With SÔ AVA, Smaïl Kanouté completes the third and final part of a trilogy of short films paired with choreographic works, exploring the experience of Black communities in relation to the legacy of colonialism and the enduring presence of ancestral rituals as a means of affirming identity.

Following Never Twenty One, a tribute to victims of gun violence in the United States, South Africa and Brazil, and Yasuke Kurosan, inspired by the figure of the Black samurai in Japan, SÔ AVA offers a choreographic reinterpretation of Vodou dances. The project explores the connections between the visible and invisible worlds through dance, spirituality, memory and cultural exchange.

In a Beninese language, SÔ AVA means “to be well with”. This expression embodies the philosophy at the heart of the project: seeking balance, sustaining harmony and reimagining a sensitive relationship between people, territories, ancestors and invisible forces. Far from the clichés surrounding Vodou, Smaïl Kanouté approaches it as a way of thinking about connection, a spirituality of presence and a way of life.

The work’s dramaturgy traverses a vast geography, from the land of the Sámi to Benin, via Brazil, Mexico, New Orleans, Mali, Senegal, Gabon and the Congo. These territories serve as points of departure for a choreographic and visual exploration of cultural survivals, hybridity and memories in motion. In doing so, the project seeks to evoke a sense of harmony, reconciliation and “being well with”.

Smaïl Kanouté developed the project during his research residency at Villa Albertine in New Orleans. There, he encountered the Black Indians and had the honour of being initiated as Chief Scout within the Yellow Pocahontas Hunters tribe, led by Big Chief Darryl “Tootie” Montana. This formative experience, at the crossroads of history, ritual, art and transmission, has profoundly shaped the creation of SÔ AVA.

By supporting SÔ AVA, the Francis Kurkdjian Endowment Fund renews its commitment to a powerful, spiritual and visually striking choreographic work. It contributes to the transmission of ancestral rituals, the recognition of overlooked cultural heritages and the emergence of a contemporary creation that connects bodies, memories and worlds.