What partly makes up the identity of the Accrorap company is Kader Attou’s ability to make “foreign bodies” (corps étrangers in French) dialogue. In Accrorap’s career there are a certain number of encounters that have produced meaning and that have allowed us to progress towards more understanding, tolerance and humanism. In order to further this ability to create dialogue, the aim today is to bring together artists from different cultures and with whom (for the most part) the company has already worked. Dialogue between cultures is today a necessity in a global world where a dominant culture tends to impose its standards and where monopoly on thought has taken up root. The aim is, while respecting each individual’s identity, to find “meeting points”, possibilities for dialogue and sharing to construct with dance a harmonious space able to question the future. However, this ideal harmony can be disrupted by “foreign bodies”, scourges of modern life (terrorism, fundamentalisms, conflicts, diseases, etc.) or simple grains of sand that prevent life from unfolding peacefully. It is in this to and fro between harmony and disruption that Kader Attou speaks of the “human condition”. 

The musical production just like the set design are associated with a 15th century work: Le jugement dernier (Beaune altarpiece, often called The Last Judgement in English) by Rogier van der Weyden, an altarpiece found in the Hospices de Beaune.

Kader Attou is a dancer and choreographer from the company Accrorap. Athina, in 1994, marked the beginnings of the company set up with Mourad Merzouki, Eric Mezino and Chaouki Saïd, in Lyon. This show is a success that manages to transpose hip hop dance from the streets to the stage. Alone, he then created Prière pour un fou (1999) to renew the dialogue that the Algerian tragedy made improbable.
Douar (2004), conceived within the framework of the year of Algeria in France, questions the problems of the exile of young people from the districts of France and Algeria. Petites histoire.com (2008) recounts popular France based on burlesque sketches. In 2008, Kader Attou was appointed director of the National Choreographic Center of La Rochelle, thus becoming the first hip hop choreographer to head an institution. In 2018, he reunited with his early partner, Mourad Merzouki, with whom he created Danser Casa for the Montpellier Danse Festival. In 2019, he resumed a version for the street of The Roots with the dancers of the N.I.D. Epsedanse by Anne-Marie Porras for the Montpellier Dance Festival. Since 2022, he has settled in the Friche la Belle de Mai in Marseille.

Source: Montpellier danse