A JetBlue Airways Airbus A320-232 takes off from the Tampa International Airport in Florida on May 15, 2014. Two bodies were found in the landing gear compartment of a JetBlue plane at Fort Lauderdale-Hollywood International Airport on Monday night, the airline said.
Chris O’Meara/AP
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Chris O’Meara/AP
FORT LAUDERDALE, Fla. — Two bodies were found in the landing gear compartment of a JetBlue aircraft at a South Florida airport, authorities said.
The bodies were located in the wheel well area on Monday night at Fort Lauderdale-Hollywood International Airport, the airline said in a statement to The Associated Press.
They were discovered during a routine post-flight maintenance inspection, JetBlue said.
The aircraft had arrived in Fort Lauderdale shortly after 11 p.m. from John F. Kennedy International Airport in New York.
“At this time, the identities of the individuals and the circumstances surrounding how they accessed the aircraft remain under investigation,” JetBlue’s statement said.
“This is a heartbreaking situation, and we are committed to working closely with authorities to support their efforts to understand how this occurred,” the airline added.
Paramedics declared both of them dead at the scene, the Broward County sheriff’s office said Tuesday. The agency’s homicide and crime scene units are investigating, it said. The individuals’ names were not immediately released.
It appears there was “no involvement of the flight crew or operation of the airplane,” the National Transportation Safety Board said in a statement Tuesday morning. The agency was not investigating, it said.
It’s the second time over the past month that a body has been found in the wheel well of an airplane. In late December, a body was found in the wheel well of a United Airlines plane after it landed in Maui from Chicago.
The airline industry in recent months has also been dealing with unticketed passengers found in cabins.
In November, a Russian national who did not have a ticket boarded a Paris-bound Delta Air Lines flight in New York and was arrested when the plane touched down in France. She had somehow bypassed security to board the flight, authorities said.
Then on Christmas Eve, a passenger without a ticket boarded a Delta Air Lines flight from Seattle to Honolulu. The passenger was discovered while the plane was taxiing for departure, Delta said at the time.
The University of California enrolled a record number of Californians in Fall 2024, while UC Berkeley joined UCLA in bucking national trends at elite institutions that saw declines in new Black and Latino students in the first class since the U.S. Supreme Court struck down affirmative action.
The data, made public Tuesday, came as the nine undergraduate campus system has faced intense ongoing public pressure to take in more Californians and amid speculation over how its racial makeup would fare in a state where public universities and colleges have long been banned from considering race and gender in admissions.
In total, 198,718 Californians were enrolled for the academic year that began in the fall at the system’s undergraduate campuses that stretch from Davis to San Diego. California residents made up 84.2% of 236,070 undergraduates, compared to 83.5% the year before.
Among those were 60,644 first-year and transfer students from the state. The number of California residents in that category increased at six campuses. UC San Diego had the biggest jump, increasing from 8,436 to 8,907.
“The University of California is committed to expanding access and opportunity, helping our state’s brightest students from all backgrounds realize the value and promise of a UC degree,” UC President Michael V. Drake said in a statement. “These enrollment figures reflect the state’s investment in California students and the dedication of our staff, faculty and campus leaders to providing a world-class education.”
Three campuses, however, saw declines in California enrollment. At Irvine, first-year and transfer Californian undergraduates declined from 7,848 to 7,541. In Riverside, the decrease was from 6,390 to 6,371. At Merced, the drop was from 2,610 to 2,283. Despite the decline, Merced, the newest UC campus, draws heavily from Southern California and has a close to 99% Californian undergraduate population.
The number of out-of-state and international students continued to decrease, making up 37,352 — or 15.8% — of undergraduates, down more than a percentage point from Fall 2023.
In recent years, UC has faced calls to give additional seats to Californians. It began adding more out-of-state students, who pay higher tuition, after funding cuts during the Great Recession. In the 2022-23 and 2023-24 academic years, it responded to criticism by enrolling thousands more California undergraduates. Leaders have indicated desires to continue to add about 3,000 California students each year through 2026-27 under a “compact” with the governor’s office.
Racial diversity
Across UC campuses, total undergraduate enrollment of most races and ethnicities grew. Asian Americans made up the largest group with 36.3% of undergrads. Latinos were second, growing to represent 26.7% systemwide; white students were down slightly at 19.8%. Black students made up 4.8% of enrollment, an increase of 494 to 11,257. The share of Native Americans was up slightly at 0.6% and the number of Pacific Islanders remained roughly the same, 0.2%.
Racial and ethnic groups of first-year classes and transfers also showed increases among Asian American, Black and Native American students. The number of Latino first-year and transfer students decreased slightly — 19,504 to 19,418 — as did white students, from 14,305 to 14,172.
The increase in newly enrolled Black students — both first-year and transfers totaled 3,532, up from 3,412 — was notable as it defied a trend seen at many elite U.S. campuses, where the number of Black first-year students declined after the Supreme Court ruled in 2023 that affirmative action in college admissions was unconstitutional.
U.S. students who enrolled last fall were are the first to be affected by the decision, which matters only at a small number of the most selective American universities where admissions are highly competitive.
Because the two most selective UC campuses, UCLA and Berkeley, tend to compete with elite private and public universities, their admission policies and rates are often compared.
At Berkeley, with an 11% admission rate, new Black students increased by seven people in the fall to a total of 400, or 4.4% of their class. Asian American students dipped by 17 to 3,698, or 41.1% of first-years. Latino students decreased by 55 to 1,971, although their share of the class grew to 21.9%.
According to final data, UCLA enrolled 33 more new Black students in 2024 compared to the year earlier, for a total of 717, or 6.9% of first-year and transfer enrollment. The number of Asian Americans grew by 37 to 3,523, representing 33.7% of new arrivals. At 2,584, Latinos grew by 96 students and made up 24.7% of first-year and transfer students. UCLA had a 9% admission rate.
At 37 of the top U.S. universities and colleges that have posted fall 2024 enrollment data, 30 said there were declines in Black students and 23 saw drops in Latino students, according a tracker by the nonpartisan, nonprofit educational group Education Reform Now.
The number of Black students enrolled at Johns Hopkins University dipped by 66.1% while Latinos declined by 51.2% last fall compared to the average in the prior two years. The same groups decreased at MIT by 64.3% and 26.7%, respectively, and at Stanford by 37.5% and 11.8%, in the same periods.
Black student enrollment also declined at Pomona College, USC and Harvard while Latino enrollment grew. At Yale and Northwestern, Black and Latino student enrollment grew in last fall’s new classes.
Pell Grants
Tuesday’s data also showed an increase for the second-year in the number of low-income UC students. Students receiving federal Pell Grants had declined over multiple years until 2023. In 2024, 7,180 more students received the grant for a for a total of 85,772 system-wide.
Pell Grants do not have to be repaid and are given to students who come from families with among the lowest incomes or ability to pay for college. In 2024-25, the maximum Pell Grant amount is $7,395.
Han Mi Yoon-Wu, associate vice provost for Systemwide Undergraduate Admissions, said in a statement that the enrollment data show there are many avenues to securing a spot at UC.
“The students behind these numbers come from all corners of California and are proof that there are many paths to a UC education,” she said. “The University of California is committed to making UC accessible to the best students.”
Nvidia is expanding its GeForce Now game streaming service to more platforms, including the Meta Quest 3 and 3S, Pico, and, yes, even the Apple Vision Pro.
On Tuesday, Nvidia announced that those with select VR headset models will soon be able to stream games directly to their devices. The Apple Vision Pro was among the supported models.
It’s worth noting that this doesn’t mean you’ll be able to stream VR games. Instead, you’ll stream the games in an Apple Vision Pro Environment.
This means being able to play your favorite games on a simulated 100-foot screen. To do so, you’ll need a GeForce Now account and to point your browser to the service.
GeForce Now offers multiple subscription tiers. A free, ad-supported tier allows you to try out the service with no monetary commitment. From there, you can pay for a Performance tier at $9.99 per month or $49.99 for six months or the Ultimate tier at $19.99 per month or $99.99 for six months.
Higher subscription tiers include additional benefits, such as access to more games, longer session lengths, and priority queuing. Additionally, players will stream from better-equipped rigs.
There’s no official start date for the feature, though Nvidia says that players will be able to stream games to their headsets when the newest app update, version 2.0.70, starts rolling out later in January.
While it has been possible to play GeForce Now titles on macOS since 2021, GeForce Now first rolled out native support for Apple Silicon Macs in April 2022.
The undefeated Russian bruiser improved to 19-0 by turning away former bantamweight champion, Aljamain Sterling, as part of the UFC 310 pay-per-view (PPV) event last month in Las Vegas and is currently waiting for matchmakers to book his next assignment.
“To be honest, it’s not easy to even understand what’s going on,” the No. 4-ranked Evloev told MMA Fighting. “Because Max [Holloway] said he will not come back to featherweight again. So Ilia’s talking that he’s moving up, also, especially after my fight. I don’t know what’s going on. For me, it doesn’t matter who will be my next opponent.”
“Even if the champion moves up, he will leave the title,” the 30 year-old Evloev continued. “I will get the title and then I will follow him. Lightweight is not too far for me. Even if he moves up, I will take the belt first because this is my first goal. So then I will go after him, even if he goes to middleweight. It doesn’t matter. He’s not a big guy. I don’t need to cut the weight to beat this guy. I need his head on my list.”
Tom Holland and Zendaya quickly became one of Gen-Z’s “It” couples after co-starring together in the Marvel Cinematic Universe’s Spider-Man movies. As their characters Peter Parker and M.J.’s romance unfolded on screen, fans noticed that Tom and Zendaya’s off-screen relationship was changing in real time. Now that the world is aware that they’re together, the duo has made it clear that they want to protect their relationship from unwanted attention.
“Our relationship is something that we are incredibly protective of and we want to keep as sacred as possible,” Tom told The Hollywood Reporter in June 2023. “We don’t think that we owe it to anyone, it’s our thing, and it has nothing to do with our careers.”
From playing on-screen lovers to a real-life proposal? Are the engagement rumors true? Look through Zendaya and Tom’s full relationship timeline below to find out.
2016
Zendaya and Tom first met in 2016 when she auditioned for the role of M.J. in Spider Man: Homecoming. After she was cast, the two quickly became friends once they bonded on set.
After the first Spider-Man film premiered, the Cherry actor and the Greatest Showman actress were seen attending several public events together to promote their MCU movie. During their press tour, the best buds were always smiling and enjoying each other’s company alongside their other co-stars.
In 2017, PEOPLE reported that Tom and Zendaya were secretly dating and vacationed together, which they both vehemently denied.
“Wait wait … my favorite is when it says we go on vacations together HA! I haven’t been on a vacation in years. Hbu @TomHolland1996???” Zendaya tweeted that year, which Tom responded by writing, “Does the press tour count?”
Later that year, Zendaya clarified to Variety that she was not dating Tom. “We are friends,” she noted. “He’s a great dude. He’s literally one of my best friends. This past how many months we’ve had to do press tours together. There’s very few people that will understand what that’s like at 20 years old
2018
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Throughout 2018, Tom and Zendaya were occasionally seen on social media sending supportive comments to each other. They also, however, jokingly bantered online, proving that their friendship was going strong.
2019
Spider-Man: Far From Home premiered, and fans saw the pair share their first on-screen kiss together. Zendaya was reportedly romantically linked to her Euphoria co-star Jacob Elordi, which put romance rumors with Tom to rest for a while.
2020
Tom dated British actress Nadia Parkes for a brief time in 2020, even including her on his Instagram account. It’s unclear when things between them fizzled out.
2021
In July 2021, photos surfaced online capturing Tom and Zendaya sharing a kiss while on a drive throughout L.A. Two months later, the pair decided to make their romance Instagram official when Tom posted a sweet birthday tribute for his girlfriend, in which he famously called her, “My M.J.”
In November of that year, Tom spoke out against the photos of him and Zendaya kissing, which were taken without their knowledge. During his interview with GQ, the Crowded Room star noted, “One of the downsides of our fame is that privacy isn’t really in our control anymore, and a moment that you think is between two people that love each other very much is now a moment that is shared with the entire world. I’ve always been really adamant to keep my private life private, because I share so much of my life with the world anyway. We sort of felt robbed of our privacy.”
Zendaya agreed with her boyfriend while speaking with the publication. While reacting to the news of the viral photos, she called it “quite strange and weird and confusing and invasive.”
“The equal sentiment [we both share] is just that when you really love and care about somebody, some moments or things, you wish were your own,” the former Disney Channel star said. “I think loving someone is a sacred thing and a special thing and something that you want to deal with and go through and experience and enjoy amongst the two people that love each other.”
2022
Eric Charbonneau/Shutterstock
Throughout 2022, the pair were seen in different corners of the world together, from the U.S. to England. However, after a report falsely claimed that Tom and Zendaya bought a house together in London, the Impossible actor laughed it off during an interview on Live With Kelly and Ryan.
“I’ve had so many people call me up because, apparently, I bought a new house in South London? Which is completely false!” he said. “I didn’t buy a new house. I’m like, ‘Wow, what a surprise, I wonder when I’ll get the keys.’”
While speaking with The Hollywood Reporter in June 2023, Tom gave fans insight into Zendaya’s Spider-Man: Homecoming audition.
“I was so blown away by how unique her performance was,” he noted. “And also just so interested in the fact that as soon as she left the room, there was a unanimous decision that she was our M.J. … And obviously, I’m very happy that she came in and tested that day. I’m sure you can guess why.”
Tom also said that Zendaya is “wonderful to work with” and is “arguably the most talented person I’ve ever met.”
January 2025
On January 5, 2025, Zendaya attended the Golden Globes in a glamorous orange gown and matching heels, but what caught the most attention was her jewelry—particularly a diamond ring worn on her wedding finger, sparking engagement rumors.
According to the LA Times, when a reporter asked her about the ring and a possible engagement, the outlet stated her response was, “She kept showing her ring, smiled coyly, and shrugged her shoulders mysteriously.”
Shortly after, People and TMZ reported that Tom proposed to Zendaya sometime in December 2024 during the winter holidays. According to TMZ, the on-screen superhero asked Zendaya’s father, Kazembe Ajamu Coleman, for his blessing to marry her.
After Zac Efron was spotted on the set of his upcoming film The Iron Claw as Kevin Von Erich, fans expressed strong opinions on social media.
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In the photographs that were made public, the former star of High School Musical wore a brown wig with short bangs and wavy hair that extended straight over his ears. He also sported a tight gray cut-off crew neck tank, ripped denim shorts, and, most obviously, a brown wig.
After the photo went viral, fans on Twitter had a field day making comparisons between him and the Shrek antagonist Lord Farquaad, a figure with short black hair with bangs and was diminutive in stature.
One of Efron’s fans remarked that he “looks like if Lord Farquaad hit the weight room,” referring to the muscular development that the actor underwent to more accurately portray his wrestling role.
Someone suggested changing it to the 21st century while still referring to Lord Farquaad. Another user joked, “I see Lord Farquaad has been keeping up with his workouts.” According to a tweet from a user, Zac Efron will not be playing the role of Lord Farquaad’s lost brother.
The good lord Farquaad has been getting his glow on! An additional voice was heard. Someone else made a joke about the stereotypical appearance of a lady living in Brooklyn, New York City, and compared it to the offspring of a relationship between a Brooklyn art girl and Lord Farquaad from the movie Shrek.
One more enthusiast said that the character “actually looks like lord Farquaad on steroids.” On the other hand, Efron didn’t seem to be too disturbed by the resemblance, and he hasn’t commented on the social media hysteria either.
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In September of last year, the actor from Neighbors addressed a rumor that had been spreading about one of his physical characteristics, namely his jaw.
A tourist in Paris learned why you shouldn’t get a popular French street food item the hard way.
Mark Roberts, an American visiting France’s capital city, was by the Eiffel Tower when he spotted a stand selling crepes. Having realised he hadn’t had one yet during his time in Paris, he decided to get one but this turned out to be a big regret. He is now telling people what Paris street food to avoid after his experience.
After indulging in the dessert, he saw the man who served him his crepe walk past him holding plastic bags containing the crepe ingredients. Much to his disgust, he watched the vendor store the bags in the sewer and Mark shared a video on TikTok to tell the tale.
In the video he said: “Why did no one warn me not to eat the crepes in Paris before I came to Paris? Because yesterday I ate a crepe in Paris and I almost instantaneously regretted it.”
He explained that “everything was normal at first” and he decided to take a trip to the Eiffel Tower at night because he “heard that it sparkles”. When he got there he was pleased to find out that this was true and while he was there he saw a crepe stand and decided to buy one.
The American tourist went up to the stand and ordered a Nutella crepe with strawberries and bananas and paid “way too much for it”. The crepe cost 15 Euros but as he was at the Eiffel Tower he could “kind of justify” the price and he found the man making the crepe “super nice and friendly”.
Mark continued: “None the less he gets done making my crepe and he hands it to me and this thing just looks beautiful, I’m ready to eat it. Now I like to sit down when I eat so I needed to find a bench and near the Eiffel Tower it’s super crowded so all the benches were filled so I had to walk a bit to find a bench that I could sit on but eventually I found an empty bench and I started eating my crepe and it was in fact delicious.
“As I’m sitting there having the last bites of my crepe I see the dude that served me the crepe walk right in front of me and he’s holding these clear plastic bags of something but I can’t tell what it is at first but I look a little closer and I realise one of the bags had crepe batter in it and another bag had chopped fruit.
“I’m just thinking that he’s like taking the leftovers from his business that day. Update: It was not. Then I see this dude walk up the path a little bit more and then he looks around to see if anybody’s looking and then he opens a manhole cover and proceeds to put the bag in the sewer and the worst part was before I realised what was happening I had already taken my last bite of the crepe.”
He then looked this up online afterwards and found that street vendors storing their stuff in the sewer is a thing in Paris. Mark’s TikTok video has garnered 23.9 million views, 2.3 million likes and 12,000 comments.
The first comment under the video is “sewer crepe was my first thought” and the second is “I heard about sewer crepes a while back lol”. TikTok users who saw Mark’s video appeared to already be aware of this as another one claimed: “They specifically say not to buy anything near the Eiffel Tower.”
Some people, however, didn’t know about ‘sewer crepes’ before watching Mark’s TikTok video, One user said: “The more I find out about Paris the more traumatised I get.”
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Eating healthy doesn’t have to be time-consuming or complicated! With these quick and easy meals, you can enjoy nutritious dishes without spending hours in the kitchen.
Making Healthy Meals for Dinner
I’m all about making healthy meals that are both delicious and easy to prepare! These recipes are packed with flavor and come together in no time. Whether you’re looking for a light and refreshing dish or something hearty and satisfying, I’ve got you covered! Check out all of my other meal plans here.
Vegetable Detox Soup
Vegetable Detox Soup is an easy one pot recipe perfect for getting back on track for the new year! Best of all, it’s comforting, flavorful and packed with lots of healthy vegetables.
Blackened cajun shrimp tacos with Avocado salsa are made with so many fresh ingredients and the blackened cajun shrimp takes it to the next level with flavor! These are some healthy and delicious tacos you have got to try!
A lightened up garlic alfredo sauce that is delicious and creamy and coats the pasta perfectly! Half of the calories and you won’t even be able to tell!
This healthy meal plan is just what you need to get your week started. It provides five meals that will feed 4-6 (depending on if you are feeding adults or kids), AND it includes a shopping list! With fresh new ideas and easy-to-make recipes, having a weekly menu plan will be a lifesaver.
Why Should I Meal Plan?
If you haven’t tried planning your meals ahead of time, this is going to be a game-changer for you! Here’s why I swear by meal planning:
Time Saver: No more 4:00 PM panic about dinner. With a menu plan, you know exactly what’s on the menu, what you need, and how long it takes to cook.
Money Saver: Meal planning works wonders for your wallet. When you organize your shopping list for the week, then you’ll easily spot opportunities to buy in bulk and creatively repurpose leftovers for future meals. It’s a clever approach that keeps more money in your pocket.
Bye-Bye Takeout: When your dinners are planned ahead of time and groceries are stocked, you’re less likely to hit the drive-thru. Because you are cooking at home, that means more savings and healthier eating. Win-win!
More Delicious Healthy Recipes
My weekly meal plans always include a printable shopping list that is measured out and ready to go. It makes things so easy!
Storing Leftovers for Meal Planning
I only meal plan Monday-Friday because we sometimes have plans over the weekend or I have leftovers that we can have to finish off the week! If you do have leftovers, make sure to store them properly in an airtight container in your fridge.
If your only experience with salisbury steak is from an old school TV dinner or greasy spoon diner, it’s time to get a new perspective on it. My version features melt-in-your mouth beef smothered and covered in sauteed onions and gravy.
Not really a steak at all, Salisbury steak is simply ground beef formed to look like a steak. The good part is you don’t have to worry about any bones or grizzle in it, each bite is tender and juicy like a steak, and it soaks up the juices and gravy really well.
My friend Paul actually tipped me off to Salisbury steak because I had always thought it was just a low quality version of a steak that I only remembered from TV dinners growing up as a kid. Not the best introduction to a dish that can be super tasty when prepared the right way. After giving it a try I had to come up with my own version, one that was completely Paleo friendly.
The ground beef of course didn’t have to be swapped out, but we had to lose the bread crumbs that show up in most recipes. It’s funny just how much you can get rid of without changing the overall flavor of the meal when you update a traditional recipe.
Since Salisbury steak is often served up next to a side of mashed potatoes, it’s best to serve this with a side of cauliflower mash so you get the same effect. There’s something about the smoothness of the mashed cauliflower that goes nicely with the tenderness of the steak, it just works so why mess with a classic?
But of course you don’t have to go with cauliflower mash, and this dish lends itself well to just about any veggie side you can dream up.
One thing you’re sure to love about this meal is how easy it is to get it onto the table. It’s one of those meals where you don’t have to worry too much about getting it right, because it’s hard to get it wrong. If you overcook the steak it still tastes great, unlike an actual steak where if you miss your preferred doneness you might not enjoy it as much.
If you’re like me you’re always on the lookout for easy-to-make meals that everyone can agree on. The beefy nature of this meal, the way that it’s a cross between a hamburger and a steak, means that kids and adults like it just about the same. If you’re serving it up to the kids try skipping the sauteed onions and gravy and serving it up with some Paleo ketchup, meatloaf style.
This has made it into our regular weekly rotation and now it’s Salisbury Sundays unless something else is going on. I hope you enjoy it as much as our family does.
Geneva, a city renowned for its elegance and cosmopolitan spirit, is home to the Grand Théâtre de Genève, a venue that epitomizes artistic excellence. With its neoclassical architecture, gilded interiors, and state-of-the-art facilities, the theatre has become one of Europe’s premier cultural institutions. Hosting operas, ballets, and theatrical performances that span genres and geographies, the Grand Théâtre is more than a stage—it is a crucible for storytelling that transcends boundaries. Stepping into its majestic hall is an experience, where anticipation hangs in the air, and a shared love of the arts unites the audience.
Last night, the Grand Théâtre hosted a world premiere that left audiences spellbound: Ihsane, the latest creation by Sidi Larbi Cherkaoui. Widely regarded as one of the most innovative choreographers of our time, Cherkaoui’s works have consistently pushed the boundaries of contemporary dance. With Ihsane, he brings an intensely personal narrative to the stage, weaving a tapestry of themes that resonate deeply with the human condition—loss, identity, and reconciliation.
This ballet, a co-production with prestigious institutions like Eastman, Théâtre du Châtelet, and Tanz Köln, reflects Cherkaoui’s artistry’s global appeal. The choice to premiere such a groundbreaking work in Geneva was as deliberate as it was fitting. The city’s cultural openness and commitment to fostering cross-cultural dialogue align perfectly with the essence of Ihsane.
The title itself carries profound significance. In Arabic, Ihsane represents an ideal of kindness, compassion, and spiritual communion. It’s a term that captures the essence of Cherkaoui’s narrative and the spirit of the performance—a poignant meditation on human connection and resilience. The ballet draws from the choreographer’s journey as he reflects on the loss of his father and the broader complexities of identity. Through movement, music, and visuals, Ihsane transcends its specific inspirations to become a universal tale, inviting audiences to reflect on their relationships with memory, heritage, and belonging.
As the lights dimmed and the first strains of live music filled the air, the audience was drawn into a world where cultures converged and emotions danced harmoniously. For nearly 90 minutes, the stage became a living canvas painted with the hues of Cherkaoui’s imagination. From the fluid grace of the dancers to the haunting melodies performed by world-class musicians, every element of the performance worked in concert to create an experience that was as intellectually stimulating as it was emotionally stirring.
This article explores the many facets of Ihsane—its creator’s remarkable journey, the thematic depth of the ballet, and the sheer artistry that made it an unforgettable experience. Last night’s performance was more than a celebration of dance; it was a testament to the power of art to connect, heal, and illuminate the beauty of our shared humanity.
Sidi Larbi Cherkaoui is a name that has come to define a generation of choreographers, celebrated for his ability to bridge cultures, artistic forms, and human experiences. Born in Antwerp in 1976 to a Moroccan father and a Flemish mother, Cherkaoui’s life has been a journey of dualities. His upbringing was marked by his Moroccan heritage and the Western European culture surrounding him, creating a unique perspective that would later shape his artistic vision.
From a young age, Cherkaoui was deeply fascinated with movement and storytelling. His early exposure to diverse dance forms, including voguing, hip-hop, and African dance, gave him a rich vocabulary of movement that he began to refine as a young adult. In his late teens, he entered the prestigious P.A.R.T.S. school in Brussels, founded by Anne Teresa De Keersmaeker, where he immersed himself in contemporary dance techniques and the works of legendary choreographers like William Forsythe and Pina Bausch. These formative years shaped his choreographic style, which blends rigorous technique with emotional resonance.
Cherkaoui’s career took off in the late 1990s when he collaborated with renowned companies like Les Ballets C de la B, creating Rien de Rien (2000) and Foi (2003). These works established his reputation as a boundary-pushing artist who could use dance to explore philosophical and cultural questions. His collaborations with Akram Khan (Zero Degrees) and Damien Jalet (Babel(words)) further expanded his reach, earning him international acclaim and prestigious awards like the Laurence Olivier Award for Best New Dance Production.
What distinguishes Cherkaoui from his contemporaries is his deeply reflective and interdisciplinary approach to choreography. For him, dance is not just movement; it is a language that conveys the complexities of identity, belonging, and human connection. His works often draw on his own experiences as a child of immigrant parents, as well as his identity as a queer Arab artist. These perspectives infuse his choreography with a rare authenticity, making his pieces both intensely personal and universally relatable.
In 2010, Cherkaoui founded Eastman, a dance company based in Antwerp, which became the platform for many of his most celebrated works. With Eastman, he created productions that transcended the traditional confines of contemporary dance, incorporating elements of theatre, visual art, and live music. Pieces like Sutra (2008), which featured Shaolin monks, and Puz/zle (2012), which explored the fragmentation and reconstruction of identity, showcased his ability to synthesize seemingly disparate influences into cohesive and deeply affecting works.
Cherkaoui’s appointment as the artistic director of the Royal Ballet of Flanders in 2015 and later of the Grand Théâtre de Genève in 2022 marked new chapters in his career. These roles allowed him to mentor a new generation of dancers while continuing to develop his artistic voice. His works are as diverse as his influences, ranging from operatic productions to collaborations with pop artists like Beyoncé, for whom he choreographed the iconic Apeshit music video.
In Ihsane, Cherkaoui’s latest creation, all these threads come together in a poignant exploration of identity and memory. The ballet is deeply rooted in his personal history, reflecting on the loss of his father and the enduring impact of his Moroccan heritage. Yet, it also speaks to universal themes, inviting audiences to consider their relationships with their past and their place in a multicultural world. Through Ihsane, Cherkaoui once again proves that he is not just a choreographer but a storyteller, philosopher, and visionary artist whose work resonates across borders and generations.
Ihsane – A Journey of Memory, Culture, and Artistry
At its heart, Ihsane is a masterful convergence of dance, music, and visual art, brought to life by Sidi Larbi Cherkaoui’s vision and the collective brilliance of a multidisciplinary team. The ballet is a profoundly personal exploration of loss, identity, and reconciliation, but it also transcends its specific inspirations to resonate universally. Through its 85-minute runtime, the audience is invited into a world where every movement, note, and image tells a story of interconnectedness.
The title, Ihsane, is derived from the Arabic concept of excellence and compassion, reflecting a spiritual ideal of goodness and selflessness. For Cherkaoui, this word encapsulates the essence of the work: a poetic meditation on the bonds that connect us, to our pasts, and our shared humanity. These themes are central to the narrative and woven into every aspect of the production.
The choreography is a testament to Cherkaoui’s genius. Known for his fluid, almost liquid style, Cherkaoui’s movements evoke the human spirit’s fragility and resilience. The dancers—22 from the Ballet du Grand Théâtre de Genève and four from Eastman—perform with breathtaking precision and emotional depth. Their bodies flow seamlessly across the stage, embodying the tension between tradition and modernity, memory and renewal. Highlights include a duet that symbolizes the father-son relationship, filled with tenderness and longing and an ensemble piece where the dancers form interlocking patterns, symbolizing the threads of shared identity.
The musical score, composed by the Tunisian virtuoso Jasser Haj Youssef, is equally powerful. Played live on stage, the music is an intricate blend of classical Arabic melodies and contemporary elements. Haj Youssef’s mastery of the viola d’amore lends a hauntingly beautiful tone, while the oud, piano, and percussion create a rich tapestry of sound. Vocalists Mohammed el Arabi-Serghini and Fadia Tomb El-Hage deliver spellbinding performances, their voices carrying the weight of centuries of cultural tradition. Whether performing Moroccan spiritual chants or Lebanese-inspired laments, their voices bridge the past and the present, anchoring the ballet in a profoundly emotional and cultural context.
Visually, Ihsane is a feast for the eyes. The scenography by Moroccan artist Amine Amharech transforms the stage into a dreamlike landscape, where elements of the Moroccan desert merge with abstract representations of memory. Projections of shifting sands, starry skies, and intricate geometric patterns evoke a sense of impermanence and timelessness. Amharech’s designs create an immersive environment that draws the audience into Cherkaoui’s inner world.
Costume designer Amine Bendriouich further enhances the visual storytelling with garments inspired by traditional Berber attire. Flowing robes and structured ensembles in hues of saffron, sand, and deep indigo reflect the narrative’s cultural roots while transcending the boundaries of time and place. The costumes become an extension of the dancers’ movements, emphasizing both their individuality and unity.
The lighting, crafted by Fabiana Piccioli, plays a crucial role in shaping the ballet’s atmosphere. Shifting between warm, golden tones and stark, shadowed contrasts, the lighting design mirrors the piece’s emotional journey. At moments of collective harmony, the stage is bathed in light, creating a sense of hope and transcendence. In more reflective moments, the use of shadow and silhouette adds a layer of intimacy and vulnerability.
The production also incorporates video art by Maxime Guislain, whose subtle yet impactful projections add another dimension to the performance. Whether it’s images of an overflowing Moroccan cemetery or abstract patterns that mimic the dancers’ movements, the video art deepens the audience’s connection to the ballet’s themes.
Every element of Ihsane serves a purpose, and together, they create a cohesive and profoundly affecting whole. It is not merely a ballet but a living, breathing work of art that bridges cultures, generations, and emotions. As the final notes of the score linger in the air and the dancers form a circle of light on the stage, the audience is left with a profound sense of connection—both to the performers and their humanity. This is the power of Ihsane: it speaks to us all, inviting us to reflect on who we are, where we come from, and how we move forward.
Why Ihsane is an Extraordinary Ballet
What makes Ihsane such a remarkable piece of art is its ability to weave profound human emotions into a breathtakingly modern yet timeless narrative. At its core, Ihsane is a meditation on grief—deuil—and how it shapes our lives, often in ways we fail to understand fully. In a society that increasingly avoids the pain of loss, Ihsane dares to confront it head-on, not as an end but as a transformation. Sidi Larbi Cherkaoui offers the audience a space to reflect on this often-overlooked human experience, guiding us toward acceptance and reconciliation.
Cherkaoui uses dance to explore grief as both a personal and collective experience. His choreography captures the heaviness of sorrow and the fluidity of healing, showing how these states coexist within us. One particularly poignant moment involves a solo dancer navigating a chaotic ensemble, symbolizing the isolation often felt in mourning. Yet, through connection—embodied by duets and group formations—the dancer is eventually re-integrated, reflecting the resilience of the human spirit.
Beyond grief, Ihsane delves into the relationships between past and future, father and son, and disparate cultures. Cherkaoui’s personal story—his search for the father he lost as a teenager and the fatherland that shaped his identity—serves as the emotional bedrock of the ballet. These profoundly personal themes resonate universally, as we all grapple with heritage, identity, and belonging questions. The ballet becomes a mirror, reflecting the audience’s struggles and triumphs in navigating the intersections of past and present.
Ihsane also challenges contemporary notions of identity, offering a vision of coexistence rooted in diversity. Cherkaoui, as a queer Arab artist, embodies this diversity, and his work celebrates the beauty of blending identities rather than isolating them. The ballet’s music, costumes, and staging are steeped in Moroccan and Arabic influences, offering a luminous portrayal of the Arab world and Islam—one that counters stereotypes and highlights the richness of these cultures.
The spiritual underpinnings of Ihsane are also significant. The Arabic term ihsane refers to an ideal of kindness and moral excellence, often tied to a deep spiritual connection. Cherkaoui infuses this concept into every element of the ballet, from the compassionate movements of the dancers to the harmonious interplay of music and visuals. This spiritual dimension elevates the ballet, transforming it into a meditation on living with intention, kindness, and connection.
The emotional resonance of Ihsane is amplified by its optimistic outlook. While it delves into loss and identity, it ultimately leaves the audience with a sense of hope. Cherkaoui offers a vision of a world where differences do not divide but enrich us, where the past is not a weight but a foundation, and where humanity’s shared experiences connect us in ways that transcend borders.
Finally, Ihsane is extraordinary for its ability to bridge the personal and the universal. Cherkaoui’s exploration of his father-son relationship becomes a vehicle for understanding broader questions of heritage and identity. Similarly, portraying Moroccan and Arab cultures becomes a universal celebration of diversity and humanity. The ballet’s closing moments—a luminous circle formed by the dancers—symbolize this unity, leaving the audience with a profound sense of connection and possibility.
In a world often marked by division and disconnection, Ihsane reminds us of our shared humanity. It challenges us to confront our grief, celebrate our identities, and seek harmony in a world that too often forgets the beauty of coexistence. Through its artful storytelling and emotional depth, Ihsane not only captivates but transforms, making it an extraordinary work that will linger in the hearts and minds of its audience long after the final bow.
Final words: A Triumph of Art and Humanity
With Ihsane, Sidi Larbi Cherkaoui has created a ballet that transcends the boundaries of dance, becoming a profound exploration of identity, grief, and unity. It is a work that connects the profoundly personal with the universal, offering audiences a space to reflect on their journeys while celebrating the rich tapestry of cultures and experiences that shape our world. Cherkaoui’s ability to blend the deeply emotional with the visually stunning and intellectually stimulating solidifies his place as one of the most influential choreographers of our time.
Although the final performance in Geneva has concluded, Ihsane will continue to touch hearts as it tours Europe, with upcoming performances in Cologne, Paris, Luxembourg, and beyond. Each audience will encounter a work that not only entertains but transforms—encouraging reflection on themes that are as timeless as they are urgent.
As I left the Grand Théâtre de Genève last night, I felt overwhelming hope. Ihsane is a tribute to the resilience of the human spirit and a luminous vision of what art can achieve. It reminds us of the threads that connect us across cultures, generations, and histories, weaving a story of shared humanity that is as vital as ever.
Cherkaoui’s Ihsane is such a journey that invites us to look within and beyond, finding beauty and connection in every step.
José Amorim The author sourced the information for luxuryactivist.com. All content is copyrighted, and reproduction rights are not available. Images are for illustration purposes only.
