Within the framework of Si loin si proche, an artistic twinning in SUBS mode
Ange Aoussou-Dettmann, Agathe Djokam Tamo, Aïcha Kaboré, Kadidja Tiementa, Carmelita Siwa et Germaine Sikota
Salia Sanou brings six young dancers and choreographers from Burkina Faso, Mali, Côte d’Ivoire, Togo, and Cameroon together on the same stage. Their collective creation constitutes a striking group portrait of a young generation ready to take on the establishment [n1] and an artistic manifesto on the place of women in 21st-century Africa. Grief, tears, solitude, alienating traditions, as well as irony and whimsy fuel their creative energy.
Here comes the new generation of contemporary African dance!
Take a break to get your bearings. Try to find a place where you’re free to express the feelings buried deep inside. How does one communicate, artistically, the violence a family suffered during the Ivorian crisis in 2010? As the show’s title indicates, Ange Aoussou-Dettmann uses her favorite color—red—to evoke the painful moments that influenced her life and forged her destiny as an artist. Today she splits her time between Germany and Côte d’Ivoire, where she is very active in supporting young artists, especially with the “One step forward” international dance festival in Abidjan. Her commitment is fueled by her overriding conviction that “it’s with art that we can change the world.”
Agathe Djokam Tamo took her first steps as a choreographer in Hip Hop battles and in New Generation, one of Cameroon’s best breakdance crews, based in Yaoundé. She completed her training at the École des Sables in Senegal before being selected for the “Visas pour la creation 2017” program of the Institut Français, and traveling in Africa and Europe. Influenced by the physicality of urban dance, her writing explores multiple resources to describe the soul-searching and physical states of a person who has lost a loved one. Dedicated to her disappeared father and sister, this creation covers the full range of emotions we experience when grieving: anger, nostalgia, devastation, acceptance, and rebirth.
“I review the experience of the numerous women walled up in a melancholy silence in the face of often demeaning ancestral practices. Their opinions or choices don’t count,” explains the choreographer. Noticed by Irène Tassembédo, the artistic director of the International dance festival of Ouagadougou (FIDO), Aicha Kaboré is interested in the fate of widows forced to marry their deceased husband’s brother to perpetuate the family line. Based on these personal dramas, she highlights these women’s courage, perseverance, and rebellion and embodies their strength to resist.
Despite her young age, Germaine Sikota is one of the big names on the Togolese choreographic scene, where there are very few women. Her solo plunges us into the torment of a young woman who, between rejection, misunderstanding, and injustice, must overcome several challenges. The choreographer denounces the social exile too many women are the victims of in Africa and gives substance to a rebellious spirit. It is time for women to make their truths heard, to make people see the role they play, and to develop despite their circumstances, even if it is like an “upside-down tree.”
Born in Côte d’Ivoire, Kadidja Tiemanta travelled extensively learning new choreographic techniques, especially with the Don Sen Folo company in Bamako, in several west African countries and in Brazil. The duet Crossing, which she dances with the Malian dancer Carmelita Siwa, is presented as a danced journey that uses gestures and movements to communicate the roads she walked to forge her identity. Between self and other, here and elsewhere, past and present, our identity is changing and stretches toward an accomplishment that must always be reinvented.
Choreography and interpretation : Ange Aoussou-Dettmann, Agathe Djokam Tamo, Aicha Kaboré, Kadidja Tiementa, Germaine Sikota, Carmelita Siwa
Direction and dramaturgy : Salia Sanou
Musics : Strigall Gallotta, Is This What Everybody de Cliff Martinez, Collective for “Changuito” de Drums for Tomorrow, Voix de Madame Tzegouo Marie Alvisse et Mfopou Tsiemi Abdel Rahim, Last wishes d’Ibrahim Malouf, Zam Ebale Martino.
Adaptation / sound and light management: sous le regard de Jean-Paul Sari
Production : Les SUBS – lieu vivant d’expériences artistiques, Lyon
In cooperation with le CDC La Termitière, Ouagadougou et la Compagnie Mouvements Perpétuels
Support (in progress) : L’Institut Français dans le cadre de la convention avec Institut Français/Ville et Métropole de Lyon, ONDA – Office National de Diffusion Artistique, Association Res Publica
Acknowledgments and support :
J’aime le rouge : Dany Rüger, Francky Messi
Les Larmes de la veuve : Emily Coates, Lacina Coulibaly, Auguste Ouédraogo, Bienvenue Bazié
À qui le tour ? : Romain de Lagarde, l’École Des Sables, l’Institut Français de Paris (Visa pour la création 2017), l’Institut Français du Cameroun, l’Espace Donko Seko, le Centre chorégraphique Pôle en Scènes/Pôle Pik, Acogny d’Argent Africa Simply The Best 2019
Crossing : Bibata Ibrahim Maiga
Adido : Yacouba Traoré, Doublé, Wassila, Mohamed, Roger, l’Institut français (Visa pour la création 2018), l’Espace Donko Seko, l’École des Sables, le CDC La Termitière, le Théâtre Soleil (Ouagadougou)