“On day two of shoot, we drove for over two hours to Rabat to film the stadium sequence. We were only allowed 15 minutes to shoot inside the field of play,” Rajit Dev recalls, and the rest of the story is how a crew turned a fifteen-minute window into a World Cup moment. Dev, the choreographer who planned the stadium shots, delivered those minutes with a shorthand that kept cameras rolling, dancers aligned and Nora Fatehi ready to perform.
Fatehi has unveiled Siir Siir, her song tied to the FIFA World Cup 2026, and it marks her first collaboration with French singer Vegedream. The video was filmed in Morocco, with principal filming in Casablanca and the rushed stadium sequence shot in Rabat after the team’s two-hour drive. The tight schedule is the reason Dev’s recollection matters: when a production gets one go inside the field, there is no room for second takes.
The numbers make the scene vivid. Dev says the drive was “over two hours,” and that the crew had exactly “15 minutes” on the pitch. He planned the setups on one side of the stadium with the whole crew—dancers, Fatehi and Vegedream—calling the shots aloud and assigning positions so that every camera could collect usable footage in one pass. “I made sure we all knew what’s the shot and how we will do it,” he says.
That preparation sat alongside improvisation. Dev met Vegedream directly on set, and he describes the rapper-singer as bringing an unstudied ease: “He has such a cool vibe and carries a natural swag.” The choreography for Vegedream’s scenes was not rigid: Dev says, “All that you see onscreen are improvised steps,” and that his team followed whatever moves Vegedream offered in the moment.
Fatehi herself absorbed the material quickly. The production’s timeline left little margin—Dev notes she learned the steps in a day—and the work demanded both precision and adaptability. On a shoot bound to a tournament’s calendar and to local permissions, the show depended on short rehearsal windows and an ability to make choices that would read on camera the first time.
The Morocco shoot frames Siir Siir as more than a single performance; Dev says it became a gesture of local support. “We shot in Morocco, so I definitely will support them with the chant Siir Siir,” he says, bringing a simple, civic note to a pop production. The choice of Casablanca and Rabat as locations ties the song to the host nations audiences will be watching as FIFA World Cup 2026 approaches.
Dev’s recent resume includes choreography work on other films, and his familiarity with Fatehi shows in how quickly the unit moved from rehearsal to camera. He planned the stadium sequence on one side of the ground with the full crew present, a compressed directing method that turned a liability—the 15-minute rule—into an organizing principle. The result, he suggests, is a sequence that feels spontaneous without being chaotic.
The immediate news is clear: Nora Fatehi has unveiled Siir Siir, recorded with Vegedream and filmed in Morocco under a production schedule that left the stadium steps to improvisation and quick planning. The unresolved detail that now matters to fans and broadcasters is practical and specific: there is no confirmed public release date for the full song or its video. Dev’s account fills in how it was made; the only thing left for viewers is when they will be able to watch it in full.
Until that date is announced, the footage shot in Casablanca and the minute-long dash through Rabat will stand as the production’s promise—an image of Fatehi and Vegedream aiming a chant at a tournament still more than a year away, assembled in a day and sealed in a short, decisive burst on a soccer pitch.
