GENDER EMANCIPATION

I was siting in a bus next to a man this morning on my way to rehearsal and there was an interesting conversation on gender parity in places of work on radio. Listeners were calling in giving their opinion on the subject matter. A male caller phoned to contribute his opinion and suddenly the man sited next to me jerked his head so had in support with what the caller was saying.

Everyone seemed to be enjoying these conversations until one female caller spoke on the subject matter. Almost half the number of the people on board were uncomfortable with her choice of words. Her words were as many whispered were seen as taboo. Why is it that when a man gives his opinion about anything he is a MAN and when a woman does the same she is branded a bitch.

I don't know how you feel about this!
I really don't care!
Maybe I do care...
By the way how are you feeling?
I feel like a man trapped in a womans' body.
I am also thinking that the test for whether I can hold a job should not be on the arrangement of my chromosomes.

I am an artist, a student, a wife and a full time mother to my children. I worry about these things. I am overwhelmed by them! I am yet to be on a campus where women were not worrying about this things. I am yet to find just one where men were worrying about the same.

And you wonder why we have this kind of mindset! Its because we have trained our girls that they are better off in a man's house, that a girls  place is in the kitchen. we have given them a reason to aspire to marriage. Its just so biased that we don't teach our boys the same. Often we asked girls to dream but are quick to warn them not to be over ambitious as it will be seen as belittling the man!

Some of us have begun raising our daughters to be like our sons, which can be a good thing but none of us has the balls to raise our sons to be like our daughters. No one should have to dance backwards all their lives irrespective of their gender!

EVERY GIRL DESERVES THE RIGHT TO EDUCATION

 The documentary film "He named me Malala is a deeply touching story of an ordinary Pakistan girl who rose against all odds to become the most influential youngster on the globe. Its also a story of a proud father and daughter, who have drawn strength from each other in times of unimaginable pain and adversity. Its a story that many women can relate irrespective of the extreme experiences.
 
Being a performing artist who is passionate about the rights of women, I am privilege to be part of Malala Project happening in Kenya. The GoDown Art Center which is a hub of Kenyan diverse creative arts and media has partnered with the Malala Foundation with an aim of projecting girl child education to the disenfranchised community.

Co-founded by Malala and Ziauddin Yousafzai, the foundations' goals and vision is to enable as many girls as possible to complete a 12year of safe quality education so as to maximize on their potential and be positive change makers in their families and the larger community.

The project seeks to amplify the girls voices giving them a platform to connect with each other and ultimately stand together with the girl child in their endeavours to pursue education. The Malala fund is working to ensure that the economically marginalized girls can take advantage of this trend. 

I stand # with Malalahttps://www.malala.org/

GENDER EMANCIPATION

Concept: Sara Kwala Opondo

Solo performance of 45 minutes

Light n sound: Doudou Saidi

Photography:  Sabine Bretz / Goethe Nairobi

The choice of ‘Gender Emancipation’ as a conceptual lens for artistic discussion reflects the ambivalence’s our society is faced with as well as examining the moral fabric in Kenya. On one hand, the concept evokes connotations of a ‘Western’ history of woman’s emancipation, the trajectory of which differs from that of woman’s movements in post colonial contexts. In recent time we have seen our cultures being brushed aside to pave way for the “western cultures” In this regards women have absconded their traditional roles as mothers, caregivers in the family etc… and more emphasis has been put on career. The female gender has largely been affirmed which is a positive gesture but is seen as a threat in the harmonious co-existence that has existed in our society. On the same note we now see a new breed of male gender that prefers to sit back in their comfort zone expecting their female partners to provide for them. When the woman becomes the provider the man’s role as the head of the family shifts. These shifts in roles have been the genesis of societal hiccups.

The dance piece is aimed at re constructing the image of the society, solving gender struggles against injustices and dependencies. This will open up perspectives for parallel experiences beyond the ‘East-West’ divide and thus common grounds for peaceful co-existence of gender.

https://www.youtube.com/watch?v=0NWTvHcj7Dk

Fracture project( Works in progress)

BEHIND THE SCENE

Behind The Scene

                    

Derrière la Scene

Choreography/ chorégraphie: Sara  Kwala Opondo

Duration/ durée : 25 minutes

Dancers/ Danseurs:

Sara Kwala Opondo,

Guedoum Djimbaye Razolo

 

Music/ Musique: Yann

 

Technician/ Techniciens: Issa Teri

 

Administrators / Administrateurs: Esther Umeonwujiobi, Tapsoba Irissa

********************************************************

SYNOPSIS

  BEHIND THE SCENE

The dance piece is based on the past and actual events in the Mungiki community focusing mainly on the women in this community. Mungiki is a terrorist group and a banned criminal organization in Kenya. The name means "A united people" or "multitude" in the Kikuyu language. The religion, which apparently originated in the late 1980s, is secretive and bears some similarity to mystery religions .The dance piece questions the position of women in the Mungiki context and puts on spot the vices they encounter. These women are subjected to sexual violence, oppression, forced circumcision and are always taking the back seat while the men are on the fore front in all the matters including those that affect them because they don’t have a voice. The dance piece gives them a voice as the piece advocates for change and addresses these issues publicly. Just like any other women these women deserve love, caring and respect in the eyes of men and above all treated humanly.

     NOTE D’INTENTION  

          

    DERRIÈRE LA SCÈNE

Le spectacle est basé sur les événements passés et réels dans la communauté Mungiki. Le spectacle se concentre sur les femmes de cette communauté . Mungiki est un groupe terroriste et une organisation criminelle interdite au Kenya. Le nom veut dire " UN gens " unis ou " multitude " dans la langue Kikuyu. La religion qui est apparue tardivement dans les l'années 1980 est dissimulée et porte quelques ressemblances à la religion du mystère. Behind the scene est un questionnement sur la place de la femme dans le contexte Mungiki et met en exergue les atrocites qu'elles rencontrent, qu’elles vivent au quotidien. Ces femmes sont soumises à la violence sexuelle, l’oppression, l\excision forcées et prennent toujours le siège du dos pendant que les hommes sont devant dans toutes les situations. Cela  les affectent parce qu'ils n'ont pas de voix. Ce spectacle leur donne une voix pour exprimer leur souffrance publiquement et préconise un changement de comportement a l’egard de la femme Mungiki.  Aimez les femmes, ces femmes méritent votre amour. Elle méritent un traitement humain. 

 

 

 

Sara Kwala Opondo  (Choreographer/ dancer)  is a creative who uses contemporary dance as an expressional tool to tell her stories. Born and raised in Nairobi in the 80's she first discovered her artistic calling by default in 2006. At the said time she was waiting to join college when a friend proposed dance workshop that was being facilitated by Kunja dance theatre under the artistic direction of James Mweu. She is informally trained through workshops and residencies locally and abroad and her works are informed by her experience in the practice. Currently working for Kunja dance theatre as a project coordinator and rehearsal director. Sara Kwala Opondo (Danseur / Chorégraphe)   Elle est une personne créative qui utilise la danse contemporaine comme un outil  d'expression de son histoire. Née et élevée à Nairobi dans les années 80. Elle découvre d’abord la danse par défaut en 2006. Pendant qu’elle attendait de  rejoindre le collège, un ami lui propose de participer a un  atelier de danse qui était organisé par Kunja danse théâtre sous la direction artistique de James Mweu. Elle a été formée à travers ateliers et résidences organises localement et à l'étranger. Ces travaux ont forge son expérience artistique.Elle travaille actuellement pour Kunja danse théâtre comme  coordinatrice du projet et directrice de la répétition. Email: lilsara_kwl@yahoo.com Website: sarakwalaopondo.blogspot.com

Guedoum Djimbaye Razolo (Dancer) was born June 18, 1971 to Djamena in Chad. He discovered the art since his childhood while with his grandmother Telem who was a craftswoman. Since his entry to the primary school till the university where he has distinguished himself at the time of ceremonies as comedian, dancer and storyteller, he’s always had love for the art. In 1988 he made his entry in the national ballet of Chad as dancer and at the same time he played in several group theater such as: the contemporaries, Hampaté Bâ, Ecun. He entered in 2003 in the group musical TIBESTI. He benefitted from several formations of which the fundamental were; a professional formation in music sahélienne organized by the Azalaï project, financed by the France culture to Cameroon, Chad and Niger, a professional formation in contemporary dance in Senegal school of the sands " to Create the future " and of the project chrysalides that took place in three phases: Senegal, Kenya and Burkina. He has organized several  workshop on music, tale and dance at the place of the amateur and professional, national and international. He is the artistic director of the company of contemporary dance of traditional inspiration KORAVY with that he choreographed several pieces and stages tales of which he is the author . Guedoum Djimbaye Razolo (Danseur) Razolo est né le 18 juin 1971 à N’Djamena au Tchad. Il a découvert l’art dès son enfance en étant à coté de sa grand-mère Telem qui fut artisane. Dès son entrée à l’école primaire  jusqu’à l’université où il se fit distinguer lors des cérémonies comme comédien, danseur et conteur, Il a toujours eu l’amour pour l’ART. En 1988 il fit son entrée dans le ballet national du Tchad comme danseur et en même temps il a joué dans plusieurs groupe de théâtre tels : les contemporains, Hampaté Bâ, Ecun. Il est entré en 2003 dans le groupe musical TIBESTI. Il a bénéficié  de plusieurs formations dont les fondamentales furent : une formation professionnelle en musique sahélienne organisée par le projet Azalaï, financé par la culture France au Cameroun, Tchad et Niger ; une formation professionnelle en danse contemporaine au Sénégal à l’école des sables  « Créer le futur » et du projet chrysalides qui s’est déroulé en trois phases : Sénégal, Kenya et Burkina Faso. Il a organisé plusieurs ateliers de formation de théâtre, musique, conte et danse à l’endroit des amateurs et professionnels nationaux comme internationaux. Il est le directeur artistique de la compagnie de danse contemporaine d’inspiration traditionnelle : KORAVY avec qui il a chorégraphié plusieurs pièces et mise scène des contes dont il en est l’auteur. Email: razolodjimbaye@gmail.com

 

TECHNIQUE PARTNERS

Godown Art Centre, Nairobi, Kenya

Centre de Developpement Choregraphique (CDC), LA TERMITIERE, Burkinafaso

Ecole de Danse Irene Tassembedo (EDIT)

CONTACTS

Administrators / Administrateurs:

Esther Umeonwujiobi :+[234]8028740200, +[226]66957574

                                                             Email: essybaby2007@yahoo.com

                       Tapsoba Irissa: +[226]76513906

                                                                 Email: taris78@yahoo.fr

CHRYSALIDES NAIROBI PHASE

Chrysalides - Formation chorégraphique, Technique et Administrative

Un projet novateur et original Chrysalides est un projet novateur et original de coopération qui met en phase les caractéristiques et les moyens d’action de plusieurs structures africaines consacrées à la danse. Proposé par le Centre de Développement Chorégraphique − La Termitière (Ouagadougou, Burkina Faso), il s’est élaboré en partenariat avec l’Ecole des Sables (Toubab-Dialaw, Sénégal) et le Gaara Projects (Nairobi, Kenydans les domaines suivants : Des Infrastructures La rareté des espaces de travail répondant aux normes professionnelles en Afrique. De la Formation La faiblesse de l'offre de formation pour les jeunes créateurs africains qui se trouvent très souvent limités dans leur travail par manque d’outils et de rudiments adéquats pour la conceptualisation et la mise en œuvre de leurs créations artistiques. La fragilité des équipes administratives et techniques, insuffisamment formées pour accompagner efficacement les projets artistiques au plan administratif, juridique et technique. Après plusieurs concertations informelles et formelles, les différentes réflexions ont abouti à la mise en œuvre de ce projet entre les acteurs et les opérateurs de la danse afin de résoudre ces problèmes par l’impulsions de synergies nouvelles. Le projet chrysalides vise la mutualisation de moyens et de compétences de différentes structures consacrées à la danse en Afrique afin de créer les conditions idoines au positionnement définitif de la danse comme un art majeur dans le paysage culturel africain, et partant mondial. Le projet se déroulera en trois (3) phases d’avril 2010 à décembre 2011 Les Objectifs Accroître les compétences des acteurs de la filière danse par la mise en place de sessions de formations professionnelles ; Élargir et améliorer le champ des démarches artistiques ; Améliorer la qualité des créations artistiques ; Faciliter la diffusion internationale de spectacles. Les Résultats attendus Former quarante (40) danseurs et chorégraphes qui eux aussi forment d’autres danseurs chorégraphes ; Mettre à la disposition de compagnies et de lieux de diffusion de spectacle quinze (15) administrateurs ; Former douze (12) régisseurs techniques compétents ; Créer Six (6) spectacles majeurs qui connaissent une diffusion sous-régionale et internationale. Les Cibles les danseurs et chorégraphes ; les administrateurs de compagnies ; les régisseurs techniques (son et lumière). Les bénéficiaires finaux les structures et compagnies de danses africaines ; les lieux de créations et de diffusion de spectacles ; le public et les professionnels du spectacle ; les chercheurs et les étudiants.

Deut "works in progress" @ Tripple bill