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Articles

Vol. 1 No. 2 (2023): Revista Estud(i)os de Dança 2

The trance state of a Vodum adept body in Benin, as inspiration in a creative process

DOI
https://doi.org/10.53072/RED202302/00205
Published
2024-03-15

Abstract

This article is based on the creative process of Guillaume Niedjo, a Beninese choreographer and dancer, Hounnon of Vodun, in the creation of the artistic performance Affôtè, experienced and developed both in the context of Vodun ritual ceremonies, conducted in the Hounkpamins, and within artistic training and creation labs, in Benin. The purpose of this article is to reflect about the elements that characterize the use of the trance state as an inspiration within the creative process, of a Vodun adept. This creative journey involves the transmission of knowledge from the practitioner's mentors and ancestral roots to the manifestation of an innovative artistic creation. Understanding the principles and fundamentals that enable the construction/deconstruction of the corporeal configuration existing in the trance state is essential in the creation of the performance Affôtè. Methodologically, our approach involved fieldwork conducted in Benin, between 2018 and 2022. The methodology encompassed the observation of the artistic work and the administration of semi-structured interviews to the dancer, Vodun adepts, and Hounnous. This research was undertaken within the scope of a doctoral research study in Dance at the Faculty of Human Kinetics. As the primary and conclusive trend, it is emphasized that Guillaume Niedjo consistently reinterprets the Vodun culture he has learned and embodied. This reinterpretation involves the incorporation of ancestral behaviours (Schechner, 1985), adhering to the implicit rules and customs of his cultural background. Niedjo navigates the nuanced decision of allowing or refraining from using the trance state as a source of creative inspiration. In the performance Affôtè, he transposes and interprets the deconstruction of the trance state into a ceremonial context. This is achieved through a form of "making believe" or "pretending" (Zenícola, 2001), where he meticulously respects the established rules governing what can or cannot be exposed. These decisions are rooted in the artist's self-reflection, both artistically and socioculturally, reflecting a conscientious consideration of the boundaries within the Vodun cultural framework.

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