Festival. From Ouagadougou to Nantes, the epic of the Récréâtrales

In Nantes, the Récréâtrales do not go unnoticed. The Loire-Atlantique metropolis has taken up its African quarters since June 22, to celebrate until July 2 this festival, the most innovative and sustainable in West Africa, founded in 2002 in Ouagadougou in Burkina Faso and directed by Aristide Tarnagda.

The mythical street 9.32 of Bougsemtenga

The ambitious project – which is part of the Africa 2020 season -, piloted with Catherine Blondeau, director of the Grand T, and Nolwenn Bihan, artistic director of the University Theater, was to take place in December 2020. Its postponement to l he summer, after the pandemic and the confinement, which allows a reconfiguration of spaces into a festive place of reception – in particular the reproduction of the mythical street 9.32 of Bougsemtenga, working-class district where the shows take place in the family courtyards -, is also a history of solidarity and commitment. This is also reflected in a three-year training cooperation project for seven young African managers.

Theater, dance, music, reading, poetry, palaver, creations and covers – including the sublime My name is Mohamed Ali, of Dieudonné Niangouna, or Traces, by Felwine Sarr performed on edge and voice by Étienne Minoungou – are on the program. This is May your will be kin, of the Congolese Sinzo Aanza, directed by Aristide Tarnagda, who opened it in majesty with a Pan-African troupe of nearly ten actors who give to experience, between violence and poetry, daily life in Kinshasa. The piece is performed at Ateliers Berthier, from June 30 to July 10.

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Women all on fire

In Mesh, her new creation, which will also be seen on tour, Dorothée Munyaneza, is truly breathtaking. Author, musician and choreographer born in Rwanda and living in France, she has written extensively on the war and the genocide that destroyed her country. With five other dancers, Ife Day, Yinka Esi Graves, Asmaa Jama, Elsa Mulder, Nido Uwera, this time they explore their own reconstruction and that of all women. Fire and flame, they say, sing, draw diagonals and bursts like haikus. Take hold of the technique – including the surprising hammering of the zapateo – and the trance.

Together and unique, they compose and decompose the gesture and the breathing. On the set, in the scenography of Vincent Gadras and the lights of Christian Dubet hang fabrics and dresses that evoke the mangrove. No indication of place, except the evocation of exile which calls for strength and combat. The song that closes this magnificent performance, Thanks to life, which has given me so much, goes straight to our hearts and makes our skin tremble.

Note again, on June 29 and 30, coming of the Kinani festival in Maputo, Fires, a Mozambican version of the cult play by Wajdi Mouawad, transposed within the framework of the civil war – 1977-1992 – which tore the country of Victor de Oliveira apart (given at the MC93 of Bobigny, from July 3 to 6). And two other choreographic creations, the good fight by Edna Jaime and Let’s Talk by Janeth Mulapha, who bring a point and a look on the former Portuguese colony whose artistic vitality remains unknown.

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The Récréâtrales: until July 2 at Grand T (02 51 88 25 25), leGrandT. fr, and at TU-Nantes (02 53 52 23 80), Tunantes.fr