Accounts of tours by associate artists, reports, photographic impressions, a review of long-term partnerships, a look behind the scenes at Charleroi Danses to find out more about the many different facets of the Choreographic Centre of the Wallonia-Brussels Federation.
Thierry De Mey
Working session, Ircam, Paris
(1) Taxonomy is the academic discipline of defining groups of biological organisms on the basis of shared characteristics and giving names to those groups. The groups created through this process are referred to as taxa (singular taxon). Source: Wikipedia
(2) Institute of Research and Innovation created at the instigation of philosopher Bernard Stiegler whose vocation is to “anticipate, accompany and analyse the transformation of cultural practices enabled by digital technologies, and sometimes even to contribute to their very emergence”.
TOURS | DABA MAROC
Marrakech international contemporary dance festival
PARTNERSHIP | PROFESSIONAL TRAINING
Hip Hop, du Tremplin à la Scène
This adventure ends with its memories, its questions, its answers ... as Anne Closset’s film (4) demonstrates so well. The future is preparing to make way for dreams, desires and projects.
(2) A dancer and teacher, she has taught in several dance companies. She sung in a number of groups, including Zap Mama.
(3) A director of the non-profit-making association Lezarts Urbains, he was one of the first in Belgium to recognise the importance to contemporary culture of the hip hop movement and to promote its many forms of expression (dance, rap, graffiti etc.)
(4) Get Your Funk! is a film covering this experience in the words of the main protagonists. Broadcast on 11 and 13 April 2012 on Arte Belgique and La Deux-RTBF respectively as part of the “Quai des Belges” programme.
DVD available from athanor-production.be, cvb-videp.be, La boutique.rtbf.be
Kiss & Cry,
Festival Santiago a Mil!
The scene is unfolding on the stage of the Teatro Municipal de Las Condes in Santiago, Chile. Nicolas Olivier and Julien Lambert, lighting designer and cameraman respectively on Kiss & Cry, are carrying out the final lighting checks ahead of the dress rehearsal scheduled for 2pm. The piece – which involves a hand dance, a theatre of objects and ephemeral filming – has been invited for three consecutive dates by the Santiago a Mil! festival, one of Latin America’s leading performing arts festivals.
Lascia che io pianga
PARTNERSHIP | FESTIVAL
international dance online short film festival
La Gaîté – one of the festival’s partners from the outset – hosted the event with all due decorum: in front of a large audience of film and dance professionals, Fadila Laanan, the Wallonia-Brussels Federation’s Minister for Culture and the Audiovisual Sector, handed out the top prize. This was followed by four other awards for innovation, world outlook, the jury prize and the audience prize. There was an emotional moment when Stéphanie Aubin, who along with Arnaud Baumann won the Minister’s Prize, paid glowing tribute to Thierry De Mey, proclaiming himself to be a “member of his fan club” – and very fitting given that Thierry was the brains behind the festival. His intention was for it to be international and so idill was conceived especially for the internet with a clear pre-selection on the festival’s website one month before the jury’s vote, online voting for the audience prize, the activation of social networks by partners and live streaming of the ceremony: all ways in which the films can be seen by much wider audiences than in the customary well-informed, but restricted environments. L’Œil de Links, the internet magazine of French channel Canal+, made a great move as well by recently broadcasting a selection of the pick of 2011.
with Régis Rémigy
I don’t think anything pure exists. I see the world as a mixed universe where everything is connected so I’m not afraid of retreating into a single dimension. My work as an artist is to mix with the world in which I live. The reality of the place in which you work has a major influence on how you create and produce. This applies to a Rio favela as much as to any other place in the world. I set out my approach as a choreographer in this territory by creating strategies so that our work can go in search of the people who live in the Maré favela as well as in other parts of the city. I’ve been working in Maré since 2003, but despite that I’m not a choreographer of the favelas! With the REDES association which has been undertaking social and teaching work in this district for over nine years, we’ve found a space to build an arts centre. This centre’s mission is to create, train and show the arts. This is where the company works. And it’s also the space for lots of other activities. We’ve just set up the Escola Livre de Dança da Maré run by Silvia Soter who is also the company’s dramaturge. To some extent this cultural project mirrors what we offer on stage. Even so it’s not about favelas, it’s not about doing social work, that’s not its role.
In Piracema we chose to work with an important aspect of Brazilian culture: melancholy. In general people talk about Brazil as the country of vibrant energy, noisy joyousness, carnival etc. But the flip side of this image is melancholy. In Tom Jobim and Vinicius de Moraes’ music as well it’s an important component which often comes out in the words, music and melodies. Using these pieces of music that are barely sung by the dancers is like a returning memory that sets the tone for the piece. Caetano Veloso and Gilberto Gil in Desde Que O Samba é Samba also talk about the contradiction between joy and sadness: “The samba is the father of pleasure, the samba is the son of pain”.
I think having it performed during europalia is a wonderful opportunity to show different ways of thinking and producing contemporary dance in Brazil, but Brazil’s a huge country with a huge variety of choreographers and dance companies. europalia.brasil would need to be held several times over to really get to grips with such a complex culture.
Interview by Ivo Ghizzardi
Bienal de dança do Ceará
with Ludovica Riccardi,
ARTISTS IN RESIDENCE
Thomas Hauert joins Forsythe’s Motion Bank
There are projects which require the creativity of several individuals behind the scenes over extended periods in order to move mountains. The collaboration between ZOO/Thomas Hauert and The Forsythe Company’s “Motion Bank” is one such project. A review and a glimpse of what the ongoing creative process might produce.
Essen, Germany, December 2011. The first meeting between Thomas Hauert and Norah Zuniga-Shaw who runs the Ohio State University Advanced Computing Center for the Arts and Design (ACCAD), one of several partners in the “Motion Bank” project. They have an informal chat about Thomas’s work. How can improvisation be mobilised in the writing and composition of movement? What principles are employed? They agree on the specific aspects of the work they wish to explore.
Brussels, Belgium, June 2012. Thomas dissects his choreographic practice to reveal, in words and images, the principles behind it but also the meaning. It is an analysis that he had never undertaken so systematically before. He writes: “My methodology is the result of my desire to maximise the creative possibilities of the moving body.”
Columbus, United States, January 2013. Thomas is in Ohio with Sarah Ludi and Mat Voorter, two dancers and friends who have inspired the development of the ZOO dance company since it was set up in 1998. In the studio in the university’s dance department, they present short choreographic sequences that are examples of the principles at the heart of their work. They are surrounded by highly sophisticated technology, from movement sensors all the way to super slow-motion cameras filming 800 images per second. They also have detailed discussions about their work with dance researchers and computer designers involved in the project.
On both sides of the Atlantic, spring 2013. The analysis and creation stage. Furnished with all this material, traces and explanations, the team dissects the movement, trying to understand what makes it so singular. The aim is to develop “digital scores” that allow it to be seen differently. Inventing these scores is a creative act in itself involving the visualisation of statistical data, the isolation of movement of certain parts of the body or, in contrast to this, the relationships between certain parts of the body. The possibilities are endless.
Frankfurt, late November 2013. The results of the project are published on the internet. In parallel, a four-day event is run by the Forsythe Company to present digital scores, discussions, shows, talks... Just be patient for a little while longer!
“Motion Bank” is a project by The Forsythe Company. The collaboration with Thomas Hauert is part of “Two project” (artistic directors Maria Palazzi and Norah Zuniga-Shaw) co-produced by the ACCAD and the Department of Dance of Ohio State University together with The Forsythe Company.
Seven questions for Àngels Margarit
A short interview
Ahead of coming to La Raffinerie to give an exclusive master class and to Les Écuries for two performances of From B to B, a playful duet which she performs alongside Thomas Hauert, we take a look at a unique career and a unique individual.
Interview by Ivo Ghizzardi
Thierry De Mey on the web, catalogued and boxed up
There’s plenty going on at the moment for Thierry De Mey. He’s at the heart of a number of projects: a retrospective catalogue, a digital channel, a book and a DVD box set – a whole range of media offering a whole range of opportunities to immerse ourselves once more in the universe of this prolific artist.
The Traces de Mouvements catalogue is available on request from firstname.lastname@example.org
The Charleroi Danses channel on numeridanse