KALAKAN

"From the beginning of the concert, in a grandiose setting gothic scene, the three French are at the forefront, dressed in ... Tibetan monks. Their voices are the first we hear. (...) We was feared anecdotal participation in Kalakan MDNA Tour, a deposit surface world. Instead, the group has a significant presence in the show. gospel in a table on I'm a Sinner, it is expressed in Sanskrit. language Basque could not miss in this tower of Babel stupor. Madonna herself singing in Basque the choice fell on the "tube" Kalakan, Sagarra Jo !". - LIBERATION

"The Basque artists use their voices, some drums and a txalaparta, walnut shells, two flutes, a alboka. Kalakan does not intend to renew the Basque tradition of singing, but rather to seek new emotions by exploring the directory trad. They claim their Basque identity but are also very contemporary and very close to the energy of rock, the Basque Country today and tomorrow's world. They sing in Euskara (the Basque language) to express these roots global. This diverse identity is based on Basque, color, rhythm, its diversity and its own musicality. to Kalakan (which means "chatting", "being tchatcher"), the language is the first music ". - Gérard Viel - TRAD MAGAZINE

"On stage, alongside Madonna, they were initially afraid to look Basque lost sheep in the wolf's mouth. But their voices and tribal drums were finally completely melted in the atmosphere that American icon wanted to give his international tour, the ninth of his career. This looks like a moment of grace that is repeated consistently at every concert. amid a show in the U.S., the Basque songs Kalakan the group reach take a few seconds to mute the cries of tens of thousands of hysterical fans." - Pantxia Delobel - SUD-OUEST

"Can we be insensitive to the magic of these polyphonies and these instrumental parts ? No cheating, no fuss, it is au-then-tic as people say, in the use of instruments like the txalaparta, in the cult of beautiful voices, in the inspired revisiting of wellknown singings like Haurxo Ttipia, heard a thousand times, but yet that we discover with a lot of emotion." - Pierre - FACTOTUM

« You don’t know KALAKAN ? It’s a mistake ! (but you can fix it). Profoundly basque and deeply universal, this peculiar trio has the talent for mixing everything : voices and percussions tribal rhythms and sweet melodies, festivity ( ?) and intimism, rock and tradition. Everything ! But not anything… » - M. Grenier – PYRENEES MAGAZINE

"Like a rural prayer in the sound of acoustic guitar and flutes, with a warm voice, which borrows its impulse in the voodoos traditions... Perrine FIFADJI is from Benin, born in congo and grown up in France, she recorded two album between rock and ska with ASPO's collective, before taking up with her african roots and singing in the fon language. This metamorphosis began with dance and is told to us in "Awada Kpè Kpè", which means the "Chrysalis". A travel, open to the world, with Indian sitar and Tibetan bowls..." - TELERAMA - Eliane Azoulay

"Puissante, envoûtante, entre griot et gospel, la voix de Perrine Fifadji nous transporte vers ses origines béninoises. Ne manquez pas son spectacle de chant chorégraphique, Awada Kpé Kpé ("La Chrysalide" en langue Fon)... Emotions garanties !" - AFRISCOPE

« The urge to merge singing, dancing and music gave birth to Awada Kpé Kpé, in which the true nature of sounds prevails. Through the voice, the body, the musical instruments, Perrine Fifadji chose to picture the transformation of a being, a meaningful theme to her.
Awada Kpé Kpé makes two cultures resonate in a voice and four bodies. It's an invitation to travel inlands and outlands, the melody of the earth. »
- SUD OUEST

"Née au Congo, elle a grandi en France. Perrine Fifadji se fait remarquer sur les scènes bordelaise en 1995, avec le collectif ASPO : groupe de reggae et de rock. Elle enregistre deux albums avec ses comparses. A la mort de son père, Perrine Fifadji veut renouer avec ses racines africaines. Elle prend des cours de danse, avec Norbert Sènou et participe à des projets de la compagnie.
En 2007, elle tisse sa propre toile, avec la pièce Awada Kpé Kpé : La Chrysalide, en langue Fon du Bénin. Une chorégraphie qui révèle "l'état, le passage de la chenille en papillon. La métamorphose de l'être humain qui se fait dans le secret du silence. Quelque chse qui ne se voit pas" philosophe l'artiste. Par cette création, Perrine Fifadji exprime la transformation, en cours dans sa vie. Sa connexion à ses racines béninoises. Une deuxième vie, tout simplement." - LIANE