Her singing is practiced in the kabarés, ceremonies dedicated to the ancestors that her grandmother, her aunt and her mother used to perform. There she rubbed shoulders with other singers and musicians such as Lindigo, la famille Lélé, Destyn Maloya, and sometimes Danyel Waro invited by the family. At the time, she was too small to be seen, but we could already distinguish a crystalline voice, full of devotion.
Between prayer, declamation and song, somewhere on the border of these
between prayer, declamation and song, somewhere on the border of these different modes of expression, KALOUNE builds a new Reunionese word, able to lead the memory of which her writing is the bearer to today's consciousness. For this young artist is first and foremost an author, a poet addressing themes such as women, history and spirituality.
Accompanied by a mbira, an instrument used in sacred trance ceremonies in in Zimbabwe, she performs her musical poetry on stage that sweeps across the vast field of Creole identity, and invents a contemporary and original orality. KALOUNE reconnects with her African origins and is part of an experimental journey, sublimating the presence of the invisible and a modern electronic introspection.