They are on their way or have just arrived, they are different... They are "the others" and, if we believe what some leaders tell us, they may well rob us, steal our jobs or take away our homes. This is the result of a discourse that stigmatises minorities which, whether in Europe or America, has been used by a whole host of populist movements without scruples in order to manipulate public opinion. They use a discourse that closely resembles what everyone wants to hear, regardless of how truthful it is, and which often leads to violence. Is it natural, this violence that some consider to be part of the human condition? Is it normal not to like what we don’t know? We believe that we have to limit, close or control territories to protect ourselves from these newcomers we don’t know and, in doing so, allow ourselves to feel threatened, limiting our opportunities of exchange and building walls and barriers, whether physical or psychological.
In Wakatt, a title meaning "our times" in the Mossi language of Burkina Faso, Serge Aimé Coulibaly continues to analyse today’s world with a critical spirit, following productions that questioned individual commitments and the disparagement we project onto immigrant peoples. Standing between two worlds and trained with great masters of dance such as Alain Platel and Sidi Larbi Cherkaoui, through the language of dance and music, this artist makes reference to this fear of others, through a struggle of bodies moving together on stage, in search of a more open, generous and inclusive future. And that is because the shows from Serge Aimé Coulibaly and the Faso Danse Théâtre, the company he founded in 2002, always contain a positive message and open a door to hope.
The show plays with synchronised group movements and individuality to express the need for personal involvement and the rediscovery of humanity itself in a world that no longer knows what is true or false or where there is good or bad. Music and choreography take centre stage in a constant exchange during the show, with non-stop music written and performed by the musician Malik Mezzadri (Magik Malik), an Ivory-Coast-born French flautist and jazz musician who boasts not only an unusual technique but also an exuberant style where he makes his flute sing and whistle, creating sounds that seem to come from another world and which three musicians (including the composer himself) perform live on stage.
A Faso Danse Théâtre production.
Co-production: Théâtre National Wallonie-Bruxelles (Belgium), La Biennale de la Danse Lyon (France), Ruhrtriennale (Germany), deSingel Antwerpen (Belgium), Kampnagel Hamburg (Germany), Münchner Kammerspiele (Germany), Tanzhaus Düsseldorf (Germany).
With support from The Flemish Community, Fédération Wallonie-Bruxelles, Wallonie-Bruxelles International and The Belgium TaxShelter.
Conceived and choreographed by: Serge Aimé Coulibaly Composed and conducted by: Magic Malik Creation and performance: Marion Alzieu, Bibata Maiga, Jean-Robert Koudogbo Kiki, Antonia Naouele, Adonis Nebie, Jolie Ngemi, Sayouba Sigué, Snake, Ahmed Soura and Marco Labellarte Music performed by: Magic Malik Orchestra: Magic Malik (German flute), Maxime Zampieri (percussion), Jean-Luc Lehr (bass) Dramaturgy: Sara Vanderieck Assistant choreographer: Sayouba Sigué Stage design and costumes: Catherine Cosme Lighting design: Giacinto Caponio Stage manager: Matisse De Groote Sound technician: Ralph M'Fah-Traoré Lighting technician: Herman Coulibaly Assistant director: Hanna El Fakir Production manager: Sandra Diris Technical director: Joris De Bolle Artistic adviser: Thomas Prédour Faso Danse Théâtre company manager: Lies Martens Faso Danse Théâtre communication manager: Sandra Diris Pre-production manager: Laure Louvat Tours: Frans Brood Productions (Gie Baguet, Tine Scharlaken) Acknowledgements: Ankata (Bobo Dioulasso, Burkina Faso), Dreamcity Tunis
