Artistic Resistance and Resilience in Sank, or the Patience of the Dead, by Aristide Tarnagda

Burkina Faso has faced a security crisis unlike any other in its history for the past eight years. The government has lost control of up to 35 % of the national territory, and there are as many as two million internally displaced persons living in the big cities. The emblematic figure of Thomas Sankara, Burkina Faso’s president from 1984 to 1987, has soared beyond the local image of the “upright man” (the ideal to which the very name “Burkina Faso” refers) to that of a globally recognised icon of resistance against imperialism. Theatre artists are inspired to create theatrical performances that “represent” (or “face up”) this great figure, as the recent edition of the Ouagadougou-based biannual theatre festival called Les Récréâtrales invited them to do. This paper emphasises theatre’s contribution to efforts of artistic resilience and resistance in Burkina Faso. It addresses the question: How do Burkinabè artists produce acts of artistic resilience through performance? In other words, does the staging proposed by the Burkinabè playwright Aristide Tarnagda carry the seeds of hope for a Burkina Faso entirely liberated from terrorism? The theory of communication developed by J.L. Austin in How to Do Things With Words (1962) and Anne Ubersfeld’s (1982) semiotic analysis theory provide the key critical concepts of this study.