The National Folk Arts Troupe
Established in 1960 by a decree from the Minister of Culture, Dr. Tharwat Okasha, the troupe initially appeared to be a substitute for the Rida Troupe in terms of state patronage, but it was soon fully absorbed into the state apparatus in 1961.
The National Folk Arts Troupe sought the assistance of a group of folk art experts from the Soviet Union.
At that time, in the fields of dance and music, the most prominent among them was the folk arts expert Ramazin.
It was founded with only 56 male and female dancers, and its purpose was to preserve all forms of folk dance—including their movements, costumes, and accessories—as well as the customs and traditions of their respective environments, by employing a scientific approach and translating it to the stage.
The troupe distinguished itself by immersing itself in local culture and seeking out movement arts that represent the environment; from coastal cities, it expressed the reality of fishermen, and one of the most important forms of its movement arts was “Umm al-Khaloul,” where the troupe successfully dramatized the fishermen’s rituals and celebrations of a day of work and abundant sustenance. “Um al-Khaloul” was chosen from seashells due to their significance and status among the fishermen; the troupe crafted graceful local lyrics that expressed these rituals to a wonderful rhythm. Additionally, “Al-Manboutiya,” a form of folk movement art, achieved great popular success. This dance form introduced Egyptians to this unique trade practiced between fishermen in the Port of Port Said and foreign ships. “Al-Manboutia” also brought fame to two of the troupe’s most prominent members, “Mushira Ismail” and “Aida Riad.” A large number of performing arts that achieved success and fame.
“Al-Tanoura,” a form of folk dance inspired by the Sufi rituals of the Mevlevi Order,
(Al-Ghawazi dance) The troupe also performed wedding rituals from the Nubian region, and (Al-Shamadan dance) set to the melodies of Andalusian muwashahat; it was known as “Hawanem Movement Art,” which was performed in royal palaces, and the famous “Hajjala Movement Art” from the remote governorate of Marsa Matrouh, where the folk custom dictates that the bride chooses her groom, contrary to the prevailing norm.
The troupe took an interest in documenting its artistic heritage, establishing an art library containing recordings of its folk music performances, as well as materials and instruments it collected from the regions and used in its performances, documentary films, photographs, and a vast archive of promotional materials and publications related to its performances both inside and outside Egypt, as well as critical articles covering its performances.
Throughout its history, the troupe has performed in 105 countries. Its staff of movement designers and trainers contributed to supporting and establishing folk art troupes in various regions of Egypt. It has participated in dozens of festivals and events outside Egypt and has received numerous awards, certificates of appreciation, and trophies at both the Arab and international levels.
Artist Kamal Naim, one of the most renowned choreographers, took over the troupe’s management in the 1990s. He was credited with establishing a school for the troupe’s children, designing its movement arts, and directing its program. The first production of the Egyptian Children’s Folk Arts Troupe, established in 1996, was the “Arab Jerusalem” performance about the Palestinian cause.
Kamal Naim, the troupe’s supervisor, considered that the troupe drew its styles from folk movement arts derived from children’s folk arts and games, with the aim of introducing children to their folk heritage and fostering new generations who will carry on our folk traditions.