Mohamed Toukabri is a Brussels-based Belgian-Tunisian choreographer, dancer, and performer whose work explores the relationships between migration, identity, and embodied knowledge. Drawing from both hip-hop culture and contemporary choreography, he develops a movement language that reflects the layered histories carried within the body. Moving between Tunis, Brussels, and international stages, his artistic practice investigates how dance knowledge is transmitted, archived, and transformed across cultures and generations.

Mohamed Toukabri was born in Tunis and began dancing at the age of twelve through breakdance, an entry point into hip-hop culture that profoundly shaped his artistic trajectory. He joined the Sybel Ballet Theatre in Tunisia, led by Syheme Belkhodja, where he trained between 2002 and 2008. At the age of sixteen he continued his dance education in Paris at the International Academy of Dance before returning to Tunis to study at the Mediterranean Centre for Contemporary Dance. During this period he also collaborated with choreographer Imed Jemaa.

In 2008 he moved to Brussels to study at P.A.R.T.S. (Performing Arts Research and Training Studios), the internationally renowned dance school directed by Anne Teresa De Keersmaeker. During his studies he performed in Babel (2010) by Sidi Larbi Cherkaoui and Damien Jalet with Eastman Company. After graduating, Mohamed joined Needcompany, the international performance company in Brussels founded by Jan Lauwers and Grace Ellen Barkey, where he worked between 2013 and 2018 and participated in numerous productions combining theatre, dance, and performance. During this time he also performed in the revival of the repertory piece Zeitung by Anne Teresa De Keersmaeker (2012) and Sacré Printemps! by Aïcha M’Barak and Hafiz Dhaou (Chatha Company, Tunisia) (2014).

Mohamed collaborated with choreographer Sidi Larbi Cherkaoui on several productions, including the opera Shell Shock, A Requiem of War with composer Nicholas Lens and writer Nick Cave, presented for the centenary of the First World War at the Philharmonie de Paris in 2018. He also performed in Cherkaoui’s works Nomad (2018) and the opera Alceste, choreographed for the Bayerische Staatsoper in Munich in 2019.

Alongside his stage work, Mohamed has appeared in several film and interdisciplinary projects. He appeared in Cyrano(2021) directed by Joe Wright and contributed to the choreography of REBEL (2022), directed by Adil El Arbi and Bilall Fallah. He collaborated with fashion designer Jan-Jan Van Essche in films directed by Ramy Fouad Moharam and participated in Louis Dreamhouse, the final show by Virgil Abloh for Louis Vuitton during Paris Fashion Week in 2021.

His first self-devised work, The Upside Down Man (The Son of the Road), premiered at the Me, Myself & I Festival in Hellerau (Dresden) in 2018. The work toured internationally in Belgium, the United Kingdom, France, Germany, Switzerland, Sweden, and Austria and was selected for Het TheaterFestival in the #NewYoung category.

In 2021 he created The Power (of) The Fragile, an intimate duet with his mother exploring memory, migration, and family ties. The work has toured internationally and has been presented on more than sixty stages.

In 2023 he collaborated with Luca Giacomo Schulte, long-time artistic collaborator of Raimund Hoghe, on VIVE LE SUJET! Tentative, a project invited by the Festival d’Avignon and commissioned by the SACD. That same year he joined Holding Present, a performance by Ula Sickle created in collaboration with the Ictus Ensemble. In November 2023 he also performed as a soloist in The Grand Macabre, staged by Jan Lauwers for the Wiener Staatsoper.

In 2024 he joined the Ballet du Grand Théâtre de Genève as a guest dancer for Ihsane, the latest creation by Sidi Larbi Cherkaoui.

His most recent choreographic work, Every-Body-Knows-What-Tomorrow-Brings-And-We-All-Know-What-Happened-Yesterday, premiered at the Festival d’Avignon in 2025 and is currently touring internationally. Inspired by decolonial thought, the work explores the connections between dance, migration, and the transmission of knowledge. Bringing together breaking, postmodern dance, and embodied memory, Toukabri approaches choreography as a living archive through which personal and collective histories can be re-examined.

Influenced by thinkers such as Grada Kilomba and Édouard Glissant, as well as the politically engaged spirit of hip-hop culture, his work creates spaces where diasporic narratives and embodied histories can be shared, reimagined, and transmitted.