Yamina is eight years old and dislikes birthday parties. When her grandmother Zohra turns 70, her mother Fadila throws her a surprise party. But grandma Zohra is not a party animal at all and the party turns into a big fiasco. Yamina wonders why grandma Zohra, like herself, doesn't like parties. Together, they go on a journey through grandma Zohra's memories, looking for the answer. Memories of Algeria where grandma Zohra was born, of trees full of olives, of Bakri the donkey and of grandma Zohra's journey to Belgium.

Zebarbar touches on a beautiful and sensitive theme: the secrets of grandparents and the special bond that exists between grandchildren and their grandparents. In February 2021, an online version of the play was performed in the libraries of Brussels and it turned out that the theme had touched all the children. The conversations afterwards were lively and intense. Many children from migrant backgrounds have to deal with a rupture in their family history: grandparents who left everything behind and had to build a new life in unfamiliar surroundings. Every family has its own fracture or trauma, and every family deals with this differently.

De Studio works together with ZEBARBAR to tell new stories in a super-diverse society. The connecting power of stories and theatre colours the palette of imagination in the city.

Yamina is eight years old and dislikes birthday parties. When her grandmother Zohra turns 70, her mother Fadila throws her a surprise party. But grandma Zohra is not a party animal at all and the party turns into a big fiasco. Yamina wonders why grandma Zohra, like herself, doesn't like parties. Together, they go on a journey through grandma Zohra's memories, looking for the answer. Memories of Algeria where grandma Zohra was born, of trees full of olives, of Bakri the donkey and of grandma Zohra's journey to Belgium.

Zebarbar touches on a beautiful and sensitive theme: the secrets of grandparents and the special bond that exists between grandchildren and their grandparents. In February 2021, an online version of the play was performed in the libraries of Brussels and it turned out that the theme had touched all the children. The conversations afterwards were lively and intense. Many children from migrant backgrounds have to deal with a rupture in their family history: grandparents who left everything behind and had to build a new life in unfamiliar surroundings. Every family has its own fracture or trauma, and every family deals with this differently.

De Studio works together with ZEBARBAR to tell new stories in a super-diverse society. The connecting power of stories and theatre colours the palette of imagination in the city.

Yamina is eight years old and dislikes birthday parties. When her grandmother Zohra turns 70, her mother Fadila throws her a surprise party. But grandma Zohra is not a party animal at all and the party turns into a big fiasco. Yamina wonders why grandma Zohra, like herself, doesn't like parties. Together, they go on a journey through grandma Zohra's memories, looking for the answer. Memories of Algeria where grandma Zohra was born, of trees full of olives, of Bakri the donkey and of grandma Zohra's journey to Belgium.

Zebarbar touches on a beautiful and sensitive theme: the secrets of grandparents and the special bond that exists between grandchildren and their grandparents. In February 2021, an online version of the play was performed in the libraries of Brussels and it turned out that the theme had touched all the children. The conversations afterwards were lively and intense. Many children from migrant backgrounds have to deal with a rupture in their family history: grandparents who left everything behind and had to build a new life in unfamiliar surroundings. Every family has its own fracture or trauma, and every family deals with this differently.

De Studio works together with ZEBARBAR to tell new stories in a super-diverse society. The connecting power of stories and theatre colours the palette of imagination in the city.

Yamina is eight years old and dislikes birthday parties. When her grandmother Zohra turns 70, her mother Fadila throws her a surprise party. But grandma Zohra is not a party animal at all and the party turns into a big fiasco. Yamina wonders why grandma Zohra, like herself, doesn't like parties. Together, they go on a journey through grandma Zohra's memories, looking for the answer. Memories of Algeria where grandma Zohra was born, of trees full of olives, of Bakri the donkey and of grandma Zohra's journey to Belgium.

Zebarbar touches on a beautiful and sensitive theme: the secrets of grandparents and the special bond that exists between grandchildren and their grandparents. In February 2021, an online version of the play was performed in the libraries of Brussels and it turned out that the theme had touched all the children. The conversations afterwards were lively and intense. Many children from migrant backgrounds have to deal with a rupture in their family history: grandparents who left everything behind and had to build a new life in unfamiliar surroundings. Every family has its own fracture or trauma, and every family deals with this differently.

De Studio works together with ZEBARBAR to tell new stories in a super-diverse society. The connecting power of stories and theatre colours the palette of imagination in the city.

Yamina is eight years old and dislikes birthday parties. When her grandmother Zohra turns 70, her mother Fadila throws her a surprise party. But grandma Zohra is not a party animal at all and the party turns into a big fiasco. Yamina wonders why grandma Zohra, like herself, doesn't like parties. Together, they go on a journey through grandma Zohra's memories, looking for the answer. Memories of Algeria where grandma Zohra was born, of trees full of olives, of Bakri the donkey and of grandma Zohra's journey to Belgium.

Zebarbar touches on a beautiful and sensitive theme: the secrets of grandparents and the special bond that exists between grandchildren and their grandparents. In February 2021, an online version of the play was performed in the libraries of Brussels and it turned out that the theme had touched all the children. The conversations afterwards were lively and intense. Many children from migrant backgrounds have to deal with a rupture in their family history: grandparents who left everything behind and had to build a new life in unfamiliar surroundings. Every family has its own fracture or trauma, and every family deals with this differently.

De Studio works together with ZEBARBAR to tell new stories in a super-diverse society. The connecting power of stories and theatre colours the palette of imagination in the city.

Yamina is eight years old and dislikes birthday parties. When her grandmother Zohra turns 70, her mother Fadila throws her a surprise party. But grandma Zohra is not a party animal at all and the party turns into a big fiasco. Yamina wonders why grandma Zohra, like herself, doesn't like parties. Together, they go on a journey through grandma Zohra's memories, looking for the answer. Memories of Algeria where grandma Zohra was born, of trees full of olives, of Bakri the donkey and of grandma Zohra's journey to Belgium.

Zebarbar touches on a beautiful and sensitive theme: the secrets of grandparents and the special bond that exists between grandchildren and their grandparents. In February 2021, an online version of the play was performed in the libraries of Brussels and it turned out that the theme had touched all the children. The conversations afterwards were lively and intense. Many children from migrant backgrounds have to deal with a rupture in their family history: grandparents who left everything behind and had to build a new life in unfamiliar surroundings. Every family has its own fracture or trauma, and every family deals with this differently.

De Studio works together with ZEBARBAR to tell new stories in a super-diverse society. The connecting power of stories and theatre colours the palette of imagination in the city.

Yamina is eight years old and dislikes birthday parties. When her grandmother Zohra turns 70, her mother Fadila throws her a surprise party. But grandma Zohra is not a party animal at all and the party turns into a big fiasco. Yamina wonders why grandma Zohra, like herself, doesn't like parties. Together, they go on a journey through grandma Zohra's memories, looking for the answer. Memories of Algeria where grandma Zohra was born, of trees full of olives, of Bakri the donkey and of grandma Zohra's journey to Belgium.

Zebarbar touches on a beautiful and sensitive theme: the secrets of grandparents and the special bond that exists between grandchildren and their grandparents. In February 2021, an online version of the play was performed in the libraries of Brussels and it turned out that the theme had touched all the children. The conversations afterwards were lively and intense. Many children from migrant backgrounds have to deal with a rupture in their family history: grandparents who left everything behind and had to build a new life in unfamiliar surroundings. Every family has its own fracture or trauma, and every family deals with this differently.

De Studio works together with ZEBARBAR to tell new stories in a super-diverse society. The connecting power of stories and theatre colours the palette of imagination in the city.

A performance without scenery and without text. With pantomime as a starting point. (Yes, pantomime. That art form that urgently needs an update.)

Children play in a pantomimic way every day. They devour imaginary plates of pasta. They lead invisible armies of up to a thousand soldiers across the coffee table. They defeat monsters hiding under the bed. Because in pantomime anything is possible! The largest long-haired mammoth could be standing in the room.

But can pantomime work in a contemporary way? And how can it be used meaningfully, as a statement today? And can we give children that little push to keep playing invisibly?

Wanda Eyckerman and Katrien Pierlet went looking for answers to these questions. Because the fact that you can depict anything with nothing is an incredible strength in today's over-stimulated world. Expect a performance without decor, sparse in words, rich in images. Images that are not there, but that you do see. A call to play, and to do so freely. The encouragement to keep looking at something that is not there.

A performance without scenery and without text. With pantomime as a starting point. (Yes, pantomime. That art form that urgently needs an update.)

Children play in a pantomimic way every day. They devour imaginary plates of pasta. They lead invisible armies of up to a thousand soldiers across the coffee table. They defeat monsters hiding under the bed. Because in pantomime anything is possible! The largest long-haired mammoth could be standing in the room.

But can pantomime work in a contemporary way? And how can it be used meaningfully, as a statement today? And can we give children that little push to keep playing invisibly?

Wanda Eyckerman and Katrien Pierlet went looking for answers to these questions. Because the fact that you can depict anything with nothing is an incredible strength in today's over-stimulated world. Expect a performance without decor, sparse in words, rich in images. Images that are not there, but that you do see. A call to play, and to do so freely. The encouragement to keep looking at something that is not there.

A performance without scenery and without text. With pantomime as a starting point. (Yes, pantomime. That art form that urgently needs an update.)

Children play in a pantomimic way every day. They devour imaginary plates of pasta. They lead invisible armies of up to a thousand soldiers across the coffee table. They defeat monsters hiding under the bed. Because in pantomime anything is possible! The largest long-haired mammoth could be standing in the room.

But can pantomime work in a contemporary way? And how can it be used meaningfully, as a statement today? And can we give children that little push to keep playing invisibly?

Wanda Eyckerman and Katrien Pierlet went looking for answers to these questions. Because the fact that you can depict anything with nothing is an incredible strength in today's over-stimulated world. Expect a performance without decor, sparse in words, rich in images. Images that are not there, but that you do see. A call to play, and to do so freely. The encouragement to keep looking at something that is not there.