CRETEIL, France (AP) — In a sweltering enclosed stage, several dancers performed synchronized routines before scattering, while others practiced twisting handstands and tumbles. Amidst the flurry of movement, Mourad Merzouki directed them, ensuring their hip-hop moves were flawless.
It was the final day of rehearsals for the renowned French-Algerian choreographer and his energetic group of dancers, who were preparing for a major Olympic Games festivity. Merzouki and his dance troupe took center stage near the Eiffel Tower in Paris, unveiling the official dance of the 2024 Olympic and Paralympic Games on Monday.
The four-day event marked a triumphant moment for Merzouki, 50, whose hip-hop style—once doubted 30 years ago—has now proven its enduring 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 at a choreographic center in Créteil, a suburb of Paris. His performance was held before 13,500 attendees at the Trocadéro Champions Park, a free access arena. The choreographed spectacle featured 30 dancers and urban artists.
“Spectators were on their feet to applaud these artists from all horizons—dancers, acrobats, and circus artists,” he noted. “It was a real pleasure for us to feel and see the place of dance in this major sporting event.”
The dance routine choreographed by Merzouki is one of three styles featured on the stage at Champions Park, a venue known for welcoming Olympic medalists. His choreography seamlessly blends elements of martial arts, visual arts, circus, boxing, and live arts, designed to engage audiences of all ages and abilities.
Despite the weight of high expectations, Merzouki remains confident in both himself and his dancers, fueled by the positive message he aims to convey. “I have a lot of pressure because I want everything to go right,” he admitted. “We want the message of generosity of this dance to raise awareness to 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 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. At the time, skeptics doubted his dance style would resonate or maintain the attention of large audiences in Europe.
However, Merzouki received a markedly different response while dancing in the United States, in cities such as Miami, Los Angeles, and New York—the birthplace of hip-hop. In America, his unique style was widely embraced, offering him the opportunity to thrive there. Choosing to return to France, Merzouki confronted doubters and broke down barriers.
His persistence paid off. Over three decades, his company has performed more than 4,000 times in France and 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.”
Throughout the years, Merzouki has kept his routines fresh by maintaining an open mind while selecting dancers—often asking those interested to submit dance videos via YouTube. He has worked with reliable dancers, incorporating new ones with backgrounds in hip-hop, contemporary, classical, and circus. “It’s a sign that this dance can be addressed 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, who has danced for Merzouki for five years, described him as an influential figure who brought his dance style from the streets to the theater. “Back then, it was way harder than now,” said Luzolo, 30. “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. It can help dancers with having a career and life.”
Merzouki expressed gratitude for the reemergence of the breakdancing culture, which is debuting as a competitive event during the Paris Games—despite skepticism from some in Paris’ local breaking scene about the subculture being commercialized and subjected to rigid judging. “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 Olympic showcase, Merzouki will shift his focus to his new show called “Beauséjour” in Lyon, France. He has upcoming projects with different orchestras, collaborations with various artists, and a drive to create as much as possible.
With grand plans in motion, Merzouki is prepared to present his artistic dance to the Olympic world. “I hope that the public, who thinks hip-hop dance is not for them, can discover a new discipline they perhaps 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.”
