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A Benguer

Biennale de la danse 2006

Choreographer(s) : Coulibaly, Serge Aimé (Burkina Faso)

Present in collection(s): Biennale de la danse , Biennale de la danse - 2006

Video producer : Faso Danse Théâtre;Maison de la Danse

Integral video available at Maison de la danse de Lyon

en fr

A Benguer

Biennale de la danse 2006

Choreographer(s) : Coulibaly, Serge Aimé (Burkina Faso)

Present in collection(s): Biennale de la danse , Biennale de la danse - 2006

Video producer : Faso Danse Théâtre;Maison de la Danse

Integral video available at Maison de la danse de Lyon

en fr

A Benguer

A BENGUER / creation 2006

Choreography and scenography Serge Aimé Coulibaly

4 dancers, 2 rappers and 1 musician

A benguer means, in slang used in Western Africa, “the other side”, “the elsewhere”, and more generally speaking “Europe”. That is the origin of the title of the play “A benguer” that deals with an issue that is familiar and very important for me : the immigration issue and the fate of young people of Africa. It is a hot issue. Everyday we watch images of illegal immigrants landing on the Canary Islands, in the Spanish enclaves of Ceuta and Melilla, as well as people holding no identity papers being repatriated every day to Africa.

In the play A benguer, the issue of immigration takes a human and emotional form. In fact the creation of this show has been inspired by the real life of the performers and of their close friends : these people faced with the harsh reality of the social, political and economic life in Burkina Faso, those confronted with the temptation of exile, and those who have crossed the other side and keep going back home keeping the myth of a dream Europe alive, a place where life is easy and money always within reach… The play has a poetic touch that offers a very physical and meaningful dance with echoes of rap and songs with the beats of traditional instruments in the background, instruments such the kora, the calabach and the mouth arch.

A benguer also symbolises the will to arouse questions on the African and European political responsibilities regarding the exodus of a part of the youngs Africans, particularly throught the very emotional lyrics of the rap band Faso Kombat.  The scenery gives a concept of two worlds, Europe and Africa on the same stage, at the same time a bar (“maquis”), a waiting room or a borderline, a barrier to cross.

Sources : www.fasodansetheatre.com

Credits

Chorégraphie et scénographie Serge Aimé Coulibaly  Assistant à la chorégraphie Souleymane Porgo

Danseurs Tierema Koama Lévy, Sigué Sayouba, Lydia Fromont, Serge Aimé Coulibaly, Souleymane Porgo   Musiciens Tim Winsé, Salif Ouedraogo Malk hom, David Malgoubri.

Création sonore Benjamin Collier  Création Lumière Boris Montaye  Création Costume Amado Ouédraogo  Collaboration à la dramaturgie Alain Platel

Coproduction Le Grand Bleu ENPDA Lille Nord-pas-de Calais, La Biennale de la danse de Lyon, Afriaclia, Faso danse Théâtre, les ballets C de la B, le centre Culturel français de Ouagadougou, Fondation Beaumarchais, l'AFAA  Avec le soutien de Doni doni, du centre de développement chorégraphique de Ouagadougou la thermitière, la compagnie Téguérè

Video direction : Charles Picq
Production : Biennale de la Danse

Updating : february 2012

Coulibaly, Serge Aimé

Dancer and choreographer from Burkina Faso, Serge-Aimé Coulibaly is first and foremost a socially-conscious artist. His creations reflect the concerns that he is driven by. Young people and the hope of change for society, or even for humanity are frequently at the heart of his choreographic works.

After multidisciplinary training with the FEEREN Company, directed by Amadou Bourou, and completed by courses with international directors and choreographers, Serge-Aimé joined the Flemish Ballets C de la B Company in 2002, where he performed in “Wolf”, directed by Alain Platel and “Tempus Fugit”, directed by Sidi Larbi Cherkaoui.

He founded his own company - FASO DANSE THÈÂTRE- the same year and created his first solo “Minimini” before becoming associate artist in the Théâtre du Grand Bleu in Lille (until 2007). Serge-Aimé's following creations were internationally acknowledged: his second work “Et demain…” was selected for the Emergences during Lille 2004 – European Capital of Culture; “A benguer” and “Babemba” were performed in prestigious festivals in France and abroad.

Serge-Aimé's eclectic artistic career also led him to partner with a myriad of artists. Among others, he worked with Rachael Swain, director of the Australian company MARRUGEKU, on researching and confronting traditional Aboriginal dances with contemporary dance, which led to the creation of the show “Burning Daylight” (2006). They partnered again and created “Sugar”, based on urban cultures and the role of young people in the city. Rachael Swain directs performers from the world of hip-hop (dancers and rappers); she played a key role in the Liverpool 2008 – European Capital of Culture event. For Les Subsistances in Lyon, Serge-Aimé created “J'ai perdu mon français” for the Ça Tchatche festival, along with the Indian choreographer and dancer, Kalpana Raghuraman; a piece of work that explores the themes of power, encounters, language and power relationships.

In 2011, he created “Kohkuma 7°Sud” with his Faso Danse Théâtre Company. An exploration of our inner struggles, our silenced violence, through dance, music and video animations, a poetic and choreographic journey through hidden figures encountered in their most primitive forms. In 2012, he will dance a duo with Farid Berki in “A l'ombre des gazelles” (an FDT / Melting Spot coproduction), he will choreograph a solo for Julie Dossavi (produced by the Julie Dossavi Company) and he will take part in Moise Toué's project on Marguerite Duras' time in Burkina Faso. And last but not least, he continues his partnership with Alain Patel with “C(H)OEURS”, which includes an orchestra, a choir of 80 singers and 10 dancers and which was presented for the first time on 12 March in the Teatro Real in Madrid.

More information

fasodansetheatre.com

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