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Ngnima Sarr

Poet, singer, rapper, visual artist and producer

  • Music
  • Poetry
  • Visual Arts
  • Atlanta

“I believe that the first place to conquer deep-seated mutations is the imaginary”

I am a Senegalese artist based in France, where I studied and obtained a master’s degree in sociology. A polymorphous artist, my leitmotivs are experimentation and the hybridization of forms, from painting I’ve moved on to music, art installation, performing art and I’m passionate about autofiction through video. I am convinced that we are driven by narratives, and that changing the world means changing the narrative. The core of my work, regardless of the medium, is to open up spaces for conversation, questioning and transformation for ourselves and others. As a woman, I believe that the feminine frequency is what the world needs to achieve great healing and changes. Therefore, I’ve been leading, these past five years, several projects to explore the power of the feminine energy. Such as the installation and performance Mawu’s Daughters that addresses our relation to the divine feminine Nature and technology. Or, the collaborative and multidisciplinary creation “Le Vaisseau Mère’‘, result of four months of workshops with my collective “Les Femmes Sauvages” with sixty participants from different backgrounds and ages that questioned the function of the notion of gender in the balance of power in society. I also led different workshops with my ongoing research on the Uterus as a vessel including a circle of women in prison during two months to use the Uterus as symbolic and safe space to, both, self and collective healing.


Ngnima Sarr, known as T.I.E, is a multifaceted Senegalese artist: singer, poetess, songwriter, and music producer, leading projects like “T.I.E and The Love Process” and “Exillians.” She also created the immersive show “Lâcher L’homme!” inspired by Frantz Fanon’s essay “Black Skin White Masks.”

Additionally, she recently participated in the thought-provoking piece “Freedom, I’ll have lived your dream until the full last day,” curated by Felwine Sarr, showcased in New York and North Carolina with the support of the Villa Albertine’s Face theater & Fused Program.

T.I.E’s work is rooted In an Afro-eco-feminist vision, evident in her installation “Mawu’s Daughters,” premiered in Dakar during Partcours 2022. T.I.E’s ongoing work “Odyssey in Utero ”, is a polysemous research object initiated in her residency at Banlieues Bleues ,Paris 21-22

I believe that the first place to conquer deep-seated mutations is the imaginary. “Odyssey in Utero” is a journey through space, time, memory and territory, with the Uterus as its vessel. It’s about exploring existential questions through the perspective of the female body. I trust in the evocative power of words, which leads me to want to use the creative and regenerative power of the Uterus as a power to act. To do so, I use the practice of the circle as a space transmuted into a uterine safe space. Where body, words, music, and images are all paths towards a cartography of the self and the world to transform. I tested this device in the pilot version of the project at Women’s Prison in Fresnes, for two months with a group of female inmates. The experience revealed a principle of healing, even self-revolution, intrinsic to what I call “ritual performance”. The sceno-poetic gesture of ritual enables us to metabolize what is evoked by words. It allows us to sign our presence in the world, and triggers new ways of seeing ourselves and relating to the world. As part of my residency at the Villa Albertine, I hope to deepen my knowledge of this device by co-leading a creative laboratory with African American women and artists ready to explore the body’s trans-generational memory. Thus, in conversation with dancers and/or choreographers figuring past, present and future gestures that carry this memory, through performance art. With a view to a future installation, I’d like to meet with local actors and artists, to imagine what would be the best interactive object in the field of digital art, to navigate the mysterious territories that black women’s wombs both carry and are. Finally, I’d like to document all these explorations with sound and video recordings, to build up an archive for an experimental documentary film project.

I believe in a necessary trans-generational healing of the African diaspora from: the traumatic experiences of slavery and colonialism, and the violent treatment of our bodies in the world. I believe, black women as mothers, bear the most of it, and are central in the process of a collective healing. I chose to lead this work in Atlanta, which holds much of the story of African-American emancipation, and, is at the forefront of conversations on Blackness in the Art world. The Black women in America are historically experiencing a racial and sexual minoration by power structures; double bias that, I, as an African woman in a western world, can relate to. We, in the social body, are the most vulnerable individuals, but also the most resilient and innovative ones. In this research, I will use the triangle as a geometrical form to reflect on. In its center, I wish to place the African American Woman, to dialogue with Body, Memory, and territory. The Triangle refers to the feminine shape, a doorway and a symbolic magnetic pole of attraction and mutation. It too, echoes to the routes of the transatlantic trade for a symbolic new morphing of the circulation of Black bodies. I want this research to be an exchange, a shared experience with actors like ADAMA, Rainna Brown founder and art director of the Komanse dance Theater who enhance a diaspora sense of belonging through art. I would love to interview the pioneer of Black Feminism, founder of the Women’s research and resource center Beverly Guy-Sheftel. Using music as a tool to reach liminal spaces, I would like to meet with the artist Okori Johnson.

In partnership with

Banlieues Bleues

Banlieues Bleues (which means “blue suburbs”), non profit association originally funded by 12 towns of Seine-Saint-Denis (on the outskirts of Paris) runs since 1984 the festival of the same name, a key event in the French musical season, offering an artistic platform of international repute where creativity and revelations occupy a large place of the bill. Through a wide range of workshops called “actions musicales” it has also assumed the pioneering job of heightening awareness and sensitivity, together with musical training, for the general public and particularly for new audiences. Throughout the year, Banlieues Bleues runs also its own venue, La Dynamo, a musical complex located in Pantin welcoming cutting-edge concerts and also residencies and rehearsals.

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