- 09
- Jan.
- 2025
The performance Freekeh: It’s Been 40 Days Since My Aunt Passed Away, created and directed by Hiba Najem, delves into grief and memory through the lens of culinary theater. Presented at Zoukak on January 9, 10, and 11 at 8 PM, this immersive experience engages with both shared traditions and personal emotions.
In Freekeh: It’s Been 40 Days Since My Aunt Passed Away, Hiba Najem delivers an immersive experience that combines theater, cooking, and memory. Inspired by the traditional forty-day mourning ritual, the performance explores the emotions tied to grief and the evolution of family traditions. Accompanied by Samah Boulmona on the accordion, Freekeh draws audiences into a multisensory journey centered around a symbolic, yet often overlooked, dish.
Lebanese performance artist Hiba Najem is deeply fascinated by the theatricality of everyday rituals and practices. She draws inspiration from daily life and its rhythms to inform her work. “This project is part of my series of culinary performances, and this time, I wanted to talk about my aunt Souad,” Najem explains. “When she passed away, I was traveling. I waited for her arbiin—the fortieth day after her death—to honor her and say goodbye. I wanted to cook her favorite dish, freekeh, and share it with the people who would come for the occasion. But traditions have changed. These days, we prefer ready-made meals or even cold sandwiches with a can of Coca-Cola. Instead of freekeh, I made pizzas that everyone enjoyed. That’s when I decided to cook and share the freekeh I never got to prepare for her arbiin—this time, with the public.”
Cooking takes center stage in the performance, transforming into an act rich with symbolism and emotion. For Najem, preparing freekeh became a way to process her grief and allow herself time to feel. “When my aunt died, I couldn’t cry. I experienced her passing with a lot of distance and unspoken sadness. For her arbiin, I made pizzas, and that’s when the tears finally came. I invite the audience to take the time to feel sad or to embrace their grief—whatever form that takes. Cooking for my aunt’s arbiin gave me the relief I needed, and I hope to offer others the same space for release.”
The performance expands beyond Hiba Najem’s personal story, weaving elements of history, mythology, and cultural traditions into a broader reflection. “Like my two previous culinary theater performances, cooking is central—whether it’s the act of preparing the food, eating it, or incorporating it into the text. I start with personal stories, like those about my aunt, and connect them to mythology, history, and the geographic roots of the dish. The large communal table is there so that the audience can share a meal at the end. Cooking allowed me to release my emotions and accept my sadness. I cooked with sorrow but also with joy. It was a moment when emotions collided and became incredibly intense. Flavors and scents kindle unique memories; they remind us of times and people we’ve lost. These sensory experiences hold a true power of healing.”
The text of the performance, developed after extensive research and two artist residencies, continues to evolve, incorporating diverse inspirations. “The script came after my research and residencies. It’s always evolving, drawing from personal anecdotes like those about my aunt, but also from mythology and even agricultural instructions. The music is another layer of storytelling in this performance. This is the first time I’ve shared the stage with someone else, and it adds a new dimension to the physicality of the piece since we’re working in such a small space. I also try to involve the audience physically by bringing them closer to the action. We sit in proximity to one another.” This closeness, both physical and emotional, creates an intimate experience where cooking becomes a tool for connection, reflection, and healing.
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