In February I started working with the choreographer Kettly Noel and costume designer Sahar Freemantle on the development of Kettly Noel’s new solo work, Je m’appelle Fanta Kaba. During the first couple of weeks of intensive workshops at Donko Seko in Bamako we explored ideas, textiles, visual images, moods and music. This is Sahar at work with samples of fabric.
Two of the invited guest artists to the 2011 edition of “Dense Bamako Danse” are prizewinners from last year’s African Dance Biennale – the Nigerian choreographer Qudus Onikeku who presents his solo “STILL/Life” and Julie Iarisoa from Madagascar performing her new work “Mavo”.
Qudus Onikeku grew up in Lagos, Nigeria and studied in France at the Centre National des Arts du Cirque. His training in contemporary circus and acrobatics is evident in his work, as is his interest in traditional Nigerian dance, hip hop and capoeira. They all contribute to Qudus’ highly energised and individual choreographic voice. STILL/Life is a piece about extremes and contrasts - highs and lows, good and evil, reality and imagination.
Julie Iarisoa explores the story of a woman in her work “Mavo” - the daily struggles that women may encounter anywhere in the world, alongside a more personal story about finding one’s own path and sharing happiness with others. Julie grew up in Madagascar and has been dancing since the age of 8. She has an interest in exploring the relationship between contemporary dance and traditional Madagascan dance – notably the significance of informal gatherings and street dance in Madagascar.
Both “STILL/Life’ and “Mavo” are strong solo works, brimming with vitality and personality.
Aly Karembe is a well-known figure in the contemporary dance scene in Bamako. He trained with Kettly Noël at Donko Seko, and won the Prix Fondation Orange Mali 2010 for his solo “IDOBSCURE” in the African Dance Biennale last year. His new piece “Les Sorciers” receives its premiere performance at “Dense Bamako Danse” after a period of research in his family’s village in the Dogon Country.
The Haïtian choreographer Jean Aurel Maurice trained in the Caribbean, France and the USA and was a member of Dance Theater of Harlem, New York. He presents two works in the festival – “Déjà Vu” - created during a residency supported by Donko Seko for the Pixelini Festival earlier in October (organised by Ker Thiossane and the Collectif Yeta) -
and a solo work “Haïti en questions”:
And Jordi L. Vidal, the Catelan choreographer brings his duo “Chrysalis” to Dense Bamako Danse – a work that combines circus skills, dance and acrobatics to explore the dynamics between a couple.
2.30pm. Rue Ecuma, Magnambougou. It’s hot. Really hot. No sign of the festival organisers. Nor of any dancers. Just the military band sitting in the shade of the empty building next to the stage, their instruments lying on the ground. Hard to believe that anything resembling a carnival parade is going to materialise within the next hour. No one has the energy to move. Even the young guy selling sunglasses loses a sale from me as he can’t be bothered to go and find change for a 5,000 CFA note.
At around 3.15pm the dancers and other participants - including a herd of sheep - arrive. The heat of the sun is merciless.
I hear on the grapevine that the reason things are delayed is because the police aren’t here yet. And the parade can’t happen without the appropriate level of security and traffic control. They finally turn up - in style.
There’s still time for a bit of posing in the shade before things get going.
As the military band lines up on the roundabout ready to lead the parade, and the dancers for the opening number get into position, a crowd has already gathered.
The band and the voodoo-styled trio set off up the main street through Magnambougou, chased eagerly by hoards of excited children.
There’s a palpable sense of anticipation as local residents and shop-keepers gather on the side of the road, and at each junction a new group of performers is ready and waiting to join the carnival.
One of the star turns has to be Kettly Noel’s donkey, who spends most of the year tethered in the garden at Donko Seko, but today gets to dress up and parade through the local streets like a pro.
Red, yellow and green balloons bring the colours of the Malian flag to the parade.
The parade turns West, off the main Magnambougou road towards Faso Kanu, the late afternoon sun creating fabulous long shadows.
The ceremonial arrival of the traditional hunters with their intricate costumes and ancient guns is imposing. I watch from a relatively safe distance as one of the hunters prepares to fire his gun into the air. I remember from last year’s parade how loud it is….
By this point we’re in Faso Kanu and the parade stops right outside the building where I live, for a spontaneous street party moment.
For the curious amongst you, the balcony of the apartment where I’m living is just visible on the second floor in this next picture:
Around the corner the masked Dogon dancers have taken over the roundabout, their intensely coloured costumes resplendent in the last of the day’s sunshine.
After a taste of Dogon culture, the Tuareg dancers take centre stage. I love watching the nimble elderly men in their flowing robes and the women clapping furiously.
At the top of the road there’s some friendly banter with the horse marionettes.
An impromptu performance space is created in the road opposite the Faso Kanu petrol station and the audience draws around all four sides to cheer the acrobats and dancers. Chacool marshalls the crowd and keeps the kids in line.
On the wall behind the petrol station is a row of festival posters featuring my photo from last year’s festival parade. I wait for the right person to walk by…
Towards 6pm as the sun starts to set the crowds disperse and I head home for a cool shower after a tiring but exhilarating photo shoot.
Working in a local context, creating a festival that has significance for the local community and showcasing the work of an emerging generation of African dancers and choreographers were the main objectives of the 8th edition of the festival “Dense Bamako Danse” explained the Artistic Director Kettly Noël at the press conference.
So all the events and performances in “Dense Bamako Danse” 2011 produced by Donko Seko took place in and around Magnambougou, a largely working class neighbourhood on the South side of the river.
Three of Kettly’s artistic collaborators made presentations at the press conference - the Haitian choreographer Jean-Aurel Maurice, who was one of the featured artists:
and two young Malian dancers who trained with Kettly at Donko Seko - Aly Karembé:
and Ousmane Koné:
At the official opening of the festival a few days later in the gardens of Donko Seko, the Malian Minister of Culture made a surprise appearance.
As word of his pending arrival reached the festival team, the front rows of seating were hurriedly rearranged to incorporate a traditional wooden sofa and cushions from the house, and an electric fan.
Kettly and the Minister chatted whilst watching a rehearsal led by the Spanish choreographer Jordi L. Vidal who had arrived from Brussels the previous night.
Jordi L. Vidal talking to Jessica Bazataqui from the Spanish Embassy.
Here are a few other moments I captured at the festival launch:
As part of the dance festival “Dense Bamako Danse” this coming week in Bamako, you’re invited to “Le Récit de Fanta Kaba” on Wednesday - a late-night installation based on my photographic narrative of Kettly Noel’s new dance piece “Je m’appelle Fanta Kaba”.
Look forward to seeing you there!
