The ModaPerf International Biennale, established in 2017, serves as a platform fostering connections between art, society, and education while facilitating international dialogue.

As a "crossroads" for reflection and exchange, it addresses key issues of our time. The MODAPERF festival (Movements, Dances, and Performances) was founded by the Cameroonian choreographer and performance artist Zora Snake in Yaoundé. It has established itself as an international and professional platform. It provides space for artistic encounters, training, dialogue, knowledge exchange, and the discovery of young local talents. At the same time, it fosters cultural development in cities like Douala, Yaoundé, and Dschang by making art accessible to "everyone." MODAPERF is seen as a place for socially engaged art, creating connections and strengthening dialogue with Cameroon’s urban and civil societies. With its concept as a traveling festival, the Biennale connects urban and rural spaces, creates encounters with a broad audience, and builds sustainable relationships.

In conversation with Zora Snake, the founder of the Biennale, we explore the vision, challenges, and significance of this groundbreaking project.

Gwendolin Lehnerer: Zora, as an internationally active performer, choreographer, and founder of the ModaPerf International Biennale in Cameroon, which over the last seven years has become a platform for artistic encounters and the collective exchange of dance and culture, I like to center our discussion on these collaborative aspects of ModaPerf. To begin, could you share the original vision behind the festival and how the idea emerged from this spirit of exchange and shared creativity?

Zora Snake: Yes, I’m excited to talk about this. I am a choreographer and performer, and the creative mind behind the ModaPerf Festival. The idea for this festival came from my own journey into dance, and of course from the desire to share the art form that has moved me so deeply with others.

I come from hip-hop dance, but I quickly discovered that dance is much more than just movement – it’s a language, a tool to express the unspeakable. Dance is not only a personal form of expression, but also a collective experience that creates a strong bond between people. For me, the body is a profound means of communication.

“Dance is not only a personal form of expression, but also a collective experience”

The ModaPerf Festival was meant to be a place where people could experience this deeper meaning of dance together. It should be a space that allows for collective dialogue and the coming together of artists and communities.  We wanted to create a space where not only the art form is celebrated, but also where a multicultural and community-based dialogue between different cultural backgrounds and artistic perspectives could take place. It’s about not just celebrating dance but viewing it as a unifying element between diverse people and cultures.

“The festival  should be a space that allows for collective dialogue and the coming together of artists and communities.”

It’s important to me that dance doesn’t just happen in theatres or closed spaces but is directly integrated into society. We do performances in various neighborhoods and villages. This way, we can directly engage with people and involve them in the creative process. This enables a collective dialogue and exchange, where topics like Cameroon’s past, the war, and social challenges are addressed. People should be given the opportunity to reflect on their history and think about how they can shape our future together.

GL: How do collective practices play a role in this direct engagement with neighborhoods? Could you provide more details on what this looks like in practice and how the community is involved in the creative process?

ZS: Collective practices play a fundamental role in the relationship between residents and artists, particularly through the involvement of local leaders and decentralized territories. This includes the participation of indigenous authorities in preserving values and heritage, as well as in transmitting ancestral legacies as a foundation for creativity across Africa. It also involves the engagement of primary and secondary school educators, university professors, and rectors, who connect students, thinkers/researchers, and artists on questions rooted in our history and artistic approaches that uncover the unspoken.

Strengthening ties with activist associations focused on human rights, ideologies, and proposals for shared development is another essential aspect. This involves a complementary artistic approach between artists and associations.

Additionally, there is a focus on training and cultural access for "ALL AUDIENCES." This framework aims to educate and transmit knowledge, further contributing to social education through dance.

GL: You’ve also described the festival as an international project that promotes collaboration between Cameroon and other countries. How does this international dimension of the festival work in terms of collectiveness?

ZS: The festival is more than just a local event in Cameroon; it aims to foster a global dialogue. We bring international artists, historians, and scholars to Cameroon to work together and discuss. In the past, for example, we’ve worked with dancers and anthropologists from Europe and Africa. We want to connect perspectives from different parts of the world and think about how to work together for a better future. It’s not just about cultural exchange, but also about the political and social dimensions that art and dance can have when used as tools for change.

Here, reflecting on how to work together means opening a space for a non-condescending dialogue, to avoid repeating the history already written by the victors.

It involves reflecting on social urgencies that are not tied to the divisions of social classes, geographical boundaries, or capitalist powers, but rather on the question of the future of our humanity. Just because Africa does not speak about ecology does not mean there is no climate emergency, for example.

GL: What challenges have arisen when working with so many different people, cultures, and disciplines?

ZS: It’s not easy, especially in a country like Cameroon, where there are political and social tensions. It’s often difficult to find support, and it requires a lot of creativity and endurance to gather the necessary resources. But working with artists, scholars, historians, and the local population is very valuable, even though there are logistical and financial challenges. It requires a lot of organization, and it’s important that we have structured support from national and international partners. A good example is the collaboration with the French Institute (who support us in the South-North dialogue process with a financial contribution), which helps us organize the festival every year. But there is also a need to build sustainable financing and long-term support.

GL: You’ve chosen the festival format as a place for dialogue and as a unifying gathering  between the power-asymmetry of cultural infrastructures and discourse from various historical backdrops. How does the interdisciplinary or transdisciplinary approach shape the festival and your work?

ZS: This is indeed an important part of the festival. ModaPerf is not just a dance festival – it’s a space where different disciplines converge to look at art as a whole and experience it in a collective context. In addition to dance, we also work with artists from music, theatre, literature, and even the social sciences. I believe that art should not be viewed in isolation, but as something that touches the community as a whole.

“It is a space where different disciplines converge to look at art as a whole and experience it in a collective context.”

The festival acts as a place for a creative process that involves individual artist and the entire audience and community of dance and beyond. For example, in some editions of the festival, we’ve also included the perspectives of anthropologists and historians to explain the historical and cultural context of dances. This helps audiences see dance not only as an aesthetic form but also as a medium that deeply impacts the identity of a people and sparks a dialogue about history.

A nice example of this is how we view dance as part of our cultural DNA. Cameroon, with its ten regions and over 200 traditional dances, offers an incredible wealth of diverse cultures. I use ritual dances that, for me as a creator and researcher, create connections contributing to ecological urgency, social cohesion, and preventive solidarity. They strengthen communities by preserving their history, values, knowledge, and science – far removed from Western influence. Dances such as N'Koungang, NKa'a, Kang, Mébang, Samalè, and the Makounè, created by queens of secret societies, are examples of this. Africa is too diverse and rich to be reduced to just a few quotes. It still holds values that continue to be discovered in the 21st century.

Many of these ritual dances tell stories and reflect societal values. So, when we integrate them into our performances of the present time, it’s not just about nostalgia or preserving customs. It’s about integrating these traditions into the present and responding to the current societal challenges within the community. In this way, dance is a means and tool to deconstruct the historical legacy and also to suggest new ways of reading the society. It’s a collective process where the community is actively involved in the creation and reception of the art.

“It’s a collective process where the community is actively involved in the creation and reception of the art.”

GL: The festival is described as a travelling platform between different cities in Cameroon. What logistical and infrastructural challenges does this pose?

ZS: The biggest challenge is adapting to the different local conditions. Each city has its own cultural peculiarities and requirements, which means we constantly must adjust to ensure the festival is equally accessible and meaningful everywhere. But this challenge is also an opportunity to gain new perspectives and enrich the festival each time. It’s a collective task, and each city contributes to the festival’s growth and development through its participation and support.

GL: You’ve described the festival as a model of partnership that fosters collaboration between the Global South and North. What forms of collaboration have you cultivated, and how has this supported the international dimension of the festival?

ZS: Our partnerships go far beyond purely artistic collaboration. We work with organizations that advocate for human rights and social justice, using the festival as a platform to raise awareness about societal and political issues. These partnerships are crucial in shaping the festival as a global space for the exchange of knowledge and resources. At the same time, we place great importance on ensuring that the dialogue between the Global South and North is balanced and respectful. It’s not just an exchange of resources; it’s a shared process in which every partner – whether local or global – takes on active responsibility.

GL: How would you describe the impact of the festival on society in Cameroon and perhaps also on the African contemporary dance scene overall?

ZS: The festival has definitely made a difference in Cameroon, and that’s something I’m very proud of. First of all, it has helped broaden the understanding of dance as an art form. In Cameroon – and in many other parts of Africa – dance was often reduced to folkloric, traditional performances. There were not many platforms that dealt with dance as a contemporary art form. Through the ModaPerf Festival, we were able to raise awareness that dance is a vibrant, evolving part of our culture that still has a strong societal relevance today.

The festival has also helped establish dance as a serious art form, not just in the entertainment field, but as a collective space for political and social reflection. Dance is a mirror of society – it can address tensions, tackle deeply rooted issues, and create a space for dialogue. We’ve seen this not only on stage, but also in our exchanges with people on the ground. We’ve always tried to broaden the audience and not limit it to just the “cultural elites,” but to reach out to the broader population.

“The festival as a collective space for political and social reflection.”

Africa faces a variety of challenges, from political conflicts to social inequalities. For me, dance is a tool to not only reflect these issues, but also to develop solutions and new perspectives – in collective engagement. It’s about showing society that dance is also a collective space where we can confront these deep issues. In this way, the festival contributes to changing the perception of dance as an art form and establishes it as a serious tool for societal transformation.

“Dance is for me a tool to not only reflect these problems but also to develop solutions and new perspectives – in collective engagement.”

GL: You’ve described dance as a "tool for transformation." What does that mean for you concretely? How do you experience this transformation, both on a personal and societal level?

ZS: Transformation always starts with us, but it happens through exchange. Dance creates a space where we can connect with each other on a deep level. It’s a place where we can reflect on who we are and who we want to become. For me, the most important thing is that this transformation doesn’t stop at the individual level. It’s a process that takes place collectively.

On a societal level, dance is a means of giving voice to those who are not heard. For example, through the festival, we address the current social and political issues in Cameroon. These are things we would often rather not talk about openly – but dance can create a space to reflect on them. When we take these issues onto the stage, we give them visibility. For me, dance is an active force for transformation that starts from the grassroots level and connects to larger social movements.

“Dance is an active force for transformation that starts from the grassroots level and connects to larger social movements.”

In the end it’s all about collaboration. Because only by working together can we ensure that our art is not just entertainment but an instrument for social change. The festival is a space where people can experience the power of transformation through art and actively participate in creating something bigger than themselves.

GL: Zora, thank you for sharing your insights and experiences with me. It’s clear that the ModaPerf Festival is much more than just an artistic platform––it’s a space of political and social reflection, a collective experience, and a transformative tool for both individuals and society.

ZS: This is why we go even further, exploring through performance—an artistic tool that delves deeply into our concerns to reveal possible pathways for "emerging from the great night," borrowing from Achille Mbembé. Performance remains a medium for questioning and generates significant social debate in Cameroon. Performance as a lens for the "urgency to act" in the face of the world's powerlessness that speaks to us. This is why "Mouvements" is envisioned by its creator as a social, political, economic, feminist, and racial movement... where each era dances the density of its existence. "To exist is to perform the instinct of life." Hence MODAPERF (Movements, Dances, and Performances). Thank you very much for the opportunity to share this with you. I’m grateful for this platform to discuss how important dance can be in shaping society.

Zora Snake is a Cameroonian choreographer, performer, and dancer, as well as the founder of the Compagnie Zora Snake and the international festival MODAPERF (Movements, Dances, and Performances). A prominent figure in the contemporary African art scene, he blends his roots in the Bamiléké people, the aesthetics of urban dances like hip-hop, and the political history of his country in his work. His performances transcend cultural and societal boundaries, drawing inspiration from the myth of sacred animals in Bamiléké tradition. Through his art, he seeks to move the world, make political issues visible, and challenge both mind and body.