Aïssa Maïga: “Widen the field rather than fall back”
At the Assises for Equality, Parity and Diversity in Cinema and Audiovisual of the 50/50 collective, which took place on Wednesday and Thursday, the actress and author presented with the doctoral student in political science Evélia Mayenga a galvanizing tour the world of initiatives in favor of inclusion in cinema.
“A bit at the end of my rope from a physical point of view, but our industry and our country are so tested that I wouldn’t even think of complaining! I’m well between the edits of two documentaries, one for the cinema – if the theaters ever come back! -, which deals with the lack of access to water and global warming at the community level in Niger. The other, for Canal Plus, which follows the book Black is not my job, looking for inspiring ideas in France, Brazil and the United States for more inclusion and diversity.
“In terms of parity, this year, there has been enough progress to offer the Assises an encouraging overview. But while concrete actions are lacking for diversity in fiction, we insisted that the subject still remain in the spotlight. It is only the beginning, I think, of a different approach on these questions, which call us to widen the field rather than to fall back on the very hexagonal tensions, the tensions, the tensions, or to be satisfied to only watch than the US case. By reinscribing France in the dynamic for inclusion and diversity that is observed in the world, in countries close to us, such as Germany and Norway, we realize that we are part of a discussion global. ” Collected by Sandra Onana
Maud Le Pladec: “The middle of the night, in particular, is completely neglected”
Passionate about electronic music and cinema, choreographer Maud Le Pladec sighed last night as she listened to President Macron’s announcements: less for herself, who has yet to postpone her creation, than for all DJs.
“Well, I had to present a creation for 24 dancers from the Ballet de Lorraine, with DJ Chloé and Pete Harden, from December 3 to 8, so it’s a shame. We arrive in Nancy this evening, we rehearse anyway and we will dance Static Shot in front of some professionals. Above all, we’re going to film it. The idea is really to make it into a dance film, an adaptation of the play, more of an offshoot than a capture. Which is quite natural considering that the choreography is very related to the cinema: I made a glossary of film extracts (from Apichatpong Weerasethakul to Beyoncé via Bob Fosse) in which physicality is essential. I listed them, and we worked around extracts of gestures taken from this cinema repertoire. Afterwards, we worked on accumulation principles, which create bug effects. The play is a long fixed shot, with a side “in your face”! The real “premiere” will take place on December 31 at the Scène nationale d’Orléans…
“What happens next, we don’t know and that’s why we invent other objects so that the project exists (therefore the films), a fortiori because large shapes like these are even more difficult to broadcast right now. But we are still lucky, compared to the current music sector. For them, it’s carnage, the middle of the night, in particular, is completely neglected, not sufficiently represented, it’s indecent and it says a lot about the way in which France considers this field of creation. Chloe, with whom I work, has not mixed for months, her kif is making people dance. Fortunately she has two projects in progress with me, but it’s hard. “ Collected by Eve Beauvallet
Marie Richeux : “Can’t wait to be able to dance again with people without masks”
Some of you heard it for the first time on France Culture with the show No need to shout created in 2011. With a clear and sunny voice, Marie Richeux has been receiving one-on-one since 2017 in the show These days, actresses and actors in the cultural sphere, from Céline Sciamma to Charles Juliet, including Gwenaël Morin and Marion Siéfert.
“Frankly, it’s okay. Even if it’s still the little marathon at the moment! We are live every evening at 10:15 p.m., the team is spread out all over the Paris region, we heat up the virtual meetings, in the evening I’m alone in the studio, the guests are online, and the technicians ne · s and my director on the other side of the glass. The fact that it “continues anyway” puts us in a completely different energy than during the first confinement. Artists talk about their work and we… (we have), we have always thought that the interest of these words exceeded the news which was a pretext for their invitation. Afterwards, radio is a group and collective thing, I miss it terribly. And then the arts, culture, which are at the heart of our show, it is experienced – also – with bodies in the presence! I can’t wait to go back to the concert, to the show. How I can’t wait to be able to dance again with people without masks, with sweat and good music, and to have meals with friends, full of postilions and cheese. ” Collected by Jérémy Piette
Antoine Gallardo : “Booksellers can no longer defend the books of small publishers”
Fragile among the fragile, independent contemporary poetry publishing houses are particularly affected by the crisis, while literary events, the only spaces where they are somewhat visible, are all canceled. Figure of the sector, Antoine Gallardo is the boss of the literary Butcher’s shop (among the last published: Laure Anders, Patrick Dubost, Dominique Sampiero, Emanuel Campo), based in Paca.
“When you come out of a festival in which you participated as an editor or listener, you are full of energy. You have recharged your batteries. After the year that has just passed, where everything has been canceled, I feel like I’m burnt from the inside. I feel the feeling that a living part in us that creates energy is shrinking. You really have to look deeply to find it.
“I earn less than 700 bucks a month, I do everything in the publishing house: layout, administration… And meeting with booksellers. At the start of the year, I drove 20,000 km to see them all over the north and west of France, from Lille to Bordeaux. So the first fortnight of the first confinement had something extremely soothing. I am even one of the people who lost weight on this occasion. I finally had balanced meals, normal hours of sleep… I began to believe that I could catch up on my manuscript reading delay. But today, I feel out of phase, and my sleep is in a thousand leaves. We had to hire someone this year, and obviously that didn’t happen, I find myself having more work than before. In particular to carry out all the administrative work of aid requests.
“Booksellers no longer have time for small publishers, and I can feel it in sales. They can no longer defend their books, the click and collect only benefits titles that have been entitled to a media prescription, therefore to large publishers. For the little ones, if you can’t see the books on the table, it doesn’t work. We have postponed publications, of course, such as the book prepared to celebrate the five years of the Butcher’s shop. As for the events that the house organizes, the Nomadic Poetry Festival and the Poetic Cabaret, we are shifting. I don’t know when.
“I have recently been living in a small hamlet where I am lucky: when I go out, I am in the lavender fields, the vines, I meet herons and wild rabbits, never law enforcement who ask me for my certificate. But of course I miss the social link a little: going to the bistro, meeting people… This whole life has been sucked up. ” Collected by Guillaume Lecaplain
Total Heaven : “Total neglect of the economic weight of culture in France”
High place if there is the counter-culture in Bordeaux, the record store Total Heaven suffers the full force of the effects of the pandemic. A few days before a hypothetical reopening authorized by a minimum deconfinement, the captains Xavier Randrianasolo and Martials Solis tell us what they have on their hearts.
“We do a little click & collect in our own way. As we do not have a seller’s site, it is rather “contact & collect”, since we communicate with customers via Facebook, telephone and emails. People come to the store or send them by post if they live too far away. Unfortunately, we cannot function otherwise. We are two self-employed workers at the store. We’ll see if we can afford it at the end of the month … During the first confinement, most of our suppliers had postponed their withdrawals. For this one, we did not have the same kind of proposal. We are afraid that the consequences of this second confinement will be worse, because of the signs of recession that we are starting to feel. There are clients that we have not seen since the deconfinement in May. The positive is that many came back to us last May. Some wanted to stop buying on the net, others wanted to buy in “short circuit” and support the shops of their city. The fear of the virus has also made some people choose to consume in small places rather than going in contact with the plurality in the big brands.
“Is the need for culture secondary or of first necessity? Of course, water and food are essential for our survival, but for the soul it is crucial that access to culture is maintained. In English, don’t we call everything that refers to culture “soulfood”? It allows many of us to pass the trials, to overcome the greatest misfortunes, the frustrations, and also to feel more the things that we live, to imbibe them to better understand them. It is essential for moral and physical health, just like sport. Not to mention the need to let us work to ensure the sustainability of our businesses. The closure of all these booksellers and record stores, but also of theaters, is a real disaster, and a total neglect of the economic weight of culture in France. In this crisis, culture is not considered from all points of view. It would have been benevolent and smart to let concerts and other shows take place, by limiting the number of spectators and by financially supporting the actors of the living and amplified culture. While waiting for a better situation, we live from day to day. The holiday season is a major moment in the annual balance sheet of a trader. And there, we advance in the fog. We shave the walls. ” Collected by Olivier Lamm