Circus tackles jihadist nightmares of Burkina Faso's children

For more than a decade, Burkina Faso has been at war with jihadists who have killed, kidnapped, raped or recruited thousands of the west African country's children, according to the United Nations.

Rights groups such as Human Rights Watch also accuse the Burkinabe army and its allied civilian volunteer fighters of abuses, including towards minors.

Dafra Circus does not touch on that part of the issue -- the army has cracked down on criticism since taking power through two military coups in 2022. 

But for nearly an hour at a concert hall in Ivory Coast's economic capital Abidjan, the troupe's performing quartet translated the despair, innocence and resistance of children facing the unspeakable for several hundred spectators. 

Slipping into the skin of a traumatised child, one of the men executed a series of pirouettes, swaying steps and somersaults to mimic the onset of insanity.

For the troupe's artistic director Moustapha Konate, circus is an art that "makes it possible to bring together as many people as possible" because it "draws them in through feats, beauty, fluidity of movement".

In the 30-year-old's eyes, dance is "perhaps the easiest way for us artists" to "deal with a topic". 

- Whole troupe 'affected' -

Konate's position is clear: Dafra Circus "takes a stand against the involvement of children in wars".

According to a UN report from last year, children suffered more than any other part of the population from Burkina Faso's spiral of violence, with more than 2,200 enduring grave abuses between 2022 and 2024. 

Mostly attributed to jihadist groups, the most frequent abuses involve murder, mutilation, abductions, recruitment as child soldiers, exploitation and sexual violence. 

"Souffle" takes inspiration from the lives of the artists, who travelled from their base in Burkina Faso's second city Bobo-Dioulasso to perform at a festival in Abidjan in mid-April.

Within the circus, "everyone has been affected" by the violence, Konate affirmed.

Despite its dark subject matter, the show received a rapturous reception in both the Burkinabe capital Ouagadougou and the troupe's Bobo-Dioulasso hometown.

"Many people aren't familiar with the circus," Konate said. "Seeing circus mixed with dance... theatre, juggling and storytelling was something new for them."

Once the lights had dimmed and the spectators emptied out of the Abidjan events hall, Yeli Gnougoh Coulibaly departed, moved by the performance. 

"It's important for artists to put on shows about the terrorist violence in Burkina," the 21-year-old said. "I'd say it's a bit more subtle" and "less shocking than the news, because on TV... it's scary."

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