{"id":2335,"date":"2022-12-12T12:21:50","date_gmt":"2022-12-12T11:21:50","guid":{"rendered":"http:\/\/umoove.art\/?p=2335"},"modified":"2023-01-05T17:38:48","modified_gmt":"2023-01-05T16:38:48","slug":"du-desir-dhorizons-salia-sanou","status":"publish","type":"post","link":"https:\/\/umoove.art\/index.php\/2022\/12\/12\/du-desir-dhorizons-salia-sanou\/","title":{"rendered":"Du d\u00e9sir d\u2019horizons &#8211; Salia Sanou"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"2335\" class=\"elementor elementor-2335\" data-elementor-post-type=\"post\">\n\t\t\t\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-150c2fa elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"150c2fa\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-62ffef5\" data-id=\"62ffef5\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-6e077fe elementor-widget elementor-widget-image\" data-id=\"6e077fe\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.14.0 - 26-06-2023 *\/\n.elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=\".svg\"]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block}<\/style>\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"768\" src=\"https:\/\/umoove.art\/wp-content\/uploads\/2023\/01\/Peter-Nkoghe-19-2-768x768.jpg\" class=\"attachment-medium_large size-medium_large wp-image-4018\" alt=\"\" srcset=\"https:\/\/umoove.art\/wp-content\/uploads\/2023\/01\/Peter-Nkoghe-19-2-768x768.jpg 768w, https:\/\/umoove.art\/wp-content\/uploads\/2023\/01\/Peter-Nkoghe-19-2-300x300.jpg 300w, https:\/\/umoove.art\/wp-content\/uploads\/2023\/01\/Peter-Nkoghe-19-2-1024x1024.jpg 1024w, https:\/\/umoove.art\/wp-content\/uploads\/2023\/01\/Peter-Nkoghe-19-2-150x150.jpg 150w, https:\/\/umoove.art\/wp-content\/uploads\/2023\/01\/Peter-Nkoghe-19-2.jpg 1080w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-1dd8b0d elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"1dd8b0d\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-3152d94\" data-id=\"3152d94\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-0c507af elementor-widget elementor-widget-heading\" data-id=\"0c507af\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.14.0 - 26-06-2023 *\/\n.elementor-heading-title{padding:0;margin:0;line-height:1}.elementor-widget-heading .elementor-heading-title[class*=elementor-size-]>a{color:inherit;font-size:inherit;line-height:inherit}.elementor-widget-heading .elementor-heading-title.elementor-size-small{font-size:15px}.elementor-widget-heading .elementor-heading-title.elementor-size-medium{font-size:19px}.elementor-widget-heading .elementor-heading-title.elementor-size-large{font-size:29px}.elementor-widget-heading .elementor-heading-title.elementor-size-xl{font-size:39px}.elementor-widget-heading .elementor-heading-title.elementor-size-xxl{font-size:59px}<\/style><h2 class=\"elementor-heading-title elementor-size-default\">Parce qu\u2019il y aurait l\u2019espoir<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-d1b1d1b elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"d1b1d1b\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-69d90f6\" data-id=\"69d90f6\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-3da18b2 elementor-widget elementor-widget-text-editor\" data-id=\"3da18b2\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.14.0 - 26-06-2023 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<h4><strong>Bord sc\u00e8ne, une femme seule isol\u00e9e de lumi\u00e8re, les bras vers l\u2019avant, ondule sa colonne sans discontinuer. Saccad\u00e9e, acc\u00e9l\u00e9r\u00e9e parfois, l\u2019ondulation est dense. Echo d\u2019un corps meurtri mais malgr\u00e9 tout solide. R\u00e9sonance d\u2019une histoire migratoire subie. Des bras tendus vers d\u2019autres cieux.<\/strong><\/h4><p><span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">La premi\u00e8re image <\/span><em style=\"font-weight: inherit; background-color: var(--ast-global-color-5);\">Du d\u00e9sir d\u2019horizons<\/em><span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\"> la derni\u00e8re pi\u00e8ce du chor\u00e9graphe burkinab\u00e9 Salia Sanou pr\u00e9sent\u00e9e au Th\u00e9\u00e2tre National de Chaillot, donne l\u2019id\u00e9e du voyage qu\u2019il nous propose. Un voyage qui n\u2019est pas sans rappeler l\u2019excellent et n\u00e9cessaire documentaire d\u2019Anne Poiret, diffus\u00e9 \u00e0 la t\u00e9l\u00e9vision il y a quelques semaines, <\/span><em style=\"font-weight: inherit; background-color: var(--ast-global-color-5);\">Bienvenue au R\u00e9fugistan<\/em><span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">.\u00a0<\/span><span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">Ce pays imagin\u00e9 par la r\u00e9alisatrice, mais bien r\u00e9el lorsque l\u2019on compte le nombre de personnes d\u00e9plac\u00e9es par la violence partout dans le monde et \u00ab\u00a0accueillies\u00a0\u00bb pour un temps plus ou moins long dans des camps, Salia Sanou l\u2019a en partie \u00e9prouv\u00e9.\u00a0<\/span><span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">Depuis trois ans, dans le cadre du projet \u00ab\u00a0Refugees on the Move\u00a0\u00bb men\u00e9 par le HCR et l\u2019AAD African Artists for Development, avec certains des danseurs de sa compagnie Mouvements perp\u00e9tuels, il m\u00e8ne des ateliers dans des camps de r\u00e9fugi\u00e9s au Burundi et au Burkina Faso.<\/span><\/p><p>Fuir un pays en guerre, se retrouver loin de chez soi, isol\u00e9, avec pour seuls bagages des traumatismes, c\u2019est sans nul doute le sort de toutes ces personnes qui affluent aux portes des pays en paix. Salia Sanou avec <em>Du d\u00e9sir d\u2019horizons<\/em> t\u00e9moigne de son exp\u00e9rience dans les camps en la transposant sur un plateau. Certains questionnements et \u00e9l\u00e9ments constitutifs de la vie (normalement transitoire) des r\u00e9fugi\u00e9s, sont ainsi mis en corps pour partager cette exp\u00e9rience et donner \u00e0 voir de pr\u00e8s ce qu\u2019on ne veut voir que de loin. Plut\u00f4t qu\u2019une cr\u00e9ation documentaire, comme peut l\u2019\u00eatre le film cit\u00e9 plus haut, <em>Du d\u00e9sir d\u2019horizons<\/em> se veut une photographie dans\u00e9e d\u2019une situation et de ce qui peut r\u00e9sonner en chacun de nous.<\/p><p>Il s\u2019est entour\u00e9 de huit jeunes danseurs qui porte la cr\u00e9ation avec une belle \u00e9nergie. Inscrivant leurs corps dans des moments de solitude d\u2019o\u00f9 la folie affleure, comme dans des moments d\u2019effusions collectives d\u2019o\u00f9 semble rena\u00eetre l\u2019espoir. Les conditions de vie sont telles au sein de ces camps que l\u2019individu, au coeur du collectif, est compl\u00e8tement ni\u00e9, humili\u00e9, d\u00e9class\u00e9. Ses droits sont bafou\u00e9s d\u00e9grad\u00e9s. Sujet d\u2019un syst\u00e8me con\u00e7u par d\u2019autres, il est d\u00e9pass\u00e9 et d\u00e9laiss\u00e9 par une organisation qui traite la masse plus que l\u2019\u00eatre humain. Figur\u00e9e par une vingtaine de lits de camp plac\u00e9s sur tout le plateau, cette masse questionne. Comment peut-on parquer des individus, d\u00e9j\u00e0 traumatis\u00e9s d\u2019avoir tout quitt\u00e9, tout perdu, dans des espaces o\u00f9 l\u2019ultra proximit\u00e9 ne peut qu\u2019engendrer d\u2019autres formes de violences, voire de folies. Cette folie, ou l\u2019expression d\u00e9viante de soi, s\u2019incarnent par une s\u00e9rie de soli entre les lits de camps bien align\u00e9s. Les danseurs disent le trouble, l\u2019absence de raison qui peut parfois les submerger. Les corps alors se tordent, se tendent, expulsent une \u00e9nergie qui n\u2019en peut plus d\u2019\u00eatre contenue, retenue dans si peu d\u2019espace, dans si peu d\u2019intimit\u00e9. Les visages sont opaques, flous, fantomatiques par moment.\u00a0<span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">O\u00f9 puiser les ressources n\u00e9cessaires pour se tenir encore debout ?\u00a0 Dans le regard de l\u2019autre peut-\u00eatre ? Dans cette capacit\u00e9 de r\u00e9silience de certaines personnes peut-\u00eatre ? Dans la danse ? Surement. Pour Salia Sanou, son seul moyen de dire ce dont il a \u00e9t\u00e9 t\u00e9moin \u00e9tait de le mettre en danse. Et en mots. Pas n\u2019importe quels mots ceux de Nancy Huston \u00e0 propos de Samuel Beckett. Faute d\u2019obtenir les droits de <\/span><em style=\"font-weight: inherit; background-color: var(--ast-global-color-5);\">Cap au Pire<\/em><span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\"> de l\u2019auteur irlandais, Salia Sanou s\u2019est plong\u00e9 dans <\/span><em style=\"font-weight: inherit; background-color: var(--ast-global-color-5);\">Limbes<\/em><span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">\/Limbo, <\/span><em style=\"font-weight: inherit; background-color: var(--ast-global-color-5);\">Un hommage \u00e0 Samuel Beckett, <\/em><span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">et y a trouv\u00e9 la r\u00e9sonance n\u00e9cessaire \u00e0 son exp\u00e9rience permettant d\u2019exprimer \u00ab \u2026 un espace o\u00f9 la dimension de solitude comme celle de l\u2019alt\u00e9rit\u00e9 se croisent sans arr\u00eat pour illustrer \u00e0 la fois l\u2019obscur et la lumi\u00e8re.\u00a0\u00bb\u00a0<\/span><span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">C\u2019est une des danseuses qui sera porteuse de cette inspiration litt\u00e9raire en \u00e9non\u00e7ant des extraits du texte de l\u2019auteur canadienne. Malheureusement ces moments de verbes ne sont pas les plus r\u00e9ussis. Ils manquent d\u2019incarnation ou d\u2019une neutralit\u00e9 plus affirm\u00e9e. On est dans un entre deux, qui trouble plus la chor\u00e9graphie qu\u2019elle ne la sert.<\/span><\/p><p>Attachons nous plut\u00f4t \u00e0 ces moments d\u2019effusions collectives, o\u00f9 d\u2019autres horizons semblent possibles. Comme par exemple, cette danse grecque le syrtaki qui met en joie les danseurs, les entraine dans une farandole o\u00f9 n\u00e9cessit\u00e9 fait lien et inversement. Se tenir les mains quoi qu\u2019il arrive, continuer d\u2019\u00eatre ensemble pour ne pas mourrir. Ou encore cette sc\u00e8ne aux mobylettes danseuses. Apr\u00e8s la fixit\u00e9 des lits de camp, qu\u2019ils soient verticaux ou horizontaux \u00e0 la mani\u00e8re de barreaux, les mobylettes dessinent un autre espace mobile celui-ci. Un espace de libert\u00e9. Les danseurs cr\u00e9ent un balai o\u00f9 la respiration, l\u2019espoir redeviennent des possibles. Qu\u2019il est beau de les voir danser dessus ou \u00e0 c\u00f4t\u00e9, de voir leurs visages et leurs corps se transformer, g\u00e9n\u00e9rer la joie et le go\u00fbt du partage. Comme une humanit\u00e9 retrouv\u00e9e.<\/p><p>Malgr\u00e9 quelques maladresses et impr\u00e9cisions notamment dans les premi\u00e8res sc\u00e8nes de danses collectives avec pour seuls sons les corps et leurs souffles, Salia Sanou et ses danseurs font entendre les voix de r\u00e9fugi\u00e9s. La photographie dans\u00e9e de cette situation si particuli\u00e8re nous donne \u00e0 entendre et \u00e0 voir. Leurs questionnements peuvent devenir les n\u00f4tres.<\/p><p>Comme la sc\u00e9nographie de Mathieu Lorry Dupuy, les lumi\u00e8res de Marie-Christine Soma, et la musique de Amine Bouhafa, les danseurs portent magnifiquement le spectacle. Avec un coup de coeur particulier \u00e0 Soa Ratsifandrihana, dont la pr\u00e9sence et la danse illumine la pi\u00e8ce de la sc\u00e8ne d\u2019ouverture jusqu\u2019\u00e0 la fin.\u00a0 \u00a0<em>Du d\u00e9sir d\u2019horizons<\/em> est une cr\u00e9ation qui ne laisse pas indiff\u00e9rent. Et c\u2019est bien de l\u2019indiff\u00e9rence qu\u2019il faut \u00e0 tout prix se s\u00e9parer pour \u00eatre \u00e0 nouveau ensemble et construire ensemble un autre monde. Il parait alors indispensable de s\u2019emparer des voix de ces hommes et ces femmes qui traversent l\u2019indicible, de les faire n\u00f4tres parce qu\u2019eux c\u2019est nous.<\/p><p><strong>Fanny Brancourt<\/strong>, Th\u00e9\u00e2tre national de Chaillot Paris (Mai 2016)<\/p><p>\u00a9<strong>Laurent Philippe<\/strong><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Parce qu\u2019il y aurait l\u2019espoir Bord sc\u00e8ne, une femme seule isol\u00e9e de lumi\u00e8re, les bras vers l\u2019avant, ondule sa colonne sans discontinuer. Saccad\u00e9e, acc\u00e9l\u00e9r\u00e9e parfois, l\u2019ondulation est dense. Echo d\u2019un corps meurtri mais malgr\u00e9 tout solide. R\u00e9sonance d\u2019une histoire migratoire subie. Des bras tendus vers d\u2019autres cieux. La premi\u00e8re image Du d\u00e9sir d\u2019horizons la derni\u00e8re &hellip;<\/p>\n<p class=\"read-more\"> <a class=\"\" href=\"https:\/\/umoove.art\/index.php\/2022\/12\/12\/du-desir-dhorizons-salia-sanou\/\"> <span class=\"screen-reader-text\">Du d\u00e9sir d\u2019horizons &#8211; Salia Sanou<\/span> Lire la suite\u00a0\u00bb<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","footnotes":""},"categories":[8],"tags":[],"class_list":["post-2335","post","type-post","status-publish","format-standard","hentry","category-critique-critique"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 4.9.9 - aioseo.com -->\n\t<meta name=\"description\" content=\"Parce qu\u2019il y aurait l\u2019espoir Bord sc\u00e8ne, une femme seule isol\u00e9e de lumi\u00e8re, les bras vers l\u2019avant, ondule sa colonne sans discontinuer. Saccad\u00e9e, acc\u00e9l\u00e9r\u00e9e parfois, l\u2019ondulation est dense. Echo d\u2019un corps meurtri mais malgr\u00e9 tout solide. R\u00e9sonance d\u2019une histoire migratoire subie. 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