Without light, there’s no show. Without a lighting director, no artist. Dao Mamadou, lighting director of Salle Niangoran Porquet, takes us on a journey into the shadowy world of the light-makers.

By Sanou A.

How does a lighting designer work on a show?

When companies arrive, they have their « lighting plan ». In other words, the technical sheet that indicates the light directions and colors to be used. When it comes to setting up the lights in the auditorium, we adapt this layout to what we’re asked to do.

So you remain faithful to their lighting plan?

Yes, we do. We do what we’re asked to do. Often in lighting, the consoles are different. Sometimes, if someone arrives who’s not used to working with the same consoles as us, we become like « puppeteers ». The console operator is the one who works the console, in other words, he’s the master of the console. He’s the one who shows how the machine works. We program effects and scenes. We set sliders called playbacks and give him the upper hand. We stay right next to him. Because he knows the sequence of his show. But if he’s used to working with this console, he takes over immediately and does everything himself. He’s already created his scenes. If he needs to send a light, a color, cut it, he does it. It’s the same for every show.

How long have you been in the business?

Personally, I started with mobile sound in 1992. I started with lighting in 2008. I trained myself. I started with Internet tutorials. In our day, we didn’t use YouTube. I perfected my skills with videos. I got to know the basics. But lighting is also about inspiration. And our inspiration comes from our personal experience of concerts, big stages, and performances. We start from these creations and try to reproduce them. I didn’t go to a lighting school.

Which shows are difficult to « light »?

I’d say theater shows. I always say: theater is the intellectual part of lighting. You can’t light a play if you’re not in the set-up, or even if you’re not a member of the cast. Lighting in the theater depends on the scenes. And, through light, you can make corridors. Emotions are expressed through light. So if you’re not a member of the company, it’s hard to do. Live music concerts are easier. We have standard creations. But it’s good to be with the artist. Because when you know his songs, the meanings of the songs, you’re never going to send out warm colors when he’s evoking disappointment. If it’s in French, that’s fine. But if it’s a language you don’t understand, it’s not easy.

What difficulties do you encounter?

It’s usually the equipment, the console. If you’re used to working on a Gramma console, if you find yourself in a room where there’s no Gramma, you’re often disoriented, and you need someone to assist you.

There are often disagreements between artists and lighting directors. Don’t you take their requirements into account?

Companies sometimes send us technical specifications. But when they arrive, the equipment they need for their lighting doesn’t exist. When they ask for « PC » projectors, the lighting engineer sends « lyres ». This has an impact on their performance and can lead to disagreements. Because when it comes to lighting, every piece of equipment has its own language.

Do you think the equipment at the Palais de la Culture is suited to the demands of the artists?

Yes, it’s the kind of equipment you need in a concert hall. The proof is that there are no complaints from any of the companies that have passed through the Niangoran Porquet Hall. They have everything they need.

The lighting directors or lighting technicians are not introduced after the show. Do that upset you?

We’ve always worked behind the scenes. We’re not seen, so it doesn’t bother us. But when, at the end of the show, the artist thanks all the technicians and says it was good, that’s a great feeling. Otherwise, I think recognition lies in what we do. If I’m at MASA today, it’s because our work is recognized. Otherwise, they wouldn’t have called us.