Voici un extrait sur TISRAWT du livre d'Andy Morgan "Music ,Culture and Conflict in Mali" édité chez Freemuse Production.
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Extract of “Music, Culture and Conflict in Mali”
By Andy Morgan.
Published by Freemuse
Nytorv 17, DK-1450 Copenhagen, Denmark
freemuse.org
http://freemuse.org/archives/5874
“Masks are central to the work of the one of the most
extraordinary theatre companies to have come into being in
the years leading up to the great crisis of 2012. Called
Tisrawt, it is remarkable because it was created by local
Touareg actors in Kidal, right up in the heartlands of both
the Touareg rebellion and the recent Islamist occupation.
Tisrawt is the only theatre company that exists in the far
north of Mali.
The genesis of Tisrawt is an epic tale in itself. Its origins go
back to 2005, when a Parisian theatre company called La
Calma specialising in street theatre and education was invited
to Kidal to work with up to 70 local young people and
develop their theatrical skills. The first fruit of their work
was a programme of short masked sketches that were
performed at the Saharan Nights Festival in es-Souk in
January 2006. Es-Souk is a ruined city situated about 60
kilometres north of Kidal at the foot of the Tegharghar
Mountains where, as I write, the French and Chadian armies
are fighting a sustained and brutal battle against the remnants
of the Islamist coalition that occupied Mali for ten months
from April 2012. Guerrilla warfare aside, es-Souk a magical
place and the sight of so many Kidalian youth, all masked,
acting out often hilarious scenarios on subjects as diverse as
education, health, pubic hygiene, insecurity and clandestine
immigration amplified that magic exponentially. Music for
the show was provided by the embryonic Touareg band
Tamikrest, then still a year away from launching their
international career.
After that inaugural project in 2006, the French actress and
director Melissa Wainhouse, a long-standing member of La
Calma, returned regularly to Kidal, despite the growing
threat of kidnapping and always against the advice of the
French foreign ministry. After 2009, the trip could only be
made with an escort of bodyguards. She continued to
develop short sketches with what had now become a solid
core of actors from the Kidal region, both Touareg and
Songhoi.
The murder of the British tourist Edwin Dyer by Abou Zeid
and his AQIM militia in June of 2009 impregnated the entire
northern two thirds of Mali with a heightened sense of
danger and paranoia. 2010 was in effect the year that the
region shut down to the outside world. Nonetheless, in
January 2010, Wainhouse and the players from Tisrawt
managed to defy the cowering zeitgeist and perform at the
Camel Festival in Tessalit, a beautiful village in the far north
east of Mali up by the Algerian border. They also travelled to
the Festival in the Desert in Essakane. This was to be
Melissa’s last visit to the Kidal region before the Islamist
occupation of 2012.
Nonetheless, as far as Melissa was concerned, being barred
from Tisrawt’s home region wasn’t reason enough to shelve
the whole project. “The only solution was for the actors
themselves to come to Bamako,” she told me in September
2012. “It isn’t an easy task to transport six people from Kidal
to Bamako, to house them, feed them and create the right
conditions for working.” And it wasn’t just the logistics that
were challenging; it was the novelty of the project itself.
“There are no Touareg actors apart from ours and no
Touareg theatre troupe apart from Tisrawt,” Melissa told me.
“But because we were extremely persistent and desirous of
success, bit by bit, there was a gathering awareness amongst
Touareg leaders and notables of the importance of the work
of these young people and what it meant symbolically, even
if the troupe wasn’t on a professional level yet. It was too
early to talk about professionalism but the very fact that
these young Kidalois were getting involved and setting
themselves the goal of transmitting messages in French and
Tamashek through theatre, messages of peace, was
important enough in itself.”
Whilst the north degenerated into a lawless playground for
mafia business and Salafists with AK47s, Tisrawt tackled
issues such as trafficking, crime and banditry. At the end of
one particular sketch that revolved around these themes, the
players would turn to their audience and declare that it was
up to them, the Touareg, the northerners, to preserve and
value their own culture. It was up to the teenagers and
parents of teenagers in the audience to make sure that
smuggling and crime didn’t destroy society itself. That sketch
was performed at the inauguration of the Biennale Artistique et
Culturelle in Sikasso in 2010, in front of President Amadou
Toumani Touré and a large gathering of dignitaries.
In 2011, Tisrawt received funding from Norwegian Church
Aid (AEN) to prepare a new show that would tour the three
regions of the north; Timbuktu, Gao and Kidal. A
programme of writing, rehearsals and workshops was
organised in Bamako, involving professional actors and
technicians from La Calma. The ambition was to take
Tisrawt to a new level of proficiency and give them the
impetus and know-how to carry on developing their art on
their own. Nevertheless, with the tumultuous build up to the
outbreak of hostilities in northern Mali in January 2012, the
tour, which was due to visit schools, cultural centres and
festivals in the north, never happened.
The scuppering of Tisrawt’s first opportunity to do a wellfunded
and well-prepared tour was a severe blow. The group
had been gearing up to tackling the hardest topic of all;
religious extremism. But in the end, with the cancellation of
the tour, the opportunity passed. When I spoke to Melissa in
September 2012, she was getting ready to go back to
Bamako to start a new project with the troupe. Religious
extremism was still on top of the list of potential themes for
the next phase of work. “Will we tackle the subject of
Islamism? Right now I can’t say yes or no. It will really
depend on the members of the troupe. Luckily theatre allows
us to deal with subjects in a symbolic or transposed way, but
having said that, the subject is so sensitive. The most
important thing for me is not to put them in any danger.”
The outbreak of rebellion in January 2012 turned Tisrawt
upside down. “In a profound way it was a complete shock,”
according to Melissa. “Some of the actors took refuge in
Bamako and were living a very precarious situation there.
Some stayed in Kidal, and were probably caught up in the
reality of what was going on. They were sucked into that
spiral. I think that right now [ed. September 2012] the youth
up there in the north have a very stark choice. If they stay
they are forced to ally themselves to one or other of the
various movements. Some just don’t have the means or the
opportunity to leave, because families can’t go with them for
diverse reasons. You have to realise that this youth wasn’t
old enough to have been combatants in the rebellion of the
1990s. They were children at the time, but they have been
soaked in that whole climate, a climate in which taking up
arms has always been a noble act. That is very cultural with
the Tamashek. But what’s incredible is that I’m in touch with
all of them. I’ve managed to gather my troupe together and
all of them tell me that their aim, their only glimmer of hope,
is the work of the company.”
It was the actors themselves who urged Melissa to let them
go and perform in the refugee camps in front of people who
have been driven from their homes by the conflict. “Their
aim is to make them laugh, to bring them hope and given
them a feeling of solidarity and to value their culture, which
is in extreme danger right now.”
So, in an indistinct fog of crisis and instability, Melissa
gathered her players together in Bamako in November 2012
and started work on a new piece called Tisrawt “Le Royaume
d’Idjirane”. It was about a king who considers himself to be a
good king. His motto is “Each man for himself, and
everyone for the king.” Nonetheless, there’s trouble ahead.
Drought descends and the harvests are bad. The royal
council is convened to try and sort out the crisis. One day a
stranger called Albana (‘Misfortune’ in Tamashek) arrives
and announces that a spring called ‘Goulou Goulou’ is
situated right there, under the king’s throne. He sows
calamity and chaos by pitting one person against the other
and manipulating the king. His aim is to make the riches of
the kingdom his own. Tisrawt was a star attraction at the
2012 Festival des Théatre de Réalités in Bamako.
“Tisrawt is a microcosm of Touareg society,” Melissa
explains. “That’s to say, it is a group of people who come
from many different clans. Some are pro-MNLA. Some are
pro Ansar ud-Dine. Some are pro-Mali. Others say that it’s
all nonsense. And the aim is to understand each other, to live
together and work together on a common project.”
The Tisrawt theater group is just a beginning, albeit a
powerful and promising one. The actors are learning their
trade. They’re hacking a new trail. “You know, new Touareg
bands have it much easier because Tinariwen have already
opened up and mapped out the onward path,” Melissa said.
“They’re examples, sentinels, who have reached at least some
of their goals. For my actors that doesn’t exist yet. They
don’t have a culture of the theatre. They don’t have access to
everything that we have access to here in Europe; festivals,
books, films. I have to operate at their rhythm. And I’m
there, their mother, their sister and their teacher. I’m also
their artistic director and I’m determined not to let them
become the instrument of another person or entity, nor of
the chaos the political chaos that the country is in right
now.”
Heroism is a loud word. It becomes more dignified in its
quiet, barely visible incarnations. That quiet heroism exists
everywhere, in Mali too, abundant in its obscurity. The quiet
courage and dedication of people like Adama Traore, Melissa
Wainhouse and the actors in Tisrawt and all the many other
small theatre troupes in the country is keeping discourse,
culture, education, entertainment and hope alive.
Theatre, in its simplest incarnations at least, costs relatively
little. That’s why it has power as folk art and as a simple
means of bringing problems out into the open where they
can be discussed, understood and possibly tackled.
In a country like Mali, a country that urgently needs to speak to
itself and make its wiser voice heard over the white noise of
fear and revenge, theatre is no longer a mere cultural
delicacy. It has become essential."
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