Present in collection(s): Ministère de la Culture - CNC images de la culture
In 1993, Mathilde Monnier created Pour Antigone in Brest, in which traditional dancers from Burkina Faso participated. Six years later, she returned to Burkina to present the show for the first time and organise a series of classes, a place of exchange between conceptions of traditional African dance and contemporary European dance. This second “encounter” is followed by Seydou Boro, dancer and cofounder of the Salia Nï Seydou company, and by Issa Traoré.
The aim is to make visible the emergence, still timid, of a contemporary expression on a continent where tradition weighs heavy. Mathilde Monnier talks of her need to be destabilised and to work based, not on a technique, but on an array of infinite possibilities. Salia Sanou recalls having been greatly unsettled by the silent improvisation requests of the choreographer. These words echo the accounts of Blandine Yaméogo and Issa Traoré, dancers with the Kongoba company, and their search, in full effervescence, of an expression reconciling the forms of the past with present-day prospects. These mutual fascinations evoked by Mathilde Monnier result in a remarkable film where, in the manner of a hyper-fluid gesture, words circulate, driven by the desire to meet.
Source : Fabienne Arvers
Mathilde Monnier holds a reference position in the French and international contemporary dance landscape. Her creations continuously defy expectations thanks to constant renewal. Her nomination as director of the Centre Chorégraphique de Montpellier Languedoc-Roussillon in 1994 has initiated a series of collaborations with people coming from different artistic domains. From artist Beverly Semmes to philosopher Jean-Luc Nancy from film director Claire Denis, Mathilde Monnier has always pushed the boundaries of a work she sees as an experience above all. Musical creation holds an important position with very varied collaborations within the fields of popular as well as scholarly music - jazz musician Louis Sclavis, composers David Moss and Heiner Goebbels, virtuoso platinist eriKm. More recently, she has used PJ Harvey's rock music but also the pink pop settings 2008 vallée, the show she co-created with singer Philippe Katerine. It came to a glorious end in the Main Courtyard at the 2008 Avignon festival. Fascinated by the concept of unison, she created the pastoral Tempo 76 show at the Montpellier Danse 07 festival on Gyôrgy Ligeti's music. In february 2008 she was commissionned by the Berlin Philarmonic Orchestra conducted by Simon Rattle to choreograph Heiner Goebbels opera, Surrogate Cities. More than 130 amateurs went on stage to take part to an opera dealing with the city and the power struggle within. The same year, she presented the burlesque duet Gustavia in which she appeared along with spanish performance artist La Ribot at the Montpellier Danse 08 festival. In 2009, she created Pavlova 3'23'', in reference to the classical ballet The Death of The Swan. In 2010, working in close collaboration with visual artist Dominique Figarella, Mathilde Monnier created the show Soapéra, and subsequently paid homage to Merce Cunningham by way of the show Un américain à paris. In 2011, together with choreographer Loïc Touzé and writer Tanguy Viel, Mathilde Monnier created Nos images, a work focusing on film. Together with Jean-François Duroure, she restaged Pudique acide / Extasis at the Festival Montpellier Danse 11, two duos that the choreographers created in 1984 and 1985.
Source : Mathilde Monnier
En savoir plus : www.mathildemonnier.com
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)
Artistic direction / Conception : Seydou Boro, Issa Traoré
Choreography : Seydou Boro, Salia Sanou, Mathilde Monnier
Production / Coproduction of the video work : Les films Pénélope, Sahelis productions, Muzzik / Participation CNC, ministère de la Culture et de la Communication (DMDTS)
Duration : 52'
Genesis of work
Genesis of work
A dance show is created in multiples steps between the enunciation of an initial desire which launch the project and the first representation. This parcours presents diff