CÉDEZ LE PASSAGE - ÉPISODE 2 - Corps Contraints -Nacera Belaza et Dalila Belazadocumentaires dansés Cédez le passage #2
Documentaires Dansés- Cédez le passage
The series of danced documentaries-CEDEZ LE PASSAGE invites dancers-choreographers to invest in and question anti-homeless street furniture. We wish to offer a sensitive experimentation between dance and cinema to confront the body and the words of the dancers with "anti-body" furniture, now modestly called "dissuasive furniture".
We combine our worlds, with a common thread, our respective views on the city and the place of the excluded for the production of these documentaries.
Nawel Oulad & Antonin Sgambato
The DANCED DOCUMENTARIES seek to make visible attempts by the body to appropriate a space that seems a priori impossible for dance: anti-homeless street furniture.
Several dancer-choreographers go in duet to meet these dissuasive urban furniture. They question these inhospitable architectures with their bodies and their voices.
Production : Pleine Image & Cie Nawel Oulad
Réalisateurs : Nawel Oulad & Antonin Sgambato
Born in Algeria, Nacera Belaza moved to France at the age of five. Following modern literature studies at the Université de Reims, she set up her own company in 1989.
Decorated Chevalier de l'ordre des Arts et des Lettres, this self-taught artist entered the world of dance, developing a choreography that draws its source in an inner journey, a careful listening of the body, of space and the inner void. Her path, like a quest, aims to promote the direct link between the dancer and the spectator, open to the infinity of the stage. The elements of the pieces – light, space, time, the body – respond to one another on the stage, developing their own special scenography.
Repetition of gesture, infinite slowness, stretching out of time: Nacera Belaza’s works all explore movement as you would explore a serene, profound and continuous breath rubbing against the “deafening racket of our existences”, as Nacera Belaza confided.
The Company Nacera Belaza presents its works internationally with a regular presence in Europe, Africa, Asia and North America. In France, it has been invited by prestigious structures and festivals such as the Festival Montpellier Danse (2003, 2006, 2012, 2014, 2016), the Rencontres chorégraphiques internationales de Seine-Saint-Denis (2008, 2010), the Festival d’Avignon (2009, 2012), not to mention the Biennale de la danse de Lyon (2010, 2014) and the Festival de Marseille (2017, 2018). Its work, recognised by the Syndicat de la Critique (Union of theatre, musical and dance critics) in 2008 and by the SACD in 2017 (Choreography Award), has allowed the company to enjoy an international reach.
The choreographer Nacera Belaza’s desire to share and transmit has assumed concrete shape in her relationship with publics and their territories. She has developed artistic actions and creations in multiple forms, from master classes to in situ performances. Thus, Nacera Belaza has continuously travelled between Algeria and France in the pursual of her artistic career. Alongside her activities with her company based in France, she founded an artistic cooperative in Algeria. She was responsible for the programming of the contemporary dance festival, Temps Dansé, and proposes activities for training and raising awareness of publics to contemporary art and danced gestures.
Nacera Belaza has created multiple choreographies that have been inspired by the sufi-culture. In her pieces Le Trait and Le Temps Scellé she explores the relation between traditional forms of Algerian dance, holy rituals and her own movement idiom.
Dalila Belaza seeks to cross through dance a utopian territory where the intimate and the universal meet like two infinite horizons. She first distinguished herself as a performer and artistic partner of her sister, the choreographer Nacera Belaza. By her research on deep memories of the body and a dance inhabited by an interior space without limit; she has integrated a meaningful way of the choreographic landscape. On the basis of this anchoring, over time, the need to give voice and form to personal questions imposed itself on her. A trajectory that leads her to pursue different questions by extending this field of being to other realities.
Thus for several years now, Dalila has been carrying out her own projects and developing work that probes the themes of identity and digs into the question of the dialogue between ritual dance and abstraction. At the end of 2020, Dalila Belaza created her company to ensure the development and sustainability of her personal projects. Since then, she has created three pieces Au coeur, Figures and Rive which cross the languages of folk dance and contemporary dance. These pieces depict an adventure that is both artistic and philosophical.
Nawel grew up between her mother’s painting studio and the film sets where her father worked. In addition to pictorial universe, dance, theater and music, which she has been practicing for six years at the Conservatoire, have led her to nourish a sensitive thought that expresses itself through art. Curious to understand the history of her ancestors, she completed her dance training with university studies in sociology and visual arts.
Convinced of the importance of creation and bodily awareness in the development of the human being, she obtained her Diploma of Psychopedagogy of the danced movement at Freedancesong. There, she will also complete her training in contemporary, classical and jazz dance, and the discovers African dances and Dunham technique.
It is the meeting with the choreographer Christian Bourigault, then in residence at the University Paris Nanterre, which will be decisive for her career. She will find in his contemporary dance the committed body she sought, the possibility of reconciling the humanities and art. She will perform in 6 of Christian Bourigault’s creations, then joins the RIDC - Rencontres Internationales de Danse Contemporaine - where she obtains her State Diploma of contemporary dance teacher in 2012.
She then participates as a dancer-interpreter to the resumption of Sans objet (“Irrelevant») with Mie Cocquempot , Co. K622, to Vertige délicieux («Delightful Vertigo») in Claire Jenny’s Point Virgule Company, Aublick by the Impact Company, and various creations of the Théoréma Company.
In 2010 she founded the dance department of the association L’Envolée Bleue where she gave workshops, set up photo dance outings and created her first performances mixing dance and painting as well as her solo «Métis, terre damnée».
The foundations of her work arise and the artistic and educational projects are linked together, leading her to set up her company. The history of art and sociology are at the heart of her work. Identity research, urbanity, memory and the place of the individual in the group are all recurring themes in her creations.
She does not hesitate to go and meet other arts during performances in the most diverse places, in an always renewed dance.
From the production of video-dance films to the installation of filmic devices, this medium accompanies and complements her choreographic and scenographic design research as well as En corps hors cadre («Embodied, out of frame») exposed in the month of the photo Off 2010 at La Fonderie de l’Image, or with the CINEMADANSE cycle inaugurated in 2015, by making the film Quitter le bitume (“Leaving concrete”) presented in various festivals.
She works with several theater companies as well as a coach in the preparation of the actor as an actress (Cie Aziadé, KOTB collective, Guillaume Segouin, collective Theôrema.)
In 2014, she created the annual festival L’Appel de la Lune («The Call of the Moon»), inviting artists and researchers to meet on a topic related to women. In 2015 she became a member of the UNESCO International Dance Council and creates the program CINEMADANSE to develop her activity as film director .
Pour aller plus loin :
Pleine Image Production
Pleine Image has been producing films and photographs with passion for over six years. Our collaborators bring to life unique and meaningful worlds through images.
We lead a team of technicians and experienced artists, united by a common desire to tell strong human stories and to satisfy their taste for challenge and innovation.
Pleine Image offers a complete and integrated service, from writing, design, to the provision of technical equipment and post-production. All this allows our customers to confidently entrust us with all of their achievements.
Cie Nawel Oulad
Created in 2011, the Nawel Oulad Company conducts contemporary dance projects in close connection with the visual arts and the humanities. The troupe federates around hybrid artistic projects, shows but also performances, installations, and films. Today the company has created and performed 5 shows, 5 performances and many video-dances including two movies.
website www.naweloulad.com .
Partenaires de la compagnie:
Conseil départemental de Seine Saint Denis /
Centre National de la Danse Pantin Mad /
Ménagerie de Verre StudioLab /
La Belle Orange bureau de production et diffusion /
Maison du théâtre et de la danse /
Centre Louis Lumière /
Ville d'Epinay Sur Seine
Pleine image /
Palais de la Femme /
Sur les toits production
CEDEZ LE PASSAGE #2 -CORPS CONTRAINT
Artistic direction / Conception : Antonin Sgambato et Nawel Oulad
Choreography : Nacera Belaza & Dalila Belaza
Interpretation : Nacera Belaza & Dalila Belaza
Video conception : Directeur de la photographie: Alexis Doaré
Technical direction : directeur post production : Victor Janin
Sound : Lucas Rollin
Other collaborations : montage : Marion Delucé / Etalonnage Alexandra Schimmich / Regisseuse générale Tahiana Daniel /Regisseur adjoint Stéphane Assezat
Production / Coproduction of the choreographic work : Pleine Image Pro & Sur les toits production
Production / Coproduction of the video work : Cie Nawel Oulad, Samir Benchikh , Alix Sureda Sanchez
Duration : 13'31
Memories (ou l'oubli)
Mexican Video Dance
DANCE AND DIGITAL ARTS
Carolyn Carlson, a woman of many faces
Dance to exist
This Parcours questions the idea that contemporary dance has multiples techniques. Different shows car reveal or give an idea about the different modes of contemporary dancer’s formations.