★★★★★
Adelaide Fringe. Yamoussa Bangoura. The Flamingo at Gluttony. 12 Mar 2025
“Circus.” The word conjures a range of memories and images. There’s traditional circus, Nouveau Cirque style circus, burlesque style and many others. I love the nouveau style because it often follows a narrative. That’s part of the appeal of Cirque Kalabanté - Afrique en Cirque.
Kalabanté, a word from one of the main languages spoken across the West African region, Sousou, means a “child go-getter, ambitious, with exceptional courage.” And Yamoussa Bangoura’s Cirque Kalabanté - Afrique en Cirque exudes this in abundance!
Life in a Guinean village is the narrative thread underpinning this extraordinary show. The lights fade to black, a soundscape of an African dawn- bird and animal calls, and a cacophony of insect sounds- fill the air.
Two lanterns appear, and, as the lights slowly fade up, we become aware they are held by a man in a shimmering coat draped on his muscular frame. The man carries a kora, a remarkably beautiful 21 stringed instrument used to great effect throughout the show.
The man approaches the audience, surveys them and proudly states, “I am Yamoussa Bangoura, from Guinea, and this is my kora.” He continues, “The kora used to be played only for kings and queens” before disappearing again into the darkness. The stage erupts with three powerful drummers taking to the stage heralding the depiction of a fishing village, the villagers calling out to each other, throwing nets, and preparing baskets of fish.
The depiction of village life morphs into a show featuring some of the most extraordinary acrobatics, dancing, and contortion in combination I’ve ever seen! The acrobats are simply gravity defying, the contortionist anatomy defying, yet strangely lovable, and the dancing dazzlingly joyful! It’s electric!
The West African oral tradition of the Griot, one some argue is the earliest incarnation of rap, and, subsequently, hip hop, was used to great effect, it’s call-and-response element used to engage the willing audience.
And the music! It is clear music is not merely entertainment in Ghana. The show is punctuated with almost sacred moments where haunting melodies, and Bangoura’s soulful voice wash over the auditorium. It matters not a bit that Bangoura sings in Sousou; the music soars with a sense of the divine. A lyrically played electric bass, it’s player on stage, adds to the rich ambiance of the show. Ethereal ambiance is replaced by driving beats and the most extraordinarily energetic dancing to create a sense of ritual. There’s cheeky humour in abundance and the audience is strongly encouraged to connect with the performers; there’s little encouragement needed as the charm of the cast is irresistible! Hyperbole? No! This show really is amazing!
Go! See it!
John Doherty
When: 8 to 23 Mar
Where: The Flamingo at Gluttony
Bookings: adelaidefringe.com.au
