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Dance which can be considered as an art in its own right is also a support through which man can express himself. In this way, “the century of fools ” relates to the problems of our contemporary world.
Some men, full of the desire to climb the steps and reach light are confronted with obstacles. Light is the symbol of hope and welfare desire. Yet light is extinguished by two people holding and abusing power. This results in never-ending conflicts and wars. The young girl, a symbol of children all over the world, is lost in a war that she does not understand, innocent and powerless. All this progresses in bare scenery, scattered with garbage, with a small table covered with a red napkin and a reversed mortar, a symbol of the woman who can no longer give birth. In spite of the obstacle (the two people), the artists, with their inner wealth, succeed in avoiding it and restore the light. Thus, through music, hope will arise in this oppressed world, hence the stepladder as a symbol of ascending. salia sanou - seydou boro

choreography salia sanou
assisted by seydou boro
dancer seydou boro, salia sanou
music percussions de baba koné et Kora de konomba traoré
lights fabrice ménard
production and diffusion esther ouoba - marie de heaulme.

with the help of :
centre chorégraphique national de montpellier languedoc-roussillon, direction mathilde monnier et du centre de recherche et d'échanges dramatiques de ouagadougou (CREDO).

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"the stranger opens his eyes wide in order to see nothing”

Figninto, means "he who does not see," a blind man in the Bambara language. Does one see only with one’s eyes ? Can one truly ‘see’ what is around us ? In a world where the irrevocable nature of time shows us how helpless we are, do we have the time to ‘see’ ? Does one ever take the time to do so ? Having no time cuts off the communication between men and women, forcing us apart even as it forces us further away from the rest of the world. What is the value of friendship if it cannot benefit from time : the time to love, to communicate, to reach each other. We think instead of using our time wisely, saving time, making something worth the time spent on it, even trying to turn time back. With time, everything that exists is perishable. Death. When death comes, it is that hollow space, tenacious, cold, ugly. One says, "he is gone, he was, he is dead”.
But it is through the one who is gone that we continue to live. So we display our feelings, lay them out for others to look at : our vulnerability, our solitude. Something is glimpsed there through this way of seeing, this torn eye which does not see. Not all is taken away by the annihilation of a human being.
Time cannot be controlled, and the race toward our inevitable end does not need to be as frenetic as it sometimes is. One can take little bits of time, pauses, breathers, without pressure from anyone, anywhere. The time to meet, to make friends, to fall in love - it is not counted, it is taken and it is lived.

seydou boro - salia sanou . 1996 november

choreography seydou boro
assisted by salia sanou
dancer seydou boro, ousséni sako, salia sanou
scenography fousseïni compaoré
kights design jacob bamogo (afrique), madjid hakimi (europe)
costumes seg-taaba sarl
music dramane diabaté (percussions), Tao Irisso (l'arc musical - sano ou lolo, flûtes)
production and diffusion esther ouoba - marie de heaulme

coproduction
atelier théâtre burkinabé - ATB centre chorégraphique national de montpellier languedoc-roussillon, direction mathilde monnier centre culturel français georges méliès - ouagadougou - burkina faso compagnie salia nï seydou ministère de la culture et des arts - burkina faso odas-africa seg-taaba sarl
avec l'aide de l'agence intergouvernementale de la francophonie - AIF

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TAAGALÀ the traveller, he who carries a heavy load and refuses to put it down. His body is the matter that metamorphasises in space. Each imprint that he leaves in the universe will grow and cost him a bit more boldness. His gaze comes from deep inside him, bringing messages of hope. This phenomenon of the traveler has a rythm equal to that of breathing and of a beating heart ; sometimes remaining anxious, nostalgic and melancolic. But each filament of life that he catches from time to time, opens him out a little more.

seydou boro - salia sanou . octobre 1998

choreography salia sanou
assisted by seydou boro
dancer seydou boro, julie dossavi, ousseni sako, salia sanou musicians amadou dembelé (flûte à hoquet et violon africain) dramane diabaté (djembé et tamani)
scenography goudou bambara
lights jacob bamogo (afrique) . madjid hakimi (europe)
costumes Zaka . Karine Luchini
sound marc coudrais
production and diffusion, ousmane boundaoné.- nicolas girardin

coproduction
Montpellier Danse 2000 Maison des Arts de Créteil Centre Chorégraphique National de Montpellier Languedoc-Roussillon Théâtre de la ville . Paris Festival de Marseille 2000 Afaa . programme Afrique en créations Ministère de la Culture et des arts du Burkina Faso Centre Culturel Français Georges Méliès . Ouagadougou Compagnie salia nï seydou 651 ARTS Black Dance : Tradition and Transformation program, avec le soutien de l'ambassade de France.

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"C'est-à-dire… is a bit of my life.
It is a bit told in a sincere and sometimes round-about way, in order to question other truths. The one which is able to meet as if by chance the others' truth as well as the truth of things. The wish to confront myself to a solo was necessary for me. It was a way to put myself into danger, stripped naked facing myself in order to be able to go on beyond the show or to stop. "

Seydou Boro

Choreography / text /music Seydou Boro
Assisted by Salia Sanou
Dancer Seydou Boro
Acting direction Amadou Bourou
Lights Laurent Cauvain
Costumes Martine Somé
Creation Ouagadougou (Burkina Faso) : 18 septembre 2004 au Centre Culturel Français Georges Méliès France : 16 novembre 2004 opening of Manège de Maubeuge dance Festival
Production Esther Ouoba (Burkina Faso) - Marie de Heaulme (France)
Duration 60 minutes
Minimum stage dimensions required
wall to wall 10m / depth 10m / height 7m .05

Coproductions
Le Centre Culturel Français Georges Mélies de Ouagadougou Le Carrefour International du Théâtre de Ouagadougou (CITO) company Salia ni Seydou Le Manège de Maubeuge - scène nationale
With the help of
association Beaumarchais Thanks National Choreographic Centre of Montpellier/Languedoc-Roussillon (accueil studio) le Lieu Unique - scène nationale de Nantes