In a sweltering enclosed stage in Créteil, France, dancers perform synchronized routines before scattering, as others practice twisting handstands and tumbles. Amid this organized chaos, renowned French-Algerian choreographer Mourad Merzouki directs them, ensuring that each hip-hop move is flawless.
It’s the final day of rehearsals for Merzouki and his energetic troupe, who are gearing up for a significant performance at the upcoming Olympic Games. On Monday, they will showcase the official dance of the 2024 Olympic and Paralympic Games near the Eiffel Tower in Paris.
The four-day “Dance of the Games” represents a triumphant milestone for Merzouki, 50, whose hip-hop style faced skepticism 30 years ago but has since proven its lasting appeal.
“It’s great to see that hip-hop dance will be one of the major events watched by the whole world,” said Merzouki after rehearsals. He is set to present his work at the Trocadéro Champions Park, a free-access arena where his choreographed performance will feature 30 dancers and urban artists.
Merzouki’s choreography is one of three dance styles that will be showcased at Champions Park, a venue that also hosts Olympic medalists. His routine integrates martial arts, visual arts, circus elements, boxing, and live arts, creating a dynamic performance designed to engage audiences of all ages and abilities.
Despite the high expectations, Merzouki remains confident in his vision and his dancers. “I have a lot of pressure because I want everything to go right,” he said. “We want the message of generosity of this dance to raise awareness among as many people as possible. This moment should allow us all to connect.”
Merzouki’s rise to a global platform wasn’t easy. He launched his dance company in 1996, naming it Käfig, meaning “cage” in Arabic and German. Initially, he was told that his style wouldn’t captivate European audiences.
However, while performing in American cities like Miami, Los Angeles, and New York—the birthplace of hip-hop—his unique style was warmly embraced. Despite opportunities abroad, Merzouki chose to tackle the skepticism he faced in France. Over the past three decades, his company has performed more than 4,000 times in France and in over 60 other countries.
“I think that this recognition is due to these 30 years that we have all spent fighting, holding on, believing in our dreams,” he said. “It’s so that precisely this dance can have a place like any other dance in the choreographic landscape.”
Merzouki has kept his routines fresh by maintaining an open mind and even asking prospective dancers to submit videos via YouTube. His troupe includes experienced dancers as well as newcomers from diverse backgrounds, including hip-hop, contemporary, classical, and circus arts.
“It’s a sign that this dance can appeal to all audiences,” he continued. “With this competition, I think we can say that it’s an honor and that it’s encouraging for the future of this dance.”
French dancer Joël Luzolo, a member of Merzouki’s troupe for the past five years, called him an influential figure who brought street dance to the theater. “Every year, he tries to raise the level even higher to make people understand what hip-hop is and what it can be. He’s been a really great influence,” Luzolo said, adding that Merzouki’s impact has helped dancers build sustainable careers.
Merzouki is also grateful for the renewed interest in breakdancing, which is debuting as a competitive event at the Paris Games. While some in Paris’s local breaking scene have mixed feelings about its commercialization and rigid judging, Merzouki sees the inclusion as a positive development.
“Some were for it, some were against it. But I think it’s very good news that breaking was propelled to the forefront into such an important event,” he said. “The DNA of breaking and hip-hop dance is competition. It was battles. It’s a continuation of this great story of hip-hop. I hope the visibility will allow this dance to be better recognized and reach a larger, wider audience.”
Following the Olympics, Merzouki plans to focus on his new show, “Beauséjour,” in Lyon, France. He has upcoming collaborations with different orchestras and various artists, aiming to create as much as possible.
“I hope that the public, who thinks hip-hop dance is not for them, can discover a new discipline they necessarily didn’t know,” he said. “This is a great moment of visibility. … The symbolism is strong. It’s an artistic recognition. French youth from working-class neighborhoods, dancing in the heart of Paris.”
