Clowns Without Borders and the Egyptian street theatre company Al-Khayal Al-Shaabi have been cheering up children in Cairo's most culturally unprivileged areas. Ghada Abdel-Kader watched them perform Al-Khayal Al-Shaabi, a street theatre company affiliated to the Nahda Association for Scientific and Cultural Renaissance, began collaborating with the French organisation Clowns Without Borders (Clowns Sans Frontières) in January this year. Their first run of performances in Egypt took place from 8 to 22 June. Clowns without Borders-France (CWB) was created in 1994. An NGO, it aims at presenting artistic productions offering laughter to people who may not have much cause for laughter in their lives, especially children, who live in areas of crisis including conflict zones and territories in situations of emergency. The members of CWB-France are clowns, comedians, puppeteers, musicians, acrobats and dancers. More than 400 of these volunteer artists have put on 1,000 shows for half a million people, performing in shantytowns, refugee camps, detention centres, orphanages and street children's homes. Its mission in most countries is to collaborate with local artists to promote and develop artistic exchanges and support their work. These artists can then take over from CWB-France. CWB-France is a part of an international movement with others CWBs worldwide. Each association is autonomous and independent, but refers at the same ethic charter. The association is financed through individual donations, benefit shows in France, and merchandise such as T-shirts, videos and books. It also receives support from public institutions such as the French ministries of culture, foreign affairs, youth and education, and private partners including Air France. Performances are held in collaboration with other NGOs, and workshops are arranged for children, teachers and social workers. In the Middle East, CWB has visited Afghanistan, Palestine and Egypt. The next stops will be Congo, Thailand, Myanmar and Moldova. Trainer and coordinator Patricia Maunier said the Nahda Association for Scientific and Cultural Renaissance was important for the CWB project. "They have been guiding us how to work here in Cairo," she said. The nine performers of Egypt were Jakob Lindfors, Dianna Calvo, Shaker Said, Marwa Hussein and Neama Mohsen from the Al-Khayal Al-Shaabi company; Hani Taher and Ali Sobhi from the Hala company; and Mustafa Huzin and Nora Saudi from other groups. Trainers from CWB-France are Patricia Maunier and Sophie Borthwick. Together they gave 15 performances in six days in Helwan, Giza, Zawaya, Antar's Stable, Moqattam, Sayeda Zeinab, Sharabiya, Imbaba, Khanka and Al-Salam City. "We gave participants a workshop for four days to train the actors to be clowns," Maunier said. "Another workshop was on production of the show and lasted for three days." "CWB provides us with technical and artistic leadership," Lindfors told Ahram Weekly. "It has been a really interesting experience. It's the first time for most of us to be acquainted with the clown. The clown is very particular type in theatre, and the experience of being a clown is difficult." Some of the actors found the search for their inner clown hard, but worthwhile. "I am so happy that I have a chance to know my clown and the audiences enjoyed with my performance," actress Nora Saudi said. Saudi, a theatre director who has worked before with CWB, has been inspired to put on more productions for children. The shows provide a service in more ways than one. "On the social level, the aim of the Al-Khayal Al-Shaabi company and CWB is the same: to bring the theatre to deprived places," said Dianna Calvo, a professional actress for 13 years. "On the artistic level it is learning the technique of the clown. We don't have such training in Egypt." The sketches were stitched together with warmth and comedy, with the artists depending on body language and acting rather than decoration or music to capture a variety of realistic and fantastical experiences. "This was how it came out," Maunier said. "We don't make a choice. The actors wanted to make it a physical show, [there was] not much talking." The artists used ordinary props and objects in new roles and meanings, transforming them into birds, musical instruments, a chair, a hat, a bag. Saudi used a bucket and mosquito swatter to create a flock of ducks moving on the floor, their footsteps falling in rhythm. Lindfors used a pipe as a trumpet. Maunier said of their fanciful use of objects, "for us it is our choice to work with very simple and small props and materials that are accessible for the children. Things they can play with and that are part of their world too." There was no costume designer. "We helped each other find the costumes." The main target group for the shows was children aged between eight and 15. "But I think it works for all kinds of audiences whether they are children, young people or adults," Lindfors said. "They can all enjoy themselves. The whole idea is about how everybody can be creative if they have a chance to be, and can find out new strength even if conditions are very difficult. It is still part of every human being and it should be available. Laughter is one idea, but it is not only laughter but to make children imagine."
