the precious support of:
- Association Artjuna, Genève (www.artjuna.org)
- Tiljala Society for Human and Educational Developement,
- Association Essentiel, Nyon (www.essentiel-org.ch)
- Association Kamathipura, Lausanne (www.asskam.org)
- Prerana NGO, Mumbai (www.preranaantitrafficking.org)
- Association des amis de Jaques-Dalcroze, Genève
- Fondation Jaques-Dalcroze, Genève
- Soroptimist International Club de Nyon (www.soroptimist.ch)
- Association Niedermeyer, Nyon (www.niedermeyer-nyon.ch)
- Alliance Française du Bengale, Kolkata (www.bengale.afindia.org/fr)
And our many private donors.
Thank you all for helping us to support this project!
Please visit: www.tamiero-projetsarasvati.blogspot.com
Tamiero is a company founded by Tamaé Gennai and Pierre Deveaud,
whose aim is to promote the performing arts in their diverse
Tamiero already created two performances: « Grain de folie »
("Seed of Craziness") (2005) and « Tête en Lune » ("Head in
The company is presently preparing a new project called The
The Sarasvatî Project :
This project's idea is to give several performing arts workshops
(music, theatre and movement), each during five weeks, in
different Indian cities. These workshops will be offered to
underprivileged children and they will lead each time to a public
During their journeys through India, Tamaé and Pierre were
extremely puzzled by the imbalance between the material poverty
and the children's creative potential.
They realized that the children were able to do a lot with
nearly no means. When they do not have any instruments, they
make them or they sing, their body becomes their percussion
instrument, they dance... With a body and a voice, the
possibilities to create are already infinite.
Tamaé and Pierre could observe on the spot that the children had
a great artistic potential and that it deserved to be valued.
During their artistic and pedagogic studies at the
Jaques-Dalcroze Institute in Geneva, they also realized how much
artistic development is connected to a child's whole
development. They are convinced that artistic experience is
essential for a human being to build him/herself up, and that is
why they wish to launch a project leading to the creation of
performances involving children who do not benefit from any
support nor the necessary frame.
The Sarasvatî Project is therefore to offer to underprivileged
children the opportunity to blossom thanks to performing arts.
Under Tamaé's and Pierre's guidance, the children will be
invited to draw from their daily lives themes they would like to
deal with, whether in words, music or movement.
The duo's double experience in pedagogy and arts will be put to
good use to create a performance in which the scenes will follow
each other in a lively and varied way, highlighting each child's
In the frame of his activity as a rhythmic arts teacher in a
primary school, Pierre often has to create performances with the
children. To prepare those, during the weekly courses, the
children learn to make themselves familiar with their body, with
the aim to use it at best to move, speak, sing or play on a
music instrument. The body is indeed the first instrument, and
the children have to learn how to use it by developping their
possibilities of expression up to the highest level.
Since 2008, Tamaé has worked at the Villa Yoyo in Versoix, an
organization that offers a place to live and a working space to
youth with an often difficult background (immigration, violence,
...). In the frame of this « pilote project » initiated by the
Jaques-Dalcroze Institute, Tamaé had to create a course in an
empty classroom and, nevertheless, to offer a welcoming and
reassuring environment propitious to creative and expressive
work. These courses resulted in two very successful
Tamaé and Pierre have therefore all the necessary experience to
offer performing arts workshops, whether they propose theatre
trainings or body language, singing and percussion trainings.
They are used to work with musicians, dancers, actors, amateurs
and professionals, children and adults, and they will surely
direct these workshops with all the necessary professionalism.
Contacts have already been made in Calcutta, Rishikesh and
During the summer 2010, Tamaé and Pierre went to India to
investigate and make concrete the technical aspects of the
project, particularly concerning the time the children can
dedicate to such an activity, the locations, etc.
Artjuna (www.artjuna.org) :
This association founded by Tamaé and
Sebastien Haye in 2005 has the aim to support artistic and
cultural projects in places where the social and economic
conditions do not allow the youth to develop their talent.
The idea was born around a dance performance organized in
Calcutta, and it makes it possible for children and adolescents
of the poorest areas to perform each year on one of the most
beautiful stages of the city...
This performance called Tarang (literally, «the vibration ») is
prepared very seriously, and the dancers, mostly girls, train
actively during the months before the performance. From now on,
this performance takes place every year, thanks mainly to
Artjuna in cooperation with the association Tiljala Shed in
Life in the shanty-towns of Calcutta is not easy, especially for
a young girl: little perspective, insecurity, violence...
Through artistic expression, the girls can blossom, build
themselves up and free themselves from an often difficult daily
To raise funds, the association organizes regularly cultural
events in the Geneva area (in which Tamiero participates a lot).
Thus, Artjuna can give local artists the opportunity to produce
themselves in front of an audience and raise funds.
The Sarasvatî Project is therefore, in a certain way, part of
the ongoing work undertaken by Artjuna, that will, in close
cooperation with Tamaé and Pierre, reflect, in Geneva, the
activities undertaken in India during the year of workshops.
Dalcroze Eurhythmics :
Tamaé and Pierre both made their professional
training at the Jaques-Dalcroze Institute in Geneva (cf. CVs).
Eurhythmics is the basis of the Jaques-Dalcroze method. This
pluridisciplinary approach to music learning links the body's
natural movements with the different elements of music and the
capacities of imagination and reflection.
Rhythmic art is based on the idea that the body is the main
instrument. Through audio-motor exercices aiming at setting the
body to music, the pupil learns to react to music by adapting
him/herself to the surrounding space, to coordinate his/her
movements, to express his/her feelings, to combine his/her
thoughts and his/her actions. The exercices proposed by rhythmic
art are means allowing to discover music by feeling it before
grasping it intellectually and by appropriating it. By varying
the situations and the proposals, rhythmic art stimulates the
faculty to adapt, develops the body vocabulary, thus enhancing
Tamaé and Pierre have been teaching eurhythmics in solfa and
music courses, but they also have experimented it in the most
Tamaé gives courses in eurhythmics to elderly people at the
Jaques-Dalcroze Institute and in a geriatric hospital. In this
case, the final aim is not any more to learn music, but to
provide the elderly people with a mean to get their balance
back, to work with their motor memory and attention, in a
playful environment and good fellowship.
Five years of applied research in this field, in collaboration
with Dr. Kressig from the University Hospitals in Geneva,
allowed the Jaques-Dalcroze Institute to offer the opportunity
to many people to attend this type of courses in different
locations in Geneva.
Pierre teaches eurhythmics
in a primary school, where the aim is to develop both music and
Since 2007, Tamaé has created numerous performances with
children. The eurhythmics exercices resulted in the creation of
songs, choreographies, writing workshops or body language and
Pierre made numerous researches on eurhythmics at the service of
performing arts and, in his diploma work, showed how rhythmic
art could be an excellent education towards performing arts and
how it could help creating performances.
The eurhythmic exercices that develop the bodily conscience and
precision are an excellent mean to succeed in transmitting an
idea, an emotion, with one's body, voice, or instrument.
Moreover, they develop a good relation to space, to other
people, and awaken the attention to the surrounding sonorous
space. All these qualities are necessary on a stage, and
rhythmic art, thanks to its global approach, allows to develop
them and to train "stage artists".
The approach Tamaé and Pierre will use in India during their
workshops with the children will therefore naturally be inspired
by and full of the Dalcroze eurhythmics.
Tamaé fell in love with India when she first
stayed there alone, for three months, at the age of 18. She was
captivated by the traditional music, dance, prevailing joy, in
spite of the poverty. Captivated by the unknown, by the immense
cultural difference between Europe and the Orient; just like
many of our contemporary people who travel to India, as soon as
she had come home, she made the project to go back there with an
artistic and humanitarian project.
She visited mainly the north of India, especially the Sikkim
area, Dharamsala, but also the Andamann Islands, Varanasi and
Since then, she went back three times, last time with Pierre,
whom she had transmitted her passion. Together they visited
Rajasthan and the cities of Rishikesh, Varanasi and Dehli.
During her numerous journeys, Tamaé learnt Bengali (language
spoken in Bengal and in Bengladesh), started learning to play
the tablas (an Indian percussion instrument) and, above all,
associated with humanitarian projects. Indeed, during her first
stay in Calcutta, she taught in a primary school (Loretto School
Sealdah, Calcutta) and worked at the Mother Theresa's House as a
volunteer in the orphanage. She proposed to help out as an
animator for the youngest children.
India is always present. As if a part of ourselves that had
stayed there were regularly calling us.