Based on extensive periods of research and enquiry, Wael Shawky’s work tackles notions of national, religious and artistic identity through film, performance and storytelling. Whether instructing Bedouin children to act out the construction of an airport runway in the desert or organizing a heavy metal concert in a remote Egyptian village, Shawky frames contemporary culture through the lens of historical tradition and vice versa. Mixing truth and fiction, childlike wonder and spiritual doctrine, Shawky has staged epic recreations of the medieval clashes between Muslims and Christians in his trilogy of puppets and marionettes—titled Cabaret Crusades: The Horror Show Files (2010), The Path to Cairo (2012) and The Secrets of Karbala (2015)—while his three-part film, Al Araba Al Madfuna, uses child actors to recount poetic myths, paying homage, rather than mere lip-service, to the important narratives of yesteryear.

Based on extensive periods of research and enquiry, Wael Shawky’s work tackles notions of national, religious and artistic identity through film, performance and storytelling. Whether instructing Bedouin children to act out the construction of an airport runway in the desert or organizing a heavy metal concert in a remote Egyptian village, Shawky frames contemporary culture through the lens of historical tradition and vice versa. Mixing truth and fiction, childlike wonder and spiritual doctrine, Shawky has staged epic recreations of the medieval clashes between Muslims and Christians in his trilogy of puppets and marionettes—titled Cabaret Crusades: The Horror Show Files (2010), The Path to Cairo (2012) and The Secrets of Karbala (2015)—while his three-part film, Al Araba Al Madfuna, uses child actors to recount poetic myths, paying homage, rather than mere lip-service, to the important narratives of yesteryear.

Based on extensive periods of research and enquiry, Wael Shawky’s work tackles notions of national, religious and artistic identity through film, performance and storytelling. Whether instructing Bedouin children to act out the construction of an airport runway in the desert or organizing a heavy metal concert in a remote Egyptian village, Shawky frames contemporary culture through the lens of historical tradition and vice versa. Mixing truth and fiction, childlike wonder and spiritual doctrine, Shawky has staged epic recreations of the medieval clashes between Muslims and Christians in his trilogy of puppets and marionettes—titled Cabaret Crusades: The Horror Show Files (2010), The Path to Cairo (2012) and The Secrets of Karbala (2015)—while his three-part film, Al Araba Al Madfuna, uses child actors to recount poetic myths, paying homage, rather than mere lip-service, to the important narratives of yesteryear.

Based on extensive periods of research and enquiry, Wael Shawky’s work tackles notions of national, religious and artistic identity through film, performance and storytelling. Whether instructing Bedouin children to act out the construction of an airport runway in the desert or organizing a heavy metal concert in a remote Egyptian village, Shawky frames contemporary culture through the lens of historical tradition and vice versa. Mixing truth and fiction, childlike wonder and spiritual doctrine, Shawky has staged epic recreations of the medieval clashes between Muslims and Christians in his trilogy of puppets and marionettes—titled Cabaret Crusades: The Horror Show Files (2010), The Path to Cairo (2012) and The Secrets of Karbala (2015)—while his three-part film, Al Araba Al Madfuna, uses child actors to recount poetic myths, paying homage, rather than mere lip-service, to the important narratives of yesteryear.

Based on extensive periods of research and enquiry, Wael Shawky’s work tackles notions of national, religious and artistic identity through film, performance and storytelling. Whether instructing Bedouin children to act out the construction of an airport runway in the desert or organizing a heavy metal concert in a remote Egyptian village, Shawky frames contemporary culture through the lens of historical tradition and vice versa. Mixing truth and fiction, childlike wonder and spiritual doctrine, Shawky has staged epic recreations of the medieval clashes between Muslims and Christians in his trilogy of puppets and marionettes—titled Cabaret Crusades: The Horror Show Files (2010), The Path to Cairo (2012) and The Secrets of Karbala (2015)—while his three-part film, Al Araba Al Madfuna, uses child actors to recount poetic myths, paying homage, rather than mere lip-service, to the important narratives of yesteryear.