K’Dar was HUSH HUSH HUSH’s third production. It too was officially recognised and subsidised as a project as part of the Flemish Community’s policy of subsidising professional dance companies (in 1998). The province of Limburg also supported K’Dar and saw HUSH HUSH HUSH as the missing link between art and youth. Once again HUSH HUSH HUSH enjoyed the collaboration of its colleagues Les Ballets C. de la B. K’Dar was no longer simply a co-production with Berchem CC and the Vooruit Arts Centre, but also attracted international co-producers.
Based on the achievements of the two previous productions, and well resourced, it was hoped that the production of K’Dar would lead to a further international breakthrough for Abdelaziz Sarrokh as a contemporary choreographer. Working with as diverse a group of dancers as possible, K’Dar was a dance production that would propel Flemish contemporary dance into the next century.
K’Dar is an Arabian concept that means ‘fate’. K’Dar also refers to the Moroccan verb meaning ‘daring to’. In this production, Sarrokh was daring enough to take his destiny into his own hands. Not only was this the theme of the production but it also stood for the fundamental challenge of HUSH HUSH HUSH: to continually question from new angles the validity and vitality of hip-hop and street-dance within the world of the contemporary performing arts. K’Dar used the same ingredients as the previous productions of Carte Blanche and Via: eight very different dancers, and a kaleidoscope of contemporary diversity. K’Dar was a hopeful mirror of reality and cultural diversity both in Flanders and internationally.
With his team of dancers, Abdelaziz single-handedly brings to Flanders what has been happening elsewhere for some time now: making hip-hop ‘salonfähig’, moving it from the street to the theatres, and injecting contemporary dance with a cocktail of adrenaline and no nonsense. For with his sound, music and silence, with his powerful stage presence and his original language of dance, Abdelaziz is daring enough to go further than the requisite beats, spectacular head-spins and athletic breaks. It is not only beautiful, but it is also true: despite a large dose of ‘machismo’, he knows how to shatter the clichés that are so typical of hip-hop culture and contemporary dance.