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La voix y est pens\u00e9e comme un patrimoine immat\u00e9riel, une empreinte sensible de l\u2019existence, un lien charnel entre le pass\u00e9 et l\u2019avenir. <br><br>Dans la lign\u00e9e des traditions orales, et en \u00e9cho aux travaux de Paul Zumthor, pour qui \u00ab la voix porte une dimension affective et corporelle que l\u2019\u00e9crit ne peut jamais pleinement retranscrire \u00bb, ce podcast s\u2019inscrit dans une \u00e9conomie de la pr\u00e9sence et de l\u2019\u00e9coute. \u00c0 l\u2019image de projets internationaux d\u2019archivage des r\u00e9cits personnels, il propose, dans un contexte fran\u00e7ais encore peu investi, une archive sonore o\u00f9 l\u2019histoire individuelle rejoint la m\u00e9moire collective. 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Peut-\u00eatre. Mais n\u2019est-il pas temps de d\u00e9construire ce mythe tenace de la carri\u00e8re parfaite, cette illusion de l\u2019artiste-cr\u00e9ateur\u00b7ice qui, par une alchimie myst\u00e9rieuse ou un alignement cosmique improbable, transformerait tout en or. Chaque projet serait un triomphe, chaque critique dithyrambique, et l\u2019agenda satur\u00e9 d\u2019invitations aux \u00e9v\u00e9nements les plus pris\u00e9s. Une telle perfection, admettons-le, \u00e9nerve autant qu\u2019elle fascine. Qui n\u2019a jamais r\u00eav\u00e9, m\u00eame secr\u00e8tement, de voir un\u00b7e cr\u00e9ateur\u00b7ice tra\u00eener son lot d\u2019\u00e9checs, observer son \u0153uvre ignor\u00e9e, parfois moqu\u00e9e, et savourer \u2014 un peu trop \u2014 ses tentatives pour s\u2019en sortir ?<br><br>En art, l\u2019\u00e9chec est un peu comme une mauvaise herbe : on la coupe, on la cache, mais elle finit toujours par r\u00e9appara\u00eetre. Pourtant, il demeure un tabou bien gard\u00e9. Dans l\u2019imaginaire collectif, un\u00b7e \u00ab v\u00e9ritable \u00bb artiste ne conna\u00eetrait que le succ\u00e8s imm\u00e9diat et fulgurant, sans d\u00e9tour ni fausse note. L\u2019id\u00e9e de ne pas \u00ab trouver son public \u00bb, ou pire, de produire une \u0153uvre qui ne \u00ab marche pas \u00bb, fait fr\u00e9mir. Et cette peur persiste, m\u00eame si derri\u00e8re les paillettes se trouvent toujours des artistes t\u00e9m\u00e9raires, celles et ceux qui ont os\u00e9 et\u2026 \u00e9chou\u00e9.<br><br>Chaque \u00e9pisode de Fail it until you make it donne la parole \u00e0 ces exp\u00e9riences mises sous silence. Les artistes y racontent leurs \u0153uvres oubli\u00e9es, leurs projets avort\u00e9s et ces moments de solitude o\u00f9 le doute s\u2019installe \u2014 sur soi, sur le public, sur le sens m\u00eame de cr\u00e9er. Expositions d\u00e9sertes, salles vides, critiques acerbes : tout y passe, avec lucidit\u00e9 et souvent avec humour. Parce qu\u2019apr\u00e8s tout, l\u2019\u00e9chec est universel.<br><br>Mais le podcast ne s\u2019arr\u00eate pas \u00e0 l\u2019introspection artistique. Il ouvre le regard en convoquant des voix inattendues : psychanalystes, philosophes, sociologues, linguistes ou intervenant\u00b7e\u00b7s issu\u00b7e\u00b7s d\u2019autres contextes culturels, afin d\u2019explorer les dimensions moins visibles de l\u2019\u00e9chec. Pourquoi le besoin de reconnaissance est-il si puissant ? Pourquoi le risque fait-il si peur ? Et ailleurs, tr\u00e9bucher est-il per\u00e7u autrement ?<br><br>Ces \u00e9changes invitent \u00e0 interroger les normes qui d\u00e9finissent ce qu\u2019est un \u00e9chec et \u00e0 questionner celles et ceux qui en fixent les crit\u00e8res \u2014 institutions, programmateur\u00b7ice\u00b7s, critiques \u2014 au gr\u00e9 des modes et des attentes. Car c\u2019est souvent dans ces \u00ab rat\u00e9s \u00bb que surgissent les id\u00e9es les plus fertiles. 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Je n\u2019ai pas re\u00e7u de gestes transmis, de chants ou de r\u00e9cits oraux port\u00e9s par les g\u00e9n\u00e9rations avant moi. Mon h\u00e9ritage s\u2019est fig\u00e9 dans des objets, des images, des textes. C\u2019est une m\u00e9moire consultable, mais rarement incarn\u00e9e. Alors je cherche. Je cherche dans la danse un autre type de m\u00e9moire \u2014 celle qui circule d\u2019un souffle \u00e0 l\u2019autre, d\u2019une peau \u00e0 l\u2019autre, qui ne s\u2019archive pas mais se vit. Car nos soci\u00e9t\u00e9s se fragmentent : nos liens se d\u00e9font, l\u2019id\u00e9e m\u00eame de communaut\u00e9 se d\u00e9lite. Dans ce paysage de fractures, une question revient avec urgence : et si la danse pouvait \u00eatre une forme de soin ? Pas un soin m\u00e9dical, mais ce soin invisible qui relie, qui r\u00e9pare, qui r\u00e9g\u00e9n\u00e8re la possibilit\u00e9 d\u2019un \u00ab nous \u00bb.<br><br>C\u2019est dans ce mouvement de recherche qu\u2019est n\u00e9 (l\u2019ailleurs est l\u2019avant), en collaboration avec quatre jeunes artistes San du village de D\u2019Kar, au Botswana \u2014 Kacey, Annah, Almah et Abram, r\u00e9unis sous le nom Xg\u2019ae a ts\u00e9\u00e9, \u00ab working together \u00bb. Ensemble, nous travaillons \u00e0 partir de fragments de tsutsube \u2014 ces danses h\u00e9rit\u00e9es des healing dances mais simplifi\u00e9es, souvent r\u00e9duites \u00e0 un r\u00f4le de performance. Notre d\u00e9marche ne vise pas \u00e0 restaurer un rituel perdu, mais \u00e0 explorer comment ces gestes, ces voix et ces rythmes peuvent redevenir des ressources vivantes : non pas objets esth\u00e9tiques, mais outils de soin, de coh\u00e9sion, de r\u00e9paration.<br><br>(l\u2019ailleurs est l\u2019avant) se veut ainsi une fabrique de soin : un espace o\u00f9 la danse agit comme force de r\u00e9paration, o\u00f9 l\u2019h\u00e9ritage n\u2019est pas un vestige mais une mati\u00e8re active. 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