"2147, what if Africa disappeared? Sketch of a reflection on extra-Western thought: from politics to poetics through the scene."
Moïse Touré created the Compagnie Les Inachevés, from 1984 to 1988, in Grenoble, in the Villeneuve district. Traveller, unifier, he multiplies artistic collaborations throughout the world (Mali, Madagascar, Brazil, Bolivia, Caribbean, Japan, United States...). He will be associated with the national scene in Guadeloupe, where he will create the foundations for a dramatic repertoire in Creole, and at Bonlieu Scène Nationale in Annecy. In 2012, he created the Academy of Shared (Intergenerational) Knowledge and Artistic Practices with, as its first founding act, the implementation of the Trilogy project for a dialogue between continents: Europe (France) / Africa (Burkina Faso) / Asia (Vietnam). Among his most recent experiences and creations: Claude-Henri Buffard's Minute of Silence (2003-2007) on the question of memory; Paysage après la pluie II (2005) at the Théâtre de l'Odéon; Pawana (2009) by JMG Le Clézio in Sao Paulo in collaboration with Georges Lavaudant, of whom he has since become the artistic collaborator; from 2009 to 2011, four plays by Bernard Koltès (La Nuit juste avant les forêts, Tabataba, Quai Ouest, Dans la solitude des champs de coton) in Annecy, Grenoble, Paris, Mali, Burkina-Faso, Brazil, Bolivia, Japan; from 2011 to 2014, a Duras trilogy on three continents; in 2016, "Utopies urbaines - citoyen acteur", an artistic project deployed over two years around Grenoble. In 2017, he completed the Promesse Factory program, which was conducted over several months with women in collaboration with Bonlieu, Annecy's national stage, and in 2018 created the second part of 2147, Africa (2007) entitled 2147, and if Africa disappeared, with African dancers, actors and musicians, in collaboration with choreographer Jean-Claude Gallotta and singer Rokia Traoré.
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This seminar proposes to reflect on the driving roles of artistic forms, practices and knowledge in the development and circulation of political structures, movements, ideologies and imaginations on the African continent and in its diasporas. Our work will focus on the visual and performing arts in the broadest sense of the term (dance, theatre, visual arts, photography, cinema, music, literature, digital arts...) and will be part of a critical and transdisciplinary approach. Anthropology, history, art history, political science, visual and material cultures, colonial, postcolonial, decolonial and diasporic studies of Africa... will rub shoulders and question each other. The sessions will be structured around presentations by researchers and/or practitioners - artists, cultural actors, activists. Diverse and reflecting a wide range of points of view, the work and approaches presented will have in common that working (on) the intersections between art and politics requires a commitment on the basis of which reflection and theorization are required.
Thematic of the 2018-2019 cycle: Future Africa
Future or, better still, future. The future of cities, ecologies, gender constructions; the future of technology and science; violence - political, economic, social; hope; the very notions of the future... Thinking, saying, giving substance to these and other related futures from Africa: these are the tasks that plastic artists set themselves through their practices and thoughts.ne.s, filmmakers, performers and writers, philosophers and researchers, curators and cultural activists who will be participating in the seminar in 2018-2019. Committed, indocilious, even radical, the proposals they develop undermine apriori and doxas.
