Her performance "From armor to jackets" is a reference to the departure of Americans and NATO troops from her native country, Afghanistan, and the return to power of the Taliban in August 2021. Kubra Khademi explains that she does not has never known his country in peace and that the episodes of calm are only dead times between two periods of violence.

She says that she always felt like an artist and that she was the first in her family to have studied, although her parents could not read.

For "On the Poster", she evokes her concern about the decline in women's rights in Afghanistan but also in the United States, where the Supreme Court has removed federal protection of the right to abortion.

She also evokes the controversy aroused by her Festival poster.  

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#FDA22 |

PROGRAMMING |


Avignon Festival from July 7 to 26, 2022.


Find all the programming on our website 👉 https://t.co/6xSb5OFPHC



© Kubra Khademi, Untitled, 2019


Music by Chloé Thévenin from the show Silent Legacy by Maud Le Pladec and Jr Maddripp pic.twitter.com/9GQeFAcqGv

— Avignon Festival (@FestivalAvignon) March 28, 2022

She remains in close contact with her native country and helped bring dozens of artists out of Afghanistan when the Taliban regained power last summer.

In this fascinating interview, she also discusses the role of artists in changing society, this ambivalent relationship that Afghans have with the United States and her sources of inspiration for her exhibition "First but our last times in America", presented to the Lambert Foundation in Avignon.

Tiago Rodrigues in place of Olivier Py

Her concerns are shared by other artists who explore the place of women;

or that of refugees;

in creations presented at the Festival d'Avignon.

This is particularly the case with "Soeurcières", a dance solo which retraces the great movements of feminism with the dancer and choreographer Adèle Duportal or the piece "En transit" by Amir Reza Koohestani.

The Iranian director returns to these visa issues that dot the history of yesterday and today.

Natacha Milleret went to meet them.

These shows reflect the Festival d'Avignon's more egalitarian and more open identity to minorities and women.

Since he took over the management in 2013, Olivier Py has worked to imprint this paw on the festival, while respecting the spirit of its creator Jean Vilar by making creation accessible to all, without economic brake on the 'hall.

This edition is Olivier Py's last at the head of one of the biggest theater festivals in the world.

In September, he will give way to Tiago Rodrigues, director of the Dona Maria II national theater in Lisbon – the equivalent of the Comédie Française.

The Portuguese director, director and screenwriter will be the first foreigner to take the reins of the Festival d'Avignon.

For his last as patron of the festival, Olivier Py presents two creations: "My exalted youth", a set of 4 plays of 10 hours of theater and "Miss Knife and her sisters", which will be played at the end of this festival.

For the occasion, his queer cabaret alter ego is surrounded on stage by Angélique Kidjo and the Ukrainian musical theater group the Dakh Daughters, a way of showing Avignon's solidarity with Ukraine.

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