Lycée F.J. Talma à Brunoy

SOS connexion début d'année

Bruno LAURENT — 2024-09-10T17:14:34Z

SOS connexion début d'année
Jeudi 19 septembre à 17h
Tous les parents ayant des difficultés avec leurs comptes ENT ou l'ordinateur région de leur enfant sont attendus à 17h salle Alice Dubois.
Mme Simonet et Hiriart les accompagneront et répondront à toutes leurs questions .

- Actualités et informations pratiques

Interview de Anais M'Panda, danseuse de la troupe Paradox-Sal au Théâtre de Sénart par les 1ere I

Bruno LAURENT — 2024-05-10T20:22:34Z

Les élèves de 1ere I sont reparti en mission journalistique au Théâtre-Sénart afin d'interviewer la danseuse Anaïs M'Panda sur le féminisme dans la pop culture, la place te rôle des femmes dans la danse et sur scène, ainsi que l'impact de la colonisation sur l'identité culturelle des danses urbaines telles que la house et le hip-hop.
Le spectacle crée par Ousmane Sy et les danseuses, intitulé One shot, les a rapidement transporté dans l'univers des clubs New-yorkais sur des sons de house et d'afro-beat, dont certains pas de danse n'étaient pas sans leur rappeler ceux de la troupe sud africaine Viavia katlehong, interviewés en décembre dernier. Et si tout était interconnecté ?

Voici les articles et les chroniques vidéos de nos journalistes anglophones en herbes qui en sont ressortis, bonne lecture et bon visionnage à vous !

ONE SHOT : WHEN DANCE, FEMINISM, AND POP CULTURE FUSE INTO A SINGULAR MOVEMENT. By Anne Elloh

From March 22 to 23 the dance troupe Paradox-Sal, created by Ousmane Sy, performed the show One Shot at Théâtre-Sénart in France.
The 16 women Ousmane Sy gathered in this troupe created a wonderful performance that the class of premiere I from Talma High school went to watch with their English and Spanish teachers. As they were working on cultural identity, art, and feminism, the show helped them to see the improvement of the image of women in society through pop culture.

Feminism : the new mindset shared thanks to pop culture

Overtime women's image in society has evolved and feminism has taken a new dimension through pop culture. Icons like Beyoncé, Lady Gaga or Emma Watson but also male pop artists have spread feminist messages around the world.
The troupe Paradox-Sal, entirely composed of women and the male choreographer Ousmane Sy, contributes to the development of women's place in the urban dance district, even if it is not their first purpose. Indeed, we can feel on stage that they celebrate the strength and emancipation of women through the songs they chose to dance on, and through their dynamic steps that can be seen as a means to advocate women's empowerment around the world.

Cultural identity in the group Paradox-Sal

Paradox-Sal deeply explores the notion of cultural identity, with each dancer bringing their stories and experiences into the artistic creation and on stage, but also by merging their diverse cultural backgrounds and identities. The dance group is thus an artistic melting-pot where boundaries between cultures are open, highlighting the differences and the connections that unite them.
Moreover, some movements and most of the songs from the show are inspired from African and African-American culture, adding an extra layer to the cultural richness of the group and to their show. Paradox-Sal showcases the power of cultural identity and hybridization but also the respect of others through each dancers' singular dances and common.

The importance of cultural mix

Ousmane Sy wanted this troupe to be unique and feminine so he chose to gather women from different origins like France, Ivory Coast, Australia, Cameroon, or England, creating a show that perfectly illustrates the richness of cultural mix nowadays, on one shot on stage !
By mixing elements from different cultures such as Hip-Hop, traditional African and oriental dances, Flamenco or modern jazz, One shot reflects the witness of our contemporary world : a mix of all cultures and their history. By integrating diverse cultural elements One Shot transcends barriers of time, origins, and past traumas, like slavery oppression or colonization, bringing individuals together around a shared experience, popular art and the common language of house dance.

In conclusion Paradox-Sal and the show One Shot may help women worldwide to rise and express themselves through dance, or any other means, reminding them they are queens, as lyrics repeat in the show. They spread feminism like any other feminist icons that we already know by being themselves and sharing with us their story on stage

Dance and messages : an omnipresent link By Camille Menguy

On 22 March 2024, thanks to a project run by their English teacher, Talma High School's class of 1ere I was able to attend a dance performance entitled One Shot, performed by the Paradox-Sal troupe. This was designed to help students to make a link between feminism and the impact of colonization on cultural identities and pop culture that they started studying in class, and during several performances at Théâtre-Sénart.

The troupe's story
Paradox-Sal, is a troupe of dancers created about ten years ago by the choreographer Ousmane Sy, also known as Baba. The company is entirely made up of women, not as part of a feminist movement, but out of a desire to have only female choreographers. The 16 women in the troupe bring different identities and cultural backgrounds on stage, thanks to their diverse origins, dance styles and personalities.
In the show that the students attended, One Shot, 10 women performed on stage, some belonged to the troupe and some were guests. Alternating between duets, group dances, quartets and sometimes solos, the show offered a great variety of dynamics and styles allowing each of them to express themselves as they wished.
From hip-hop to tap dance with African traditional dance or flamenco, the students witness a global diversification and hybridization of cultures around House dance and afro beats, mostly present in One Shot. Originated from underground nightclubs in the Chicago and New York in the 1980s, House dance brings together different steps from different sources of inspiration like tap, African or Latin dances, disco, funk… and everyday life scenes.

The interview :
The students had the opportunity to interview one of the company's dancers, Anaïs Mpanda. Motivated by the people around her, she started dancing at a very young age, which enabled her to meet the choreographer and creator of Paradox-Sal, known as Baba, who acted as a big brother, a mentor, to her.
She didn't specialize in one particular dance, she rather chose to be versatile and to vary from one period of her life to another. When she decided to make it her profession, she kept it as a passion, despite the pressure of having to earn money for her living through dance.
During the interview, the question of feminism was raised. According to Anais, women have always been present in the world of hip hop, even though women were more dancers than women and rather invisible as such. Indeed, despite some sexist reflections or episodes that may have taken place, Anaïs does not talk about gender discrimination in hip-hop and house since gender isn't an issue in their world.
With the women in the troupe, they decided not to get involved in political causes or feminism, even if the lyrics and artists of the songs chosen for the show are. It may be a less direct way to deliver messages of empowerment and emancipation from any discriminations.

Opinions and goals for the future
Thereafter, their ambition is to continue to perform. Anais shared her aim is to progress and reach a higher level in dance and then to be able to choreograph her own show while continuing to tour with the troupe.
As part of this tour, the troupe Paradox-Sal performed in front of a large number of people, whose opinions on this performance varied.
Many of them appreciated the dance styles and the mix of cultures they brought with them, even if many didn't see any message behind the steps and the performance. For the class of 1ere I, there were hidden references to femininity, racism, slavery, colonization, emancipation from any constraints, fight for equality and empowerment, thanks to the music, lyrics, steps, movements, postures, and the looks they gave to the DJ, who was a man.
A show as we love them that lets people free to interpret it as they feel.

One Shot shows a real link between dance and real-life highlighting women and their stories, like Anaïs Mpanda's.

Beyond the Stage, Voices for Diversity and Equality in Dance. by Chloé Lamy.

Anaïs Mpanda embodies this new generation of dancers, for whom art becomes a cry for diversity and equality. With her troupe, she pushes the boundaries of hip-pop dance, making every move a statement for social change.

Professional Dancer and Voice of Diversity

Anaïs Mpanda embodies the fusion of passion and talent in the world of dance. From an early age, lulled by music and dance through the influence of her parents and close friends, she grew up cultivating her love for the art of dance movement. Guided by her mentor Ousmane Sy, she has explored different dance styles, with a preference for house and hip-hop.
While dance remains above all a passion for her, some dancers in the troupe prefer using it as a means of expression and liberation to feel freer on stage than in their everyday lives.
Through our questions Anaïs wondered about many subjects linked to what we studied in class, such as the impact of colonization on cultural identity and art, or the representation and the place of women hip-pop and the invisibility they are often under and protected by.
She acknowledged that feminism has long been present in hip-hop but has remained in the background. Indeed, she mentioned some gender discriminations or sexism in hip-pop but not as much as we could think. Furthermore, even if she underlined the fact that maternity stopped her career for a while, she asserted that being a dancer and a mother at the same time was totally possible in Hip hop and that she was eager to come back on stage soon.
Anaïs also mentioned how colonization and slavery has impacted music and dance in every part of the world, and thus nearly all the members of the troupe. As it has impacted the whole world, it has impacted cultural identities worldwide in a way or another.
As a matter of fact, the troupe is made up with dancers from diverse cultural backgrounds, some chose to incorporate elements from the traditional dances of their home countries into their performances. For instance, Nade, who is Cameroonian, an old French and German colony, mixes traditional African dance steps into western ones on stage.

The choreographies, whether created by the choreographer or by the dancers themselves, bear the traces of a genuine team effort in which everyone has melt their creativity, cultural identities and energy.
The messages thus conveyed through music and dance make these 2 universal means of communication transcend linguistic and cultural barriers.

Identity through Dance : A cultural and Gender Revolution in Progress

More than just an artistic performance, the troupe's dancers convey strong messages on subjects such as feminism or emancipation from any constraints through the musics and songs that were carefully chosen to accompany the choreography. Music thus becomes the ideal vehicle to convey emotions and ideas about these themes, as for example on Nina Simone's songs, known as a feminist icon and civil rights activist artist.
The diversity of the troupe's dancers' origins enriches the performance, offers a unique perspective of the impact of colonization and globalization on who we are, our habits, what we listen to, what we dance on and how, and more generally how we live today.
Nade, for example, bears witness of the impact of colonization on her cultural identity through her movements marked by resilience and rebellion at the same time.
Moreover, even if feminism is not the purpose of this show, as Anaïs Mpanda explained, each dancer in the troupe brings their own message to their performance, either in their solos, duos or collective passages, offering us a moment of collective an individual reflection on social and cultural issues.
Dance has thus become a tool of expression, emancipation, resistance and cultural revolution, allowing women to make themselves heard and understood where words tend to struggle to find their proper place.

In conclusion, the troupe's dance transcends borders and genders to become a real demonstration of unity in diversity, equality and freedom.
Through their energetic performance, the dancers breathe a wind of change into the world of hip-hop dance, paving the way for a new era of creativity and inclusion.

One shot, when house and feminism mix. By Cléonice Pachayan

The 22th of 2024, the class of 1ière I from Talma's high school in Brunoy had the opportunity to attend a dance show at the Théâtre-Sénart in Lieusaint. The show called One Shot was made by the choreographer « Ousman Sy ».
The students had the opportunity to interview one of the dancers named « Anaïs Mpanda » to look at the possible link between House music and dance and feminism.

Anaïs Mpanda, who is she ?
Anaïs Mpanda is a French professional dancer and as they're called in France « intermittent du spectacle ». She is specialized in HipHop and House, she was open to by the underground transmission she received from her sister, her mentor Ousmane Sy and by dancing with other people, observing them and taking dances lessons. For her, dancing is a way to express herself freely and to be herself without any restriction.
The goal of Anaïs Mpanda is now to be able to manage her mother life with her new born child and her career, because for woman, having a baby and a job at the same time, as both a mother and an independent woman, is more complicated than for a man, but totally possible in Hip hop as she wanted to highlight.

Ousman Sy's project.
Ousman Sy, the choreographer of One Shot, contacted each of the 8 dancers of the crew. He really wanted an only female troupe because they represented for him a source of inspiration since he grew up with many women in his entourage who inspired him a lot. This troupe allows to wonder about femineity and the woman's place in HipHop although this show does not transmit any general feminist message, according to Anais Mpanda.

To be a woman in the world of dance.
The crew doesn't want to be politically engaged or to be the icons of feminism. For Anaïs Mpanda, « to be feminist is to be for women's rights and for equality in general » a value that has always been in Hip Hop, where women are before anything else dancers, singers or performers.
She also added that there is a kind of invisibility of women in HipHop because of the dance and loose clothing styles.
Of course, although HipHop is an open environment, being a woman is not always easy and there will always be idiots to gender discriminations. That is why it's important to choose your entourage well. Hop
However, some elements of the show can refer to feminist ideas with powerful gestures like when they all raise their arms to show their strength, or with the songs and singers they have chosen like Nina Simone for instance, an icon and an activist whose lyrics deal with the place of African American women in society or with racism and segregation. It wasn't chosen at random since the group is composed of women from all over the world.
In fact, each dancer transmitt their own message and their femineity through their own identity and background.

The impact of colonization in hip-hop
Since each dancer comes from different places, mainly older French or English colonies they have different cultural background that they share in their dance : Indeed, from flamenco to krump, African steps or western contemporary dance, we can see how colonization had an impact on cultural identity around the world and thus on this group, being the result of a cultural mix, an hybrid group.
We know that house music and dance were born in New York clubs, where the hip-hop dancers used to go out to and where they observed everybody, from drunk and drugged people to the ones with a different cultural style combining, miming and creating new moves and styles. This mix formed a dance dictionary, a common language for everyone which permits to bring people together today “under the roof of the same house”.
We can see that the stage was organized like New York clubs, with a DJ, lights and various powerful dances. The choice of music and songs also hints at colonization and its aftermaths like racism, slavery or racist discriminations with traditional music of Nina Simone who stood up for African American's and women's rights.

The show « One Shot » by Ousman Sy is a powerful dance show using the universal common language of « House » music and dance, mixing with the singular cultural identities of each dancers bringing everybody together as if they were one.

The incredible dance show « One shot » Ousman Sy and the dancers of Paradox - Sal by Dieuveille

On March 22, at the Sénart Theater, at 8:10 pm, the dance group Paradox-Sal, created by Ousman Sy in 2012 and composed of women only, performed the show entitled "One-Shot" on stage.
This show dynamically mixed house dance, to Krump, Popping, Flamenco, traditional African dances and western contemporary dance.

A feminist Show

One-Shot shows the power of women with powerful dance moves, defying clichés of weak women.
Indeed, there are mainly musics produced by talented and powerful women like Dj Zihle, Emilie Sandé, Sudan Archives, Nina Simone, and Ane Brin.
Their songs deal with the different experiences of a woman's life, like Thabzen Bibo, which is about self-confidence and self-acceptance with the repeated words « If you know you're a diva ».
The song Escape is also about self-confidence as the lyrics « Do you know that you're beautiful ?” highlight ; « Plain gold Ring » deals with an impossible love ; and « Blackbird » with the feeling of loneliness and hopelessness that come with life's struggles like racism or any kind of discrimination.

The place of women in the world of dance

“In the world of dance, women are not seen by their gender, they're almost invisible as such in Hip Hop, even if I think that we all had small sexist incidents », a dancer member of the Paradox-Sal dance group said.

The Attachment to the culture, stronger than oppression

The women of Paradox-Sal are very attached to their origins. Like Nadé for example who learnt ancestral African dances to the famous school of Sand in Senegal.
There are various nationalities in this group, as for instance Cameroonian, Senegalese, West Indian, Australian women whose countries of origins have mainly a sad past. Indeed, Cameroon was colonized in 1885 and decolonized in 1961. It was first a German colony, then a franco-British colony, and finally only a British colony.
The colonization of the Senegal started in 1893 and ended in 1946. At the beginning it was a British colony and then it became a French one.
The colonization of the West Indies by the French started with a slave regime in 1625 and ended in 1946, when they became the French overseas departments
The choice of Afro beat and African American singers in this show allows to highlight and honor fight against the horrors and the injustices of slavery, segregation and colonization, but also of their impact worldwide till now. By choosing rather a positive one through the hybridization of cultures, the women show either their pride for their origins and their cultures, but also their unity and their strength through their common creativity despite their differences.

One-Shot, which shines thanks to its diversity of cultures and feminist aspects, shall allow people to change their mentalities.

Interview de Salim Djaferi au Théâtre de Sénart par les 1ere I

Bruno LAURENT — 2024-05-10T20:05:06Z

Le mois de décembre a été riche pour les élèves de 1ere I : Après leur expérience auprès des danseurs d'Afrique du Sud de la troupe Via Kattlehog, les voilà aux cotés de Salim Djaféri pour l'interviewer juste avant qu'il ne monte sur scène pour son spectacle Koulounisation.
Un grand merci au théâtre Sénart de permettre aux élèves de vivre de telles expériences

Voici les articles en anglais qui en sont ressortis, bonne lecture à vous !

Koulounisation By Manon Guyomard

On December 7th, at Théatre-Sénart, the actor, author and performer Salim Djaferi gave a show entitled “Koulounisation”
in which he brought up the subject of colonization and the words that characterize it, testifying on the history of Algeria and his family's story.

Let's first talk about history and the colonization of Algeria

Algeria was a French colony since 1830 and was divided into 3 departments. During the colonization the French changed many things in Algeria such as the names of Algerian towns, villages and streets to give them more French names, but also the manes of Algerians themselves.
In 1954 the FNL, the National Liberation Front that was an Algerian independence movement, organized numerous attacks against the French such as the “red All-Saints' day” which took place on November 1rst, 1954. In response France sent troops to maintain order and stop the attacks leading to what was considered as the Algerian war for The French and as the Algerian Revolution for Algerians.
The French army committed many crimes during this war such as torture, killings and rapes. Around 400,000 Algerian civilians and combatants lost their lives during this war or Revolution. On July 5th,1952 after 130 years of occupation, the independence of Algeria was proclaimed.

The several hidden messages of Salim's show

In his show Salim hangs a white thread and polystyrene for decoration. The choice of the white color may represent white settlers especially since they're used to create limits or boundaries on stage.
At the beginning of the show Salim gives the different words that are used in Algeria apart from “Koulounisation” to designate colonization, highlighting their various meanings.
Indeed, they mean either “build” ; “fill” ; “put in order” or “destroy”.
This shows us the different visions on colonization and its impact. For some, it destroys cultures, national and individual identity ; others see a void that colonizers fry to fill in putting things in place and order ; some can see it as building a foreign country in a different way and finally imposing a language and culture on the country that is colonized. The impact of colonization may thus differ from one to another.
For example, Salim says that in Algeria what the French call the “Algerian war” is called by some Algerians “Algerian Revolution”, underlining two different points of view on the same event, that in the end should be considered as a revolution, not a war.
Several times during the show Salim presents a sponge and a bottle of wine in different positions : first the sponge and the bottle are side by side ; the second time the sponge is behind the bottle ; and then the sponge disappears and only the bottle can be seen by the audience due to the perspective Salim gave of the objects.

The wine bottle might symbolize the colonizers and the sponge might be a metaphor for Algerians who lost their lives and became invisible during this war. This thus could symbolize the growing dominance of the settlers and the positions of inferiority that they attributed to the Algerians during colonization.
This could also refer to the different points of view we can have on a subject, depending on the perspective we have, and the fact that we're often sure to be right whereas, if we look closely, we can see the perspective we have is misleading.
At one point of the show Salim pours the bottle of red wine into the sponge, then hits his head on it, making his face covered in red. This could be a way of denouncing the massacre of Algerians by the French during the Algerian Revolution, and a tribute to Algerians who died and who were deported from their own cultural identity.

At one moment of the show, a white woman from the audience is asked to come on stage. First, she's really discreet but then she starts talking a lot, ending up by leaving no room to Salim, as if she was colonizing the room, and taking his spot, function, place and identity.

Indeed, when she starts moving the scenery, she reminds us of the settlers who changed everything when they arrived in Algeria, as they thought things should be. She even forces him to clean his red face when he doesn't want to, certainly referring to the desire of the settlers to hide the massacres and all the crimes they committed in Algeria, and reminding us the fact that they imposed many things on the Algerians.
This is highlighted when the woman reads us an interview of a former French general : his words are cruel, saying that he does not regret all the crimes he has committed, reminding the atrocity of the crimes that the French army and Government committed during colonization and the Algerian Revolution.
We recommend you to go and see this show. It is a very interesting and very moving show which makes us discover the painful history of Algeria, but also its strength to redefine and reassert itself.

KOULOUNISATION By Anne Elloh, Cassandra Deffand, Aarown Chauvet, and Emeline Chapart.

On Sunday december 17 2023, Salim Djaferi, actor, author, performer and director, presented his show entitled KOULOUNISATION at the Senart Theater.

A show built around his investigation on the Arabic way to translate the French word « colonisation » , thus sharing his discoveries to the world.
The lycée Talma's 1ere I class and their English teacher interviewed Salim to find out more about the impact of colonization on his cultural identity and on Algerian culture, but also about the meaning of his show, which was realased in october 2021.

A journey through the history of Franco-Algerians

salim's cultural identity : « i'm both »
As a child, Sali Djaferi grew up in an enormous cultural mix thanks to his Algerian origins, his French nationality and a little bit of Creole background from his neighborhood, facing thus the question of cultural identity since his childhood. He didn't really travel in Algeria when his was a child but, when he travelled there older, he felt a little bit like a foreigner even with the love and goodwill of his family, and in France where he was born some still qualified him as a foreigner due to his origins.

Working on his show he had to travel a lot to Algeria. Getting closer to his origin he never felt more French or more Algerian, but rather described himself as an Algerian born in France.
It is therefore by performing his show that he wishes to share the cultural mix and the in-between richness in which he grew up.

MANY HIDDEN MESSAGES IN THE SHOW
With his show KOULOUNISATION Salim highlights and denounces the colonization of the French in Algeria and its impact.
On a wire he exposes all the evidences of the atrocity that the Algerians have overcome. He also puts a red liquid on a sponge to represent all the blood that was shed during the war in Algeria and at one point, Salim subsequently hits his head on the sponge. This brutal act shows the violence that the Algerians suffered at this time, their dehumanization, their loss of identity and their fight to get it back.
Then he asks some questions to a woman in the audience but, as soon as she arrives on stage, she starts to settle on Salim's territory and even ended up locking him in a box.
This white French woman, who was in fact an actress of the show, epitomizes the oppression that Algerians faced and suffered during colonization by the way she acts with him on stage.
All these messages and metaphors in the show also invited us to realize the different ways we tend to treat others depending on the language they speak and their accent, revealing that in France there is a certain hierarchy in languages that was also imposed on colonized countries. Indeed, the Arabic language even became a foreign language and French the national language in Algeria.

WHO IS SALIM DJAFERI ?
Salim Djaferi, 37, is an Algerian actor, writer and director. He was born in France and grew up in the suburbs of Paris. In high school he thought about theater as a hobby because he supposed it was a job just for really rich people. Then he tried his luck at a drama school in Belgium, graduating in 2010. As he couldn't work full time and earn a living from his passion first, he had to do several jobs on the side, such as waiter in cafés, bars and restaurants. He gave up his additional jobs in 2015 and became a full-time actor.

Since he was a child, Salim Djaferi always wondered about his cultural identity, leading him one day to ask questions on how to say ‘colonization' in Arabic.
Surprisingly he got different contradictory answers, from words that mean “building” to ones meaning “destroying”. That's why he decided to make a show out of it and after having performed this show around the world he would like to do it in Algeria now but will he succeed ? We wish him to !

News Show : Koulounisation By Boullye-Barral Alexandre

The class of 1ere I of Talma High School went to see Salim Djaferi's show, entitled Koulounisation, at Théâtre- Sénart in Carré Sénart on December 17, 2023, with the aim of deepening their knowledge about the impact of colonization on cultural identity.

Colonization is a highly debated topic that Salim Djaferi chose to share a new perspective of, in his show Koulounisation.

A quest for knowledge

There is no spelling mistake here regarding the name of the show, but a true message. Indeed, "Koulounisation" is the phonetic way Algerians pronounce the French word “colonisation”, which was the triggering element of Salim Djaferi's quest for knowledge.

Why this French word only to deal with colonization ?
The story begins with Salim's reflection on the Arabic translation of the word colonization. He therefore asked his mother, who answered "Koulounisation."
Doubting about this translation, he went to do some researches in a library and discovered that the French colonization was linked to the Algerian war which was in fact not seen as a war in Algeria but as a revolution. This revelation on the different perspectives colonizers may spread and colonized people may have is highlighted by the translations Salim found during his researches and with the help of his surroundings and specialists. Indeed, the Arabic translations could either be “put in place and in order”, “build”, or “destroy”.

Algerian identity

At the beginning of the show, Salim is pulling a string at the back of the stage where he attaches the identity cards of some members of his family while explaining the history of Algeria.

He uses his own ID card, his mother's and his grandfather's to illustrate the impact of colonization on Algerians, their country and on his own life even though he was born in France after the independence of his parents' country. He thus highlights how the names of Algerians were changed and mentioned all the changes the population and the country underwent to better fit French standards.

Evolution or destruction

Through this performance and his experiences, Salim Djaferi tries to depict a country marked by its past under French colonization, emphasizing on the fact that everything is a matter of perspective.

At several points in his performance on stage, he shows the audience a sponge and a bottle side by side, but upon closer inspection and from different angles, they never really occupy the same position, drawing parallels with the Algerian War, which for some is or a war while for others it is a war of independence led by people dreaming of freedom.

The table that Salim builds at the beginning of the performance but that he later destroys while covering his face with red ink, demonstrates how self expression was broken by the brutality and violence colonization, and is still biased by this past. The red ink that he refuses to erase represents the violence suffered by Algerians and their refusal to forget and bury this part of their history but that the white woman obliges him to take off, symbolizing the denial of French people about what they did to Algerian people, their cultural identity and their country.

In conclusion, this show is a historical lesson hidden behind a somewhat surprising title, reflecting Salim's thoughts and point of views on colonization and its impacts, from past to present and giving the viewer a new perspective of the future.

Education Unleashed : Free Theatre for High Schoolers and the Diverse Tapestry of « Koulounisation »By Chloé Lamy

On december 17, 2023, a class of 1ere from Talma high-school had the opportunity to explore the world of live performance, enthusiastically visiting Senart Theather to discover the captivating performance of Salim Djaferi in Koulounisation.

Innovative Educational Initiative : Free Theatre Enriches School Experience
High-school students recently benefited from an innovative initiative enabling them to attend free theatrical performances, financed by their school and the education department of the region.
Most students recognize its refreshing character, offering a different and enriching approach to learning. Opinions may differ on whether these events should take place outside school time or not, but the fact that they are free is universally hailed as a good idea. For many, this theatrical exploration represents a welcome change that encourages experiential learning and strengthens cohesion between students.
The interviews the students gave to artists emphasize the rewarding nature of this initiative, considered by the majority to be an excellent idea that leaves its mark on students' minds and encourages a diversity of pedagogical approaches.

A varied show from light humor to deep reflection
Koulounisation elicits various opinions from spectators, revealing a range of emotions and perceptions. Some emphasize the touch of humor making the show light, entertaining and deep at the same time. Others describe it as uncomfortable, provoking disturbing reflections on history and ourselves.
The instructive aspect of the show also emerges in the comments of the audience, highlighting the amount of knowledge given by the actor.
The repetitive aspect of the show stresses its pedagogical aspect without hiding intense moments that are at once moving, sad or even distressing, but rather highlighting its pertinent, thought-provoking discourse and underlining the idea that "history repeats itself", perhaps indicating a universal depth in the treatment of the subject.
Viewers described the fact-based show as nourishing and its originality also stood out evoking an offbeat, historical, strange and surprising atmosphere, raising cultural social and political issues.

In short, reviews Koulounisation reflect the diversity of human reactions to a show rich in emotion, knowledge and interpretation. Everyone seems to find a personal experience in it, either joyful, disturbing, instructive or intriguing.
In addition, the innovative initiative of offering high-school students free theatrical performances outside school time is proving to be both a controversial and stimulating educational experience.

THE SALIM SHOW By Maïssa Griboux, Clémence Boulay, Esther Barbato, Léa Aubry.

Salim's show, performed on December 17th at Senart Theatre, gave us an explanation of the French colonization in Algeria, through a linguistic approach on the different words and meanings used in Arabic to translate the word colonization.

Image caption : Salim during his show Koulounisation.

SALIM'S JOURNEY
The interview

While he was in high-school Salim Djaferi studied drama, which pushed him to try a school in Strasbourg after his final exams. Although he didn't like the competitive mindset there, he didn't give up his passion and went to a post-graduate drama school in Belgium. During his studies and even after his master degree in drama at the ESACT of liege, he had to work as a waiter in Brussels to make a living until 2015.

Image caption : Salim took a photo before a show.

Salim's origins on stage

Salim Djaferi is a 37-year-old French Man of Algerian origins as his grandparents came to France a while before he was born in Seine-Saint-Denis, France.
Due to his origins people often think Salim speaks and understands Arabic but, in the interview, Salim explained to us that it was not the case. He reported that he understands Arabic because he has heard it often but has never learnt it and only spoke French at home, at school and with his friends. Moreover, during his childhood he only went to Algeria a few times with his parents because they didn't have enough money to go often to Algeria to see their family.
That's why he considers himself as a French with Algerian origins, enriched by his cultural in-between identity.

The ambitions of the actor
Salim Djaferi is a comedian who wants to succeed, he learnt is show by heart and played it in several countries, like Romania, Italy, Montreal, South Africa and especially in many cities in France.
The show was created in Belgium where he stayed after his studies. In the future, Salim would like to play in Algeria to close the cultural loop and ensure a legitimacy for him in the country of his family.

Image caption : Salim Djaféri facing his spectators during his show

Viewer's opinions
We interviewed students from the Talma high-school class of première I to get their opinions on the show. There were different feelings about the show.
Many students found this show interesting and surprising, especially when Salim hits his head on a sponge filled with a red liquid that symbolizes blood, which made some students feel confused and emotional.
Despite the repetitive aspect of the show the spectators all agreed in saying that they got a deep message and a real awareness on the difficult life Algerians faced during the French colonization. Salim explained on stage that there are 3 different ways to translate the word colonization in Arabic language with 3 different meanings : building, putting in order, or destroying ; giving thus different visions about colonization, the ones of the colonized, the ones of the colonizers.
Then the students were moved, surprised and marked when Salim Djafery explained, the modification of Algerian social codes by France, as for example when he showed how the members of his family had to change their surname on their French papers because they were too difficult to pronounce for the French, or when these ones changed the names of the streets, cities and places to be more convenient for them. The students thus learnt about the ‘Frenchification' of Arabic language, words and culture, getting the importance to talk about it.
In addition, some students found that the accomplice of Salim in the audience caused discomfort, which was the purpose of the actors, to make the audience feel how colonizing others is not normal. Indeed, the woman interpreted Salim's words, made him do things for his own good according to her, taking more and more space on stage, as if she was colonizing his territory, imposing her vision and her presence until he ended up in a coffin that she made for him.
Finally, the repetitive structure of the show was well crafted with both explicit and ambiguous moving metaphors.

Koulounisation : a play produced By Jamil Dekkar, Lucas D-Amico and Clement Berrier.

Talma High School's 1ère I class attended a dance performance of a South African company on December 5th and returned on December 17th for another play written and played by Salim Djaferi who specifically explored the colonization of Algeria, focusing on the complexities of the term "colonization."
The narrative of this show originated from a fundamental question : how to translate "colonization" into Arabic ? The author explored this inquiry through interactions with various sources, including family members of Algerian origin, friends, specialists and relevant literature. However, the investigation revealed not only the absence of a precise translation but also the divergence in meanings across different cultures, eras and time.

The definition
Today, colonization is defined as the process whereby a nation extends control over foreign territory by establishing settlements, involving some political, economic, and cultural dominance. Despite what North African countries endured, Salim argues that there is no precise Arabic translation of the word “colonization”, leading to varied associated terms with different meanings.

The translation
In his performance, Salim presents five translations of "colonization."
The first, "koulounisation," reflects the French influence on Arabic language and pronunciation. Another term, "isti'mar," stems from "ammar," meaning "build," evolving into a translation for colonization. Additionally, "isdammar" is derived from "dammar," offering two more translations.
As the show progresses, a comparison emerges between the definitions provided by the colonizing country as a way to build or improve and those given by the colonized nation as a way to destroy or erase.

The Vision
While researching about the Algerian war in Algeria, Salim faced difficulty finding relevant works as Algerians refer to this war as the Algerian National Revolution, highlighting the disparity in perceptions between France and Algeria. Consequently, the show is not solely about colonization but rather centers on the nuanced understanding of the term "colonization" and its impacts, offering the audience a narrative on the past and on the cultural identity of Algeria thanks to linguistic nuances.

The play goes beyond colonization, underscoring the divergence of perspectives between France and Algeria, about the "Algerian National Revolution." highlighting the complexity and divergent perspectives of the events through words, pronunciation, etymology and semantic.

The Small News by, Théo VILLEDIEU, Bastien KLOUBERT, Sara PEREIRA MARQUES

On sunday 17th december 2023, the 1ère I class from François Joseph Talma high-school went to Théâtre Sénart for a school trip to watch a one-man-show entitled Koulounisation with their English teacher, as part of their curriculum on colonization and its impact.

Koulounisation is a show that highlights the impact of colonization on cultural identity, first through its title based on a pun on word between the French word colonisation and its Arabic pronunciation, and then through the different words used to translate colonization in Arabic and their various and even contradictory meanings.

Hidden messages in Koulounisation

At the beginning of the show, even before we could enter the room, Salim was already untangling a string so that later he can get it from one side of the scene to the other, giving us the sensation of a frontier being built, a secluded territory, that may let the audience have a feeling of imprisonment.

This thread on which his family's identity papers were hung, may refer to Algeria's timeline, scarred by French colonization, Algerian war or revolution, but also refers to those who were hung on the thread of life at that time, to the various real and symbolic massacres Algerians suffered from, but that were washed away since then by the French.
The sponges soaked in red water also hung on that thread, letting stains in an evident way, emphasize this idea and helps us to understand more easily that only 2 generations before his have endured all this.
Last but not least, the moment Salim was hitting repeatedly his head on the table may represent the pain Algerian people had to endure during colonization and the war.

Koulounisation, a good or a bad translation ?

The woman from the audience that Salim invited on stage, was in reality an actress that was part of the show and who took more and more space on stage, as a metaphor referring to the interactions between France and Algeria.
Indeed, at the beginning she was only a spectator of the show, who was just doing what Salim was asking her to do. However, little by little she made her own decisions, until she entirely took control of the situation.
This may represent France coming to Algeria in a "friendly" way, but gradually taking control of the entire territory and its population.

When Salim talks about "Koulounisation", he metaphorically uses a lot of white in the stage setting, because he may have wanted us to think about this predominance and its impact on people's reality.

You may be wondering what kind of spelling Koulounisation is, but there's actually no misspell concerning the show's name, but a real message.

Koulounisation is the spelling of the phonetic Arabic pronunciation of the word colonization which is the entire show's common thread.
Indeed, the spectacle starts with Salim Djaferi's reflection on the translation of the word colonization in Arabic. He asked his mother who answered him that for her it was "koulounisation".
Unconvinced, Salim went to a library and even went to Algeria in order to search information about this word, and consequently found information about the Algerian war, or rather about the Algerian revolution.
This changed his perception of this event and opened him up to different perspectives of the word colonization too. Thanks to his relatives and specialists, Salim found 4 ways to translate colonization in Arabic : Build, Organize and fill up, Own without any permission, and at last Destroy.

After all, behind what may seem an insignificant title was hidden a real message from Salim, about the past but also the present, thanks to his narrative thread and his way of being and acting on stage.

La classe de 1ere I : Journalistes du lycée au Théâtre de Sénart

Bruno LAURENT — 2024-04-04T20:29:00Z

Dans le cadre des thématiques du programme des cours d'anglais (Identité et échanges, Diversité et inclusion, territoire et mémoire, Art et pouvoir), les élèves de 1ere I ont pu axer leur réflexion en langue étrangère sur la colonisation sous toutes ses formes et ses conséquences, notamment sur le langage, la communication, l'identité culturelle et l'art.

Le partenariat avec le Théâtre de Sénart a permis aux élèves de 1ere I d'assister à 4 représentations et d'en interviewer les artistes anglophones et francophones.
Nos jeunes journalistes en herbe ont ainsi pu exploiter leurs connaissances pour comprendre la teneur des spectacles et relier ces derniers à leurs cours de langues et d'histoire. Voici les articles en anglais qui en sont ressortis, bonne lecture à vous !

Spectastic ! By Bastien Kloubert

Via Kathlehong, the South African dance group, came to France for their dance show entitled Via Injabulo . The representation took place in Théâtre Sénart, the 5th december 2023. A show that was full of innuendos, showing their dance isn't only dance.
The show was a mix of dance and movements with specific scenery and music. What did the troupp wanted to tell us ? What do all these elements mean for them ? For us ? How are they trying to communicate with the spectators ?

Via in Jabulo, What if dance wasn't only dance ?

A music intensifying all along the show.
When you watch the spectacle, you focus on the dancers and their movements in silence, even if we can ear a little music from the begenning in the background.
As the show keep going, the music gets louder and louder, as if it was representing oppression. This theory is confirmed by the moment the music was the loudest, as the dancers start running as if they were chased.

A light game as well ?!
At the beginning, there is almost no light, just a little bit so we can see the dancers. When the youngest girl of the troupe finished the intro, the light turns off, and 3 seconds later it gets on with the music. The lights were changing colors, as if they were representing the different people's skin color, all pointing at the same elements, all linked by the dance. This is a symbol of bond, which stresses without considering the movements how deep this show is.

The scenery as an ingredient to deliver a message.
The dancers were stepping on a black carpet from the beginning of the show. But a bit before the show ended, the youngest girls divided the black carpet into two pieces, eating the sticky tape that was on the black carpet.
Once it was done, the troup started to pull off the white carpet, and a black one appeared underneath in the center, surrounded by the white one.
They were looking happy, smiling and facing the spectators, as they were jumping from the white carpet to the black one, and vice-versa, symbolizing mixity and above all their unity with their own skin color, their own country, putting the black color in the center, and the white aside.
Every element of the show matches the others, the spectacle was entirely based on the harmony in the chaos, every single detail has its importance, it is incredible !

What about the movements ?
Via Kathlehong is a dance group, after all. In their show Via Injabulo, they mix several dance genres, such as hip-hop, gumboot, pantsula, and other traditional South African dances.
Through their dances they manage to share their culture. For instance the gumboot is a South African dance created under Apartheid by black people to communicate without being understood by the colonizers. This stresses how dance is a means of communication like when the boys run for their lives as if someone was chasing them (meaning they have no place to go, they have to flee their territory), then a bit later the women did arm movements like a flower hatching with a hopeless look (as if they wanted to reborn, get another try, but they can't), or when one of them shouts and everyone sits down to the ground, in a begging position (the shout may represent the oppressor and their position may symbolize they are inferior).

I can only give you one advice : if you manage to get to see this show, don't open your eyes and your ears only ; open also your heart, it will help you to understand the innuendos of the show.

One last thing : This show was really Spectastic as we love to say here !

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HIGH SCHOOL STUDENTS AT SENART THEATER A touchig story of dance, people and humanity. By Camille Menguy

Thanks to a project run by an English teacher from Talma highschool in Essonne, the students of the class 1ere I were able to attend the show Via Injabulo, at Theatre Senart, aimed at learning more about the history of South Africa.

The interview of the dancers they had the opportunity to held provided more understanding about the link between dance, artists, their development and their cultural Identity.

Dance, for what ?
Although the Via Katlehong company was formed in 1992, the group taking part in this show, was auditioned in the 2000s.
The dancers interviewed are aged between 29 and 40 and have a story with dance that began rather early in their lives. Some started thanks to their parents when they were just born, like one of the dancers who told us that he started hearing music in his mother's womb. Two others started at the age of 6 and one started with his mother in the township where he lived, a district reserved for black people during the apartheid.

A special message.

In Via Injabulo, the first part was inspired by African history during colonization and the sense of freedom they felt at the end of this period. The dances performed are thus taken from South African cultural legacy, with "Pantsula", "Gumboot" and "Tap dancing" to teach and share memories but also to express emotions.

In this show, the main message was to exchange about oppression and the interdiction to speak, reminding people of where they come from and above all to show new generations that it is possible to have dreams and assert themselves.

During the interview, the dancers didn't speak about dance as a sport but mainly as a means of self-expression, as one of the dancers underlined, dance enabled her to express herself, despite her introverted personality and to fulfill her dreams.

The creators of this show want to highlight a cross-fertilization of cultures above any boundaries or skin colors and the power of expression.

Looking to the future.
The company didn't just perform in France, but also in Amsterdam during a tour in 2022 and in others countries. Howerver it is still difficult for them to perform in their own country, South Africa, where they do not get the same support.

Their aim is still to open up to the world and share their story, and their cultural legacy. They want to share love and peace, and show that it is possible to achieve something beyond obstacles through their show and dance.

The message they want to highlight is remarkable in the second part of the show, when the dancers are liberated from the oppression of white people they had to face in the past.

Via Injabulo is not just a dance show, it creates a real link between people and history through dance. It positively delivers many messages that are passed onto the new generations, while reflecting to human kind and reminding us of our own history.

TALMAG Via Injabulo : A link between artists and dance By Cleonice Pachayan.

The 5th december of 2023, the students of 1ere I from Talmas high school in Brunoy went to the theatre of Sénart in Lieusaint to see Via Katlehong's dance show entitled « Via Injabulo ». They had the chance to interview some of the dancers including Abel, Kjadi, Tshipo and Lengile.
The Via Katlehong Dance Company from South Africa immersed us in its universe through dance, music and play of lights. At the end of the show « Via Injabulo », the artists explained the 1ere I from Talma Highschool their link with their art : dance.

Dance, a gift from God :
During the interview, artists agreed on one point : they grew up dancing. This discipline was part of their daily lives from the very start, without really choosing it. One of them even said : « I was already dancing in my mother's belly ! » which shows how much they are bond to it. « Dance is as precious as a gift from God ».

Europe, their main scene :
Dancers talked about countries where they performed « Via Injabulo ». They explained it was most of the time in Europe, where they are wellcome as much as their culture European people want to learn about. But it's not the same to perform in South Africa because of various complications like the lack of infrastructures, the lack of money or a quite restricted audience for traditional shows and culture.
A lot of students saw many references to Apartheid in the show.
For example at one point, the scotch tape that divided the scene into two parts, was a kind of metaphor for Apartheid that divided people. The woman who escapes from a shirt could refer how they wanted to escape from Apatheid. Ending up dancing and talking, a beer in their hands with a big smile, could show they're happy because of the end of Apartheid, but also the problems that remains in townships like alcohol for instance. This is probably why the public is restricted in South Africa since Apartheid is still a sensitive subject.

Dance, a different message to everyone :
During the interview, dancers talked about their feelings. For them dance is a way to express their emotions. Words are understandable the same way for everyone, contrary to dance, which can also go beyond words. Each movement has a different signification for each person. Feelings evolve through their body without thinking. It's a good moment for them because they are with people, they appreciate dancing and spreading their culture, their stories, their feelings and cultural legacy through Europe.

In conclusion, in this interview we learn that dance is not just moving one's body. It's a way to express oneself, one's emotions, a culture, a story, history, and to deliver messages like the emanicpation from anything that could prevent us form expressing ourselves, like suffering, sorrow, living conditions, or political regimes like Apartheid.
Don't forget that : one single action or gesture are better than a thousand words.

A cultural trip to South Africa through dance by Anne Elloh

From December 5th to 7th, 2023, via katlehong a group of eight South African dancers shared their culture through dances at Théâtre-Sénart in France.
With the help of their choreographers, they created a breathtaking performance mixing contemporary dance and hip hop with traditional South African dances.
The English teacher of the class of Première I and their Spanish teacher had the chance to interview some dancers from Via Katlehong to learn more about South Africa, as they were working on apartheid and cultural Identity in class.
The eloquence of traditional South African dance
in South Africa, there are 9 traditional dances, each tells a profound story of tradition and expression.
For instance, the gumboot dance is a dance born in the mines and symbolizing resilience ; the pantsula dance is a fusion of urban and traditional movements which also became a lifestyle. One of the dancers Abel is a pantsula specialist, he wrote a book to explain how to use pantsula mouvements to express ideas and feelings. These dances are not just artistic figures, they are a means of preserving and passing on a rich and deep cultural heritage. As Abel explained, each step embodies the identity of a community.
The importance of cultural identification
Dance offers an opportunity to express perspectives and values. Movements, rhythms and costumes often reflect the traditional heritage and stories of a community. It's a language that transcends words, allowing a deep connection with our roots and offering a visual celebration of who we are. Each step becomes a living narrative of our cultural identity, creating a link between past and present.
In the 60s and 70s, during the apartheid era in South Africa, pantsula was used to revolt against white authorities. Today, pantsula is a source of pride for South Africans as it demonstrates the strength of their culture. Traditional dances are no longer an entertainment, they play a crucial role in preserving cultural heritage and they are transmitted from generation to generation, strengthening the bonds between community members.

"Everyone is born with a talent, ours is dancing"

The bold hybridization of South African dance

Over time, traditional dances have evolved, integrating contemporary elements while preserving their essence. To create their show Via Katlehong assisted by their European choreographers, integrated contemporary elements while respecting the rhythms and gestures that have profoundly marked the country's cultural identity. It's an artistic celebration of the constant influence of tradition on modern creation. Cultural mix is crucial because it fosters understanding, tolerance and mutual enrichment between different communities. By encouraging the exchange of ideas, traditions and perspectives, it also stimulates creativity, fosters innovation and strengthens social cohesion and celebrates shared cultures. For the group it is very important to share your culture so that everyone can understand you.
Thus, Via Katlehong had French people travel through South African culture and will continue the enrichment of their performance by spreading their ideas in Europe and South Africa.

Portes ouvertes du lycée Talma

Bruno LAURENT — 2024-02-01T12:04:09Z

Les portes ouvertes du lycée Talma auront lieu :

– Le vendredi 22 mars de 17h30 à 19h00
– Le Lundi 25 mars de 17h30 à 19h00

Nous vous attendons nombreux pour pouvoir vous présenter les différentes filières (générales et technologiques), les différentes spécialités dans chaque filière, les options et actions spécifiques organisées dans notre établissement.

L'offre de formation en classe de 1ère technologique

Bruno LAURENT — 2024-01-25T22:24:55Z

Parmi les différentes classes de 1ère technologiques le lycée Talma propose les filières ST2S et STMG (1ère et terminale). Le lycée Maurice Eliot propose la filière STL (1ère et terminale) dont la présentation est disponible ci-dessous au format pdf.

En classe de première ST2S, les élèves suivent les enseignements suivants :

– Français (3h)
– Histoire - Géographie (1h30)
– Enseignement moral et civique (18h annuelles)
– Langues vivantes A et B (3h)
– Enseignement technologique en langue vivante (1h)
– Education Physique et Sportive (2h)
– Mathématiques (3h)

Enseignements de spécialité obligatoires :
– Physique - Chimie pour la santé (3h)
– Biologie et physiopathologie humaine (5h)
– Sciences et Techniques sanitaires et sociales (7h)

Enseignements optionnels proposés au lycée Talma :
– Langue vivante C (Portugais ou Russe) (3h)
– Langues et civilisation de l'antiquité (3h)

En classe de première STMG, les élèves suivent tous les mêmes enseignements :

A ces enseignements du tronc commun, les élèves de première STMG ont des enseignements de spécialité obligatoires :

– Sciences de gestion et numérique (7h)
– Management (4h)
– Droit et économie (4h)

Les élèves de première STMG peuvent par ailleurs suivre des enseignements optionnels. Au lycée Talma les enseignements optionnels proposés sont :
– Langue vivante C (Portugais ou Russe) (3h)
– Langues et civilisation de l'antiquité (3h)

L'offre de formation du lycée Talma pour la classe de terminale technologique

Bruno LAURENT — 2024-01-25T22:17:09Z

Les enseignements en classes de terminales technologiques ST2S et STMG sont dans la continuité de ceux des classes de terminales pour le tronc commun.

Pour la classe de Terminale STMG ces enseignements sont :

– Philosophie
– Histoire-Géographie
– Enseignement Moral et Civique
– Langues vivantes A et B + Enseignement technologique en LVA
– Education Physique et Sportive
– Mathématiques
– Droit et économie

Enseignements de spécialités proposés au lycée Talma :
– Gestion et Finance
– Mercatique (marketing)
– Ressources humaines et communication

Les élèves de terminale de la série STMG peuvent suivre par ailleurs des enseignements optionnels (deux enseignements optionnels au maximum). Le lycée Talma propose pour les élèves de terminale technologique les enseignements optionnels suivants :

– Langue vivante C (portugais ou russe) (3h)
– Langues et civilisations de l'antiquité (3h)
– Droit et grands enjeux du monde contemporain (3h)

Pour la classe de Terminale ST2S les matières du tronc commun sont :

– Philosophie (2h)
– Histoire - Géographie (1h30)
– Enseignement moral et civique (18 h annuelles)
– Langues vivantes A et B (3h)
– Enseignement technologique en langue vivante A (1h)
– Education Physique et Sportive (2h)
– Mathématiques (3h)

En plus de ces enseignements, les élèves suivent également des enseignements de spécialité obligatoires :
– Chimie, Biologie et Physiopathologie humaine (8h)
– Sciences et techniques sanitaires et sociales (8h)

Les élèves de terminale de la série ST2S peuvent suivre par ailleurs des enseignements optionnels (deux enseignements optionnels au maximum). Le lycée Talma propose pour les élèves de terminale technologique les enseignements optionnels suivants :

– Langue vivante C (portugais ou russe) (3h)
– Langues et civilisations de l'antiquité (3h)
– Droit et grands enjeux du monde contemporain (3h)

L'offre de formation du lycée Talma pour la classe de 2nde

Bruno LAURENT — 2024-01-25T21:49:46Z

La classe de Seconde générale et Technologique s'inscrit dans la continuité des enseignements du collège.

Enseignements communs :
Français : 4h
Histoire - Géographie : 3h
Langues vivantes A et B * : 5h30
Sciences économiques et sociales (SES) : 1h30
Mathématiques : 4h
Physique-chimie : 3h
Sciences de la vie et de la Terre (SVT) : 1h30
Éducation physique et sportive : 2h
Enseignement moral et civique : 18h annuelles
Sciences numériques et technologie : 1h30
Accompagnement personnalisé : volume horaire déterminé selon les besoins des élèves
Enseignements optionnels : 1h30 à 6h

Les LVA et LVB proposées au lycée Talma sont : l'anglais, l'allemand, l'espagnol et portugais.

Les enseignements optionnels proposés au lycée Talma :
– Langue vivante C : Portugais, Russe
– Langues et cultures de l'antiquité
– Formation au Brevet d'Initiation Mer (BIMER)
– "Classe défense" pour les élèves ayant suivi l'enseignement au collège
– Formation au Brevet d'Initiation Aéronautique (BIA) ouverture rentrée 2024

L'offre de formation du lycée Talma pour la classe de Terminale générale

Bruno LAURENT — 2024-01-25T21:48:05Z

En classe de terminale générale, certaines matières constituent le tronc commun et sont suivies par l'ensemble des élèves :

– Philosophie (3h)
– Histoire - Géographie (3h)
– Langue vivante A + Langue vivante B (4h pour l'ensemble)
– Enseignement scientifique (2h)
– Education physique et Sportive (2h)
– Enseignement moral et civique (18 h annuelles)

Les élèves doivent par ailleurs choisir en fin de classe de première deux des trois spécialités suivies en première. Au lycée Talma les spécialités qui peuvent être conservées en classe de terminale générale sont les suivantes :

– Histoire, géographie, géopolitique et sciences politiques
– Humanités, littérature et philosophie
– Langues, littératures et cultures étrangères (Anglais ou Espagnol)
– Mathématiques
– Physique - Chimie
– Sciences de la vie et de la Terre
– Sciences économiques et sociales
– Numérique et sciences informatiques

Enfin les élèves de terminale générale peuvent choisir un enseignement optionnel (3h) ou deux enseignements optionnels si l'un des deux est "Langue et cultures de l'antiquité". Au lycée Talma les enseignements optionnels sont :

– Langue vivante C (Portugais ou Russe)
– Langue et cultures de l'antiquité.
– Droit et grands enjeux du monde contemporain
– Mathématiques expertes (uniquement pour les élèves qui suivent l'enseignement de spécialité Mathématiques en terminale)
– Mathématiques complémentaires(pour les élèves qui ont suivi l'enseignement de spécialité en classe de première et l'ont abandonné)

L'offre de formation du lycée Talma pour la classe de 1ère générale

Bruno LAURENT — 2024-01-25T21:25:16Z

La classe de première générale présente un tronc commun constitué de :

– Français 4h
– Histoire-géographie 3h
– LVA et LVB (enveloppe globalisée) (a)(b) 4h30
– Éducation physique et sportive 2h
– Enseignement scientifique 2 h
– Enseignement moral et civique 18h annuelles

L'enseignement du tronc commun est complété par 3 spécialités qui doivent être choisies en fin de 2nde. Au lycée Talma les spécialités proposées sont les suivantes :

– Histoire, géographie, géopolitique et sciences politiques
– Humanités, littérature et philosophie
– Langues, littératures et cultures étrangères : Anglais
– Mathématiques
– Physique - Chimie
– Sciences de la vie et de la Terre
– Sciences Economiques et Sociales
– Numérique et Sciences Informatiques

Enfin les élèves de première générale peuvent choisir un enseignement optionnel (3h). Au lycée Talma les enseignements optionnels sont :

– Langue vivante C (Portugais ou Russe)
– Langue et cultures de l'antiquité.