Bizet’s Carmen inspires the young choreographer Mié Coquempot for a playful variation on the dramas of passion. Women in red dresses replace one another in turn, dancing the multiple facets of love. This urban walkabout is accompanied by Latin music and the gazes of the passers-by.

The city could be Aix-en-Provence, where the choreographer has worked, but also and why not Buenos Aires or Havana. To begin with, La Habanera focuses on describing the atmospheres of Southern cities, spaces that the dancers’ trajectories occupy. A large avenue, a hotel lobby, the market and the busy boutiques of a shopping street form the setting of this choreography. The editing includes in the movement the spectators’ reaction, surprised. A manner of filming that anchors in the present moment the composition and improvisation work that animates dance.

The French-Japanese choreographer, Mié Coquempot, studied various dance techniques between 1976 and 1988: ballet, tap-dancing, Graham, Limon, traditional Japanese dance, jazz, modern jazz, contemporary dance. At the same time, she studied music at the Geneva Conservatoire de Musique. In 1987, at the age of 16, she joined the Junior Stepping Out Jazz Dance Company, then in 1989, she left for New York to continue her training at the Juilliard School. In 1990, she settled in Paris where she joined the Redha Benteifour’s company. Since then she has danced for a myriad of choreographers and directors including Peter Goss, Daniel Larrieu (CCN & Astrakan), William Forsythe, Odile Duboc (CCN), to name but a few. 

She began producing her own choreographic works in 1995 and founded the K622 Company in 1998. K622’s repertoire comprises around twenty opuses in various formats produced, created and performed in France and abroad. She was Villa Kujoyama (Kyoto, Japan) prize-winner in 2002, along with Jérôme Andrieu.

Source : K622

Based on a simple principle, in the continuity of the collection Une Danse, le temps d'une chanson, Patrice Nezan proposes a series of seven short films, each bringing together a choreographer and a director. In these “choreogra-films”, music imprints its duration and atmosphere on each of the choreographic universes. Journeys to ephemeral worlds, the strangeness of which is due as much to the quality of the images as to the situations imagined.

It understands : Adesso basta !, Besame Mucho, Daïté, Erè mèla mèla, Garota de Ipanema, La Habanera, Ya Rayah.