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.

Source: www.fasodansetheatre.com

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

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Author, filmmaker and video artist Charles Picq (1952-2012) entered working life in the 70s through theatre and photography. A- fter resuming his studies (Maîtrise de Linguistique - Lyon ii, Maîtrise des sciences et Techniques de la Communication - grenoble iii), he then focused on video, first in the field of fine arts at the espace Lyonnais d'art Contemporain (ELAC) and with the group « Frigo », and then in dance.
   On creation of the Maison de la Danse in Lyon in 1980, he was asked to undertake a video documentation project that he has continued ever since. During the ‘80s, a decade marked in France by the explosion of contemporary dance and the development of video, he met numerous artists such as andy Degroat, Dominique Bagouet, Carolyn Carlson, régine Chopinot, susanne Linke, Joëlle Bouvier and regis Obadia, Michel Kelemenis. He worked in the creative field with installations and on-stage video, as well as in television with recorded shows, entertainment and documentaries.

His work with Dominique Bagouet (80-90) was a unique encounter. He documents his creativity, assisting with Le Crawl de Lucien and co-directing with his films Tant Mieux, Tant Mieux and 10 anges. in the 90s he became director of video development for the Maison de la Danse and worked, with the support of guy Darmet and his team, in the growing space of theatre video through several initiatives:
       - He founded a video library of dance films with free public access. This was a first for France. Continuing the video documentation of theatre performances, he organised their management and storage.
       - He promoted the creation of a video-bar and projection room, both dedicated to welcoming school pupils.
       - He started «présentations de saisons» in pictures.
       - He oversaw the DVD publication of Le tour du monde en 80 danses, a pocket video library produced by the Maison de la Danse for the educational sector.

       - He launched the series “scènes d'écran” for television and online. He undertook the video library's digital conversion and created Numeridanse.

His main documentaries are: enchaînement, Planète Bagouet, Montpellier le saut de l'ange, Carolyn Carlson, a woman of many faces, grand ecart, Mama africa, C'est pas facile, Lyon, le pas de deux d'une ville, Le Défilé, Un rêve de cirque.

He has also produced theatre films: Song, Vu d'ici (Carolyn Carlson), Tant Mieux, Tant Mieux, 10 anges, Necesito and So schnell, (Dominique Bagouet), Im bade wannen, Flut and Wandelung (Susanne Linke), Le Cabaret Latin (Karine Saporta), La danse du temps (Régine Chopinot), Nuit Blanche (Abou Lagraa), Le Témoin (Claude Brumachon), Corps est graphique (Käfig), Seule et WMD (Françoise et Dominique Dupuy), La Veillée des abysses (James Thiérrée), Agwa (Mourad Merzouki), Fuenteovejuna (Antonio Gades), Blue Lady revistied (Carolyn Carlson).

Source: Maison de la Danse de Lyon