Siguifin

The nine dancers weave the most intricate, complex routines with a high degree of energy. Their faces are regularly wreathed in smiles and in a sequence at the end of the first part they were reminiscent of children having a great deal of fun as they rolled on the floor but the precision with which they moved was spellbinding. The nine dancers used the full extents of the stage and the ability of individual dancers to hold excruciatingly challenging shapes was captivating.

Frank L.

His dances have an immediacy, but are underpinned by rigorous choreographic craft and are always centred on the individual. Rather than treat dancers as instruments that follow his instructions, his collaborative approach to creation focuses on the person.

Michael Seaver

“To create a more optimistic dialogue, the creator of this work gives each dancer the same chances, opening out geographic and stylistic horizons.”

Rosita Boisseau

“(…) These three choreographers are also ‘operators,’ says Amala Dianor. In Senegal, Alioune launched a festival, as did Naomi in Mali. In Burkina Faso, Ladji set up the hip hop dance collective Jump which acts as an incubator and also organizes dance battles. Onstage the dancers are not at all similar: Senegal has quite dynamic performers whereas those from Mali are largely self-taught but lack essential structure. The piece seeks to create connections between them all.”

Eve Beauvallet

“(…) Choreographed in the manner of the game of cadavre exquis, in a series of tableaux with rapid-fire tempo changes, Siguifin interweaves brilliantly undulating hip hop moves and tribal dances, here happily free of the rather vulgar clichés which we often see. The nine young dancers are overflowing with energy; we want to cheer them on, jumping up and down.”

A.A

“From Suresnes cité danse to Faits d’hiver, Amala Dianor is making an impact at the festivals in early 2022. Having trained in contemporary dance and hip hop, the French-Senegalese choreographer claims a blended, hybrid movement vocabulary over the years and with his collaborators. He priorizes communication and sharing in his work, notably in the three pieces he is showing in the Paris region during the month of January.”

Interview with Olivier Frégaville-Gratian d’Amore

“Siguifin means “magical monster” in the Bambara language, indicating the work’s roots in Africa. This new piece by Amala Dianor brings together a group of talented dancers. Together they celebrate the vitality channeling the overflowing artistic enthusiasm of the African continent.”

Interview with Arnaud Laporte

"(…) Before our eyes, the soloist in Wo-Man seems to take on different faces, that of a warrior or of a child. To an electronic music score by Awir Léon, Gomis’ movement is precise, quite inventive. Wild currents of adrenaline seem to ripple through her limbs, accelerating to the point of exhaustion.”
Marie-Valentine Chaudon

“A winner: Amala Dianor and Siguifin, a collaboration with African dancers.”

Philippe Noissette

“It’s an Amala Dianor dance festival right now. The choreographer will present his piece Siguifin at Suresnes Cités Danse. Siguifin, which means “magical monster” in Bambara, celebrates the vitality of dance which reflects the overflowing artistic enthusiasm driving the African continent.”

Stéphane Capron

“Together, they celebrate the vitality of dance, channeling the spirit of artistic enthusiasm which permeates the African continent.”

Stéphane Capron

"“(...) The power of the group is as compelling as it is impressive, driven by its nonstop rhythm. But gradually they do separate, the personalities of each dancer emerging, the extraordinary vocal presence and power of Rama Koné, from Burkina Faso; she is a dancer and singer of unmatched potential. Hiphop movements are part of this, complemented by a number of traditional, diverse dances. Brilliantly intercut isolations and slow passages, unison and separation, this dance moves at a ferocious pace, carrying us with it, in a choreographic journey which includes Mali, Burkina Faso and Sénégal. (...)”

Agnès Izrine

“The title means ‘magical monster’ in Bambara, carrying nuances and some of the moves from the cadavre exquis game in this collective creation, which shows different voices and bodies in intense dialogue, reflecting the spirit of artistic enthusiasm driving the entire continent, (…). Promising.”

Maïlys Celeux-Lanval

“I wanted to change how we see Africa and focus on the young people who have chosen to stay there, to live on the land. It is a group work, I am just the foreman, the contractor. We create a dialogue between hip hop, contemporary dance and African dance inside a specific rhythmic envelope, building toward exciting the emotions of the audience.”

Amala Dianor, interview with Marie-Valentine Chaudon

“In these unexpected innovative movements there is such freedom in the bodies, with such pent-up bursts of energy. Their rage is expressed as something vital, imperative. The music of Awir Léon, (…), infuses the work with warm tones and a driving rhythmic physicality.”

Agnès Izrine

“Inspired by the idea of trying unexpected collaborations on each new project, Amala Dianor has now begun creating a “magical monster” in Siguifin. This ambitious work brings together three co creator/ choreographers: Souleymane Ladji Koné, Naomi Fall and Alioune Diagne, as well as nine young dancers from Mali, Senegal and Burkina Faso. This company, under the direction of Amala Dianor imagined a sort of cadavre exquis (“Exquisite Corpse”) game in three parts, each of which explores different facets of contemporary Africa, highlighting the diversity and the gaps separating these countries which may be geographically adjacent but which are nonetheless quite different.”

Marie Pons