By John Owoo

(Abidjan – Côte d’Ivoire)

Salle Lougah François (Palais de la Culture) was literally set ablaze as ZO! Mute unfolded as a compelling double bill that brought together two of South Africa’s most respected choreographic voices, Vincent Sekwati Mantsoe and Gregory Maqoma.

The evening-length work probed the human condition through a striking interplay of ritual, rhythm, and silence, offering a performance that was as spiritually charged as it was physically demanding.

Performed by six dancers, the piece opened with a commanding visual presence: bodies clad in red costumes moved with both unity and individuality, establishing a tension between collective identity and personal struggle. The choreography quickly immersed the audience in a world where movement became language—at times exuberant and forceful, at others restrained and meditative.

The use of body percussion and rhythmic breathing created an almost hypnotic atmosphere, reinforcing the work’s deep connection to indigenous South African traditions while maintaining a contemporary sensibility.

Mantsoe’s ZO! drew from the mythic figure of Queen ZO, embodying a complex duality of grace and destruction. This duality was vividly expressed through sharp contrasts in movement—fluid, expansive gestures would abruptly give way to grounded, almost violent physicality.

The dancers navigated themes of greed, despair, and vulnerability with intensity, their bodies articulating the fragile line between power and collapse. Elements of street dance blended seamlessly with ritualistic motifs, grounding the work in both urban and ancestral realities.

In contrast, Maqoma’s Mute shifted the tone inward, engaging silence as both a thematic and structural device. Here, the choreography leaned into stillness and minimalism, allowing small gestures to resonate with profound emotional weight.

The dancers seemed to carve meaning out of absence, suggesting that silence itself can be a powerful form of expression. As the piece progressed, movement gradually reclaimed space, symbolizing a breaking of silence and the reclaiming of agency.

A costume change between the two parts subtly marked this transition, signaling a shift not only in aesthetic but in philosophical inquiry. While ZO! confronted the chaos of human impulses, Mute searched for the possibility of renewal—questioning whether a future can emerge from loss and decay.

Together, ZO! Mute offered a layered and thought-provoking performance that balanced raw physicality with spiritual introspection. It was a work that demanded attention, not through spectacle alone, but through its unwavering commitment to exploring the depths of human experience.

By John Owoo

(Abidjan – Côte d’Ivoire)

Guyanese dancer Johana Malédon’s latest conceptual solo offered a striking meditation on the fraught relationship between body and language, unfolding as both a performance and a provocation at the 2026 Market for African Performing Arts.

Presented as an evolving dialogue between the dancer and an LED screen displaying random words, the piece occupies the intersection of choreography and sociological inquiry, where meaning is constantly constructed—and dismantled—in real time.

From the outset, Malédon commands the stage with a presence that is both grounded and elusive. Her movement language resists easy categorization, shifting between fluid continuity and abrupt fragmentation.

This physical ambiguity mirrors the instability of the words flashing behind or beside her—labels that attempt—and repeatedly fail—to define her. The tension between these projected terms and the dancer’s embodied responses becomes the work’s central dramaturgical engine.

Rather than illustrating or submitting to the imposed language, Malédon engages in a subtle yet persistent act of defiance. At times, her body seems to absorb and echo the words, only to distort them through unexpected gestures. 

At other times, she seems to reject them outright, carving out a space of resistance that feels both personal and political. This push-and-pull dynamic creates a compelling sense of unpredictability, keeping the audience alert to each shift in rhythm and intention.

The use of technology here is particularly effective, not merely a visual accessory but an active partner in the performance. The LED screen functions almost as a second performer—one that imposes, interrupts, and provokes.

Yet it is the human body that ultimately reclaims agency, asserting its capacity to transform beyond fixed definitions. In this sense, the piece reads as a quiet manifesto against the rigidity of identity labels and the societal impulse to categorize.

Malédon’s work also resonates on a broader cultural level, particularly in its interrogation of how identities are constructed and perceived. By exposing the arbitrariness of the words that seek to define her, she invites the audience to question their complicity in these processes. The performance does not offer easy answers; instead, it creates a space for reflection, where ambiguity becomes a form of liberation.

If there is a lingering critique, it may lie in the piece’s conceptual density, which can at times feel opaque to viewers unfamiliar with its theoretical underpinnings. However, this complexity is also part of its strength, demanding active engagement rather than passive consumption.

In the end, she delivers a thought-provoking, visually arresting work that celebrates the body’s capacity to resist, transform, and exist beyond imposed narratives.

By John Owoo

(Abidjan – Côte d’Ivoire)

A compelling contemporary performance by Fayçal Belattar and Eloi Calame (Baçira) unfolds as an immersive exploration of spirituality in a rapidly shifting world. Presented as a hybrid concert experience at the ongoing MASA Festival, the work situates itself at the intersection of tradition and modernity, where ancestral memory meets digital experimentation.

From the outset, Belattar’s presence—anchored in vocals, kora, and spoken text—creates an intimate, almost ritual atmosphere. His voice flows between song and incantation, carrying echoes of oral traditions while remaining deeply rooted in present-day concerns. The kora, with its delicate yet resonant timbre, becomes more than an instrument; it serves as a bridge among histories, cultures, and emotional states.

Alongside him, Eloi Calame’s mastery of the clarinet and bass clarinet adds a rich sonic counterpoint. His playing ranges from breathy, almost fragile tones to more assertive, textured passages. What distinguishes this performance, however, is the seamless integration of electronics. Loops, digital textures, and amplified breaths expand the acoustic landscape, creating a layered soundscape that feels both organic and otherworldly.

Rather than opposing tradition and innovation, Baçira thrives on the tension between them. The performance is built on moments of friction—where the warmth of the kora meets the cool abstraction of electronic sound, and where structured musicality dissolves into improvisation. This interplay creates a dynamic listening experience in which multiple temporalities coexist, inviting the audience to reflect on continuity and rupture in cultural expression.

The project’s intercultural dimension is particularly striking. Drawing on North African, Sub-Saharan, and European influences, Baçira resists the temptation to homogenize its sources. Instead, it embraces difference, allowing each element to retain its distinct identity while contributing to a shared sonic language. The result is not a fusion in the conventional sense but a thoughtful negotiation of cultural intersections.

Visually and atmospherically, the performance preserves a minimalist aesthetic, allowing the sound to take center stage. This restraint enhances the work’s meditative quality, drawing the audience into a contemplative space where listening becomes an act of introspection.

Undeniably, Baçira is a reflective journey through sound, memory, and identity. By weaving together the spiritual and the technological, as well as the local and the global. Indeed, Belattar and Calame offer a performance that is both intellectually engaging and emotionally resonant. It is a timely reminder that, in an era of constant change, art can serve as a vital space for dialogue between the past and the present.

By John Owoo

(Abidjan – Côte d’Ivoire)

Salle Kodjo Ebouclé (Palais de la Culture) came alive with a magnetic production, Amelle, a contemporary dance solo created and performed by Mai-Júli Machado, offering an intimate and evocative exploration of womanhood, memory, and transformation.

Conceived as a ritual of transmission, Amelle traces the symbolic journey from girlhood to womanhood, drawing deeply on personal recollections and shared female experiences. From the outset, Machado establishes a contemplative atmosphere, her presence both grounded and vulnerable. With minimal staging, the focus remains squarely on the body as a vessel of memory and resistance.

Performing at the 2026 edition of Market for African Performing Arts, she moves between restraint and release. At times, her gestures are subtle—almost internal—suggesting the quiet, often invisible shifts that accompany emotional and psychological growth.

Initially appearing topless on stage, she at other moments expands her body into the space with urgency, as though pushing against unseen forces. This dynamic interplay effectively mirrors the tensions inherent in the societal expectations placed upon women.

Machado’s performance is deeply embodied. Each movement feels intentional, carrying layers of meaning that unfold gradually. The transitions between sequences are fluid yet deliberate, allowing the audience to witness the self’s evolution in real time. Her use of stillness is particularly striking; pauses become moments of reflection, inviting viewers to engage with the weight of her narrative.

The thematic core of Amelle is its critique of imposed norms and restrictions. Without resorting to overt didacticism, the piece subtly exposes the constraints that shape female identity—cultural, social, and even internalized. Through her physical articulation, Machado conveys both the burden of these expectations and the resilience required to navigate them.

Sound and silence play a crucial role in shaping the piece’s emotional landscape. The understated auditory elements complement the choreography, enhancing its introspective quality. The interplay between sound and movement creates a rhythm that feels both personal and universal.

What makes Amelle particularly compelling is its authenticity. Machado does not merely perform; she fully inhabits the work, blurring the line between the personal and the performative. This sincerity resonates strongly, drawing the audience into a shared space of reflection and empathy.

As part of MASA’s diverse programming, Amelle stands out for its introspective depth and emotional clarity. It is a quiet yet powerful testament to the complexities of becoming and a poignant reminder of the stories held within the body.

By John Owoo

(Abidjan – Côte d’Ivoire)

Egyptian dancer and choreographer Mounir Saeed delivered a riveting solo performance last night, captivating the audience with a deeply political, emotionally charged exploration of the barriers artists from the Global South face. 

Presented to a group of dance enthusiasts and fellow practitioners at the Salle Kodjo Ebouclé (Palais de la Culture) as part of the Market for Performing Arts 2026, the piece transformed personal frustration into a universal narrative on mobility, inequality, and artistic freedom.

Minimalist in staging yet powerful in impact, the performance relied on a striking interplay of movement, text, and sound. A screen positioned prominently onstage displayed excerpts in both Arabic and English—phrases many artists know all too well.

These were paired with recorded voices, calm yet cutting, reciting the often arbitrary reasons Western consulates give for visa refusals. The effect was chilling: bureaucratic language stripped bare, revealing the systemic barriers hidden beneath administrative procedures.

Through a carefully constructed movement lexicon, the performer oscillated between restraint and intensity. Subtle gestures—hesitations, pauses, repeated attempts to move forward—evoked the psychological toll of rejection. These moments were punctuated by bursts of forceful, expansive motion, suggesting resistance and resilience. The body became a site of tension, caught between aspiration and restriction.

What made the work particularly compelling was its ability to translate a highly specific issue into a broadly resonant experience. The repeated phrases—“You will not return to your country,” “You do not have sufficient funds,” “You lack social ties”—echoed throughout the space, underscoring the dehumanizing nature of these assessments. In doing so, the performance highlighted not only the personal cost to artists but also the broader implications for cultural exchange and global artistic dialogue.

The audience responded with attentive silence, then sustained applause, signaling both appreciation and reflection. In an era when mobility remains deeply unequal, this performance is a timely and necessary intervention. It challenges audiences to reconsider the invisible barriers that determine who gets to be seen, heard, and celebrated on international stages.

Ultimately, the piece was not merely a dance performance but a poignant act of testimony—one that lingered long after the final movement.

By John Owoo

(Abidjan – Côte d’Ivoire)

Burundian choreographer Josué Mugisha delivers a strikingly urgent performance that transforms the stage into a site of memory, resistance, and collective reckoning in a piece titled La Première Danse Politique.

Rooted in the political crises that have shaped Burundi’s recent history, this dance drama, which was performed at the 2026 edition of the Market for Performing Arts Festival, does not merely recount events—it embodies them, turning movement into a potent language of protest and healing.

From the outset, the choreography establishes a tense atmosphere in which silence feels as heavy as the histories it seeks to uncover. Mugisha’s work draws deeply from postcolonial memory, confronting the long-standing culture of repression and unspoken trauma. The dancers move with a deliberate intensity, their gestures oscillating between fragility and force, as though negotiating the weight of inherited pain and the urgency of release.

What distinguishes this performance is its seamless merging of the political and the spiritual. The invocation of the sacred—referred to as ibanga—is not symbolic alone; it becomes an active force within the choreography. Ritualistic sequences unfold with hypnotic precision, suggesting that healing is not only necessary but communal. The performers’ bodies become vessels through which stories of suffering, resilience, and hope are transmitted.

Mugisha resists linear storytelling, opting instead for a fragmented structure that mirrors the gaps and silences in Burundi’s historical narrative. This choice proves effective, as it invites the audience to engage critically, piecing together meaning from movement rather than relying on explicit exposition. The stage becomes an archive of the unsaid, where absence speaks as loudly as presence.

Visually, the piece is restrained yet evocative. Minimalist staging allows the choreography to take precedence, while subtle shifts in rhythm and spatial dynamics maintain a compelling tension throughout. The dancers’ physical commitment is notable; the performance is raw and unflinching, carrying an emotional charge that resonates beyond the confines of the theatre.

At its core, La Première Danse Politique functions as both an artistic manifesto and a call to action. It challenges the audience to confront uncomfortable truths and to acknowledge the necessity of collective healing in the aftermath of political violence. Mugisha’s work underscores the power of dance not only as an aesthetic practice but as a tool for social commentary and transformation.

In reimagining the “blanks” of history, this performance asserts that silence is no longer an option. Through movement, Mugisha and his ensemble reclaim narrative agency, offering a poignant reminder that the body can speak where words have long failed.

By John Owoo

(Abidjan – Côte d’Ivoire)

At once intimate and politically resonant, Unravel, conceived and performed by Ethiopian dancer Elsa “Zema” Mulder and featuring original music by Cheikh Ibrahim Thiam, unfolds as a poignant meditation on international adoption and the fragile threads of identity it weaves and unravels.

During a magical performance at Salle Kojo Ebouclé (Palais de la Culture), as part of the ongoing Market for African Performing Arts Festival, Mulder draws the audience into a quiet, almost ritualistic space as they perch and cling to their seats.

Inspired by the Ethiopian Buna coffee ceremony, the performance treats this cultural symbol not merely as an aesthetic reference but as a powerful metaphor for memory, belonging, and reconstruction. The stage becomes a site of both grounding and dislocation, where gestures oscillate between familiarity and estrangement.

Mulder’s movement vocabulary is deliberate and restrained, yet charged with emotional intensity. Her body seems to carry the weight of absence—moments of stillness linger just long enough to suggest loss, while sudden shifts in rhythm evoke the internal rupture of separation. The choreography resists spectacle, privileging nuance and interiority. In these quieter passages, Unravel finds its strongest voice.

Thiam’s musical composition complements this sensibility with a soundscape that subtly bridges continents. The score shifts between textured sonic layers and sparse, almost fragile tones, mirroring the performer’s journey through fragmented memory and inherited silence. The interplay among sound, spoken word, and movement creates a multidimensional narrative that never feels forced, allowing the themes to emerge organically.

What makes Unravel particularly compelling is its refusal to simplify the adoption narrative. Rather than presenting a linear story, Mulder engages with the “unsaid”—the emotional and psychological complexities often overlooked in public discourse.

Separation, grief, and the body’s memory are examined not as abstract concepts but as lived realities. The performance interrogates what it means to belong to a place one may not fully remember and how identity is shaped in the absence of choice.

There are moments, however, when the piece’s introspective nature risks distancing the audience, especially for those less familiar with the cultural references embedded in the work. Yet even in these instances, Mulder’s sincerity anchors the performance, offering glimpses of vulnerability that resonate universally.

Ultimately, Unravel is a quietly powerful work that lingers long after it ends. It does not seek to resolve the tensions it raises but invites the audience to sit with them—to reflect on the complexities of origin, memory, and selfhood in an increasingly interconnected yet fragmented world.

By John Owoo

(Abidjan – Côte d’Ivoire)

At the Salle Niangoran Porquet (Palais de la Culture) during the ongoing MASA Festival 2026 in Abidjan, two strikingly different yet thematically resonant dance works—Dans un couloir by Compagnie AT and Entre-temps by Moayé Ivoire—offered audiences a compelling double bill spanning personal introspection and socio-political critique.

Dans un couloir, choreographed and performed by Aminata Traoré, is a subtle, immersive exploration of improvisation rooted in Ivorian traditional dance. Drawing on her extensive training and international exposure, Traoré crafts a performance language that feels at once instinctive and deliberate. 

The piece unfolds like a living organism, guided by the immediacy of the present. Her body responds fluidly to space, evoking the spontaneous rhythms of Abidjan’s streets while preserving a refined choreographic sensibility.

Minimalist in staging, the work emphasizes corporeal expression and emotional nuance. Each gesture appears unforced, emerging organically as if shaped by unseen currents. The result is a meditative yet dynamic performance that blurs the line between structured choreography and lived experience. Traoré’s presence is magnetic, anchoring the audience in quiet contemplation of movement as both memory and discovery.

In contrast, Entre-temps by Moayé Ivoire takes a more overtly political stance. Created in response to contemporary societal challenges, the piece interrogates themes of autocracy, corruption, and systemic inequality. Through a series of evocative tableaux, the choreography paints a stark portrait of a world in which meritocracy is undermined by networks of power and influence.

The dancers embody figures caught in cycles of aspiration and disillusionment, especially as youth confront an uncertain future. Their movements oscillate between resistance and resignation, capturing the emotional weight of navigating a society with unevenly distributed opportunity. The choreography is direct and at times confrontational, using physical tension and group dynamics to underscore the imbalance between the powerful and the marginalized.

What distinguishes Entre-temps is its urgency. It does not merely present an abstract idea but actively questions the structures that shape lived realities. The work’s strength lies in its clarity of intent and its ability to translate complex sociopolitical issues into visceral, embodied experiences.

Together, these two pieces highlight the breadth of contemporary African dance at MASA 2026. While Dans un couloir turns inward, embracing improvisation and personal narrative, Entre-temps looks outward, challenging audiences to reflect on societal inequities. Both works, through their distinct approaches, affirm dance as a powerful medium for storytelling, reflection, and resistance.

By John Owoo

Abidjan – Côte d’Ivoire

Abidjan, the Ivorian capital, has come alive with color, rhythm, and emotion as MASA 2026 officially opened, setting the stage for a weeklong celebration of African performing arts.

Indeed, the 14th edition of the Market for African Performing Arts launched on Saturday, April 12, with vibrant and compelling performances that highlighted the richness and diversity of the continent’s cultural identity.

Held under the chairmanship of Prime Minister Robert Beugré Mambé and attended by the Minister of Culture and Francophonie, Françoise Remarck, the opening ceremony reaffirmed MASA’s standing as a key cultural event on Africa’s artistic calendar.

Undeniably, the festival has grown over the past several years into an essential platform for showcasing talent, fostering collaboration, and promoting the creative industries across the continent and beyond.

This year’s opening night showcased a strong international presence, with Morocco as the guest of honor and Brazil and Rwanda as special guest countries. Each delegation delivered performances that transported audiences through their distinct cultural landscapes. 

From Morocco’s rich musical traditions and Brazil’s vibrant rhythms to Rwanda’s evocative artistic storytelling, the evening offered a dynamic fusion of global and African influences, captivating spectators at the Palais de la Culture.

One of the standout moments of the night came from the Ivorian National Ballet, whose performance energized the Grand Stage with precision. Guided by the legacy of renowned choreographer Georges Momboye, the troupe delivered a powerful, moving tribute to African choreographic heritage. Their performance blended traditional forms with contemporary expression, earning enthusiastic applause from the audience.

Beyond the spectacle, MASA 2026 continues to embody its core mission: to bring together artists, professionals, and cultural stakeholders from across Africa and the diaspora. The festival serves as a hub for exchange, networking, and dialogue, reinforcing the arts’ role as a driver of social cohesion and economic development.

As the festival unfolds, audiences can expect a rich program of dance, music, theater, and panel discussions that reflect the evolving landscape of African creativity. With a strong opening, MASA 2026 once again positions itself not only as a celebration of artistic excellence but also as a vital platform for the growth and integration of Africa’s cultural industries.

Photos – Courtesy of MASA

By John Owoo

(Lomé – Togo)

Synaptic Resonances, choreographed by Tréma Michaël Rakotonjatovo, provided a hypnotic and sensory conclusion to the Off Biennial 2026 at the Maison des Arts et du Social in Togo’s capital, Lomé.  

From its noticeable opening image, the performance created a world where tradition, technology, and the human body intersect in a constant state of change, with the audience very engaged and seemingly glued to their seats. 

The piece began in near darkness, featuring a solitary dancer whose head was covered by a remarkable sculptural mask. Her controlled, almost meditative movements gradually unfolded as geometric projections—based on Madagascan Zafimaniry motifs—flickered across a large screen. This visual interplay between stillness and movement immediately created a dialogue between ancestral symbolism and modern digital expression.

As the performance progressed, three more dancers joined the stage, broadening the choreographic vocabulary into an energetic mix of unity and independence, while engaging solos captured the audience’s attention, sparking cheers and applause. 

Performed by Adjaratou Yerima, Kafui Dogbe, Farouze Gneni, and Keziah Bagna, the quartet moved across the stage with a captivating mix of control and spontaneity. Their bodies seemed to respond not just to each other but to invisible currents of energy, creating a layered piece that felt both organized and improvised.

The soundscape—featuring a blend of musical textures from artists including Enam and Camille Lellouche—complemented the choreography with subtle precision. Rather than dictating movement, the music functioned as an atmospheric partner, allowing the dancers to inhabit shifting rhythms and emotional tones.

Rakotonjatovo’s approach defies traditional storytelling. Instead, Synaptic Resonances functions as an “architecture of flows,” where each gesture adds to a dynamic landscape of movement and meaning. Real-time video mapping further boosts this immersive experience, turning the stage into a responsive environment where bodies act as both transmitters and receivers of energy.

Indeed, by dissolving the boundary between observer and performer, the piece positions viewers as active participants—“synapses” within a larger, collective organism. This conceptual framing enhances the experience, fostering a greater awareness of presence, connection, and shared space.

In its fusion of experimental dance, digital art, and improvisational sound, Synaptic Resonances succeeds both as a performance and a statement: a call to rethink how bodies communicate, how space is inhabited, and how meaning is created in real time. It is a quietly powerful work that lingers, resonating beyond the stage.

A Pan-African initiative, OFF Biennial 2026, aims to professionalize creative cultural industries. It includes workshops for artists and art critics, led by l’Agence NO’OXPERTISES. It is part of the OFF program of the Biennale of Arts in Public Spaces, in collaboration with organizations like Kadam Kadam, Nord Ouest Cultures, and the plateforme noocultures.info.