In an attempt to break the monotony of the daily commute, stations on Cairo’s Metro Line 3 are transforming throughout April into open artistic spaces, where passersby encounter art with no prior intention. The initiative, organised by the Ministry of Transport in collaboration with the Ministry of Culture, brings a series of cultural and artistic events into the Metro, integrating them into everyday experience.
Taking place every Wednesday this April, the events run for two hours, from noon to 2 pm. The programme features a diverse range of performances, from traditional folk music to live acts and vocal showcases, blending entertainment with cultural expression. From the Semsemeya performance at Imbaba Station on the first Wednesday, which filled the Metro with joy, to the puppet shows at Abbasiya on the second, commuters are embracing the atmosphere as it lifts the weight of their daily routines.
Whether heading home after an exhausting day or just setting out, passengers find themselves drawn in by the sound of music echoing through the Metro’s corridors. Almost unintentionally, people move closer, following the rhythm until they find themselves face to face with the performers. There, they are met with the charm of puppets and marionettes, or a blend of traditional folk music and modern tunes that transforms an ordinary commute into a moment of delight. Not limited to children, the event brings together people of all ages, from the very young to the elderly, in a shared moment of genuine joy.
The Kroky Marionette troupe ensures that smiles spread all across commuters’ faces, offering a refreshing break from their daily routines. As both children and adults gather around the performers, a small crowd begins to form. Some smile, others sing along or sway to the rhythm, while many lift their phones to capture the moment. A few even join in, interacting with the marionettes themselves. In that corner of the Metro, the atmosphere shifts completely, transforming from the usual, quiet routine and expressionless faces into something warm and full of life.
Khaled Al-Khreibi, founder of the Kroky Marionette Troupe – affiliated with the National Centre for Child Culture – highlights the troupe’s artistic vision of connecting tradition with contemporary expression through puppetry and music. He explains that their performances are built around a careful artistic balance that reflects both cultural memory and modern creativity. “The Kroky Troupe is interested in popular folk heritage songs, blended with tasteful modern music that reflects high artistic standards,” Al-Khreibi says, adding that their performances aim to reflect a sense of responsibility to the audience, especially families, and to promote works that align with the cultural and moral consensus, while encouraging viewers to engage with art.
Al-Khreibi describes the initiative as a step that he had hoped to see for years. Having previously participated in international festivals, he says he always wished for performances like these to reach wider audiences across Egypt, extending beyond traditional venues into streets, Metro stations and other public spaces. Taking part in the initiative felt like a personal moment of celebration and fulfillment, he says. Reflecting on the atmosphere, he speaks of the strong public engagement and appreciation he witnessed during the performances. “I truly enjoyed seeing large crowds of people who appreciate true art,” he says, noting that the audience’s response reinforced his belief in the cultural awareness of society and its appreciation for meaningful artistic expression.
He also commends the coordination between the Ministry of Transport and the Ministry of Culture, highlighting the quality of organisation and the positive environment created for both performers and audiences. According to him, the success of the experiment resulted from the audience’s behaviour, which he describes as “respectful of the performance space, interactive, and cheerful”. He further expresses appreciation for the support extended to him by the Ministry of Culture and other artists, stressing the importance of continuing with such initiatives.
Al-Khreibi concludes by highlighting the human impact of bringing art into public transport spaces, describing it as a meaningful way to reach people in their everyday lives. Whether commuters are heading to work or study, or returning home, he believes these performances offer brief moments of joy that help ease the daily stress and allow people to momentarily set aside their worries.
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Though the marionette performance comes to an end, Abbasiya Station quickly fills once again with laughter and liveliness as the Aragoz performance, led by puppeteer and Aragoz theatre trainer Nasser Abdel-Tawab – alongside show presenter Ibrahim Al-Beeh – takes over the space, bringing renewed joy to commuters before they continue on their way.
The performance itself draws a lively crowd, with parents and children gathering closely around, joined by artists and even familiar faces such as Mahmoud Amer, Enas Nour, Ahmed Shehata, Ayman Al-Nemr, Ihab Hamdy, and Mohamed Ali Hassan. Abdel-Tawab, alongside Al-Beeh, engages the audience directly, asking playful questions about school, inviting children to participate while their parents watch and capture the moment on their phones while laughter echoes through the station.
Abdel-Tawab emphasises the cultural and symbolic importance of such initiatives. He describes them as a reminder of Egypt’s heritage and identity, particularly through traditional forms like the Aragoz and puppetry, which he considers a core part of Egyptian culture. He also reflects on the broader message these performances transmit beyond Egypt’s borders, noting that despite global crises and conflicts, Egyptian society remains resilient, united, and grounded in compassion.
Abdel-Tawab explains that Aragoz and other authentic Egyptian music naturally bring people together, attracting audiences wherever they perform. He also stresses that cultural initiatives should not be limited to urban centres, but should extend to rural areas as well, arguing that access to culture is a right for all. Quoting the late poet Abdel- Rahman Al-Abnoudi, he adds, “if you are not going down to the people, then stay at home and be silent,” highlighting the importance of bringing art directly to the public in their everyday spaces.
Reflecting on his personal experience performing at the Metro, Abdel-Tawab speaks of his long history with street performance and public festivals, saying that this background has shaped his appreciation for direct human connection. He expresses deep enjoyment in meeting audiences through puppetry, noting that the most rewarding part is the emotional response from both children and adults.
He adds that he has been working in the field of puppetry since 1987, building a long career across various cultural platforms. Over the years, he has participated in numerous children’s television productions, including Hafla Ala Sharaf Taaloob (A Party in Foxie’s Honour) and Al-Risha Al-Mashura (The Magic Feather). He has also worked in the Theatre House and the National Centre for Child Culture. Today, he continues his work as a trainer with the Egyptian Aragoz Puppet Troupe at the Shubra Al-Kheima Workers’ Culture Palace
Although the show wraps up, it leaves behind cheerful faces, with children still laughing, thrilled to have caught such a joyful performance on a random Wednesday. April still has more to offer on the coming Wednesdays, ready to bring even more happiness to commuters. Cairo University Station will host a traditional folk singing performance, followed by a vocal segment by performers with special needs at the Gamal Abdel-Nasser Station on 22 April. The programme will conclude with an artistic performance at Heliopolis Station, leaving room for a more open-ended and unexpected experience.
Alongside the live events, the Safaa Hegazy Station will host an art exhibition starting on 20 April and running for two weeks. In this sense, the events do not aim to deliver messages as much as they create fleeting moments of beauty within the ordinary; they create moments that may not change the route, but will certainly change how it feels.
* A version of this article appears in print in the 16 April, 2026 edition of Al-Ahram Weekly.
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