1. Tell us how you started Cairo Fest Budapest.
Seventeen years ago, during my second visit to Cairo, I had the chance to experience the first Nile Group Festival, which was a revelatory moment for me. The vibrant atmosphere of
an international event was not only exhilarating but also profoundly inspiring. It reshaped my approach to dance and deepened my connection to Egyptian culture. That summer, I had the privilege of taking my first classes with Lubna Emam. Her art illuminated new dimensions of dance for me and I was passionate to share this newfound understanding with my
community.
In addition to Lubna Emam, I met Ahmed Refaat that year, whose innovative approach to dance and creativity further fueled my desire to bring these artists to Hungary. Initially, my vision was quite modest—a workshop weekend featuring my favorite teachers. I didn’t plan to create a festival. But the response was overwhelmingly positive, and what began as a small event blossomed into a larger festival later. As our audience grew and became more international, I began to expand the event, adding more days and instructors to enrich the festival’s offerings. The name “Cairo Fest Budapest” reflects my personal journey and the intense, art-filled atmosphere that inspired its creation. I’m thrilled that both Lubna Emam and Ahmed Refaat will be joining us for our fifteenth anniversary, symbolizing the festival’s enduring legacy.
2. What has been your biggest challenge with running a festival?
One of the most significant was the rapid growth of the event. As the festival expanded from
year to year, it began to feel overwhelming. I found myself struggling to manage the scale of
the event, with both mental and emotional pressures. I have perfectionist tendencies and oh
they were tested, coordinating a complex event involving a lot of people and elements. I
constantly feared what if I can’t make everyone happy, which we know is an impossible task
to start with. Yet that is still one of my main drives. I want people to feel inspired and
appreciated, and safe. It’s such a huge investment of energy and money and trust on their
side, I want them to feel they got everything they came for and I gave everything I could.
However many things are not under my control, like the chemistry within the artist team for
example. That is why I am very specific and careful about choosing who I work with. I’ve
learned that while it’s impossible to please everyone, finding a balance between personal
and external expectations is crucial. Also, managing finances and time effectively remains a
challenge. Setting boundaries and accepting limitations are areas where I need to continue
to grow, and these lessons have been vital in my personal well-being and the festival’s
success.
3. How do you choose your artists and continue to innovate every year?
Choosing artists for the festival is a detailed process that I put a lot of focus on. I look for
artists who possess some kind of artistic excellence, creativity, and a deep passion for their
craft. It’s essential that they are not only skilled performers but also engaging and prepared
teachers who can inspire the participants. My selections are based on personal experiences
but I also value feedback from the festival community that seems to trust my intuitions and
experience, and I do trust theirs. There are many artists who are returning to the festival
several times and there are new guests each year too.
I aim for diversity in the artist lineup, of cultures, genres, and backgrounds, even age and
gender. With this approach I hope to enrich the festival experience and support an inclusive
and dynamic environment. Through my own touring and organizing experiences, I’ve learned that the chemistry between artists and with the organizing team can significantly impact the event’s success. It’s an industry of art and entertainment, hence it’s personal, sensitive, feeling respected and appreciated are very important for everyone involved. It’s also a delicate balance of professionalism, work ethics, and personal compatibility. It’s not easy as we are coming from different cultural and work backgrounds, but I think by now I have a quite refined radar about what will work and what won’t work for the community of my festival or for me.
About innovations, they come from the interactions and inspirations that occur during the
festival, too. I aim to introduce new ideas and formats also because I can get bored of
repetitive patterns myself, as an artist and organizer too. I need to keep moving, keep
creating, asking new questions and trying out new ideas, and encouraging others to do the
same, this is the kind of work I enjoy doing.
4. How do you ensure attendance?
Attendance can be quite unpredictable, we did struggle sometimes, especially after COVID, and given Hungary’s sensitive economic backdrop, which affects local participation numbers.
But the festival has built a loyal base of regular participants who appreciate its unique, artistic atmosphere. We are grateful for them, and their continued support and the rising curiosity about the festival’s boutique style significantly contribute to its success. As well as the artist team each year, of course, that is always truly inspiring, not only professionally but on a personal level too.
Feedbacks help me understand what people enjoy and what improvements they might seek.
I work to create an event that resonates with both returning and new attendees and artists by
making them feel comfortable and delivering on our promises. I’m also offering support when it’s needed such as payment plans, discounts, scholarships, and participants seem to take advantage of them. We could always welcome more attendants of course – however, the actual size of the festival is really perfect for an intimate, but still very colorful boutique event.
5. What would you recommend to other festival/event organizers?
That is not an easy question, everyone has their own method of organizing, it varies
according to countries, traditions, goals, personalities. There is not only one good way to do
it – I keep trying, then failing, then succeeding, then failing again, and so I learn. From my
own experiences, do it only if you love it, if you really really love it, all of it, and are ready to
make sacrifices, some compromises and work really really hard. I also believe it’s important
to have a „why”, a drive, a vision, and wanting to inspire and to support people on their paths should be one of it. Don’t just inherit the frames and limitations, keep creating. Be aware of the power of the opportunities that people put in your hands, and use it for doing something good. Know that it’s all about energy, be careful about what you let in and what you create.
Never stop trying to figure out how you can give back to the culture, how you can help native voices to be heard. And at the end of the day you are creating a platform of art and
connections and that is so beautiful, try to remember and enjoy it under the rough
circumstances too. OK, that ended up like a lot of advices!
6. Do you feel that running a large event takes away from your personal artistic path?
Yes, absolutely, it takes away a significant amount of creative and emotional energy from my
personal artistic path. On the other hand, the festival also provides motivation and inspiration for me. It offers a platform for exploring new ideas and connecting with talented and open-minded people, which enriches my own artistic journey in a way as well. So, as much as it divides my focus, the experiences I gain from organizing the festival contribute to my personal and professional growth and creativity in many ways.
7. What do you enjoy about running the event?
Oh, so many things, I could write a book about it! First of all, the amazing people it brings
together. There’s an immense joy in witnessing the positive impact of the festival on them. I
love making people happy and facilitating connections between diverse dancers and
cultures. I love to see how the many little details fall into place mysteriously and bring a smile
to others’ faces. I love to be an audience, to see the soulful performances the participants
bring on stage, to experience a glimpse of the amazing classes the teachers prepare. Just be
a fly on the wall when the daily buzz is happening. Even the feelings of exhaustion or
emptiness after the event are balanced by the overwhelming joy and satisfaction I feel in
retrospect.
8. How much help do you have, if any?
Running a festival is always a collaborative effort. I am fortunate to have a dedicated team
that plays a big role in its success. During the festival, I am supported by a lovely team of
volunteers and staff, who are there for me not only in the workflow but also as emotional
support and that is also so very needed. My two fantastic assistants, Amira and Szilvia, help
with preparations, while Anna, our graphic designer and project manager, contributes to the
festival’s visual aspects. And of course, as all the dancer-organizers I guess, I need and
receive a lot of essential friends and family support.
9. What do you see in the future for festivals in general?
It’s hard to tell, it’s influenced by various factors, including economic conditions and post-
pandemic trends. While large festivals seem to be making a comeback, there’s also a
growing interest in more intimate events and intensives. The impact of online events on in-
person festivals appears to be limited in Europe at the moment. The economic crisis might
still result in some changes, forcing a more reasonable planning from both participant and
organizer side, but that is not necessarily a bad thing.
What I would love to see happening is more creativity and innovations, not only in the image
of an event, but in depth. Challenging the frameworks that were once created and then
somehow never questioned again, offering more possibilities for in depth studies and cultural context. I see festivals continuing to be a lovely opportunity to bring people together, engaging local dancers and promote art and the importance of being part of a community.
10. What can you tell us about the upcoming Cairo Fest!
We will celebrate our 15th anniversary between May 6-11, 2025! For the first time, we’ll introduce a “Forum Day” alongside the regular workshop days. This will feature shorter classes and discussions with experts from various fields such as music, art therapy, theater, etc, aiming to broaden the participants’ artistic horizons.
We’re also extending the festival to include two extra days for Art Projects, Master’s Intensive classes, and tourism. We are hoping this to offer participants a comprehensive six-day experience. We’ll also feature gala shows, a talent show, and a live concert, including performances from both new and returning favorites. The festival will take place in a beautiful music center in downtown Budapest, and we’re thrilled to welcome back Lubna Emam, Ahmed Refaat, Shahrzad, Gulden Fatkulla, Guan Shensong, and Rita, among others. It is set to be a beautiful celebration of art, community, and our beloved festival’s vibrant history.
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