CRETEIL, France – On a sweltering, enclosed stage, several dancers perform synchronized routines before dispersing, while others practice twisting handstands and somersaults. In the midst of this, Mourad Merzouki directs them, ensuring their hip-hop moves are perfect.
It is the last day of rehearsals for the renowned French-Algerian choreographer and his energetic group of dancers who are preparing for a big Olympic Games festivity. Merzouki and his dance troupe will take center stage near the Eiffel Towel in Paris, performing the official dance of the 2024 Olympic and Paralympic Games on Monday.
The four-day “Dance of the Games” marks a triumphant moment for Merzouki, 50, whose hip-hop style, once questioned 30 years ago, has now proven its enduring appeal.
“It’s great to see that hip-hop dance will be one of the main events watched by the whole world,” said Merzouki shortly after rehearsals at a choreographic center in Créteil, a suburb of Paris. Your showcase will be held at Trocadéro Champions Parka free-to-access arena where your choreographed performance will feature 30 dancers and urban artists.
Merzouki’s choreography is one of three styles presented on the stage at Champions Park, where Olympic medalists arrive. Her choreography combines elements of martial arts, visual arts, circus, boxing and live arts, adapted to engage audiences of all ages and abilities.
Despite the weight of expectations, Merzouki remains confident in himself and his dancers because of the positive message he tries to convey.
“I’m under a lot of pressure because I want everything to go well,” he said. “We want the message of generosity in this dance to raise awareness as many people as possible. This moment should allow us all to connect.”
From humble beginnings to a global platform, Merzouki’s innovative style took some time to gain widespread appeal. He started his dance company in 1996, naming it after his inaugural piece, Käfig, which means “cage” in Arabic and German. Merzouki was told that his dance style would not resonate with or hold the attention of large audiences in Europe.
However, he received a different response while dancing in the United States, in cities such as Miami, Los Angeles and New York, birthplace of hip-hop. In America, Merzouki’s unique style was widely accepted and he could have prospered there. But he chose to return to France to challenge doubters and break down barriers.
Merzouki finally managed to do just that. His company had more than 4,000 performances in France and more than 60 other countries over a period of three decades.
“I think this recognition is due to these 30 years that we all spent fighting, enduring, believing in our dreams,” he said. “It is so that this dance can have a place like any other dance in the choreographic landscape.”
Over the years, Merzouki has kept his routines fresh with an open mind while selecting dancers – even asking interested parties to submit dance videos via YouTube. He worked with trusted dancers and introduced new ones with backgrounds in hip-hop, contemporary, classical and circus.
“It is a sign that this dance can be aimed at all audiences”, he continued. “With this competition, I think we can say that it is an honor and that it is an encouragement for the future of this dance.”
French dancer Joël Luzolo called Merzouki an influential figure who brought his dance style from the streets to the theater. He said many dancers would not have sustainable careers without Merzouki’s impact.
“It was much more difficult then than now,” said Luzolo, 30, who has been dancing for Merzouki for five years. “Every year he tries to raise the bar even higher to make people understand what hip-hop is and what it can be. He’s been a big influence. It can help dancers have a career and a life.”
Merzouki is grateful for the resurgence of breakdance culturewhich is debuting as a competitive event during the Paris Games – although some in Paris’ local break scene was skeptical of the subculture being co-opted by officials, commercialized and subjected to a rigid structure of judgment.
“Some were in favor, others were against. But I think it’s very good news that the break has been boosted for such an important event,” he said. “The DNA of breaking and hip-hop dancing is competition. There were battles. It’s a continuation of this great hip-hop story. I hope that visibility will allow this dance to be better recognized and reach an increasingly larger audience.”
After the Olympics showcase, Merzouki will focus on her new show called “Beauséjour” in Lyon, France. He has upcoming projects with different orchestras, collaborating with different artists and just creating as much as possible.
With big plans up his sleeve, Merzouki is ready to introduce his artistic dance to the Olympic world.
“I hope that the public, who think that hip-hop dance is not for them, can discover a new discipline that they necessarily didn’t know about,” he said. “This is a great moment of visibility. … The symbolism is strong. It is an artistic recognition. Young French people from popular neighborhoods dancing in the heart of Paris.”
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