danceGATHERING Catalogue

D G 2O17 \A NT CH \EL RA IG NO GS

ISSUE

#1

1 CATALOGUE____LAGOS CONTEMPORARY DANCE FESTIVAL___FIRST EDITION___1-5 MARCH 2017

C O N T E N T

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DANCE AS ART

1-2

ART AS DANCE

4-7

PETER BADEJO

8-9

AFRICAN DANCE CALENDAR

10-11

FOR THE LOVE OF DANCE

12-17

INTERVIEW

18-26

ARTIST FOCUS

27-30

QUDUS ONIKEKU

31-44

FAUSTIN LINYEKULA: My body is the only thing I know

45-46

MOVEMENTS AND MOMENTS

47-56

10 QUESTIONS

57-60

T E A M

3

DANCE GATHERING is a two week long process based gathering, which ends with three days of contemporary dance performances. Other events include master classes, seminars, dance/photo command performance of the outcome of the two weeks long workshop. The intensive training is targeted at emerging choreographers and arts administrators, focusing on the thought process of imagining and conceiving contemporary dance works for the theater, while the festival is aimed at the promotion and presentation of the art of contemporary dance to a larger Lagos and international audience, with the aim of educating about dance, its language, as it records time and the instability of daily life, as it embodies memory and explores social, political, historical and contemporary issues.

QUDUS ONIKEKU

4

5

VENUES

DATES 01/03

TERRA KULTURE

1376, Tiamiyu Savage Street, VI, Lagos..

ART INCUBATOR

BOGOBIRI HOUSE

FREEDOM PARK

9, Maitama Sule Street, Ikoyi, Lagos.

Hospital Road, Old Prison Yard, Broad Street

-CDW -IWAYA -OMENKA GALLERY Opening of exhibition Cocktail Catalogue Launch

02/03

JAZZHOLE

NATIONAL THEATRE

168, Awolowo Road Ikoyi, Lagos.

Iganmu, Lagos.

ROOF TOP

168, Awolowo Road Ikoyi, Lagos.

-CDW -IWAYA -ROOF TOP

03/03

-CDW -IWAYA -ART INCUBATOR -BOGOBIRI

04/03

BARIGA

OMENKA

9, Maitama Sule Street, Ikoyi, Lagos.

9, Maitama Sule Street, Ikoyi, Lagos.

CORPORATE DANCE WORLD

Surulere, Lagos.

IWAYA

-CDW -IWAYA -JAZZHOLE -BARIGA -NATIONAL THEATRE

05/03

-CDW -IWAYA -OMENKA -TERRA KULTURE -NATIONAL THEATRE

6

7

INSTRUCTORS

8

9

Peter Badejo is one of Nigeria’s foremost choreographers, dancers and African performance specialists. He has worked in all over the world as a dancer, teacher and choreographer in a career spanning over 50 years. Though he is also an accomplished Ewi exponent, comic actor and storyteller his skills as a dancer positioned him to be a pioneer in the field of dance drama and modern African dance emerging from the universities at the time in Nigeria. In 1960s and 1970s he was part of pioneering art and theatre projects led by Wole Soyinka and Peggy Harper at the then University of Ife. As a young performer touring Europe he caught the eye of the late Robin Howard and was invited to train at the London Contemporary Dance School. He spent a year there before returning to work in Nigeria.

PETER BADEJO

10

In 1960s and 1970s he was part of pioneering art and theatre projects led by Wole Soyinka and Peggy Harper at the then University of Ife. As a young performer touring Europe he caught the eye of the late Robin Howard and was invited to train at the London Contemporary Dance School. He spent a year there before returning to work in Nigeria. After an introduction to British audiences in the 1980s through the LIFT festival in London he was soon invited to work with a number of Black-led British companies which positioned him to become a pioneer of contemporary African dance in England. Peter’s list of collaborators

and commissioners includes Adzido, Kokuma (History of the Drum and Awakening), Irie (Agbara), Sakoba Productions, H Patten, The Royal Exchange Theatre in Manchester, Cambridge Arts Theatre and Pan Project. He has also appeared in major productions including Cambridge University’s Eshu’s Faust, and Phyllida Lloyd’s productions of Medea and Death and the King’s Horseman. Alongside these collaborations he opened his own company Badejo Arts in Britain in 1990.

A brief look at Peter Badejo’s choreochronicle shows that he has a deep interest in social and cultural change, how society renews and sustains itself and the mechanism through which people handle cultural transition. He sees dance in Africa as having important role in spiritual survival in times of transition for individuals and communities and indeed cultures.

Ebo-Iye - Transitions, which he originally created in 1989, contrasted the values of life in a Yoruba village with a western urban centers and the traffic of African people between them.

The pain of Aspirations explored the life of Black Britons through contemporary African dance exploring the dilemma of adapting to a dominant culture and what that might mean. Sisi Agbe Aye (Opening the Gourd of Life) made in 1995 was collaboration with Koffi Koko. Peter Badejo and Koffi Koko co-choreographed this piece, which examined the calabash as a metaphor for the ‘womb of the World’, which produces people of different races and personalities. The use Yoruba dances as the starting point for experimentation producing new and hybrid choreography.

Emi Ijo (The Heart of Dance) created in 2000 was a site specific productions in three parts

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– the first took place on a boat down the river Thames called journey to the land of hope, the second performed on an outside stage at the Royal Festival Hall called The emergence, depicted the emerging multicultural society of Britain, and the third part which took place on one of the roof tops of the Royal Festival Hall was called The arrival.

Through a combination of storytelling and dance it demonstrated that at ‘the heart of dance is the survival, transformation and the gift of cultural exchange’.

Elemental Passions in 2003, celebrated the Bata dance form. Starting with the birth of Shango and a thrilling duet between Shango and Oya, it went on to explore the characteristics of Bata, which gave it the mutability to travel and survive journeys into the New World. Dance critics have noticed the importance of traditional dance forms to Peter Badejo. Reviewing The Pain of Aspirations for the Evening Standard, Anne Sacks for example, described Peter Badejo of being ‘a traditionalist at heart’ but ‘not precious about his heritage but open to contemporary influences’.

In the early 1990s when the dance sector in Britain was going through infrastructural changes, Peter Badejo emerged as an advocate for the development of African theatrical dance practice in Britain. In 1993 he wrote what is now considered a seminal paper ‘What is Black dance in Britain?’ where he argued that the training of .

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‘African dance’ should be built upon discreet dance forms.

Though institutions support this proposition directly and contemporary African dance in Britain is largely based on choreographic explorations rather than technical training, his intelligent analysis was recognized.

Not long after the presentation of ‘What is Black dance in Britian?” the Arts Council began sponsoring Badejo Arts Summer School, ‘Bami Jo’. The Bami Jo Summer School, which started in 1993, over the next thirteen years, brought British based and International dance professionals from Africa and the Diaspora together to teach, perform and engage in discussion. These included Were Liking, Les Freres Sene, Jules Diepa, Kayode Bolaji Idris, Isioma Williams, Esther Abimbola Olaniran, Sikiru Alabi, Zab Maboungou, Flora Thefaine, Airy Andriamoratsiresy, Diwele Lubi, Linda Angelica Volahasiniaina,

Dominic Donkor and L’Atoinette Stines, amongst others. Due to changes in funding the school ended in 2005. The summer school left a lasting legacy. It opened the eyes of dancers to the possibilities of dance artistically and socially and it contributed to an international network of dance practitioners enabling them to develop contacts for further research and career development.

Peter Badejo’s point of view is that contemporary African dance should be based on the experimentation with the movement and music traditional forms of dance. From early in his career he has had an interest in academic research and has studied, taught and engaged in research in Universities in Ghana, California, London, and Amhadu Bello University, Nigeria. His convictions about dance training led him to create the Batabade technique.

The technique is based on a selection of Bata movements and music phrases through which the students can learn the technique of dancing Bata from a musical and physical perspective. Since creating the technique in the early to mid 2000s he has shared it at the Richmond University in the USA. From the mid 2000s he began to work more in Nigeria, participating in the Black Arts Carnival in Lagos, consulting and contributing to cultural events often in collaboration with Wole Soyinka. He was one of the director’s of Nigeria’s contribution to the Cultural Olympiad in 2012.

He continues to freelance worldwide and is the recipient of many awards. He was awarded an OBE in 2001 in Britain in recognition of his work with and commitment to African people’s dance.

He was given a Life Time Achievement Award by the Association of Dance of the African Diaspora (ADAD), which is now part of One Dance UK. One Dance UK this year invited Peter Badejo to be one of the organizations patrons.

As Peter Badejo turns 70 we recognise his contribution to dance and culture and we say thank you Sir. Many more years of life, creativity and fulfilment to you.

Written by Funmi Adewole 2016

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CROSSINGS CROSSINGS CROSS

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TOSIN OSHINOWO 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

16

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

VICTOR EHIKHAMENOR 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

17

TOSIN OSHINOWO 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

18

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

VICTOR EHIKHAMENOR 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

19

TOSIN OSHINOWO 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

20

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

VICTOR EHIKHAMENOR 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

21

TOSIN OSHINOWO 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

22

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

VICTOR EHIKHAMENOR 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

23

TOSIN OSHINOWO 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

24

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

VICTOR EHIKHAMENOR 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

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JAN

FEB

MAR

APR

MAY

JUN

AUG

SEPT

OCT

NOV

DEC

1-8

Dance gatherings summit Trinidad & Lagos

26-29

So You Thinnk You Can Dance - Monaco

DANCE CALENDAR/

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AFRICA

JUL

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MY NARRATIVE TITLED: “SUBLIMITY” Yunusa Abdullahi

“Those who danced were thought to be quite insane by those who could not hear the music” ___ANGELA MONET As a student of arts and literature, I have always been educated to reason and see in philosophical terms. I see and think in symbolism, in metaphor and in transcendentalism.

Everything happens because there is an interplay between the outer and the inner self. It is an imitation or what is called a representation.

My narrative on the relationship between Dance and Photography is to show how the sequence of the performance, the music, the rhythm, the lights creates an atmosphere of suspense-it is this suspense that photography captures in its sublime artistic form.

Photography’s essentials in dance and performance is because it leaves much to the imagination; its sublimity. The spontaneity of the music, the undulating sensuality of the rhythms as well as the electric nature of the performance creates an energy between the dancer, choreographer and the photographer. When we dance, we float, we fly and we are in a trance and we are transported. Photography is on standby to freeze such movement intermittently in an artistic form. The freezing and de-freezing of such movement is what creates the sublime in the images photography captures. The communication of dance through photography pervades the artistic creation and interpretation of the form and as dance is usually an expressive sensuous movement of the body aided by music, light and sound, photography which is enduring steps in 28

to give life to the dance which is fleeting at that moment of sublimity. The images generated by the artist on the dance floor is the same to the audience but the photographer creates his own art from that abstraction.

He stills the images for dramatic effect in a magical form that leaves the audience and viewer in a trance. He creates meaning for the art world through artistic sublimity.

The complexities in a dance performance can only be imagined but the photographer puts it in context- through the stillness of the rhythms, the lights and music. Because photographs are objective records of events, nothing catches the drama of movement and its essence the way photography does and that is why they attract different interpretations.

The sheer invention, blurring moments and symphony of images captured in a dance by photography leaves the viewer wondering about the abstract photos that focus on pattern, texture and shape. The results usually - a visually pleasing mosaic of arts.

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KISANGANI: 0CHRONIQUES D’UN RETOUR Par Virginie Dupray

Décembre 2003, Kisangani, retour au pays qui l’a vu grandir pour Faustin, première rencontre pour moi…

Une dizaine de jours pour (re)découvrir la ville qui vient tout juste de reprendre sa place au cœur de ce grand pays malade, la République démocratique du Congo, ex-Zaïre, ex-Congo Belge, ex-état indépendant du Congo…

Une ville en convalescence dont les murs et les misères racontent à chaque coin de rue la guerre, celle des Ougandais et des Rwandais ou plutôt les guerres qui se comptent ici en jour, la guerre de un jour, celle des trois jours, celle des six jours… et les massacres représailles et les maisons transformées en charnier. 2002, c’était hier.

Une dizaine de jours pour (ré)apprendre à vivre avec la famille, les familles…

Décembre 2004, nous revenons… à trois, un petit garçon est né.

Eté 2005, en plein cœur des Etats-Unis sous Katrina, une nuit de rêve, s’impose pour Faustin, éternel voyageur, la nécessité du retour : poser ses valises à Kisangani et construire une maison.

De base arrière pour rêver, traîner, respirer, Kisangani se fait vite rattraper par les Studios Kabako et monte au feu des créations.

Automne 2006, Dinozord:The Dialogue Series iii. s’y crée, l’équipe venue de Kinshasa ou Lubumbashi s’installe pour quelques semaines dans la ville… La pièce se lit d’ailleurs comme un cahier du retour au pays natal. Que sont devenus les amis avec lesquels du haut de ses quinze ans, Faustin a rêvé de changer la littérature et le théâtre africains (pas moins !) ? Et à quoi peuvent bien rêver les jeunes aujourd’hui dans cette ville meurtrie par la guerre ?

En 2007, s’y invente La Fratrie errante à partir d’un texte de Marie-Louise Bibish Mumbu. Parmi les six comédiens sur scène, trois sont boyomais (le petit nom des habitants de Kisangani).

Très vite, les Studios Kabako fondés par Faustin en 2001 à Kinshasa migrent vers Kisangani, devenue soudain une évidence, très loin du tumulte et de la saturation de la capitale, vaste bordel de huit millions d’âmes, toutes occupées à la survie quotidienne sans presque aucune infrastructure…

Pas plus d’infrastructures à Kisangani, troisième ville du Congo, capitale de la Province Orientale, mais un peu moins d’habitants, 800 000 peut-être (dans un pays où l’on ne compte plus depuis longtemps) et la respiration d’un fleuve et d’une rivière, le Congo et la Tshopo et la respiration de la forêt équatoriale… Du vert partout, tout pousse, vite et avec vigueur, même si les grands arbres partent en grumes sur le fleuve, victimes de quelques sociétés libanaises qui coupent, ne replantent jamais et ne reversent rien, sauf dans les poches de quelques puissants ; des sociétés qui portent des noms comme Congo Futur, à la limite du pied de nez…Kisangani, capitale du diamant, les comptoirs y fleurissent, il y a Fofo Force, Bassam très très fort, Maradona ou Soleil Mosindo, beaucoup d’argent qui transite, opaque, et ne reste pas. Seul investissement notable, quelques villas immenses aux toits multiples et de grosses voitures, des nouveaux modèles, si possible inconnus dans la place et que l’on baptise, moins !) qui n’existe nulle part ailleurs au Congo.

32

Comment inscrire ainsi une démarche, un parcours singulier, celui de Faustin, au sein d’un territoire ? Les Studios Kabako n’ont jamais été une compagnie, plutôt une boîte à inventer, à chercher, à douter, mais où s’imposent certains soirs quelques certitudes, un espace jusqu’ici mental, si précieux dans ce pays-là.

A Kisangani, les Studios Kabako prennent corps, au pluriel… Trois espaces dans différentes communes, pour créer un maillage de la ville, telle une acupuncture urbaine susceptibles de générer du lien, à même de réagir et de rayonner dans une économie de moyens. Une façon aussi de réagir à l’extrême centralisation d’un pays où rien n’existe en dehors de Kinshasa. Alors quitter la capitale pour Kisangani, et puis ne pas se cantonner à Makiso, centre administratif et économique de la ville, mais atteindre les périphéries et les lieux de vie, comme Lubunga, sixième commune de la ville, oubliée de l’autre côte du fleuve…

Trois lieux soit : • •

•

Un lieu de diffusion donc, sur un terrain de 650 m2 acquis en 2007, entre l’université et le centre historique et commercial.

Un lieu de résidence sur un peu plus de 4000m2 à huit kilomètres de la ville, non loin du fleuve, une petite vallée, une rivière, des étangs à poissons et des gamins sur des remblais qui se demandent ce qu’on peut bien imaginer là… Et ce que nous imaginons avec l’architecte allemande Bärbel Müller, ce sont des espaces d’enregistrement et de répétition pour la musique, un espace de montage vidéo, un studio de répétition pour la danse et le théâtre et des logements pour des artistes invités.

Enfin, un troisième lieu qui reste à trouver, lieu citoyen, ouvert sur les communautés, le tissu associatif, les énergies et les difficultés du quotidien, à Lubunga, de l’autre côté du fleuve qu’on traverse en pirogue. La commune la plus peuplée de la ville, productrice d’une grande partie des légumes et tubercules dévorés par les autres

Très vite, les Studios Kabako fondés par Faustin en 2001 à Kinshasa migrent vers Kisangani, devenue soudain une évidence, très loin du tumulte et de la saturation de la capitale, vaste bordel de huit millions d’âmes, toutes occupées à la survie quotidienne sans presque aucune infrastructure…

Pas plus d’infrastructures à Kisangani, troisième ville du Congo, capitale de la Province Orientale, mais un peu moins d’habitants, 800 000 peut-être (dans un pays où l’on ne compte plus depuis longtemps) et la respiration d’un fleuve et d’une rivière, le Congo et la Tshopo et la respiration de la forêt équatoriale… Du vert partout, tout pousse, vite et avec vigueur, même si les grands arbres partent en grumes sur le fleuve, victimes de quelques sociétés libanaises qui coupent, ne replantent jamais et ne reversent rien, sauf dans les poches de quelques puissants ; des sociétés qui portent des noms comme Congo Futur, à la limite du pied de nez…Kisangani, capitale du diamant, les comptoirs y fleurissent, il y a Fofo Force, Bassam très très fort, Maradona ou Soleil Mosindo, beaucoup d’argent qui transite, opaque, et ne reste pas. Seul investissement notable, quelques villas immenses aux toits multiples et de grosses voitures, des nouveaux modèles, si possible inconnus dans la place et que

33

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35

QUDUS ONIKEKU

36

37

STILLNESS IN MOTION STILLNESS IN MOTION NYANCHO NWANRI “Art is the absence of fear”- Erykah Badu.

Therefore, to express art through movement an artist must come to a place of complete fearlessness, and to be fearless is to be totally still within. This project captures that stillness that exists within the expressions of dance, exposing the artist in moments of absolute openness, acceptance, vulnerability and calm, otherwise unseen by the naked eye

NYANCHO NWANRI 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

38

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

39

STILLNESS IN MOTION STILLNESS IN MOTION NYANCHO NWANRI “Art is the absence of fear”- Erykah Badu.

Therefore, to express art through movement an artist must come to a place of complete fearlessness, and to be fearless is to be totally still within. This project captures that stillness that exists within the expressions of dance, exposing the artist in moments of absolute openness, acceptance, vulnerability and calm, otherwise unseen by the naked eye

NYANCHO NWANRI 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

40

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

41

STILLNESS IN MOTION STILLNESS IN MOTION NYANCHO NWANRI “Art is the absence of fear”- Erykah Badu.

Therefore, to express art through movement an artist must come to a place of complete fearlessness, and to be fearless is to be totally still within. This project captures that stillness that exists within the expressions of dance, exposing the artist in moments of absolute openness, acceptance, vulnerability and calm, otherwise unseen by the naked eye

NYANCHO NWANRI 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

42

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

43

STILLNESS IN MOTION STILLNESS IN MOTION NYANCHO NWANRI “Art is the absence of fear”- Erykah Badu.

Therefore, to express art through movement an artist must come to a place of complete fearlessness, and to be fearless is to be totally still within. This project captures that stillness that exists within the expressions of dance, exposing the artist in moments of absolute openness, acceptance, vulnerability and calm, otherwise unseen by the naked eye

NYANCHO NWANRI 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

44

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

45

STILLNESS IN MOTION STILLNESS IN MOTION NYANCHO NWANRI “Art is the absence of fear”- Erykah Badu.

Therefore, to express art through movement an artist must come to a place of complete fearlessness, and to be fearless is to be totally still within. This project captures that stillness that exists within the expressions of dance, exposing the artist in moments of absolute openness, acceptance, vulnerability and calm, otherwise unseen by the naked eye

NYANCHO NWANRI 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

46

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

47

STILLNESS IN MOTION STILLNESS IN MOTION NYANCHO NWANRI “Art is the absence of fear”- Erykah Badu.

Therefore, to express art through movement an artist must come to a place of complete fearlessness, and to be fearless is to be totally still within. This project captures that stillness that exists within the expressions of dance, exposing the artist in moments of absolute openness, acceptance, vulnerability and calm, otherwise unseen by the naked eye

NYANCHO NWANRI 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

48

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

49

STILLNESS IN MOTION STILLNESS IN MOTION NYANCHO NWANRI “Art is the absence of fear”- Erykah Badu.

Therefore, to express art through movement an artist must come to a place of complete fearlessness, and to be fearless is to be totally still within. This project captures that stillness that exists within the expressions of dance, exposing the artist in moments of absolute openness, acceptance, vulnerability and calm, otherwise unseen by the naked eye

NYANCHO NWANRI 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

50

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

51

STILLNESS IN MOTION STILLNESS IN MOTION NYANCHO NWANRI “Art is the absence of fear”- Erykah Badu.

Therefore, to express art through movement an artist must come to a place of complete fearlessness, and to be fearless is to be totally still within. This project captures that stillness that exists within the expressions of dance, exposing the artist in moments of absolute openness, acceptance, vulnerability and calm, otherwise unseen by the naked eye

NYANCHO NWANRI 1

What is the place of MOVEMENT as a philosophy in your works?

In my work as an Architect, movement signifies transition and fluidity in ‘created space’. Being able to plan ‘programme’ or a ‘series of activities’ conscious of how people interact and move around as individuals, groups and communities within that space. When designing a building everything I do is conscious about occupation and movement within that space

2

What is Dance in your own words?

I approach dance from a lame perspective but dance to me is the rhythmic movement of the human body in most cases to music or sound

3

Is art hope or solace, mirroring reality or reinventing a better world ?

Art represents the reality of our everyday existence, it is also the opportunity to be a portal for a utopian approach to how things should be.

4

What is beauty, and what’s it’s role in your creations ?

52

Beauty can be a challenge to define as its is based ultimately on an individuals perception of what beautiful is... there are collective appreciations of beauty but not everyone agrees on what is beautiful. Within my work, I push for beautiful ‘clean-aesthetic’. It is important that I consider my buildings beautiful as it is only from my inner confidence that I can sell my ideas to my Clients.

8

Tell us of a defining MOMENT in your career.

I would say I look forward to more growth in my career but giving a speech at the opening ceremony of my building ‘Maryland Mall’ tops it for now.

9

5

What will you consider to be the mother of all arts and why?

Architecture and Sculpture...

6

What happens when you see a good performance and tell us of your most memorable ?

The beautiful thing about performance is the temporal nature of this art but the impact it leaves in your memory and how you felt watching it. I went to see ‘Breakin Convention’ at Sadler’s Wells Theatre in 2006 and I will never forget the contemporary performances I saw.

7

Solitude or Gatherings?

Gatherings! I spend too much time in solitude

53

KISANGANI:CHRONIQUES D’UN RETOUR Par Virginie Dupray

Décembre 2003, Kisangani, retour au pays qui l’a vu grandir pour Faustin, première rencontre pour moi…

Une dizaine de jours pour (re)découvrir la ville qui vient tout juste de reprendre sa place au cœur de ce grand pays malade, la République démocratique du Congo, ex-Zaïre, ex-Congo Belge, ex-état indépendant du Congo…

Une ville en convalescence dont les murs et les misères racontent à chaque coin de rue la guerre, celle des Ougandais et des Rwandais ou plutôt les guerres qui se comptent ici en jour, la guerre de un jour, celle des trois jours, celle des six jours… et les massacres représailles et les maisons transformées en charnier. 2002, c’était hier.

Une dizaine de jours pour (ré)apprendre à vivre avec la famille, les familles…

Décembre 2004, nous revenons… à trois, un petit garçon est né.

Eté 2005, en plein cœur des Etats-Unis sous Katrina, une nuit de rêve, s’impose pour Faustin, éternel voyageur, la nécessité du retour : poser ses valises à Kisangani et construire une maison.

De base arrière pour rêver, traîner, respirer, Kisangani se fait vite rattraper par les Studios Kabako et monte au feu des créations.

Automne 2006, Dinozord:The Dialogue Series iii. s’y crée, l’équipe venue de Kinshasa ou Lubumbashi s’installe pour quelques semaines dans la ville…

La pièce se lit d’ailleurs comme un cahier du retour au pays natal. Que sont devenus les amis avec lesquels du haut de ses quinze ans, Faustin a rêvé de changer la littérature et le théâtre africains (pas moins !) ? Et à quoi peuvent bien rêver les jeunes aujourd’hui dans cette ville meurtrie par la guerre ?

En 2007, s’y invente La Fratrie errante à partir d’un

54

texte de Marie-Louise Bibish Mumbu. Parmi les six comédiens sur scène, trois sont boyomais (le petit nom des habitants de Kisangani).

Très vite, les Studios Kabako fondés par Faustin en 2001 à Kinshasa migrent vers Kisangani, devenue soudain une évidence, très loin du tumulte et de la saturation de la capitale, vaste bordel de huit millions d’âmes, toutes occupées à la survie quotidienne sans presque aucune infrastructure…

Pas plus d’infrastructures à Kisangani, troisième ville du Congo, capitale de la Province Orientale, mais un peu moins d’habitants, 800 000 peut-être (dans un pays où l’on ne compte plus depuis longtemps) et la respiration d’un fleuve et d’une rivière, le Congo et la Tshopo et la respiration de la forêt équatoriale… Du vert partout, tout pousse, vite et avec vigueur, même si les grands arbres partent en grumes sur le fleuve, victimes de quelques sociétés libanaises qui coupent, ne replantent jamais et ne reversent rien, sauf dans les poches de quelques puissants ; des sociétés qui portent des noms comme Congo Futur, à la limite du pied de nez…

Kisangani, capitale du diamant, les comptoirs y fleurissent, il y a Fofo Force, Bassam très très fort, Maradona ou Soleil Mosindo, beaucoup d’argent qui transite, opaque, et ne reste pas. Seul investissement notable, quelques villas immenses aux toits multiples et de grosses voitures, des nouveaux modèles, si possible inconnus dans la place et que l’on baptise, comme la première Hummer de la ville, celle de Fofo, avec de la bière au rondpoint du canon… Le diamant alimente les rêves bon marché des jeunes : aller dans les carrières en pleine forêt, creuser et peut-être revenir avec une grosse pierre, de quoi s’acheter une moto, un costume, dilapider quelques temps, avant d’y retourner là-bas invariablement, dans l’enfer des carrières.

carrières.

moins !) qui n’existe nulle part ailleurs au Congo.

Le bois, les diamants et puis… plus grand chose, le poisson que l’on consomme sur place, on y cultive en famille sur de petites concessions, les plantations hévéa, café, huile de palme… ont disparu depuis longtemps. La brasserie Bralima approvisionne la ville en sucrés (Fanta rouge ou jaune, Coca) et Primus-bière.

Et bien sûr, les tolekas (en lingala, littéralement « on y va ! »), symboles de la ville. On transporte tout sur ces vélos taxis made in China or India ; des hommes sur de petits coussins colorés, des bêtes, des tôles, du ciment, des régimes de banane, des montagnes de feuilles de manioc. Apparus pendant la guerre quand le manque de carburant et les réquisitions sauvages avaient fait disparaître tout véhicule de la ville et moyen de transport le moins coûteux, ils sont incontournables dans la vie quotidienne des Boyomais.

Kisangani, c’est aussi un passé, Stanleyville, avec de merveilleuses villas construites par les Belges, art déco ou façon maison-de-maître-en-Louisiane, et de petites boîtes exigues et accolées façon cité-ouvrière-de-Manchester pour les Congolais « évolués ».

Kisangani, c’est une gare qui ne fonctionne plus, quelques bateaux qui rejoignent en deux semaines élastiques Kinshasa, un bac qui traverse le fleuve vers la commune de Lubunga quand on paie l’essence et la peine et un aéroport, qui fut un jour international, remis en fonctionnement par les Nations-Unies et qui relie aujourd’hui la ville à Kinshasa et Goma.

Une route vers l’Est qui vient juste de rouvrir après une décennie sous la forêt, on peut y joindre Béni en deux jours quand il ne pleut pas.

Enfin, une université, Unikis et quatre ou cinq mille étudiants qui ne trouvent pas de travail une fois diplômés…Une Alliance Franco-Congolaise moribonde qui survit en louant son théâtre et maintient avec soin la seule bibliothèque de la Province.

Comment inscrire ainsi une démarche, un parcours singulier, celui de Faustin, au sein d’un territoire ? Les Studios Kabako n’ont jamais été une compagnie, plutôt une boîte à inventer, à chercher, à douter, mais où s’imposent certains soirs quelques certitudes, un espace jusqu’ici mental, si précieux dans ce pays-là.

A Kisangani, les Studios Kabako prennent corps, au pluriel… Trois espaces dans différentes communes, pour créer un maillage de la ville, telle une acupuncture urbaine susceptibles de générer du lien, à même de réagir et de rayonner dans une économie de moyens. Une façon aussi de réagir à l’extrême centralisation d’un pays où rien n’existe en dehors de Kinshasa. Alors quitter la capitale pour Kisangani, et puis ne pas se cantonner à Makiso, centre administratif et économique de la ville, mais atteindre les périphéries et les lieux de vie, comme Lubunga, sixième commune de la ville, oubliée de l’autre côte du fleuve…

Trois lieux soit : • Un lieu de diffusion donc, sur un terrain de 650 m2 acquis en 2007, entre l’université et le centre historique et commercial.

• Un lieu de résidence sur un peu plus de 4000m2 à huit kilomètres de la ville, non loin du fleuve, une petite vallée, une rivière, des étangs à poissons et des gamins sur des remblais qui se demandent ce qu’on peut bien imaginer là… Et ce que nous imaginons avec l’architecte allemande Bärbel Müller, ce sont des espaces d’enregistrement et de répétition pour la musique, un espace de montage vidéo, un studio de répétition pour la danse et le théâtre et des logements pour des artistes invités.

• Enfin, un troisième lieu qui reste à trouver, lieu citoyen, ouvert sur les communautés, le tissu associatif, les énergies et les difficultés du quotidien, à Lubunga, de l’autre côté du fleuve qu’on traverse en pirogue. La commune la plus peuplée de la ville, productrice d’une grande partie des légumes et tubercules dévorés par les autres

dans

l’enfer

des

Voici le territoire d’actions des Studios Kabako, une ville qui fut, une ville où il était possible de rêver à seize ou dix-sept ans dans les années 80... une ville qui pourrait devenir cette capitale culturelle (pas moins !) qui n’existe nulle part ailleurs au Congo.

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