Salif Keita - Mao Otayeck - Cheick Tidiane Seck - Sékouba Bambino - Abdoulye Diabaté - Vieux Farka Touré - Oum - Stelbee - Khaira Arby - Pibo Marquez - MADOU & SAFI DIABATÉ - Kaladjoula Band - Sahel Blues - Néba Solo - Mariam Koné - Super Biton de Ségou - Mylmo - Ben - Zabo - Orchestre Kôrè - Uppertunes (Hollande)
« AFRICAN RENAISSANCE : Challenges and Perspectives »
The International Fair of Ségou was created in order to give the opportunity to local organizations and local producers (Gardeners , craftsmen, farmers, fishermen, traders, etc.) to benefit from the large national and international audience drained by the Festival sur le Niger, to sell their products and to create partnerships.
A Trans-Saharan Sahel project for peace, solidarity and tolerance initiated by three festivals, the Festival au Désert (Timbuktu, Mali), the Taragalte Festival (M’Hamid Elghizlane, Morocco) and the Festival sur le Niger (Ségou, Mali).
MAWULA A KOROBA OPERA-BALLET « MALIAN CULTURAL RENAISSANCE »
Seven international and national exhibitions on the themes: ``« Love»; ``« Dialogue and Cultural Diversity »; ``« Cultural Diversity and National Unity »; ``« African Renaissance »; ``«Democracy and Peace »; ``« Impulses » ;
Ti chèlbè , of Kettly Noël
Markala Kirango, Banankoro et Pelengana - Kôrè Dugaw - Donsow - Djandjigui - Le Tindé - Canoe Races
Music - Visual Arts - Manual
Opera Ballett Mawula
MAWULA , A KOROBA OPERA-BALLET « A MALIAN CULTURAL RENAISSANCE »
Our country, Mali, just experienced one of the darkest chapters in its history. After fifty years of stability, peace and unity, Mali descended into violence and intolerance in many regions. A horde of lawless barbarians attacked the country. Instability spread across the country and desolation could be read on all faces. Instability spread across the country and desolation could be read on all faces. Malians did not understand what was happening to them. The situation was delicate and the picture was very dark.
Mali had fallen very low … but Mali, with its ancient civilization, Mali, the land of the great Empires, as the phoenix, strives to be reborn from its own ashes. The tenth edition of the Festival sur le Niger takes place in a post crisis atmosphere with a new Mali looming on the horizon. The opportunity will be seized to celebrate the return of peace, cultural diversity and national unity.
This Opera ballet is therefore devoted to the Cultural Renaissance of Mali. It artistically traces highlights of the crisis Malians have experienced, until the election of a new democratically elected president. This opera-ballet celebrates restored hope, restored peace, the reconciliation of peoples, unity, social cohesion, cultural diversity...
It will be premiered during the opening ceremony of the Festival on the Niger in Ségou in February 2014.
Mawula is the embodiment of eternity. Its birth is lost in the mists of time. Its history is the most glorious ever known and passed by word of mouth from generation to generation. The territory of Mawula, once limitless, nowadays extends from the vast sandy deserts, passing through rugged mountains and nurturing rivers, to the edge of the green forests.
For centuries and centuries, the children of Mawula, as diverse as creation, cared for their father, adulating and protecting him. They followed his teachings and guidance, safeguarding his sustainability, his eternity.
But there came to pass dark years, mired in depravity and unequalled loss, when some of Mawula’s children inflicted repeated blows on their parent, plunging him into a vegetative state, a deathlike dream where he was robbed of spirit and identity.
Distraught and frightened by the extend and scope of the damage that had been caused, the children of Mawula searched for a solution that could save their damaged parent. That is when the firstborn sons of Mawula, the donso-hunters, those who hold the secrets of life and regeneration of the father, entered the scene.
To ward off the misfortunes that affected all of Mawula’s offspring, they decided to revisit the sacred Koroba rite, which is comprised of three steps: Sangate (lifting of the body) – the Yaafa deli (forgiveness-reconciliation) and Konsi (lifting of mourning)
The opera-ballet is divided into four (4) scenes:
- Scene I: Greatness of Mawula
- Scene II: Disorders and decadence
- Scene III: The reign of Echadjach
- Scene IV: Back to Life, Renaissance
These are: directors, choreographers, actors, dancers, singers, musicians, costumers, makeup artists, dressers, etc.
Students of the Conservatory and students of the National Institute of Arts and the Dance Company of the Kôrè Cultural Centre are the cornerstone of the participating artists. The winning artists of the last artistic and cultural biennial in Sikasso are also welcome. Other national renowned professionals (directors, choreographers, actors, musicians, singers, etc.) are also sought.
The basic instrument, which runs the whole opera, is the donso ngòni (simbi, wasulun ngòni, seguka ngòni). It is linked to the central character, Donso Gossi.
Traditional instruments receive a special treatment to support the Tradition: baala, kora, soku, buuru, file, gintafle, dunun, kunan, karinyan, ntamani, jenbe, bòlòn, etc. Modern instruments are used to produce African sounds and sound effects. This choice is left to the conductor.
THE SOCIAL GROUPS
At different stages, some groups receive appropriate treatment: Soninke, Malinke, Bamanan, Fula, Songhai, Khasonké, Tuareg, Moors, Dogon, and Bozo. Other groups make stealth appearances throughout the dance, musical sounds, songs or characteristics suits.
They develop a theme suitable for different situations having as focus Tradition in song. The language used depends on the stage. Fulfulde (Konna), Soninke and Khasonké (Lere) Bamanan (Diabaly), Songhai (Gao), etc.
Among other topics, the focus is on: identity, understanding, national unity, reconciliation, tolerance, senankunya, patriotism, forgiveness, development, peace, etc.
A special exhibition is made of the numerous dances of the Donso hunters, including individual, collective and scred dances.
In the same vein, the dances of the dominant social groups are performed with great skill in every step.
For a better result, the use of masks (Bambara, Dogon, Bozo, etc.) is strongly recommended. Contemporary dance may appear in the final stage of Bamako to signify the opening to the outside world.
COSTUMES AND ACCESSORIES
They are totally inspired by the traditional dress of each step. A clever and artistic blend of costumes and accessories for different social groups is evidence of social harmony, which should lead the opera’s final act.
Mawula was written by Dr. Fode Moussa Sidibé, an experienced man of culture, who will ensure the technical direction of the Opera. The experienced choreographer Kardjigué Laico Traoré will ensure the Artistic direction, assisted by the Stage Directors Adama Traoré and Hamadoun Kassogué. The team responsible for the Performing Arts of the Kôrè Cultural Centre, which has a proven experience in the management of performing arts, will assist them.