The Dream of Shahrazad

The Dream of Shahrazad
by Sherif Awad
More than her adventurous creations like Aladdin, Sinbad
and Ali Baba, the character of Shahrazad, the central storyteller of One
Thousand and One Nights
, has influenced many writers, musicians and
novelists of contemporary literatures and also many filmmakers of fantasy
cinema. But now, a filmmaker from South Africa decided to approach Shahrazad as
a projection on nowadays female characters and also as reincarnated figure
watching the complex happenings across our Middle East region. The director is the
South African born François Verster and his documentary is called The Dream
of Shahrazad
that was mostly shot in Egypt only to have its African
premiere last March during the 4th Luxor African Film Festival where it
received
Al-Husseiny Abou-Deif
Prize for Best Freedom Film. Another screening followed
, few days later, in Zawya
Cinema, downtown Cairo, again with the attendance of Verster and some of the
Egyptian artists appearing in the film.
Before Shahrazad, François Verster had
background in writing, music, and film with an acclaimed debut as documentary
director-producer of Pavement Aristocrats, the first ever documentary made
about the Bergies, a unique homeless community living on the streets of Cape
Town. Verster then directed another documentary called A Lion’s Trail that
retold the history of the South African 1960s song The Lion Sleeps Tonight. After
receiving an Emmy Award for A Lion’s Trail for Outstanding Cultural and Artistic
Programming, he made When the War is Over, a short documentary that looked
at the survivors of the anti-Apartheid Struggle.
Started the conceptualization of The Dream of Shahrazad
since 2006, Verster was writing, shooting, and editing until September 2014.  After filming over 200 hours of material in
Egypt, Turkey and Lebanon, the final cut reached 110 minutes. “This film had been
a huge personal voyage of discovery for me”, said Verster. “After 9/11 events,
I started wondering about how the world perceived the so-called Middle East or
Arab World, having grown up close to Muslims and Arabs friends. What
immediately came to my mind was my own childhood memories of the Arabian Nights
and the Russian musician Rimsky-Korsakov who composed Scheherazade, the
symphonic suite based on her magical stories. As young “white” South Africans,
we were taught classic music at young age because it was a way of the apartheid
regime to discriminate white and dark skinned South African at that time. But now,
music plays a pivotal part in my films to the extent it became a guide showing
me how to conceive and implement scenes from scratch till finish”.
In a way, Verster used the character of Shahrazad as his
guide in his journey to investigate Arabs and Muslims after 9/11 events and to
shed the lights on the interconnection between arts, culture, freedom of
expression using storytelling and songwriting during critical times. Once in Egypt,
Verster shot across Cairo streets and art spaces putting many Egyptian artists
and ordinary people on film. Then, on January 25, 2011, the “Arab
Spring” happened and so the documentary continued to put on film the daily
events linking the art of storytelling and political changes proving that arts
and politics are interconnected to daily life.  In The Dream of Shahrazad, we meet artists
like the Egyptian independent actress Abeer Soliman and several theatre actors being
captured by Verster’s camera while meeting mothers of martyrs who died in the street
demonstrations.  Verster also followed
the Lebanese Ghida Hammoud who, after having experienced the horrors of civil
war in her own homeland, came to Egypt to attend workshops with Hassan El-Geretly’s
Warsha Theatre Group, in order to learn the art of traditional storytelling,
and working with stories that deal with situations similar to her own. In the
film as well, we watch Egyptian artist Hany El-Masry, a Cairo-based painter, who
has been drawing Shahrazad, but seemed to be unable to find an outlet for his
massive tapestry based on parts from The Arabian Nights. The stories of
these characters and many others are interweaving with their own artistic
practices and daily exposure before and after “The Arab Spring”.
After the two Egyptian premieres in Luxor and Zawya, The
Dream of Shahrazad
got another acclaimed screening in Human Rights Festival
in the UK before the end of last March. “It was great to have this kind of
acknowledgement for our first screening in Egypt”, says François Verster “I
also hugely enjoyed screenings at the Human Rights Festival that always select
my films. Screenings were sold out, audiences were immensely engaged, and the Q
and A sessions were great”.
Next for The Dream of Shahrazad, a screening at the
12th Planete Plus Doc Film Festival in Warsaw, May 8-17, 2015.

Sherif M. Awad
Sherif M. Awad
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