1- The beginnings
– How did the idea come about?
– How was the transition from idea to realization?
For us, the idea originated when we wanted to work on an interactive theater to address issues related to coastal pollution. We live in a fishermen’s neighborhood and we established this theater group to conduct awareness sessions, open channels of discussion, and work on democratizing the dialogue by raising questions related to the environment and conveying them to the authorities in order to find solutions.
2- First Steps
– What was the first performance you made?
– What are the sources of inspiration that influenced you?
The initial steps involved interactions within the neighborhood. We started with the play “The Beach is Not a Garbage Bin,” which was performed in the municipality of Waloof. Through this play, we highlighted the responsibility of residents who litter the beach, as well as the responsibility of the government granting licenses to ships and the factories disposing waste into the sea. These initial steps were aimed at condemning these actions, and the play eventually became very popular. We started receiving numerous invitations to perform from various groups and organizations in coastal neighborhoods. The play is rich in information and also very humorous, particularly through the character of the beach guard and his relationship with the women in the neighborhood.
3- Difficulties
-What are the difficulties you encountered on the way?
-What constraints have you overcome?
The difficulties arose when we decided to work on this type of theater, and we would conduct our rehearsals in the street. Passersby would often stop to watch what we were doing and would say to us, “We don’t engage in this, we don’t say these things, and we shouldn’t present ourselves in this way so as not to be ridiculed by residents of other neighborhoods. We shouldn’t portray the neighborhood as dirty.” They would then offer advice and ideas, and over time, other contradictions emerged. Apart from that, we faced financial difficulties. Since our performances were played in the street or on the beach without tickets, it was necessary for us to seek sources of funding.
4- Your position in the arena
– Were you able to find a place for you in the cultural map of their country?
-How is that?
We have found our place on the national stage of theatrical art, and over the years, we have become a reference for forum theater in Senegal. We have also established a presence in West Africa, and even on the global level, we have gained recognition through our annual performances in Europe and West Africa, which are currently on hold due to COVID. Therefore, we are part of the African network for social theater.
5- The future
– Then what?
– Where are you heading?
Currently, we have started working quietly on classic plays in the format of forum theater. We have decided to take plays that are usually performed in large theaters and play them in public spaces in the village. For example, we will be working on Molière’s play “The Doctor in Spite of Himself,” which will be adapted using forum theater techniques and performed in public spaces. We are working with hope to maintain our place in the theater scene as a well-known troupe that actively engages in social issues and raises awareness about important social issues.
