Moon looking dog
UN PAS DE CÔTE
Choreography Salia Sanou and Seydou Boro
Music Jean-Pierre Drouet
How does a musician feel the dance in his very flesh? How do you construct a work that does away with the traditionnal dance/music and sound/movement boundaries? Is not the musician a dancer, with each note matching a body prt that is affected , or stirred ? Is the dancer not a musician in his use of movement and rythm? This approach, with its blurring of artistic boundaries and domains, has something captiving about it. in a single performance space it presents artists from different cultures and with different life experiences, not as an exploration of difference but with a view to understanding and exploiting our shared assets.
Source : Press Book - Biennale 2006
Chorégraphie Salia Sanou et Seydou Boro Musique Jean-Pierre Drouet
Danseurs Salia Sanou, Seydou Boro, Ousséni Sako, Ahmed Khémis, Bénédicth Sene Musiciens Jean-Pierre Drouet, Michel Maurer, Pierre-Simon Chevry, Eric Lamberger, Alain Tressallet, Dramane Diabaté
Direction musicale Philippe Nahon Scénographie Claudine Brahem Lumières Eric Da Greça Neves Son Xavier Bordelais
Video direction : Charles Picq
Production : Biennale de la Danse
Updating : March 2012
1992 Introduced to Bobo rituals and traditions, he was trained for african dance with Drissa Sanon, Alasane Congo, Irène Tassembedo and Germaine Acogny, Salia Sanou met Seydou Boro at l’Union Nationale des Ensembles Dramatiques de Ouagadougou.
In 1993, Salia Sanou is 24 years old when he met Mathilde Monnier and reconnected with Seydou Boro at the Centre Chorégraphique National de Montpellier. The creations «Pour Antigone», «Nuit», «Arrêtez, arrêtons, arrête», «Les lieux de là», «Allitérations» followed. At the same time, Salia sanou choregraph « L’héritage ».
Building on this success and their joint path within the Mathilde Monnier’s dance company, Salia Sanou and Seydou Boro decided to explore together a contemporary African dance, far from exotic and folkloric stereotypes. In 1995, they founded the company Salia nï Seydou and created their very first show «Le siècle des fous», then «Fignito, l’oeil troué» (1997) and «Taagalà, le voyageur» (2000). Next year, Salia sanou is invited by the company Tumbuka Dance of the Mozambique National Ballet as a guest choreographer for the show «Kupupura». Surrounded by Seydou Boro and Ousséni Sako, he choregraphs «Weeleni, l’appel» (2002), one of the most intimist creation of the company.
2001-2006 Salia Sanou is the artistic director for the Rencontres Chorégraphiques de l’Afrique et de l’Océan indien. With Seydou Boro, they invited the multi-talented French instrumentalist and composer Jean-Pierre Drouet to join them in a first-time collaboration with the instrumental ensemble Ars Nova, and created together «Un Pas de Côté» (2006).
In 2006, Salia Sanou and Seydou Boro founded and directed the Centre de Développement Chorégraphique La Termitière in Ouagadougou, Burkina Faso.
In 2011 Salia Sanou and Seydou Boro leave each other, each in his way, but still managing together the artistic direction of la Termitière, in Ouagadougou. Fifteen years on from their first creation, they established on the international artistic scene a contemporary, singular and profound writing. He created « Au-delà des frontières » (2012), « Doubaley or the mirror » (2013), « Clamor of the arena » (2014) and « Desire for horizons » (2016).
Source : Salia Sanou 's website
Born in Ouagadougou, Burkina Faso, Seydou Boro followed in 1990 a training of actor in the theater company Feeren, directed by Amadou Bourou. In 1991 he was a theater performer, in "Marafootage", by Amadou Bourou and then in "Oedipus Roi" by Sophocles by Eric Podor. In 1993, he joined the company Mathilde Monnier at the CCN Montpellier. In 1992, Seydou Boro met Salia Sanou and together founded Salia nï Seydou in 1995, with their first work created in 1996, "The Century of Fools", halfway between African tradition and gestural modernity.
After 15 years of artistic adventures with Salia Sanou in the company Salia ni Seydou, Seydou Boro created his own company in 2010. He seeks to develop his choreographic research while expanding a more transversal approach through film and music creations. He created “Le Tango du Cheval" in 2010 and the same year released his first album: "Kanou", then adapted a traditional tale for children in 2013: “Pourquoi la hyène a les pattes inférieures plus courtes que celles de devant, et le singe les fesses pelées?" [Why do hyenas have shorter back legs than front legs and why do monkeys have bare bottoms?], and is preparing a film with Leslie Gremberg/Les Films Pénélope: "Corpus". He is also still touring with the pieces "C'est-à-dire" (2004) and "Concert d’un homme décousu" (2009) and is regularly invited to teach and present his repertoire in classes and master classes.
His artistic work is inspired by ties woven over the years with the CDC la Termitière in Ouagadougou (Burkina Faso) of which he is co-director, and also other projects in France and abroad that provide space for research and experimentation. He has also worked with the Récréatrales in Ouagadougou, the Tof Theatre (puppets, Brussels), Mark Tompkins (company I.D.A) and is envisaging, with Bakary Sangaré from the Comédie Française, an adaptation of a text he wrote in 2002: “L’Exil dans l’Asile".
In 2014, with “Surukou”, the company Seydou Boro recreated, with 4 musicians live on stage, the choreographic tale created in 2013 and released in 2015 “Le Cri de la Chair", for 6 dancers and 5 musicians.
Sources: Cie Seydou Boro 's website ; CRDP Limousin - show program ("Le cri de la chair", 2016)
Ars Nova is made up of 25 musicians devoted to the repertoire of 20th century and performance of the new works, especially those reflecting contemporary trends. It is open to all the musical and artistic styles of its time and is seen as a focus for encounters and exchange. Its projects are developed through a process of ongoing work with composers, an approach that has led to a special relationship with Pascal Dusapin, Bernard Cavanna, Andy Elmer, Georges Aperghis, Claude Barthélémy, Luc Ferrari, Jean-Pierre Drouet and, recently, Sylvain Kassap, Alexandros Markéas et Zad Moultaka.
In addition to concerts offering a balance between experiment and new works, Ars Nova undertakes projects combining music, theatre, dance and the performing arts.
Sources : Press book - Biennale 2006
Updating: March 2012
Jean-Pierre Drouet began studying classicla music in Bordeaux before moving on Paris, where he earned his first percussion prize in 1958. He knew, however, that a « classic » career was not to his taste, and his meeting with Luciano Berio was a decisive factor in the direction his musical life was to take. Together they wrote « Circles » for singer Cathy Berberian, and toured the United States. Drouet played with Pierre Boulez and performed numerous specially written works for Barraqué, Stockhausen, Kagel, Xenakis and others. At the same time, he was playing with André Hoeir's Jazz Groupe de Paris and accompanying, among others, Edith Piaf, Gilbert Becaud, Jeanne Moreau and Bobby Lapointe. In the late 1960's, with Michel Portal, Vinko Globokar and Carlos Roque Alsina, he founded the New Phonic Art ensemble, which for the next fifteen years provided him with a framework for pure, emotionally powerful improvisation.
Insatiably curious, he also worked on the traditionnal rhythms of the zarb and the tabla ; on the the new electroacoustic possibilities ; on music theatre, with Aperghis, Jean-Louis Barrault, Ensemble Aleph, Ars Nova and others ; on dance with, for example, Violetta Farber and Jean-Claude Gallotta ; with Claudia Brahem's music machines, and with Bartabas's horses. With the Ars Nova ensemble he prepared a new version of Luciano Berio's « Laborintus II » in 2003 and performed Claude Barthélémy's « Soleils Fondus » at the Cité de la Musique in Paris in 2004.
Source : Press book - Biennale 2006
Updating : March 2012
Artistic direction: Salia Sanou et Seydou Boro
Salia Sanou and Seydou Boro meet in 1992 at the École des ensembles Dramatiques in Ouagadougou and both dance for the Mathilde Monnier Company. The Salia nï Seydou company was founded in 1995 by Salia Sanou and Seydou Boro, both from Burkina Faso. Based in Ouagadougou, the troupe in considered the flagship of the new generation of African choreographers.
The company's amazing career is marked by four major compositions : « Le siècle des fous », « Figninto : L'œil troué », « Taagala, le voyageur », « Weeleni, l'appel » (with young choreographer Ousséni Sako). Over the last ten years the company has toured in more than forty countries.
In 2006, they invited and created with the multi-talented French instrumentalist and composer Jean-Pierre Drouet «Un Pas de Côté» at the Biennale de Lyon, with the instrumental ensemble Ars Nova. The same year, ils fondent et dirigent le Centre de Développement Chorégraphique La Termitière à Ouagadougou, au Burkina Faso.
In 2011 Salia Sanou and Seydou Boro leave each other, each in his way, but still managing together the artistic direction of la Termitière, in Ouagadougou.
In the hands of Salia Sanou and Seynou Boro, dance is neither African nor modern, but a fascinating hybrid that uses the body to the full in the expression of ideas and emotions.
Sources : Press Book - Biennale de la danse 2006 ; Seydou Boro 's website ; Salia Sanou 's website
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