His approach to music is based on the perception of sounds, noises, which have shaped his imagination through the lyrics of the songs. Mimicking the choreography that accompanies the singing is yet another thing, because it is then the question of balance, linked to the inner ear as the place of its production that comes into play. These two operations are problematic for Kengné. Singing and talking is like getting along more or less without even paying attention.
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The possibility of singing, and therefore of hearing oneself, but also of hearing oneself sing again to (re)produce a melody, or a rhythm, is a powerful element in Kengné Téguia’s approach. The act of masking, and what it implies as a strategy of compensation, diversion and appropriation, is all the more interesting as the artist will work with two media to which he could not have access: music and dance. Let us remember that sign language (LSF) was not recognized and taught until 1996 6. By conforming to the world of the hearing people, he puts himself on the margins of a community and consequently of a zone of sharing on which to rely, of a history (that of the deaf) which is never told, nor even envisaged, here in France. He thus excluded himself (indirectly, because he was not the one who made the initial decision) or more precisely moved away from the deaf community to enter the world of normality 4, posing as someone else, assimilating self-denial, a denial that is not remembering what Franz Fanon was talking about these blacks who do everything to be someone else, that is, a white man 5. Thanks to the prostheses, he had « access to hearing with the remaining 20%… and was able to follow a classical school curriculum that encourages oral expression, i.e. He benefited from hearing aids from an early age 1 and, under pressure from the medical profession, followed a classical course focusing on oral communication for better integration into an « ableist « 2 society. His work is an intrusion into the field of video art, and the performance that arises with the consequent disruption of our apprehension, of what hearing and listening imply, designate, presuppose and therefore regulate, oust, etc. Everything is intertwined, and it is precisely this mixing that makes the specificity of Kengné Téguia’s work unique, and designates him as an intruder.
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What is at stake is multiple, and does not assert itself through the usual prisms of perceptions/investigations specific to racial, gender or disability issues. I don’t remember if I perceived from the beginning that the videos produced invested questions relating to sound, dance and the body, obeying a requirement of visibility that did not require the identity filter.
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What immediately struck me was the incredible insistence, perseverance and continuity in deciphering an extremely complex territory that involved issues of race, gender and disability. Obviously he was not comfortable in this school, or more precisely the school could no longer bring him much in terms of the questions he was exploring in his performances and videos. Two or three years ago I discovered Kengné Téguia’s work, even before I knew him and what a surprise it was to meet him, attending one of my courses given at the ENSAPC.