Josué Mugisha conjures up the idea of artists interrupting the piece as it is being performed in order to demand what its “meaning” is. In the absence of the author, they address the audience by means of dance, poetry, and the imagination. In the political context of Burundi, in which freedom of speech is muzzled and the "tambourinaire" drum player censured, the choreographer and theatre director brings to the stage, after La première danse politique, a second piece, a metaphor for "killing the drum”, a symbol of power. In the midst of a deluge of poetic images, the performers sabotage the representation and turn it into a place of insubordination.