The stage setup mimics a bi-frontal arrangement: an 'audience' of Black women facing the rest of the audience, both witnessing a performative piece that addresses the construction of desire in these aforementioned Black women. Non-diversity is an essential tool for the empowerment of marginalized groups (homosexual, Black, Women...). This arrangement does not seek to oppose its audiences but to highlight their different perceptions (temporal, spatial, emotional) based on the space they occupy and to specify the boundaries of an encounter between these two 'audiences.' Because, if one had to insist, this is nothing more than orchestrating a meeting. 

I plan to work with two plastic artists and culinary designers, Luz Moreno and Anaïs Silvestro from Tools of Food. Wonderful visual and olfactory landscapes, composed of icy, gelatinous, chocolaty, and earthy materials which will be used as tools in the performance. In this space, the melting materials will be timed, and the edible decorations will be consumed, shared in real time, induced by the performative act. Time stretches like the patiently braided hair strands on the walls of the theatre, constructing the labyrinth of these two 'Black Alices' in Wonderland.

So, this is about encounters: first, the meeting of experienced or amateur performers whose practices, like mine, are intertwined with their personal stories, coming together around the questions raised here. Then it's also the meeting of one audience with another, in order to create a pan-African feminist story: a Carte Noire... nommée Désir (Black Card… named Desire).