Chouf Ouchouf: A Taste of the Medina

First of all, what sort of experience will the audience get from the show?

A vibrant playful show with a sense of family. The mix of circus skills combining dance, performance and music gives it a sense of ritual and a feeling that it is an event whilst being about the everyday

The company, Acrobatique de Tangier, has been going as a family concern for some time now. Has there been much change in the way that the troupe have been billed or regarded when they tour?

A huge difference – when they toured as a family in the 80s and 90s it was as the Arabian Acrobats, as the Hammich Family to more traditional venues like Butlins, and Whipsenade and Chessington Zoos and TV shows including Jeremy Beadle! 

This show, and their previous one Taoub were created in collaboration with contemporary theatre and circus artists so the root is very different. Their amazing skills have been worked into more of a theatrical whole rather than an act following an act. This more modern approach appeals to a broader public as it is can attract the traditional circus audience as well as dance, performance and theatre audiences.

There is mention of performance techniques beyond the acrobatics. Has this changed the nature of their work? Is there a story behind the acrobatics?

Working with contemporary theatre makers Zimmerman and de Perrot has certainly extended the acrobats teletype and given them a new field to play. I see more character and depth as a result. Also humour is one element that has been brought out; some have very funny comic timing. The music played live is also woven into the narrative rather than being merely accompaniment

Circus based skills seem to be having a renaissance at the moment. Do you have any thoughts on why, or how it shapes the company's current incarnation?

The popularity of Circus is due to many things: increased awareness as international companies tour to the UK more; people being more aware of the body and fitness; boundaries being pushed by theatre artists finding new vocabularies in physical forms. Europe has much to offer, Jack Lang (France's then Culture Minister) put huge investment into Circus in France the 80s (there are currently about 700 recognised contemporary circus groups in France, in England we have 4 that are Arts Council funded!). France has 11 centres for Circus and a circuit of 22 theatres dedicated to developing and supporting the form. Scotland is just in the process of establishing its first with Iron Oxide (We are helping them run a Circus Advocacy day to coincide with Chouf at Macrobert on 16 April).

Not sure if this answers your question ... Look at National Theatre of Scotland's Peter Pan that used circus skills and was choreographed by Vicki Amedume, one of Arts Council England's funded circus artists

This is a family based company. What role does that, and tradition, play in their evolution?

Tradition is very important as they are acrobats first and foremost. Younes – the older family member – was taught to balance on his father's fingers as soon as he could walk, and he does the same to his two daughters. His sister was the same as were his uncle and cousins. In their house in Tangier they cleared the furniture to give me a display of skill of the 2 year old and the 5 year old. I was honoured.

There is so much more I wish I could ask. It looks like an amazing event!

It is warm and uplifting giving a real sense of the life and love of the Medina, but the element of survival and daily grind gives it an added dimension which is profound and touching. At the end of the show you will feel as if you have been in the heart of the place and that you know something of each of them.