Artistic collaborators

Aïda began her artistic career at the age of 12 with Josette Baïz and the Groupe Grenade. She grew up in this world, inventing her own unique choreographic language combining contemporary dance, classical ballet, jazz, hip hop and oriental dance. In 2007, she met Bouba Landrille Tchouda, artistic director of the Malka company. She has performed in several of his productions, including Regarde-Moi, Meia Lua, a Nutcracker and Barulhos. She also works as an assistant choreographer on some of the company’s productions, including OCNI [Objets Chorégraphiques Nouvellement Imaginés] and BreakDO.

Lyli Gauthier began her dance career with jazz and classical, before moving on to contemporary dance. After training at L’IDAI in Grenoble, she graduated from ISTD in tap dance, and went on to obtain the DE in dance teaching in 1998, followed by the CA in 2012.
From 2004 to 2008 she worked with the hip hop company Najib Guerfi.

In 2008 she was assistant choreographer, captain and performer in the musical ‘Les aventures de Rabbi Jacob’ produced by NDP Project at the Palais des Congrès in Paris. Since then she has worked regularly as assistant choreographer, captain and dancer-actress in musicals for young audiences.

In 2009 she founded her own company, Cie I Wanna Be…, and created and performed a solo, ‘Peaux Cibles’, the premise of a piece for five dancers and a bass player. The work of the Cie I Wanna Be… is based on energies, sensations, rhythmicity and the authenticity of gesture. In 2010, she created a duet called ‘Instantané’, a choreographic piece born of an encounter with photographer Reynald Reyland.
In 2013 she joined the artistic team for the show la preuve par l’autre, a piece in 3 acts for 6 dancers, choreographed by Bouba Landrille tchouda, Farid Berki and Anne Nguyen.

Jussandra Sobreira Silva, a contemporary choreographer, dance instructor and choreographic assistant originally from Brazil and now living in French Guiana, is a versatile artist. She has demonstrated her skills in her own works such as Sertao, Les Amants and Camille Claudel. Her style is based on group cohesion and a particular teaching approach. Through her collaboration with Bouba Landrille Tchouda, they have shown a shared respect and appreciation for each other’s approach to artistic work. His interest in Brazilian culture and his unique perspective on dance have enriched and diversified their exchanges.

Lighting designer, lighting director, lighting designer, lighting technician, lighting director or simply lighting. ‘Reading all these titles on brochures for the same job makes me wonder about my role in live performance. Is it only necessary to light the stage so that the audience can see? Should I underline intentions, provoke them, create images, make sense, be a realist, become a colourist, a man of the shadows? From the outset, every creation has been an imaginative process. Let’s look at it, observe it, discuss it and see where it takes us. After all, it’s all about experimenting with light, choreographic and scenographic needs, experimenting with movements and light sources, and an eternal lack of time. Before, it’s difficult to talk about lighting without having seen it. During, the installation and the need to experiment with the dancers is essential. Afterwards, the premiere always comes too quickly. Because the lighting design is still a work in progress, even after the premiere.

For nearly 15 years now, he has been working on various shows with Accrorap, Cirque Plume, Ensemble Télémaque and Compagnie Malka. His encounter with Bouba Landrille Tchouda dates back to the show Razana in 1998. Since then, he has designed the lighting for all his shows and is still searching, searching and doubting, even if a luminous style has found him.

Her 10-year career in fashion and the people she has met have led her to create costumes for theatre, opera, dance and visual installations.

As a member of Ensemble Noao, a collective of visual artists and scenographers, she has contributed to installations and sensory journeys in France and abroad.

These collaborations in theatre and opera have led her to work with Anne Courel, Philippe Labaune, Eric Vautrin, Jean Philippe Amy, ‘les Voix Animées’, Jean Michel Senesi and Ruth Orthman; in the world of dance, she has worked with Bouba Landrille Tchouda and other choreographers such as Amine Boussa, Aurélien Kairo, Abdou N’Gom, Milène Duhameau, Dominique Genevois, Geneviève Reynaud and Joseph Aka.

For over 20 years, this percussionist has been driven by a passion for the traditional music of West Africa. Attracted to playing unusual and rare instruments such as the bolon (a 3-string lute harp), the Baala drum from Forest Guinea or the Bissa n’goni from Burkina-Faso, he also learnt about traditional instrument making. As a result, he developed remarkable expertise in the materials used, tanning techniques, and the assembly and tuning of these instruments: bara, djembé, dunduns, djéli n’goni, donso n’goni, kondé lute, Chadian cythare, tama, longa, bougarabous, boté… This strong African influence led Yvan Talbot to link worlds through music, by collaborating with various musicians and choreographers. That’s how he came to meet the Julie Dossavi Company, of which he became musical director in 2002. With this artistic team, he signed and co-produced the music for several plays, including Agbazeme (Chad), P.I (Pays) or Présentations intimes, Ahonvi, and Mi Le Doun. In addition to his creative work, he regularly takes part in various training programmes, both for young audiences and for musicians on the road to professionalism.

Since 2010, Yvan and Bouba have maintained a dialogue and complicity that have enabled them to develop a number of fruitful collaborations, including Murmures and Un Casse-Noisette, shows that have been widely performed and whose music has left its mark on the minds of fans.

For this next piece, fury and voluptuousness will come together to transport us to new hunting grounds where humans and their music invade free spaces…

Trained at the Ecole des Beaux-Arts in Besançon, he is an atypical artist who mixes painting and photography with notions of volume. His work is based on memory and the passage of time. He also creates ephemeral installations using natural elements such as wood, stone, sand, earth and water. His research has also led him to combine dance and the visual arts. His set designs are extensions of his plastic research, which then become sets, participating in another artistic language that also often speaks of memory and its origins. He regularly collaborates with Bouba Landrille Tchouda, designing minimalist, poetic installations.

Victor Severido works mainly in the Auvergne-Rhône Alpes region, as sound manager for the Théâtre National Populaire in Villeurbanne and for the Malka company with the creation Miracles.

Born in 1952, Guy Boley has worked as a bricklayer, factory worker, street singer, fire-eater, acrobat, acrobatic performer, circus director, high wire walker, stagehand, scriptwriter, bus driver, bodyguard and stuntman before becoming a playwright for dance and theatre companies.
It’s easy to imagine in this trajectory that of the body, whether it’s in motion, at work, a support for the show, a tool for staging or street performance, hoisted up there, high up, precariously balanced, moving forward on the tightrope walker’s spider’s thread, ready to escape the volatile spirit of creation.
He has performed over a hundred shows in Europe, Japan, Africa and the United States.
Published by Grasset, his Son of Fire won several awards in 2016, including the SGDL Grand Prix for First Novel.

Éric Jury began his career on Lyon’s major stages, including Le Radiant Bellevue and the TNP in Villeurbanne, and at the legendary Biennale de la Danse de Lyon and Jazz à Vienne festivals, before working with a number of dance companies. In recent years, he has worked on tours with Cie Käfig and Compagnie Malka, accompanying them on their productions of Malandragem, Des Mots, Regarde-moi, Meia Lua, Murmures and Casse Noisette.

Fabien Leforgeais quickly moved into technical support and lighting design for dance companies, working with Cie Ehwe, Arcosm, Leïla Soleil, L’Envers du Décor and Compagnie Malka.

Denis Chapellon is a designer and lighting director specialising in dance. He works with the following companies: Les Transformateurs, Shantala Shivalingappa, Kader Attou’s Accrorap, Waaldé and Cie Malka.

Loïc Lambert is the sound manager for Cirque à Plumes, and also takes part in sound technician training courses. He works with the Malka company on the Barulhos show.