The show
Bande Annonce Spectacle Amanishakhéto Officielle ©
Meeting Amanishakheto is like diving into African History, vibrating with the energy of the Dancehall culture,
being moved by a new writing and an interpretation based on emotions.
These Kandake (Warrior Queens of the Kingdom of Meroe) and these Qors (Sovereigns) aim at reminding you what it means to live fully, to be ecstatic about the strategy of a black woman who knew how to make Meroe the most prosperous kingdom in its area.
A pharaonic decor, bow handling, fights against Augustus’ cohorts who attempted multiple attacks.
Attending "Amanishakheto, the show" awakens our inner strength, our sacred fire; when the
curtain falls, say to yourself that everything is possible. History is written by men and women who simply believed in their ideals.
My humble pen is a feminine view of the world, an ounce
of audacity to combine through Dancehall, the claim to give determination to those watching us and the culmination of hard work,
Isn't this being a modern-day Kandake?
Synopsis
Her Story
Location
The kingdom of Meroe lasted from -270 BC to 320 AD.
Lower Nubia (currently Sudan) known for its gold mines was a rich and prosperous land. The Kushites had to strengthen their military presence considerably and introduce a new form of diplomacy in order to be prepared to deal with all conflicts and new occupants.
Another new feature appeared as early as the first Meroitic reigns :
the increased political role of the women of the royal family, called "Queen-mothers" Kandake.
The succession of this queen is a mystery, however there are artifacts / items that give us an idea of what she must have been like.
It is believed that Amanishakheto (written Amanishakhété in some inscriptions) reigned over Nubia from 10 to 1 BCE, her name has been found on steles as well as that of Amanirenas (her mother), Teriteqas (her brother), Akinidad (her brother, she might have reigned at his side).
"Amanishakheto being sovereign and Kandake, Akinidad being prince"
In addition to the title "Kandake”, she also bore the title of qore,
"sovereign" Amanishakheto notably had an imposing palace renovated at Ouad Ben Naga, not far from Meroe.
It was probably during the reign of Amanishakheto that a reorganization of Lower Nubia was put in place, which was to remain unchanged until the departure of the Roman cohorts in the 3rd century AD.
Although her reign seemed to be an era of peace and prosperity, unlike that of Amanirenas, Amanishakheto maintained the warrior image of her predecessor. It is regrettable that her most important listed monument had been largely destroyed. The queen's pyramid was built on a site where another royal pyramid had stood two centuries earlier.
It rose to a height of over 28 m and dominated the necropolis.
The most emblematic representation of Amanishakheto as a warrior woman appears on the pylon of her funerary chapel in Meroe.
Symbols found in the show
The bow:
-Amanishakheto was represented with a bow on the walls of her funerary chapel.
-"She holds a large bow that perhaps illustrates the military function of some royal princes, the most famous example of which is Akinidad who fought Augustus’ armies"
-"Indeed, the Egyptian province located between Thebes and Aswan bore the name of "Land of the Bow"for a long time"
The Royal Headdress:
-Symbolizing power, it is a diadem from Uraeus; a straightened royal cobra, a symbol of protection, keeps the enemies of the royal family away and guides the deceased pharaohs on their journey to the underworld. It is found in many engravings, such as on the Temple of the Lion in Musawwarat, King Arnekhamani.
Coronation scene:
-"On the reliefs of the southern and northern walls of her funeral chapel, Candace sits majestically, behind her sits a prince who places an hand on his crown in a gesture of legitimacy"
Dancer costume:
- The veils of the costumes represent the wings of Isis, which appear in many engravings.
-Each is decorated with the goddess Mut, found on Amanishakheto’s bracelet (preserved in the Egyptian Museum in Berlin).
The Pyramid:
-The kingdom of Meroe has about 200 pyramids measuring between 6 and 30 meters in height (in the show, 4,50 meters in height by 6 meters in width).
-In 1821, Frédéric Caillaud, a French explorer, drew the Pyramid of Amanishakheto (among others) during his "Voyage to Meroe".
In 1834, the Italian Giuseppe Ferlini destroyed around forty Pyramids including that of
Amanishakheto. "he attacked the highest, including that of Amanishakheto, which he almost completely destroyed."
Candace the one-eyed:
-"Added to Strabo's story that depicted Amanirenas as a "manish woman who had lost an eye""
-According to research, we don't really know whether it was Amanirenas or Amanishakheto who had lost an eye while fighting, this scene is present in the show.
Gold:
-The etymology of the word Nubia is the ancient Egyptian term Nub which means gold.
Gold was extracted from the mines of Wadi Allaqi and Wadi Gabgaba in the Nubian desert.
-"According to the original catalog the treasure consists in 10 bracelets, 66 bushings and rings, 6 necklaces, a chain, 54 amulets....most of them in gold..."
Amanitore’s headband (daughter of Amanishakheto):
-"...the portrait of Candace, soberly wearing a headband with the aegis of Isis"
-On the lion temple, we find her slaughtering enemies held up by their hair.
-In a painting of the show, she wears a headband hung with ribbons that refer to the hair of her enemies.
Sources:
Main Source: Book "Sudan" by Claude Rilly and ?
Intro text: we tried to transcribe the story as accurately as possible with the help of an Egyptologist..... The show remains an artistic transcription in the image of the choreographerand her imagination...
The Forgotten African Queen,
Amanishakheto
Mylana MALSERT
Amanishakhéto is more than just a performance:
It is an immersion into the history of the Black Pharaohs, a rich and powerful culture embodied not through literal representations but through a collective force of interpreters.
Amanishakhéto was not only a queen or a Nubian Candace; she was a warrior, a force of nature, possessing an unbreakable intelligence, determination, and loyalty. These qualities, which I have always admired, are what inspire this creation.
The true story of this great Black queen also symbolizes my own struggle — the challenge of making my voice heard as a woman in a world largely governed by men.
For me, no Roman legions stand in my way, but I constantly face biases toward Dancehall culture, misconceptions, and a lack of openness that create barriers and slow the path of my work.
Through this show, I invite you to explore an African matriarchal model based on equity and justice. My choreographies are designed to convey the strength, sensitivity, and power of a real and authentic people, brought to life by my performers — extensions of myself for the past ten years.
It is vital for me to create through sounds that move me, to narrate meaningful stories, to stage in a direct and powerful way, and to ground my work in historical research to remain as close to reality as possible.
Amanishakhéto renews my hope; my wish is to inform and touch the heart of each viewer.