Interview of Radhouane El Meddeb

Radhouane El Meddeb is a choreographer and the founder of the project I Dance with my words. This project offers an artistic approach to highlighting the stories of people experiencing exile. By combining writing and dance, I Dance with Words allows these voices to be heard, to share their stories, and to find liberation.

Francis Kurkdjian Endowment Fund: Where does this idea come from? How does the union of dance and writing particularly address the participants’ needs?

Radhouane El Meddeb: "The idea for this project stems from my long-standing work on the theme of exile. It’s a personal reflection, as I’ve lived in France since 1995, after leaving my country of origin. At the time, I came from a theater background, a discipline where words and storytelling are central. But I quickly felt the need to explore a more abstract form to express what I didn’t want to verbalize or articulate but rather feel and convey through the body.

While working on exile in my pieces, such as Le Cabaret de la Rose Blanche, inspired by my own journey across the Mediterranean, I sought to connect stories of ancient and contemporary exile. This led me to meet people with recent migration experiences, often marked by complex situations, such as participants from the ARDHIS association, which supports the rights of LGBTQ+ people in migration contexts.

With them, we conducted writing and dance workshops. These workshops allowed us to collect narratives that we integrated into the performance with the help of a writer. This process revealed how difficult it is for these individuals to verbalize stories that are sometimes extremely painful."

Fdd FK: Let’s talk a bit about you and your background. How did you find this unique artistic language?

R.E.: "My work is deeply inspired by my personal story and experiences. I have a background in literature, theater, and dance. My first solo piece, Pour en finir avec moi, marked the beginning of an introspective exploration where I sought to transform my personal narratives into universal artistic material.

I like to draw from my own life to collaborate with other artists or individuals, aiming to highlight humanity in all its sensitivity and paradoxes. This approach has allowed me to develop a practice where writing, dance, and personal experience meet to create sensitive and poetic stories."

Fdd FK: You work with people who have experienced exile. Why is introspection crucial in these workshops?

R.E.: "The first step is always speaking out. I start by sharing my own story, emphasizing the concept of departure. My departure was an artistic choice, far removed from the reality of those I meet, for whom it is often a flight, marked by perilous journeys.

Then, we exchange on their experiences and the challenges they face in being understood or in expressing their needs. This lays the foundation for a trusting environment, essential for freeing their voices."

Fdd FK:
Writing is the first phase of your workshops. Why did you choose this exercise?

R.E.:
"Writing is an intimate exercise that allows them to put words to memories and emotions. I invite them to write letters addressed to their loved ones, in a simple and sincere framework.

Many write with surprising ease because they are not used to writing for themselves. Their administrative narratives are often collected by others. Here, they become the authors of their own stories, which restores a sense of dignity to them."

Fdd FK:
How does the transition from writing to dance take place?

R.E.:
"The transition begins with the reading of their texts. This is a very emotional moment where I teach them to work on their voice, breathing, silences, and gaze. These elements help them move out of a position of vulnerability.

Next, we work on the physical embodiment of their stories. I show them that words don’t just come from the mouth but from their whole body. Sometimes, I ask them to recreate movements from traditional dances of their culture, linking them to their emotions.

When they feel overwhelmed by their stories or emotions, I encourage them to translate this into movement before returning to the words. This creates a back-and-forth between writing and gesture—simple but powerful."

Fdd FK:
What do you hope participants take away from this experience?

R.E.:
"I tell them that they must turn their story into a source of strength, but also learn to defend it. A story told with a wandering gaze or a slouched body doesn’t convey its full power. I teach them to look others in the eye, breathe deeply, and express themselves fully.

Their entire body must speak: posture, gaze, articulation. This helps them not only to tell their story but also to reclaim a dignity often damaged by their administrative or legal journey."

Fdd FK:
What remains of this experience beyond the performances?

R.E.:
"A written trace remains: the narratives, letters, and creations they’ve written. I give them the freedom to keep these or entrust them to me. Often, they choose to keep them, proud of the work they’ve accomplished.

These narratives don’t become artistic material as such because they are deeply personal. But I always tell them: 'Turn this pain into something beautiful, poetic.' They leave with renewed confidence, enriched by an experience where their story found a creative and liberating form."