Fouad Boussouf    
 Artistic Director
033 6 79 44 99 30   

Administration / production
0033 6 14 97 01 40
0033 1 70 13 38 08

Company Massala
Centre culturel
36 rue Audigeois
94 400 Vitry-sur-Seine


 - 2011

© Mathias Bord

Témoin[s] - 2010

© Etienne Laurent

A Condition - 2011

© Fouad Boussouf


Afflux - 2012

© Fouad Boussouf


















Established by dancer and choreographer Fouad Boussouf in 2010, Massala Dance Company borrows from cultures so diverse as hip-hop, contemporary dance or new circus.

Its artistic creations demonstrate this inclination to blend styles and artistic practices, with a pronounced commitment to share emotions and technical knowledge linked to the medium of personal expression that is dance. 

From its inception, the company has asserted its identity anchored in the Val-de-Marne on the urban outskirts of Paris, where its work benefits from the aid of the Conseil Général du Val-de-Marne and the région Île-de- France. The company also presents its work both on stage and in open air across the French territory and internationally.

Thanks to its choreographic exploration, the company strives to foster:

Artistic Creation

Promoting and developing dance in all its forms based on the creation and dissemination of choreographic works

Cultural Action

Developing key actions on a national level 
Educating the general public concerning dance with regular and temporary actions 
Engaging in social, educational, cultural and athletic actions


Facilitating social advancement through training for amateurs and professionals

Massala is attached to creating regular workshops open to everyone. Teaching is transmitting the passion and know-how that allows each individual to express themselves within respect for the foundations and technique of hip-hop dance, as well as for values such as exchange, rigor, helping each other out and personal effort.


Engaging in job creation



Fouad Boussouf was born in Morocco. He came to France in 1983 and began to practice hip-hop on his own. He took his first jazz class in Romilly-sur-Seine, where he met Nicole Guitton, Ahmed Lahcen, and Wayne Barbaste during training courses. In the early 1990s, he discovered circus arts thanks to workshops offered by The Centre National des Arts du Cirque (National Centre for Circus Arts). He completed his contemporary dance training in Paris. Interested in diverse hip-hop styles, floor, and standing techniques, he perfected his dance.

Along with this dance formation, he got a master’s degree and a DESS (a specialized graduate degree) in sociology at the Université Paris XII in Créteil, where he taught hip-hop seven years. He was also a tutor for the class « Dance and world’s cultures ». Then he provided dance classes in various conservatories in Île-de-France and training courses in France and other countries.

As a dancer, he worked for Ahmed Lahcen, Farid Berki, and Pierre Doussaint.

At the end of his studies, Fouad Boussouf toured the world. He stayed several months in Australia to teach hip-hop at Queensland Ballet in Brisbane and take contemporary and modern dance classes. He joined Trick Nasty Crew and Megagram companies.

He learned a lot from his heterogeneous path and its meetings, so when he came back to France, he created Massala Dance Company. Open-minded, Fouad Boussouf blends the styles and chooses skilled dancers to support his creations. He surprises his audience and questions movement and the relationship with the other.



Afflux (2012)

The barge is the object of an atypical duality, between mechanical paces and an apparent peace of mind. Afflux blends the energy and the virtuosity of the hip-hop dance and a music coming from electro music. Fluctuating between steady and quieter times, Afflux highlights the permanence of the movement, symbolizing water and lifestreams.

À Condition (2011) 

This work for four men addresses the question of the relationship to the other and to oneself. In a stripped and bare space, we feel movements and glances tension. Bodies in search of otherness or self-affirmation, scrutinizing the group, glimpse their own potential. Ubiquitous and rushed into a confrontation, their energy charges the shared space, sustained by the haze of electro-acoustic sounds.

Témoin[s] (2009, re-choreographed in 2010) 

Against the backdrop of a newspaper, this solo, caught between the attaching ground and an oppressing ceiling, demonstrate the everyone's conditioning, the throbbing and confining daily life where we attempt to find our own way. Témoin[s] is a personal adventure, torn between brutal reality and a soothing imagined universe.

Déviation (2008, re-choreographed in 2011)

This outdoors performance of four dancers uses a car and everyday objects of the urban landscape. It reveals other paths to follow across the asphalt. The street is not a regulated and rigid place anymore but a playground made of fluidity and curves.

Zoom (2006)

Both spectator and television viewer, the audience witnesses what it sees and what is intended to be seen. The movie camera expresses itself from an intimate angle, situated as an interface between reality and testimony. The dancer gives free reign to creativity, adopting the camera operator as a partner.