Papers may focus on particular figures, paintings, films, performances, fictional texts or non-fiction, salient theoretical concerns, or historical and cultural issues. Creative, performative responses to the topic are also welcome. From this starting point, further papers and panels are invited to investigate the dynamics of the city’s cultural, spatial and performative interactions from past, present, and future.

Two Panel Sessions proposed by Prof. Dr. Allen Hibbard

Middle East Center, Middle Tennessee State University, USA

Building on three previous conferences (“Writing Tangier,” “Voices of Tangier,” and “Performing/Picturing Tangier”), the proposed panels will explore the intriguing historical relationship between Beat figures and Tangier. Interest in the Beats has remained lively, both in the academy and the general public. The term “beat,” Jack Kerouac once noted, meant “characters of special spirituality who didn’t gang up but were solitary Bartlebies staring out the dead wall window of our civilization.” One critic has recently described the term as characterizing “an alternative America during the civil rights and Asian war years, a counter to philistinism and paranoia and part of an ongoing inquiry into the construction of nationhood.” It’s not unusual to find among American youth today a kind of nostalgia for the Beats and their times.

While the importance of Tangier for many Beat figures has always been recognized, the nature of the city’s role has not been thoroughly understood and articulated. Paul Bowles who had taken up residence in Tangier soon after World War II ended, unwittingly attracted a number of Beat figures to the city, even though his aesthetic vision stands in contrast to that of most of the Beats. In Tangier William S. Burroughs (with the help of Allen Ginsberg) assembled his masterpiece Naked Lunch. Brion Gysin, Gregory Corso, Jack Kerouac and others associated with the Beats made appearances in the city. Tangier also was a magnet for “late beats” such as Ira Cohen, Marc Schleiffer, Irving Rosenthal, Charles Wright, and Alfred Chester.

Bringing a discussion of the Beats to Tangier will likely reorient our thinking about this literary/cultural phenomenon, opening fresh approaches, critiques, and insights. Among the topics that might productively be addressed in this context are: the effect of Beats on Tangier, the Beat legacy in Tangier, interaction between particular Moroccans and the Beats, the Beats within the context of Moroccan independence, Tangier and the Beats within the context of American politics in the 50s, women’s roles (or lack thereof), and the place of the Beats within a wider historical context of Moroccan-American-European relations. Papers may focus on particular figures or texts, salient theoretical concerns, or historical/cultural issues. Creative, more performative responses to the topic are also welcome. Papers are thus invited to investigate the limits of this paradigm in theoretical and real, experiential terms.

Languages: Arabic, Tamazight, French, Spanish, and English. Abstracts are due by 31 December 2007 and should be submitted via e-mail to the conveners of the conference. Final papers are due by 30 March 2008:

Committee Members:

• Khalid Amine (Coordinator), Research Group of Performance Studies, Abdelmalek Essaâdi University, Tétouan & International Center for Performance Studies, Morocco khamine@hotmail.com
• Andrew Hussey, University of London Institute in Paris (ULIP), nuh@aber.ac.uk
• Allen Hibard, Middle Tennessee State University, USA, ahibbard@mtsu.edu
• Barry Tharaud, San Diego State University, U.S.A. and Doğuş University, İstanbul, barrytharaud@yahoo.com
• José Manuel Goï Pérez, Department of European Languages, University of Wales, Aberystwyth, jsg@aber.ac.uk
• Alfred Hackensberger, Poet, Germany/Morocco, hackensberger@hotmail.com
• George F. Roberson, Geography Human Dimensions Research Group, University of Massachusetts – Amherst, USA, pelerinmondial@yahoo.com

This annual international conference is organized in collaboration with The Embassy of The United States in Rabat, Instituto Cervantes (Tangier), La Ville de Tanger …

Registration Fee: $75 payable upon arrival. It includes 3 gala dinners, poster, and three books of published proceedings from the previous conferences.


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Appel à contributions

Performing Tangier 2008
Borders, Beats, and Beyond

Tanger, Maroc
Hotel Chellah
16, 17, 18 et 19 Mai 2008

Organisé par

• International Center for Performance Studies, Morocco
• Research Group of Performance Studies, Abdelmalek Essaâdi University, Morocco
• University of London Institute in Paris
  
• Middle East Center, Middle Tennessee State University, USA
• Department of European Languages University of Wales, Aberysthwith, UK
  

La 4ème édition du Colloque International de Tanger abordera cette cité comme un lieu de rencontres transculturelles ayant trait aux différents arts (littérature, musique…), et aux différentes politiques, de tout temps, inscrits à la fois dans le présent et projetés vers le futur. Nous faisons particulièrement appel à des contributions qui mettent l’accent sur les interactions dynamiques qui marquent ce lieu, à la fois culturel, spatial et scénique ; passé, présent et futur ; lieu où se posent avec acuité les questions de la transformation (changement), de la confrontation et de l’altérité. Nous proposons également de poursuivre les débats entamés lors du dernier colloque- suivant les méthodes et les techniques de déconstruction créative appliquées aussi bien par Juan Goytisolo que par Andrew Hussey, à la morphologie urbaine de Paris- à propos de la manière dont la ville de Tanger devrait être ré-inventée pour en faire une des capitales du monde durant ce 21ème siècle. Dans une perspective historique large, nous invitons les participants à poursuivre le traitement particulier d’écrivains ou artistes venus séjourner à Tanger ou en sont partis, de Tahar Ben Jelloun, Mohamed Choukri, Mohammed Azeddine Tazi, Ahmed Beroho, Souad Bahechar, Moumen Smihi Farida Belyazid, Anouar Majid, Jillali Farhati, Zobeir Ben Bouchta, à Mohammed Mrabet, sans oublier les conteurs et artistes de la tradition orale dont certains ont été traduits par Paul Bowles, la peinture moderniste d’un Matisse, les écrivains existentialistes à l’instar du même Bowles, des dramaturges protéiformes à l’image de Genet et du brillant minimaliste Samuel Beckett, ceux de la « beat generation » tels que Jack Kerouac, William S. Burroughs, Allen Ginsburg et d’autres, ainsi que les différents mouvements associés aux diverses influences africaines, andalouses et islamiques sur la musique occidentale en général, et plus particulièrement sur le Jazz américain et le Blues, comme l’atteste l’exceptionnelle collaboration entre Dar Gnawa de Tanger et le légendaire compositeur et pianiste de Jazz Randy Weston…

Les contributions pourront se focaliser sur des figures particulières, des oeuvres de peinture, des productions cinématographiques, des représentations théâtrales, des écrits de fiction ou de nature autre, des interrogations théoriques pointues comme des approches historiques et culturelles globales. Les réponses sous forme de créations à cette question seront également les bienvenues. A partir du thème initial, les participants sont appelés à examiner toutes les dynamiques de la cité, sous ses différents aspects et interactions culturels, spatiaux, performatifs… et ce dans une perspective temporelle qui lie le présent à la fois au passé et au futur.

Langues: Arabe, tamazight, français, espagnol, et anglais. Les résumés doivent être envoyés avant le 31 Décembre 2007, les textes définitifs avant le 30 Mars 2008, par e-courriel aux organisateurs du colloque :

• Khalid Amine, Research Group of Performance Studies, Abdelmalek Essaâdi University, Tétouan & International Center for Performance Studies, Morocco khamine@hotmail.com
• Andrew Hussey, University of London Institute in Paris (ULIP), nuh@aber.ac.uk
• Allen Hibard, Middle Tennessee State University, USA, ahibbard@mtsu.edu
  
• Barry Tharaud, San Diego State University, U.S.A. and Doğuş University, İstanbul, barrytharaud@yahoo.com
• José Manuel Goï Pérez, Department of European Languages, University of Wales, Aberystwyth, jsg@aber.ac.uk
  
• Alfred Hackensberger, Poet, Germany/Morocco, hackensberger@hotmail.com
  
• George F. Roberson, Geography Human Dimensions Research Group, University of Massachusetts – Amherst, USA, pelerinmondial@yahoo.com
  
• Khalid Raysouni, école Espagnol de Tanger.

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Theatrical Art and the Myth of Origin: Fields of Silence

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The book offers a critique of the Eurocentric history of theatre and maps other performing traditions that have been eclipsed by such narratives.

In conclusion, Prof. Amine sees Arabic theater as construed within a liminal space, on the borderlines between different tropes. It cannot exist otherwise, for it juxtaposes different heterogeneous entities only to emerge as a hybrid drama that is spaced between East and West. It is a fusion of Western theatrical traditions and the local Arabic performance traditions. The hybrid nature of such a theater is manifested in the very transposition of the halqa and the hakawati as important paradigms of Arabic performativity from open squares like jemaa-elfna (in Marrakech, Morocco) to modern theater buildings.

To order books, contact:

Mustapha Hillal Soussi

ICPS archivist

mhsousi (at) yahoo (dot) com

To return to the ICPS welcome page, click here

The Centre, who we are?

The centre has a vibrant intellectual culture which provides the basis for cutting-edge research and scholarship in and across the fields of Performance Studies. It is home to a great variety of research types:

1. Multidisciplinary research in Performance studies, theatrical production, and related arts.

2. The promotion and development of collaboration between different theatrical disciplines, performing arts, and academic research in these fields at the national, Arab and international levels in order to attract academics and actors in other disciplines to enrich the objectives of the centre through.

3. The creation of Committees in the field of theatrical research, theatrical creation and performance studies for the advancement of research projects and field work.

4. The coordination of theatrical activities and dissemination of information on the topicality of theatre and the arts. Promotion of dialogue and collaboration between theatre artists and academics specialized in the field.

5. Multilingual publications of studies, works and books on theatre, performance studies, and related arts under various prospects and within the framework of the publications of the international Centre for performance studies including the publication of the members’ works both in Arabic and other languages, and their dissemination both at the national and international levels.

6. The organization of festivals, conferences, artistic/cultural events, and thematic workshops in the field of the theatre and performance under all their facets.

7. The exchange of visits and delegations of participants in the events organized by the Centre and other organizations or institutions interested in theatre at the national, Arab and international levels.

8. The organization of the international Forum “Performing Tangier”, in collaboration with partners from Morocco and abroad, under the aegis of the president of the Centre and official spokesperson of the international Forum “scenic Tangier”.


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Le centre, qui sommes-nous?

Le centre a une culture intellectuelle vibrante qui fournit la base pour une recherche scientifique solide dans et à travers les domaines des études de Spectacles. Il est l’espace d’une grande variété de types de recherches:

1. La création d’un espace de recherche multidisciplinaire en matière d’études du spectacle, de création artistique et des arts apparentés.

2. La promotion et le développement de la coopération entre les disciplines théâtrales, les arts du spectacle, les instances de recherche scientifique en matière de spectacle et le monde culturel et artistique à l’échelon national, arabe et international. Attirer des chercheurs et des acteurs d’autres disciplines pour enrichir les objectifs du centre par le biais de la recherche scientifique et de la production artistique.

3. La création de commissions spécialisées dans le domaine de la recherche théâtrale, de la création théâtrale et des arts du spectacle pour la réalisation de recherches et d’études de terrain.

4. La coordination des activités théâtrales et la diffusion d’informations et de l’actualité du monde théâtral et des arts théâtraux. L’organisation de dialogues et d’échanges de vues avec tous ceux qui s’intéressent au théâtre en dehors du cadre universitaire sans s’embarrasser des exigences de spécialisation ou d’orientation académique.

5. L’édition multilingue d’études, d’ouvrages et de livres traitant des arts du théâtre et des arts apparentés, sous diverses perspectives, dans le cadre des publications du Centre international des Etudes du Spectacle ; et l’édition des travaux des membres du Centre, qu’ils soient rédigés en arabe ou en d’autres langues, et leur diffusion à l’échelle nationale et internationale.

6. L’organisation de festivals, de conférences et de manifestations artistiques et culturelles et l’organisation d’ateliers divers dans le domaine du théâtre sous toutes ses facettes.

7. L’échange de visites et de délégations de participants aux manifestations organisées par le Centre et par toute autre organisation ou instance qui s’intéresse au théâtre, à l’échelon national, arabe et international.

8. L’accueil et l’organisation du Forum international intitulé « Tanger scénique », en collaboration avec d’autres partenaires du Maroc et de l’étranger, sous l’égide du président du Centre et porte-parole officiel du Forum international « Tanger scénique ».


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Organigram du Centre International

LE COMITE D'HONNEUR COMPORTE DES PROFESSEURS EMINENTS DES ETUDES DE SPECTACLE A L’ECHELANT INTERNATIONAL. IL EST ACTUELLEMENT CONSTITUE COMME SUIT: LES NOMS DU MEMBRE (ORDRE ALPHABETIQUE)

• Marvin Albert Carlson (City University of New York, USA)
• Abdellah Chakroun (Independant, Artist)
• Erika Fischer-Lichte (Freie Universitaet Berlin, Germany)
• Mieke Kolk (University of Amsterdam, Netherlands)
• Susan Miller, (Harvard University, USA)
• Hassan Mniai (University de Fes, Maroc)
• Patrice Pavis (University Paris 8, France/University of Kent, UK)
• Janelle Reinelt (University of Warwick, UK)
• Richard Schechner (Editor "The Drama Review," New York University, USA)
• Brian Singleton (Trinity College Dublin, Ireland)

LE BUREAU EXECUTIF VEILLE À LA GESTION DU CENTRE CONFORMÉMENT À LA LOI ET AUX BUTS ET OBJECTIFS PRÉVUS. IL PEUT ÉGALEMENT CRÉER DES SOUS-COMMISSIONS CHARGÉES DE SE PENCHER SUR DES QUESTIONS OU DES DOSSIERS EN RAPPORT AVEC LE THÉÂTRE ET LES ÉTUDES DU SPECTACLE

• Le président: Khalid Amine
• Le sous-trésorier: Mouhsin Abdessadak
• Le secrétaire général: Badreddine Charab
• Le conseiller Administratif: Mustapha Chaouki
• Le sous-secrétaire général: Abdellatif Bakkali
• Le conseiller juridique: Maitre Med Boubker
• Le trésorier: Abdel Aziz Tabit Ben Slimane

La qualité de membre actif est octroyée par le Bureau exécutif à tout professionnel du théâtre et des arts apparentés, à tout écrivain théâtral, à tout théoricien ou chercheur dans le domaine du théâtre et des études du spectacle et ce, conformément aux modalités prévues par le règlement intérieur. LE CENTRE SE COMPOSE ACTUELLEMENT DES MEMBRES ACTIFS SUIVANTS:

• Hassane Yousfi (Pr. ENS, Meknes, Morocco)
• Edward Blaise Ziter (Pr. NYU, USA)
• Abdelouahed Ben Yasser (Pr. Uv. Marrakech)
• Azeddine Bounit (Ministry of Culture, Agadir, Morocco)
• Rachid Daouani (Pr. Uv. Casablanca, Morocco)
• Abdelhak Zerouali (Indept. Artist, Rabat, Morocco)
• Salem Kwindi (Indept. Artist, Safi, Morocco)
• Batoul Khatab (Pr. Uv. Alexandria, Egypt)
• George F. Roberson (Res. Uv. Massachusetts, USA)
• Hassan Hmayz (Pr. Uv. Ibn Zohr, Morocco)
• Med Jallal AArab (Pr. Uv. Ibn Zohr, Morocco)
• Younes El-Asaad Ryani (Pr. Uv. Tetouan, Morocco)
• Hamid Aidouni (Pr. Uv. Tetouan, Morocco)
• Mustapha Hillal Soussi (Indept. Translator, Tangier, Morocco)
• Ridouan Hdadou (Indept. Artist, Tetouan, Morocco)
• Hassan Benziyan (Pr. Uv. Tetouan, Morocco)
• Said Najji (Pr. ENS, Fes, Morocco)
• Rajae Khaloufi (Indept. Scholar, Tangier, Morocco)
• Mustapha Ramadani (Pr. Uv. Oujda, Morocco)
• Hazem Azmy (Pr. Uv. Warwick, UK)
• Mouhssin Zarwal (Indept. Artist, Tangier, Morocco)
• Abderrahim Elhaloui (Pr. Uv. Ibn Zohr, Agadir, Morocco)
• Abderrahman Elfathi (Pr. Uv. Tetouan, Morocco)
• Youssef Raihani (Indept. Artist, Tetouan, Morocco)
• Abdelillah Khalifi (Pr. Uv. Tetouan, Morocco)
• Zahra Makach (Pr. Uv. Ibn Zohr, Morocco)
• Mohamed Zin (Indept. Artist, Tangier, Morocco)
• Mohamed Benammi (Pr. Uv. Tetouan, Morocco)
• Carol Malt (Prof. and Curator, USA)
• Mohammed Kaouti (Playwright, Morocco)
  
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