{"id":108630,"date":"2026-09-30T17:00:45","date_gmt":"2026-09-30T15:00:45","guid":{"rendered":"https:\/\/www.royaumont.com\/the-cultural-project\/training-courses\/campus-2027-transcultural-music\/"},"modified":"2026-10-06T14:11:39","modified_gmt":"2026-10-06T12:11:39","slug":"campus-2027-transcultural-music","status":"publish","type":"page","link":"https:\/\/www.royaumont.com\/en\/the-cultural-project\/training-courses\/campus-2027-transcultural-music\/","title":{"rendered":"Campus 2027: Transcultural Music"},"content":{"rendered":"\n

At the source of Mandinka music<\/h2>\n\n\n

with Naïny Diabaté and Eve Risser<\/p>\n\n\n

in partnership with the Quai Branly-Jacques Chirac Museum<\/p>\n\n\n

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Period<\/h3>\n\n\n

From August 17 to 29, 2027<\/p>\n\n\n

Presentation<\/h3>\n\n\n

In 2027, the Transcultural Music Campus will bring together around ten artists , led by Naïny Diabaté and Eve Risser,<\/strong> eager to explore Mandinka heritage, collective improvisation, and contemporary forms of creation<\/strong> based on listening, orality, and co-composition. For two weeks, participants will be invited to experiment with new ways of creating together at the crossroads of living musical traditions from West Africa and current practices in jazz, improvisation, and collective creation. <\/p>\n\n\n

Organised by the Royaumont Foundation in partnership with the Musée du quai Branly – Jacques Chirac<\/a><\/strong> , the Campus Musiques transculturelles invites each year two artistic personalities with complementary trajectories: an artist from a living musical tradition and an artist committed to the invention of new forms of creation and dialogue between cultures.<\/p>\n\n\n

Conceived as a space for experimentation and collective research<\/strong> , the Campus is aimed at musicians, singers, improvisers wishing to confront their practices with other musical heritages, explore modes of transmission different from those they know and open new spaces for creation.<\/p>\n\n\n

Oral expression, listening, rhythm, physical presence, and improvisation<\/strong> occupy a central place, without excluding writing and composition. Each participant is invited to bring their own musical universe to bear in order to set it in motion through contact with other practices, in a dynamic where gestures, timbres, repertoires, and imaginations meet and transform. <\/p>\n\n\n

Mandinka heritage and contemporary creation<\/h4>\n\n\n

Rooted in the rich musical and oral traditions of West Africa, the Mandinka heritage constitutes a living patrimony in which music, spoken word, memory, and transmission are inextricably linked. Carried out particularly by griots and griottes<\/strong> , these practices place essential importance on improvisation, polyrhythms, interaction between musicians, and the connection between artistic creation and social life.<\/p>\n\n\n

The Campus will be guided by two major artists whose careers each embody in their own way this connection between transmission and invention.<\/p>\n\n\n

Singer and key figure in the contemporary Malian music scene, Naïny Diabaté is the heir to the great Mandinka vocal traditions<\/strong> . A committed activist for gender equality, she founded the first all-female orchestra in Mali, the Kaladjula Band, in order to open up a space for expression and visibility for female musicians. <\/p>\n\n\n

Alongside him, Eve Risser has been developing a unique body of work for several years at the crossroads of contemporary writing, improvisation, and collective practices<\/strong> . Her musical research explores open forms of creation, the interplay between traditions and modernities, and ways of composing based on listening and otherness. <\/p>\n\n\n

Their artistic encounter was notably embodied in the dialogue between the Kaladjula Band and Red Desert Orchestra ensembles, with the Kogoba project, bringing together artists from West Africa and Europe in the same transcultural creative approach.<\/p>\n\n\n

What you will practice during the Campus<\/h4>\n\n\n

During the Campus, you will experience different ways of creating and performing together, drawing on Mandinka traditions and contemporary improvisation practices. You will be encouraged to: <\/p>\n\n\n