Framewalk Bamako 2016

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Koliso nyuman Everything circles around a beautiful house. A reference to a united family.

Participants: Angelina Anthony, Prince Amoabeng , Sena At Ahmadou Dougoumalé Cissé, Yacouba Coulibaly, Hadja Fan Dramé, Mariam Kamissoko, Jack Mensah, Isabella Narh, Biba Elisée Sangaré, Giulia Segarbi, Tyshea Suggs, Eric Koko Tanja Gaoussou Yah Touré, Benjamin Nii Amu Solomon. Team: Petr Kettly Noël, Abiodun Odukoya, Nana Sir Osei, Adama Traor


tsugah, Alicia Awa Beissert, Ibrahima Camara, Tim Cecatka, nta Diabaté, Mahamadou Diakité, Aichata Diarra, Youssouf ata Ibrahim Maiga, David Mendez, Levis Sagara, Moise Sagara, ah , Kadidja Tiemanta, Abdoulaye Mohamed Touré, Aly Touré, ra Kron, Eugene „U-Gin“ Boateng, Daouda Dao, Simon Eifeler, ré, Abdul Aziz Kone, Kojo Benedict Quaye aka Sir Black.








My Bamako travel notes.

Les experiences que j’ai eu…

In 1987 I came to Mali after having crossed the Sahara desert. I arrived in Gao and took the last ferry across the Niger river. Here I was or better Mali here I am again. Now, almost 30 years later, I encountered Mali for the 2nd time, its rich culture and beautiful heritage. This time I came with a diverse group of German artists in order to collaborate with Malian performers on the topic of hybridity within Framewalk, the cross cultural workshop. Living and entertaining difference and the art of the presence at the same time. Requiring from all of us to step outside ourselves to actually see, experience what we were doing in articulating creatively our cultural differences. Framewalk providing these ‚in-between-spaces’ for elaborating our diverse strategies of selfhood – individual or communal. We exchanged our values, our meanings and priorities, may be not always collaborative or dialogically. But the ones that were open to perceive and allowed it to happen, benefitted utmostly.

…avec Framewalk dans cet atelier de formation sur l’hybridité sont tres bon. Framewalk ma permit de connaître beaucoup de chose dans la vie. A travers cette formation j’ai eu l’experience de la mixage ou la brassage entre les different disciplines d’art: entre la musiquedance-théâtre. Et ce qui a beaucoup touché mon coeur, c’est la cohésion, l’harmonie entre les uns et les autres, meme si on n’a pas la meme culture, couleur, religion etc... J’ai beaucoup aimé le framewalk. »Vive framewalk –Viva @ framewalk for ever« Levis Sagara

Framewalk Bamako: At times it felt bitter like death, sometimes gentle like life, but at the end it felt undeniably sweet like love. Petra Kron

amer comme la mort doux comme la vie sucré comme l’amour

bitter like death gentle like life sweet like love

le rituel de thé attaï


Besa bolingo no… Umarme die Welt Denn wir sind alle gleich Umarme dich selbst Mach Platz in deinem Herzen und mach es weich Love me deep Love me soft Take my heart I wanna make sure u are mine Love me sweet Love me soft Take my heart I wanna make sure u are mine Besa bolingo no… Dans mon coeur, dans mon esprit, dans mon comportement j’ai mal Pourquoi des conflicts pourquoi? Allemand, Malienne, Ghanéenne nous sommes tous des frères nous sommes tous des soeurs


»Hybridity refers in its most basic sense to mixture. The term originates from biology and was subsequently employed in linguistics and in racial theory in the nineteenth century. Its contemporary uses are scattered across numerous academic disciplines and are salient in popular culture.« (wikipedia) Framewalk explores the topic of hybridity in terms of a future society in the making. »L’hybridité se réfère dans son sens le plus élémentaire au mélange. Le terme provient de la biologie et a ensuite été employé en linguistique et en théorie raciale au XIXe siècle. Ses usages contemporains sont dispersés à travers de nombreuses disciplines universitaires et est saillant dans la culture populaire.« (wikipedia) Framewalk explore le thème de l’hybridité au regard de l’évolution d’une société de l’ avenir.

What is hybridity to you, explain in one sentence and why?

Sena: Hybridity is a mixture of two things, it exposes one to experiment. Bella: Unique blend, people or something produced by being in contact or interacting of two unike cultures. Jeneral: Crossbreeding, because it comes out with products of same kind from different species or produce. Benso: Orchestra, different instruments coming together to create distinct melody. Guilia: Homogenious this mix can be harmonic or not, when it is not harmonic it is the most interesting. Tim: A thing, a person or an image that inherits two or more attributes at the same time like ‚banananas’. David: Combination, from body to mind, because I am not able to move before I think. Angelina: Interaction, it is a contact of two unlike cultures together. Alicia: Two things meeting each other and creating something new, if they harmonize, they’ll create something really special.

Tyshea: Diversity, regarding the human being everybody is a hybrid because we are all a mixture of our Mum and Dad and their ancestors. Jack: It is powerful, because it weakens everything that is meant to be the absolute. Bibata: On parle d’hybridité lorsque deux ou plusieurs choses se mélangent pour donner autre chose. Levis: C’est une attitude non identifiée, parce qu’elle est la fusion de plusieurs chose ou de mélange. Mariam: C’est un mélange de plusieurs choses ne formant qu’une, parce qu’un seul doigt ne peut pas ramasser un caillou. Amadou: C’est la rencontre entre des personnes de race différentes, l’hybridité prouve que nous venons tous des entrailles d’une même mère. Mahamadou: C’est l’ensemble des comportements négatifs ou positifs d’une personne ou l’ensemble des sons musicaux qui n’ont pas le même rythme. Hadja: C’est un mélange de différentes choses parce que je suis un exemple parfait, je suis née en Côte d’ivoire, guinéenne par adoption et malienne d’origine.


Youssouf: L’hybridité c’est la réunion de plusieurs branches, l’idée de chacun qui devient un texte. Exemple : la dance, la musique, le théâtre et l’art plastique.

Aicha: C’est le mélange de deux ou plusieurs choses ou personnes différentes, c’est aussi comme un arbre, de sa racine nait plusieurs branches et de l’hybridité nait beaucoup de choses.

Kadidja: C’est le résultat, d’une transformation, de deux choses d’espèces différentes. Parce que l’hybridité n’est pas naturelle

Eric: C’est un mélange de culture, parce qu’elle est le résultat du croisement de deux espèces.

Abdoulaye: C’est comme le pilier d’une maison, parce qu’on ne peut pas construire une maison sans le pilier (on a besoin de bois, fer, sable et caillou). Aly: C’est l’ensemble des personnes différentes comme le Framewalk avec ses artistes maliens, allemands et ghanéens. Gaoussou: C’est une manière de communiquer avec une personne sans utiliser la langue. Elle facilite la compréhension sans passer forcement par la langue. Moise: C’est un mélange ou un métissage de deux choses différentes, comme la musique et la dance. Elisée: C’est la nature d’une chose qui est issue de croisement de deux ou plusieurs éléments de différentes natures, en un mot c’est le métissage.

Ibrahima: Le mélange des éléments qu’on a dans la main. Yacouba: Pour moi l’hybridité a beaucoup de couleurs.

If hybridity were one of the senses, which one would it be?

Benso: Feel, this is because our whole being is made up of different emotions. Alicia: Sight, you have to see first to gather impressions. Angelina: Eyes, because I can see something or someone that has been influenced by different components. Jeneral: Sight, because with our eyes we are able to appreciate unusual things. Tyshea: Sight, because with it we are able to acknowledge different species of things that are in the hybrid. Sena: Taste, because it would be nice eating different kinds of food from different parts of the world. David: It will be pressure in the form of touch, because you feel different textures. Jack: Hearing, when you listen to different words from different people. Bella: Sight, because my eyes encounter at first hand the influence of diversity in a product or person. Giulia: Taste is experienced through the mouth, which is also the main way we have to communicate. This makes the most hybrid combination.


The Mali Framewalk was a very unique one. Si l’hybridité était l’un des cinq sens, lequel la représenterais?

Bibata: Il faut avoir tous les organes de sens pour saisir l’hybridité Moise: C’est le goût parce qu’il est le goût de plusieurs choses comme la dance, le théâtre et la musique. Eric: Identitaire et trans-territorialité de l’hybridité est chargé d’un positif et apparait comme une position à défendre. Elle présente un mélange caractéristique. Ahmadou: La vue. On peut se comprendre, communiquer même avec l’aveugle en portant plus de signification à la couleur des yeux qu’à la couleur de la peau. Mahamadou: La vue, car la vue permet de voir les objets de loin, sa dimension, son hauteur, sa longueur et sa largeur. La vue peut définir les objets sans la sentir même si elle est dure ou mou, bizarre tordue, épaisse et étroite. p.ex. l’eau, l’huile.

Youssouf: La vision, car sans la vision on est étrange dans ce monde. La vision joue un très grand rôle dans l’humanité, elle nous permet de faire partager notre propre connaissanc. Kadidja: Le goût, parce que le goût de chacun est diffèrent et multiple. On peut aussi avoir des mélanges de différentes saveurs. Abdoulaye: Selon moi, c’est le son parce que le son c’est la vie. Aly: C’est la vue, avant le mélange il faut qu’on se voie. Levis: La bouche, car la bouche rassemble tous les éléments nécessaires pour la production du corps. Elisée: C’est la vision, car l’œil voit tous ! Aichata: La vue, car pour toute rencontre il faut se voir, tout commence par la vue. Yacouba: La bouche, parce qu’on peut goûter plusieurs choses.

Hadja: L’hybridité c’est l’ouïe, le touché et le goût, parce qu’elle fait partie la vie.

Ibrahima: C’est touché, le fait de toucher quelqu’un peut créer une hybridité, car vous vous sentez dans de bonne main.

Gaoussou: Elle serait les yeux, car les yeux sont des organes de sens qui voient et qui permettent à comprendre plus que les autres organes.

Mariam: Elle serait tout simplement le sens lui-même, car la vie est l’hybridité.

The challenge of how to communicate with the Malian participants was big, because some of the Germans could not speak French neither spoke some of the Malians English. But this is what it is about. Framewalk gives and demands to walk out of your frame. And in my opinion we did a great job. The language problem was not visible throughout the workshops. And when it was, we were able to create another language to communicate whether it was with the body or finding Petra to translate. The workshops were very intense and everyone reached their limits and evolved. We as a group of Malians, Ghanaians and Germans, we all supported each other. Some of the Muslim participants were fasting, so we shared our engergies with each other. This Framewalk restored energy, motivated to continue and to create something new. The topic was hybridity. A very complex topic I thought when I first heard of it. I realized that we as individuals are already hybrids. When we walked through Bamako as a group, being totally different from each other, together we were a hybrid in Mali. With this Framewalk of German, Ghanaian and Malian participants a new picture arose. A picture of different hybrids coming together and creating something new. Tyshea Suggs


Qu’est ce que j’ai retenu de cette You never know expérience how beautiful… de Framewalk? … your culture is until you share it with other people. This sentence is how I’ll describe my first Framewalk experience in Bamako. Framewalk is a great platform for the exchange of culture, and also a nice way of promoting multiculturalism. I learnt a lot from the Malian participants, in terms of language, music and folk stories. Framewalk Mali exhibited how different cultures can merge to form a hybrid one. A hybrid culture that shares elements inherent in the different cultures, and creates a shared understanding. Framewalk Bamako is created a beautiful co-existing environment for both German and Malian participants. An environment that created room for all to learn from the available materials, and coordinators. Our daily exercises of answering questions related to hybridity gave us an in-depth understanding of the mission and purpose of Framewalk Bamako. In the end, it was amazing how we (participants) came together to produce memorable performances amidst all the challenges (miscommunication, slow internet, language barriers, and limited time) we encountered. To me, Framewalk in Mali was a success. Nana Sir Osei

Le monde aujourd’hui est global, cependant et heureusement il existe des spécificités, de la diversité, dans le théâtre j’aime Arlequin, son costume est bariolé différentes couleurs hymne à la diversité, à l’hybridité! Le voile intégral, la burqua, Beneton c’est le mono-colore la couleur unique comme le prêt à penser. Ce qui est fondamental c’est la démarche: aller vers, Le sage dit la plus longue marche commence par le premier pas, il faut aimer, en vouloir pour quitter le confort douillet du cocon familial pour aller à la rencontre de l’aventure, de l’inconnu! Mais si je ne brûles pas si tu ne brûles pas comment les ténèbres pourraient se dissiper? C’est au nom de l’amour, mais sans altérité c’est viol; là nous nous sommes découverts alter égo des humains! Et une fois que nous nous acceptions tel nous pouvons construire, conjuguer nos efforts et créer Les jeunes ont pris le bus, le flic a siffler la corruption existe partout, le fou a pris le volant, des fous sont tapis un peu partout ils sortent de temps en temps pour semer la terreur la désolation, mais le terrorisme ne passera pas! La démarche est originale , le projet est pertinent dans un pays où il n’existe aucun mécanisme d’aide à la création. Adama Traoré


Hybridity in Bamako…

My Mali experience

…was a journey into another world. Especially the music and the way the Malians sing got into my bones and my heart. It seemed like they didn’t even sing, more like telling a story in notes and what we heard was heartwarming. It connected you directly to the spirit of this country. Mali made me bite the bullet when it came to perform music, I accompanied the opening song on guitar in the final performance… being my first public guitar-playing ever. The work with Kettly Noel, the dance-instructor, was an artistic experience, transforming all dance-participants into an equal group beyond origins and age. Big inspiration. Compared with Framewalk in Düsseldorf, the Ghanaians seem to be more exposed to western cultures and therefore have an open mindset concerning any field of art, the Malians had a much harder time to approach the differences in the fields of art. Sometimes it took them longer to get a feeling for the instructors, also due to language issues, maybe because of the difference in the everyday life. But at last everybody came together. People I had a hard time to connect with during the Framewalk-sessions, turned out to be the ones I connected most to in the end – artistically in the final performance. My personal hybrid engagement was to be a participant and simultaniously almost an instructor. Due to the different languages, I acted as an interpreter/translator to both sides. Meaning that I first had to understand the instructors instructions and then finding the right words in French, communicating as if an instructor myself (probably I had a good comprehension of the ideas sometimes adding information), that would enhance the understanding. It was a pity that we didn’t have much contact with the Malians apart from the daily workshops. Tim Cecatka

Framewalk is always a magical experience that lingers in the minds of its participants long after it ends. This Framewalk did not disappoint although it took a while longer for us to find the magic. After spending thirty six hours on the road, seeing only the harsh faces of immigration officers and unfriendly faces of tired travellers, it was a welcome surprise to meet the Malians who were willing to share their culture with us. Interesting people, different culture, amazingly powerful music to share. It was really nice to work them. The only difficulty was the language barrier and the fact that they weren’t really willing to learn from our culture, so in that sense there wasn’t a proper cultural exchange. However as a musician I learnt a lot from their style of music; their different rhythmic pattern that sounds like it’s off but it’s not. Their melodic sounds, the entire delivery of songs were quite interesting for me. Though it was a bit of a challenge to work with the Malians we were able to blend our uniqueness to become a hybrid. The hybrids. Meet the hybrids. Isabella Narh


Don’t want to be alone, no Don’t want to be alone, no no no no no I want to be a part of your world, let me be a part of your world I am a quarter – quarter half in this and that Sometimes I blend in and sometimes I stand out. Little child doesn’t see the differences, cause in its eyes we all look the same, look the same Sing it oh | hybridité | hybridité | hybridité… Ich beobachte eine Gruppe voller Menschen, eine Gruppe unterschiedlicher Nationen. strahlende Gesichter, sie haben keinen Richter, ich mein, kann das wirklich sein? Eine Vision voller Zusammenhalt. Who am I | Where do I come from | Where do I belong Mais qui a dit que c’est impossible? Who am I / Where do I come from / Where do I belong Let’s take our hands / Let’s show respect Let’s name it, different but the same (2x) Pourquoi des guerres, des conflicts, du racisme? Pourquoi la différence? / Nous sommes des humains Nous devons vivre ensemble Nous devons nous accepter et nous encourager We say together Hybridité…


My Mali Framewalk It was very challenging, but also very rewarding. Bamako, the city of motorbikes, turbans and beautiful, colorful clothes and the unique architecture. Starting the workshop I wondered how to communicate with my students. I neither speak French nor Bambara. And I knew, most of my students didn’t speak English. I prepared a lot of exercises that didn’t need much explanation, but being unknown to the Malian students a few explanations were still necessary. I was happy to always have had someone in the group translating in both, French and English. I liked this, it supported the collaboration between the students. They had to comprehend and explain to their fellow Framewalkers. Preparing myself for Mali Framewalk I read a lot about the theatre culture in Mali. In Bambara Culture, every child plays theatre. There is a strong heritage of mask and puppet theatre, which is performed before the planting – and after the harvesting season. Most characters performed represent animals. So I chose an ‚animal exercise’ to be in the center of my work. It began with finding an animal the student had a personal tie to, to imagine this animal in its natural habitat, the animal walk, how it eats, is it a hunter or a prey (or both), how it sleeps etc. When the students had a strong image in their mind, they had to change perspective and look through the eyes of their animal and live through all the moments they found. They transformed into the animal.

This transformation is an important lesson. In acting you go through so called turning points, e.g. You are waiting for your lover, you see him/her on the other side of the road (1.turning point: from waiting to joy), next you see him/her kissing another person (2.turning point: from joy to anger or sadness). You don’t change from one emotion to another in a second, it’s a process of transformation from one emotion to the other. The animal exercise forces you to play through all aspects of the transformation. The next step is to be the animal. This is difficult, we always tend to show the animal, not to be it. The last step is to transform back into the human form. Our rehearsing time flew by and we were proud to present our findings at the Institute Français being very well received. Regarding the challenges of the language barrier this Framewalk was really special and rewarding for me and I was very happy with the results: The scenes were great, the group really came together, they collaborated and learned a lot, about themselves, about the art and the cultures from the other country. Simon Eifeler


Hybridity: Mali Germany Ghana Now the idea that one could be a union of more than one amazes me. Then the idea that two or more is one also amazes me. However when confronted with the idea of hybridity, guess what amazed me more? The fact that hybridity as a hybrid is even more hybridity. The male female energy — Mawu Osogbolisa 2016 — Framewalk — Bamako. Am Amazed by you! Sir Black

… l’ambiance, la fraternité … Dans le cadre de ma formation, en tant que jeune acteur des arts du spectacle notamment le théâtre, j’ai toujours souhaité faire partir des participants d’un grand atelier comme celui dont vous avez organisé. Sachant que Framewalk un moment d’échange bénéfique et un carrefour créé par et pour des artistes, votre structure dévouée au développement de l’art, les cadres de rencontres qu’elle nous a offert, ont été des aubaines pour moi en tant que jeune artiste. L’expérience que j’ai acquisé pendant ces quelques jours, me servent et me serviront d’avantage dans ma formation, car j’ai toujours besoin d’aller de l’avant. Travailler avec une grande organisation étrangère comme la vôtre dans le programme Framewalk a été pour moi une occasion d’enrichir les expériences acquises et de me renforcer dans ma carrière. Voilà pourquoi, j’ai beaucoup aimé, l’ambiance, la fraternité, l’engouement, la volonté, le courage et l’engagement de tous. Ça a été une grande opportunité pour plus perfectionner mes talents, de rencontrer d’autres talents et surtout de faire des nouvelles rencontres. En tant que comédien, j’ai participé à plusieurs créations artistiques, ainsi que des spectacles et je tiens vraiment à dire que je suis heureux d’avoir pris part à ce Framewalk. Je reste disponible pour toutes activités de Kabawil. Vivement la prochaine édition. Gaousou Yah Touré


The languages were visible in the beginning but in the end we found a language of our own. If you were given the choice to

Describe your total experience with this framewalk

be a hybrid, what will it be?

in reference to hybridity?

Tyshea: I would like to be born in a witch family with powers to heal and abilities to live both in water and to be able to fly at the same time.

Aichata: I never used to sing or dance but now I can do music, dance and my own theatre. I find this good and it is hybridity to me.

Tim: My hybrid would be a singer – songwriter, this is something I really lack confidence in. Jack: I would be a rainbow because it’s a mixture of different colours. Benso: An ensemble of instruments, because I become part of different other instruments working together. Alicia: It will be medicine because I become a combination of different chemicals put together. David: I want to be a harmony played by an orchestra, because though the sounds are different, they make a unique blend of sound. Bella: I would like to be a hybrid of minds, for me its more important to be a person who thinks and acts differently, rather than look different. Sena: I will like to be half man and half woman so I can understand both masculin and feminine sides. Angelina: I would be a Smoothie, a mixture of fruits and vegetables.

Benso: It was magical, there were people from different cultural backgrounds and we still connected to form beautiful pieces. Jeneral: I experienced possibilities; because even with different languages and values we were able to find a common ground for communication. Angelina: It was very diverse, different cultures coming together and creating something new. Giuilia: Hybridity has been not just a topic on which we worked; it has been the thing, which brought our work beyond the experience. Jack: My total experience in this Framewalk in reference to hybridity are two words more hybridity. Sena: It has been a moment of total exposure to different cultures yet uniqueness in identity. Tim: The diversity of Africans putting their heart into art. Differences as initiation for creation. Tyshea: Kettly said: Even if you never experienced African dance, it is somewhere in your body, in your blood, I can see that. – It was the first time that somebody didn’t see me as a white girl but a white girl with „black blood“. Bella: As a separate entity it works, but as a unit of different elements it makes more sense. The languages were visible in the beginning but by the end we found a language of our own. Disjointed chords, a sharp rigid edge meets a smooth harmonious sound. And it makes sense. There’s no friction. It actually makes sense. Meet the hybrids.


If U see me you will think that I start with a source I’m mixing and creating I’m a never ending interaction AGOOO AGOOO MESE AGOO. MASA NSUO AKYERE SURU AFAR NANA YAA ASAASE. NANA YAA EEBISA S33 EBAA NO S3N NE 3Y33 D3 NA EN3 NTƆKWA NI EKUM KUM 3 KUM KUM 33K Ɔ SO YI. OHIA N3 NKWADAA WONAM KWAA HO RESR3 SIKA YI. NANA YAA R3 BI SA MO S33 ODO NO W Ɔ HII. MO MA Y3N GYAI Ɔ TAN NI NYINYI MUU NA Y3N KAI S33 Y3YII Y3 Y3 BAAKO. Y3N ODO NI KRO Y3 NTINA.

Agoo means knocking. I have fetched water and I have called on Asaase Yaa. Nana Yaa is asking the reason why we are fighting among ourselfs and killing each other, again she asks about the reason why poverty is killing people with children of school going age begging for arms on the street for survival. We should love one another stay with love and support each other no matter where we come from HUM BADEN YO DIAMA!! DIAMA BÈKA YAFA NE MA!! DIAMA BÈKA HAKÉTOYE KÔNÔ KOULOU DIAILEN DE BE BIN FÔ KÔNÔ KOULOU DIAILEN BE BIN FÔ DIAMA BÈKA YAFA NE MA!!

I’m a hybrid now in my family, whether u like it or not we’re still the same Hybridity


Petra Kron works as cultural anthro-

Daouda Dao is a guitarist and

Kettly Noël is a dancer and an

pologist and as performing artist. She does production management for plays and programs. She designs and instantiates art platforms like Framewalk and Lab dc in collaboration with artists from varying countries. She’s got a Ph.D. (ABD) in Cultural Anthropology of Mainz University and a state board examination in Fine Arts and English from Düsseldorf University. She continually teaches, researches and explores her concept of relational cultural works in the field of the performing arts mostly in cross cultural and cross disciplinary contexts.

composer. He is he bandleader of Shine and he works as a teaching assistant at the Conservatory Arts and Crafts Multimedia Balla Fasseké Kouyaté (Music Department). He is the director of a private music school. In 2007 he was part of the Fusion Arts Exchange in the USA and since 2011 he is involved in the Glomus Musical Network. He volunteered and participated in various international music festivals, facilitating masterclasses. Currently he is enrolled for a Masters in the Strategies of International Cultural Exchanges at Sciences-Po Lyon in France.

Eugene „U-Gin“ Boateng is a

Simon Eifeler is a stage director. He

dancer/choreographer living in Berlin. As a HipHop dancer he entered several battles like Juste Debout, which he won. He made it to the finals in Paris in the category HipHop New Style. He learned to master his skills in teaching and performing, while he was working with Kabawil e.V. U-Gin performed with different artists, e.g. Kool Savas, MIA, Beyonce. He participated in various TV-shows and Videos and worked with brands as Nike or Adidas. U-Gin is constantly developing his skills. In dance he combines HipHop, Krumping, Jazz, Contemporary or Popping to create his unique style. He also performs in different art-forms, such as acting on stage and in cine flims. Thus expanding his way of speaking through the arts. UGin’s slogan is: »I am the instrument«.

studied stage direction at the Academy for Performing Arts in Ulm, Germany and ever since he is creating and directing plays in the fringe or off – theatre scene. His best known plays are: König Ödipus by Sophokles, Kassandra by Christa Wolf, Woyzeck by Büchner, Maria Stuart by Schiller, Faust by Goethe and the Odyssee by Homer. Simon is founder and director of fred – Freies Ensemble Düsseldorf, an independant municipal theatre that offers a platform to professional theatre creatives for their works.

award winning choreographer from Port-au-Prince in Haiti. She decided to primarily explore her African roots, and focussed in her professional career to research and develop the African Contemporay Dance scene. At the age of 17 she joined the Company Patrick Lacroix, beginning of the 90’s she set up her first company. In 1999 she relocated to Mali. In 2001 she founded the choreographic centre Donko Seko in Bamako, working mainly with young people of the streets and in 2003 the Festival Dense Bamako Danse. In her work she explores the needs of women trying to resolve their position on the African continent. Abiodun Odukoya, a composer/

singer/ songwriter, is one of the pioneers of the HipHop and Afro/ Reggae/Soul scene in Germany since the 90’s, as well as one of the international commuters of the new Urban Roots Movement. Abiodun and his band Sidekick present their powerful sound, their musical diversity and their cosmopolitan consciousness. Abiodun also produces young musical talents in Nigeria and Germany. He is a founding member of Brothers Keepers with its persisting statements against racism. He worked with Maceo Parker, UB40, Gregory Isaacs and Xavier Naidoo. Abiodun is an expericenced teacher for voice, singing, rap and spoken word.


Adama Traoré is a stage director

and a comedian. He is the Director and founder of the cultural institution and theatre company Acte SEPT in Bamako (S for sensitizing, E for education, P for promotion and T for theatre) and of the Festival du Théâtre des Réalités. He was teaching theatre arts at the Institut National des Arts de Bamako from 1989 to 1999. From 2001 to 2005 he was the West African expert for the International Committee for francophone theatre. In 2002 he became Chevalier des arts et lettres of the Republic of France. Organization in Situ: Abdul Aziz Kone and Kojo Benedict Quaye aka Sir Black Photography: Nana Sir Osei

Standing on a cross road Revolution, Imitation, Meditation, Indecisions. All we need is harmony, no rejections, no rejections.

Tyshea






KABAWIL e.V. / Flurstraße 11 / 40235 Düsseldorf T. 0211.9 36 55 00 / www.kabawil.de / info@kabawil.de www.framewalk.de / follow or join framewalk on facebook. Framewalk – the Crosscultural Week is supported by: Landschaftsverband Rheinland Project Partner in Mali: »Donko Seko« et »Association Agoratoire, l’espace d’expression des Arts et Culture«