kolochi baw​​​
group dance theater piece
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one of the most celebrated works by choreographer aïda colmenero dïaz

a philosophical reflection on the great processes of construction of humanity, and the political, social, and spiritual sacrifices that were necessary to carry them out.

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the stage work is based on understanding construction as a profoundly human and profoundly political act. in contrast to the contemporary neoliberal gaze that reduces dwelling to a capitalist act, kolochi baw reclaims housing as a universal right: the right to a healthy, lasting home, built in harmony with nature. an ecological architecture that invokes the sun, the moon, the earth, and the air as allies; and that questions the contemporary logic that has disconnected construction from its natural, organic, and biological dimension.

through a deep reading of the sacrifices required to erect humanity’s great edifices—specifically temples—the piece draws a parallel between physical construction and spiritual construction, between the raising of a wall and the raising of a nation

what are the essential elements to build a home? what does it mean to build in harmony with nature? how do we protect—and illuminate—that which is intimate?

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kolochi baw is inspired by the history behind the construction and preservation process of the largest earth temple in the world: the great mosque of djenné in mali. kolochi baw, in bambara—one of the main languages of mali—means “the guardians.” the performers in this work are the guardians, custodians of time, vibration, and sacrifice—the three forces this piece collectively invokes—and they guard the secrets of those intimate places—the homes, the temples, the sacred spaces—that belong both to nature and to humanity.

a stage manifesto about the physical and conceptual place of our existence, and that of our ancestors, questioning how we construct the world we inhabit.

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kolochi baw reflects on the still-latent presence of western imperialism and post-colonialism in african territories, and on the role played by political actors on the continent in dismantling the ongoing subjugation of their peoples and interests to the global north.

the physical and spiritual construction necessary to carry out great works, in contrast with intimate constructions—the home itself.

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developed within the framework of her pina bausch fellowship between bamako, terrassa, barcelona, and wuppertal. premiered in mali and later presented at mercat de les flors (barcelona) and the pina bausch zentrum (wuppertal, germany), the work brings together an international cast of performers from mali, rwanda, ivory coast, and brazil

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direction and choreography_aïda colmenero dïaz
performers_fily kanté, ousmane belém koné, arsène désiré ndayishimiye, ana maíra favacho,

lou djéhinan véronique ( or clarisse sagna)
assistant director_estelle foli
set design and architecture_aïda colmenero díaz, ángel fula
production_cía. aïda colmenero díaz

with support from_pina bausch foundation, africa moment, fari foni waati

created in bamako, terrassa, barcelona and wuppertal with the support of pina bausch foundation, africa moment, fari foni waati 2022-2024
tour support_inaem (spanish national institute for performing arts and music), casa áfrica, acción cultural española
residency and premiere support_mercat de les flors, terrassa arts escèniques

duration 80 min

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an odyssey of time.

of vibration,

where the body delivers what it hides

and where the scream is transformed.

 

give in,

surrender to the cause

the social, political and ancestral cause

of the sacrifice.

 

give in,

surrender to the cause.

 

after all,

a declaration of love

to vibration, to life.

 

aïda colmenero dïaz, 

bamako (mali) january 2022

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