A few words about your artistic career
Trained in acting, performing arts and social intervention theatre techniques. I am the artistic director of the Karengu theatre company in Diabir, Casamance. I'm currently working with Belgian choreographer Céline Curvers on a solo dance-theatre project (to be premiered in 2020-2021).
How long have you been an artist?
From 2012 (after the wonderful encounter with Belgian director Armel Roussel) to today, and tomorrow again...
Why did you apply for this scholarship? How will the scholarship support you?
This grant gives me a vital boost. It's the only way for me to continue creating in the current context of survival linked to Covid-19. This grant will enable me to use my art to express everything that's been going on inside me since the confinement.
What are your concrete artistic objectives after this residency?
Continue to create in the public space to reach out to as many people as possible and create social links; Continue to invent a personal body language linked to my history.
What did you achieve during this creative residency? What is the result (work created)? Who was involved in the creative process?
Thanks to the Africalia grant, I've been able to start exploring and finalising the writing of a dance phrase that will be shared in the public space. In order to reach as many spectators as possible, I've taken photos of the places that will be chosen to share the work with the public.
Thanks to the grant, I've been able to explore my art in greater depth, in direct relation to the Corona, and look for a movement phrase inspired by confinement (in my bedroom, indoors).
The people involved are :
- Céline Curvers, a Belgian choreographer, with whom I had started working on a theatre-dance composition in Ziguinchor before the confinement. Despite the distance, she was able to give me feedback and continue to support me throughout the creative process.
- Vieux Capitaine, secretary of the Cie Karengu de Diabir, who lent me a room so that I could be closer to the rehearsal venue.
- Sané Lansana, who accompanies me everywhere with his phone to film the various stages of the work.
- Papa Mandian, who helps me with all the technical aspects
How do you think these activities help us to think about the world today, in relation to the COVID-19 crisis, and/or about building for the future?
I think that the results obtained throughout the residency can open up a profound reflection on today's world, because I believe in the power of artistic activity to influence people.
The elements present in the choreography are made up of strong images that illustrate my concerns: an elastic cord that ties my feet while I dance (to show the submission that our leaders impose on us), a jacket with plastic bags on my back (to show the incoherence of waste management), a mask that covers my face (which refers to Covid 19 but also to the lack of listening of our leaders to build the future: in relation to culture, health problems, education,...).
How did you feel during the residency? And afterwards?
During the residency, I managed to find a lot of energy for the project. I also found a consistency in the way I worked. I organised my schedule in a very constructive way, with the grant allowing me to devote myself solely to this project. I was able to take the time to try out new things. As I've done a lot of theatrical work, this research into dance enabled me to find a new language of expression linked to movement and the use of the body. This has enabled me to free myself from the tensions I felt (and continue to feel) linked to confinement.
I'm happy with the result, even though I have to admit that I encountered difficulties linked to the isolation of creation (the lack of contact with my artist friends) and difficulties linked to the weather. Heavy rain sometimes made it difficult to work outdoors. Fortunately, I was able to overcome this thanks to the support I received from my friends and family.
