Soa Ratsifandrihana

MD

How did it feel for you to move on to a more collective process of creation?

SR

Your vision of collectivity has influenced mine. I remember you telling me that the idea of the self-made artist is fake; everything we create emerges from our relation to the collective. Even though g r oo v e was a solo piece, it involved so many people: the musicians, production, costume, light designers, and you as well, as a curator who trusted me. So, what's most difficult is how much you need to be able to listen to others but also to yourself. For me, creation often starts with a craving; then, you share a meal. And by the end, things inevitably shift. How boring is it to come to the studio knowing exactly what you're going to do? I imagine it's similar for you as a programmer: constantly listening, resonating, and composing with what's around you.

MD

It's hard work sometimes to create collectively, but it's a decision we need to keep committing to. Because there is so much to get from this. A relationship is something special–through interaction, some things appear you didn't suspect existed, surpassing your perceptions and expectations.

SR

I am actually experiencing something similar now with the singer Bonnie Banane. We are working on a performance for Avignon this summer named Quelle aurore. Lately, I've been feeling numb, scrolling endlessly, caught in horror and brain rot content. I shared that with her, and she connected to it, too. The piece exists in that space: between numbness, absurdity, and (dis)empowerment. It's about how we feel right now and the contradictions that come with it.