Playbill | Les Francophonies

Les Francophonies Congo Jazz Band

NOV 16, 11:00 AM NOV 17 & 18, 7:30 PM

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Congo Jazz Band SUMMARY

From Belgian King Leopold II’s obsession with the idea of having a colony, to the assassination of Patrice Lumumba by Belgian policemen after the colony’s long-awaited independence, the history of the Congo is at the heart of a spiral of violence and wars that continue to this day. Congo Jazz Band retraces almost a century of tragic history, using Congolese music, which has been taken over by nationalist dictators, but which is also and above all a space for speech and revolt, an engine for change.

WRITTEN BY

Mohamed Kacimi

DIRECTOR & SET DESIGNER

Hassane Kassi Kouyaté

ASSISTANT DIRECTOR

Astrid Mercier

MUSICAL DIRECTOR

Dominique Larose

PERFORMED BY

Alvie Bitemo, Dominique Larose, Miss Nath, Abdon Fortune Koumbha Kaf, Marcel Mankita, Criss Niangouna

DIGITAL CREATIVE DESIGN

David Gumbs

LIGHTING CREATION

Cyril Mulon

COSTUMES

Anuncia Blas

GENERAL MANAGER

Jean-Christophe Goguet

SOUND AND VIDEO CONTROL Pierre Jandaud PRODUCTION

Les Francophonies - Des ecritures a la scene

Duration: 110 minutes with no intermission.

This performance contains mature language.

Delegate Production by Cie Deux Temps Trois Mouvements ; Coproductions with Tropiques-Atrium - Scene nationale, Manage - Maubeuge - Scene natio- nale transfrontaliere, and with the support of the OI F (Organisation Internationale de la Francophonie), La Chartreuse de Villeneuve lez Avignon - Centre national des ecritures du spectacle, the OARA (Office Artistique de la Region Nouvelle-Aquitaine), the SPEDIDAM, the CITF (Commission lntema-tionale du Theatre Francophone), the ADAMI, the Opera de Limoges.

This project was initially conceived as part of the “Africa2020” Season (French Institute and French Development Agency). As such, it benefits from the support of its committee of patrons: Fondation Gilbert et Rose-Marie Chagoury, Orange, Total Foundation, Axian, Groupe Sipromad, JCDecaux, Pernod Ricard, Sanofi, Societe Generale, Vinci, CFAO, Engie, Thales, Thompson, Veolia, and the AFD - Agence fran99ise de developpement The play Congo Jazz Band is published by Avant-scene theatre (September 2020, n°1482).

The Ringling's Art of Performance would like to give special thanks to Tre Michel of State of the Arts Gallery and The Alliance Française de Sarasota.

ARTIST BIOGRAPHIES HASSANE KASSI KOUYATÉ (DIRECTOR & SET DESIGNER), born in 1963 in Burkina Faso, is a descendant of a griot family, director and actor in theater and cinema, and teacher. He has been immersed in the artistic world from an early age, first and foremost by his father, the great comedian Sotigui Kouyaté, as well as by his brothers, one a director, the other an actor. He perfects the different arts that are close to his heart in both Africa and France, such as storytelling, writing, comedy, production, and music.

He is the founder of the company Deux Temps Trois Mouvements at the Galante theatre in Avignon and the Yeleen International Festival of Tales, Music and Dance and the Djéliya Cultural and Social Centre in Bobo-Dioulasso, Burkina Faso.

Since 2014, he has been director of the National Tropics Atrium of Martinique, where he has worked for the support and professionalization of emerging artists as well as for artistic dissemination as close as possible to the populations of the entire territory of Martinique. With more than 40 shows to which he has contributed as an actor, author, or director, he defends a committed, multicultural theatre that is as open to the contemporary world as to the preservation of memory.

In 2019, he was appointed as the director of the Francophonies en Limousin festival, which occupies a major place in the French-speaking artistic and cultural landscape; it is a project that is demanding and popular, in which all its diversity will be expressed.

In the footsteps of Monique Blin, Patrick Le Mauff, and Marie-Agnès Sevestre, it aims to make the event a major venue for the creation and programming of the French-language performing arts, a place where innovation, relevance, demand, and conviviality are mixed.

MOHAMED KACIMI (AUTHOR) was born in Algeria into a family of theologians. After settling in Paris in 1982 he began to translate and publish poetry with Adonis, Eugene Guillevic, and Bernard Noel.

In 1987 Kacimi published his first novel, Le mouchoir. In 1990, he wrote Arabes vous avez dit Arabes, an anthology of the European view of the Arab world from Aeschylus to de Gaulle in collaboration with Chantal Dagron. Additionally, he published Naissance Du Desert, an essay on the imaginaries linked to the desert in ancient Greece, Judaism, Christianity, and Islam.

Kacimi worked for Actue Magazine and then became a producer at France Culture.

He has published and written multiple titles including Le jour dernier (1995), Le Vin, le vent, a vie (1995), La confession d’Abraham (The Confession of Abraham) (2005), Terre Sainte (2006), The Table of Eternity (2016), Tous mes reves partent de gare d’Austerlitz (2018), Lours tranquil/es a Jerusalem (2019), and produced multiple shows including Presences de Kateb Yacine (2003), Nedjma (2003), and Des Roses (2015).

MARCEL MANKITA (COMEDIAN) originally became interested in theater while studying public law in Brazzaville, Congo. Under the direction of director Victor Louya, he played main roles and participated in the creation of a dozen contemporary texts.

Based in France since 1997, he has worked with Catherine Bos-Kowitz, Claude Bernhardt, Martine Fontanille, Adel Hakim, Laurence Andreini, Gil Bourasseau, Philippe Adrien, Antoine Bourseiller, Lotfi Achour, Christian Schiaretti, and Hassane Kassi Kouyate, and has performed, among others: Tchouboukov in Anton Tchekhov’s La demande en mariage, Titus in Berenice by Jean Racine, Kala Lubu in Une saison au Congo by Aime Cesaire, Ulysse in Penthesilee by Heinrich Von Kleist, Sony in Sony Congo by Bernard Magner, Bayouss in Au nom du pere, du flls et de JM Weston by Julien Mabiala Bissila. He is the solo actor in an adaptation of Allah n’est pas oblige by Ahmadou Kourouma.

In the cinema, he worked with Lucas Belvaux (Les Preda- teurs) and Costa Gavras (Eden in the West).

ALVIE BITEMO (COMEDIAN) is an actor and singer, who began her career with Pierrette Mandako in the shows Femmes crues and Le destin de Sabi. Additional projects include Le Musee de la Honte, Le tribunal du Jou and Au Nom Du Pere et du Fils, JM Weston with Julien Bissilia Mabiala, Dieudonne Niangouna on Banc de Touche, Eva Doubia in La Chambre d’Edouard Band, Afro-peenne and shows directed by Philippe Delaigue, Catherine Boskowitz, Catherine Benamou.

Recently, she joined Richard Demarcy in Drole de Vampires and Denis Guenon for Aux Corps Prochains, on a thought by Spinoza. Additionally, she continues to sing and write texts haunted by the tragic history of her country, which she sings in Lingala, Lari, or French. Her subversive and tender lyrics are carried by an unwavering hope, affirming a need to speak out and refusing to be stifled by any power.

MISS NAT (MUSICIAN) is a self-taught guitarist who began her musical journey at the age of 15 during a trip to Ireland. From 1987 to 1997, she played in various rock, pop, and reggae bands. She returned to music in 2003 by accompanying singersongwriters like Djip (reggae), Ebale et le soul-nabisso (Afro-soul), Betty Seymour, (pop-folk), Callefaccion (salsa/cumbia/reggae/ska). Currently, she plays with French singer Mata Gabin and the pop group Mr. Lemon.

CRISS NIANGOUNA (COMEDIAN) is an actor and author. Born in Brazzaville, Congo, he began his theater activities in the 1990s with various companies of his native city. In 1997, in the wake of the second civil war in Congo, and especially his city of Brazzaville, he created the company “Les Bruits de la Rue” with his brother Dieudonne.

They initiated the revival of the Congolese dramatic scene, most notably through the play “Big! Bourn! Bah!”, addressing the violence they had witnessed in the city.

As an actor, he has played in Les damnes de la terre by Franz Fanon, directed by Jacques Allaire, in Sheda by Dieudonne Niangouna, in Au nom du pere, du flls et de J.M. Weston by Julien Mabiala Bissila, Sony Congo ou la chouette petite vie bien osee

by Sony labou Tansi, a text by Bernard Magnier, directed by Hassane Kouyaté. He wrote ‘Costume or half-dakar? You have the choice’ and is interpreted in his staging by Laetitia Ajanohun. He also plays in Fais que /es etoiles me considerent davantage

ARTIST BIOGRAPHIES

by Hakim Bah, directed again by Jacques Allaire. From January to February 2020, he played in Je vous ai prepare un petit true au biofour...by Marielle Pinsard at the Theatre de Vidy-Lausanne.

To date, two of these texts have been published: Suit or half-dakar? You have the choice, Cana Editions, 2016; and Des ombres et des lueurs, editions Passage(s), coll.

Libres courts au Tarmac, 2016.

ABDON FORTUEN KOUBMHA KAF (ACTOR), born in Pointe-Noire, is a plural cultural artist: storyteller, actor, director, and trainer. He has worked with Francoise Do, Rachid Akbal, Hassane Kassi Kouyaté, Mwambayi Kalangayi, Daniel Simon, Jean Jules Koukou, Dieudonne Nian­gouna, and Philippe Adrien.

He has received several awards including Best Comedian at the CARE Festival (Kinshasa) in 1995, the Silver Medal for Storytelling at the 4th Jeux de la Francophonie (Ottawa-Hull) in 2001, and Best Comedian of Congo Brazzaville by the journalists and chroniqueurs of Congo in 2004.

He directed Les griots du boss by Sylvie Dydo Pornos, Au coeur de ce pays by J.M. Coetzee, Monsieur Ki by Koffi Kwahule. He is co-founder of the Festival Mantsina sur scene in Brazzaville in 2003. He is the founder and artistic director of Espace Tine in Congo (Brazzaville and Dolisie) since 2003. From 2005 to 2017 he directed the International Festival RIAPL (Brazzavil e and Dolisie). From 2012 to 2018, he was appointed by the OIF (International Organization of the Francophonie) as the Central African expert of the CITF (International Commission of Francophone Theatre). He Is currently the artistic director of the Festival Dol’En Scene (International Biennale of small theatrical forms in Dolisie).

DOMINIQUE LAROSE (MUSICAL DIRECTOR AND MUSICIAN was born In Guadeloupe to a Martinican mother and a Guadeloupean father, Larose grew up sailing from one island to the other, lulled by Caribbean music. Her father, a guitarist, taught her the basics of the guitar and introduced her to the ka, the drum of her native island.

After moving to Paris at age 12 she began to study piano at a conservatory and began writing music. At the age of 18, she “met” the drums, and it was love at first sight!

Today she embraces the world of music as an author, composer, chorister, singer and rhythmician (drums, cajon, congas, and percussion) both on stage and in the recording studios.

She has sung in the chorus of artists like Bernard Lavilliers, Yannick Noah, Les Neg marrons, Tikken jah Fakoly, Lio, Bigga ranx, Oliver N’Goma and many others. On the drums she played with Christophe Mae, Patricia Kaas, and Jennifer. Her love for music is a continuous journey carrying her from one instrument to another, from one country to another, and from stage to stage.

THE MUSIC OF CONGO JAZZ BAND MARIO

by Franco Luambo Ndzembella Mobali akuti ngai na bomemgo Asengi akomander ngai na ndimi Mobali akuti ngai na bomengo Asengi adiriger ngai na ndimi Nabandi kobima na ye babandi kobenga ye Monsieur Mario avimbi moto akanisi biloko na ngai ya ye ah!

Ah Mario na baye yo o Kende Mario nalembi yo o Akobete ngai na zuwa epayi zuwa ya lokuta Epayi zuwa ya biloko akutakingai nayango Likambo moke mosala koboma biloko ya ndako na samba Nalembi eh Mario na baye yo Kende Mario nalembi yo o Sima bima nalembi yo ...

MARIO Translation Oh Mario Look for a woman you can marry Mario is used to loving generous mothers.

Aren't you cursed?

Today problems and tomorrow more problems. I'm sick of it. Today the fight and tomorrow the arguments. I'm fed up I don't want to damage my body with scratches, I'm fed up Mario, I'm fed up. Mario, I'm fed up.

Oh Mario, I have already forbidden you to love women who have a lot of money Listen to how she denigrates you to women and men You with five degrees Mario Make an effort to find a job Mario, why do you put yourself down?

You debase your name, Mario I'm sick of it ...

L’ESCLAVE (SLAVE)

by Papa Wemba (in Lingala – no translation)

Likambo nini na ngai Ni mwana ya mama hahaha Nilikama nini na ngai Mwana ya mama oohh Mbokali saki ngai na bambasi ya Papa yaho Na nyakwa maki na fimbo ya Papa yaho Obome linga ba nzambe nyoso Yafrika Enga yeyee Aaa yoo Abba yeyo Angaa yee Angaa yee ama Ba ugu namerika naseinzera ma simyo Ba ugu nafrika mo nyororo na ...

Mbo teki nai nazanga tipo Zela molai oh zela ya zanzibar Nakei ehh nabeiii Kosalela nangambe bomba Enga yeyee Aaa yoo Abba yeya Angaa yee Angaa yee ama Martin Luther King Essi smith Bob Marley Arisola zara kaize nkorera paise ya bombo Nkorera kana bango Namitu naka baba yoba takamba nameriika ahh Badeko ba ngai kiribota maka Sakiba zari kona toyobana kate eehhh Kasina yebi kozari na guadeloupe martinique na Luberi quartoni basusu baliko na au antille eeehh Na Nelson Mandela Desmond tutu Sister Maria Thereza Nasimbo mayatengama monyoko ri na sura afrika Freedom...

THE MUSIC OF CONGO JAZZ BAND LE BÛCHERON (THE BURNER)

by Franklin Boukaka Ah ee Africa Eh e Africa 0 Lipanda Ah e e Africa Eh e Africa O Liberte Kokata koni pasi Saki na kati koteka pasi Na pasi oyo ya boye Ngai na bana mawa Nakoka te Basusu oyo naponaka Bawela bokonnzi Pe na ba-cars Bavoti tango ekomaka Ngai nakomaka moto Pana bango Nakomi tuna Mondele akende Lipanda tozuwaka o ya nani e? Africa e Ah ee Africa Eh e Africa 0 Lipanda THE BURNER Translation Ah! Africa. Hey! Africa, where is your independence? Ah, Africa.

Hey Africa, where is your freedom?

Cutting firewood is hard work Selling this wood is another With this lot of misfortunes and the children I am far from getting out of it Some to whom I have given my voice Have developed a bulimia for power and cars When the elections come I become important in front of them I wonder: the colonizer is gone For whom did we get independence? Oh!

Africa. Ah, Africa.

Eh! Africa Where is your independence?

LES IMMORTELS (THE IMMORTALS)

by Franklin Boukaka Africa mobimba eh Tokangi maboko eh Tozali kotala eh Bana basili na kokende Bana basili na kotekama eh Na banguna a Tolati mokuya ata maloba te Congo na bana Africa baleli Oh oh Mehdi Ben Barka Mehdi nzela na yo ya bato nyonso Mehdi nzela na yo ya Lumumba Medhi nzela na yo ya Che Guevara Medhi nzela na yo ya Malcom X Medhi nzela na yo ya Um Nyobe Medhi nzela na yo ya Coulibally Medhi nzela na yo ya André Matsoua Medhi nzela na yo ya Simon Kimbangu Medhi nzela na yo ya Albert Luthuli Oh ya Tiers-monde Oh !

Oh ya libération ya ba peuple THE IMMORTALS Translation The whole of Africa Crossed its arms We watch helplessly The loss of its children Trafficking of its children With the enemies Silent, we wore a black veil of mourning Congo and Africa burst into tears Oh! Mehdi Ben Barka Mehdi, your path is that of all humanity Mehdi, your voice is that of Lumumba Mehdi, your voice is that of Ché Gue-vara Mehdi, your voice is that of Malcom X Mehdi, your voice is that of Um Nyobe Mehdi, your voice is that of Coulibally

Mehdi, your voice is that of André Matswa Mehdi, your voice is that of Simon Kim-bangu Mehdi, your voice is that of Albert Luthuli That of the Third World Oh! That of the liberation of peoples PLUS RIEN NE M’ÉTONNE (NOTHING SURPRISES ME ANYMORE)

by Tiken Jah Fakoly Ils ont partagé le monde, plus rien ne m’étonne Si tu me laisses la Tchétchénie, Moi je te laisse l’Arménie Si tu me laisses l’Afghanistan Moi je te laisse le Pakistan Si tu ne quittes pas Haïti, Moi je t’embarque pour Bangui Si tu m’aides à bombarder l’Irak, Moi je t’arrange le Kurdistan Ils ont partagé le monde, plus rien ne m’étonne Si tu me laisses l’uranium Moi je te laisse l’aluminium Si tu me laisses tes gisements, Moi je t’aide à chasser les Talibans Si tu me donnes beaucoup de blé, Moi je fais la guerre à tes côtés Si tu me laisses extraire ton or, Moi je t’aide à mettre le Général dehors Ils ont partagé le monde, plus rien ne m’étonne Ils ont partagé Africa sans nous consulter, Ils s’étonnent que nous soyons désunis !Une partie de l’empire Mandingue, Se trouva chez les Wolofs, Une partie de l’empire Mossi Se trouva dans le Ghana, Une partie de l’empire Soussou Se trouva dans l’empire Mandingue, Une partie de l’empire Mandingue Se trouva chez les Mossis Ils ont partagé Africa sans nous consulter, Sans nous demander, sans nous aviser

!Ils ont partagé le monde, plus rien ne m’étonne NOTHING SURPRISES ME ANYMORE

By Tiken Jah Fakoly They have shared the world, nothing surprises me any more, if you leave me Chechnya, I leave Armenia to you If you leave me Afghanistan I'll leave you Pakistan If you don't leave Haiti, I'll take you to Bangui If you help me bomb Iraq, I'll arrange Kurdistan for you They shared the world, nothing surprises me anymore If you let me have the uranium I'll leave the aluminum to you If you let me have your fields, I'll help you drive out the Taliban If you give me a lot of wheat, I'll go to war with you If you let me mine your gold, I'll help you get the General out They shared the world, nothing surprises me anymore They shared Africa without consulting us, They are surprised that we are disunited! A part of the Mandingo empire, Was found among the Wolofs, Part of the Mossi empire was found in Ghana, Part of the Soussou Empire Found in the Mandingo empire, Part of the Mandingo empire Found among the Mossi They shared Africa without consulting us, without asking us, without notifying us!

They have shared the world, nothing surprises me anymore

THE MUSIC OF CONGO JAZZ BAND INDEPENDENCE CHA-CHA

by Grand Kalle - African Jazz Independence cha-cha to zuwi ye! Oh Kimpwanza cha-cha tubakidi Oh Round Table cha-cha ba win oh! Oh Li panda cha-cha tozuwi ye I ASORECO na ABAKO Bayokani Mato moko Na CONAKAT na CARTEL Balingani na FRONT COMMUN Bolikango, Kasavubu mpe Lumumba na Kalondji Bolya Tshombet. Kamitatu, oh Essandja, Mbuta Kanza.

Na MNC, na UG1:CO ABAZI, na PDC Na PSA, na African Jazz na Table Ronde mpe ba win I INDEPENDENCE CHA CHA Translation Independence cha-cha we won We are finally free Oh Round Table cha-cha we won!

Independence cha-cha you are finally in our hands I ASSORECO and ABAKO as (political) parties As one man they signed the pact associating CONAKAT and CARTEL They have united in a common front Bolikango, Kasavubu with Lumumba and Kalondji Bolya, Tshombe, Kamitatu, oh Essandja, Mbuta Kanza.

CHAT MASSANGASSA (MASSANGASSA CAT)

by Alvie Bitemo Massangassa ma na luteeee itima mina dileeeee Kuna londe mu pepe wuna yala bia bio Kuna londe mu pepe wuna yala bia bio BALA BANI BA NA FUKILA Bala bani bana fua , mu mbungu bian Binvuama bieno Mu mbungu bia bi nvuama bia nsi yi Oh oh kuna londe ya mu pepe Wuna yala yala bia bio Mitima mia mana luafua aaa Massangassa ni luta kua muna luta Mitima mpe mialuala

SINGING THE TEARS Translation Tears are flowing Hearts are grieving At the top of the mountain a hurricane uproots everything My children are devastated My children are dying because of wealth, because of your greed for wealth At the top of the mountain, the wind tears everything away in its path Wounded hearts, mourning hearts, today the tears continue to flow Deeply wounded hearts.

e s e h t s s i m !

Don't s e c n a m r o f r e p g n i m o upc ART OF PERFORMANCE | 2023/24 SEASON HISTORIC ASOLO THEATER

LA SANTA CECILIA

ETIENNE CHARLES

DEC 12, 6:00 PM

Creole Soul FEB 15 & 16, 7:30 PM

FLORIDA WOMAN

Rosie Herrera + Leah Verier-Dunn MAR 22 & 23, 7:30 PM MAR 24, 5:00 PM

UN POYO ROJO APR 6, 7:30 PM APR 7, 5:00 PM APR 8, 11:00 AM

MAZELFRETEN Rave Lucid

FEB 22, 11:00 AM FEB 23 & 24, 7:30 PM

LA FAMILLE GOLDENCRUST APR 18–20, 7:30 PM APR 21, 11:00 AM

BélO MAR 8 & 9, 7:30 PM

ensembleNEWSRQ

Parisian Refraction

MAY 9–11, 7:30 PM MAY 11, 2:00 PM

Join us this season at the HAT’s pre- and post- show hang out in the Benfer Courtyard. Grab a drink, chat with friends, and discuss the performances in a casual, outdoor neighborhood space.

See you @ the HAT Lounge!

A SPECIAL THANK YOU TO OUR 2023/24 ART OF PERFORMANCE SPONSORS

This program is supported in part by the Art of Performance Fund, Arthur F. and Ulla R. Searing Endowment, Dorothy Jenkins Endowment at the John and Mable Ringling Museum, Ellin Family Art of Our Time Endowment, Ed & Elaine Keating Endowment, Ringling Art of Performance Endowment, Selby Foundation Ringling Museum Endowment, Cowles Charitable Trust, Huisking Foundation, David and Mary Benfer, Michael and Kathy Bush, Warren R. and Marie E. Colbert, Leon and Marge Ellin, Judith and Stephen Shank, and Marge and Irv Weiser.

THE RINGLING’S ART OF PERFORMANCE delivers broad access to provocative and timely performing arts that reflect a wide range of experiences, disciplines, and relevant cultural expressions. The series embodies The Ringling’s values of inclusion, inspiration, and excellence through programs that elevate community engagement, equitable partnerships, and the plural exchange of ideas in tandem with visiting artists. Besides public programs, we support Florida-based, national, and international performance makers in developmental residencies and creative research.

The John and Mable Ringling Museum of Art is the State Art Museum of Florida administered by Florida State University. It features an art museum, historic mansion, circus museum, historic theater, conservation laboratory, arboretum, and research library, situated on 66-acres of bayfront property in Sarasota. The Ringling is an extraordinary center of art and culture engaging with the local, state, and global communities, and is accessible to and inclusive of all.

LAND ACKNOWLEDGEMENT The Ringling respectfully acknowledges that we are located on the traditional Homelands and the ancestral territories of the Seminole Tribe of Florida and the Miccosukee Tribe of Indians of Florida, as well as the ancient tribes of the Calusa, Uzita and Tocobaga. We also acknowledge the local freedomseeking community called Angola, and the people later known as Black Seminoles.

We honor the resiliency of Indigenous communities, and we extend our gratitude as we live and work on their Homelands. We pay our respect to the Elders, both past and present, who have stewarded these lands and waters through generations since time immemorial.