Étant donné la conjoncture actuelle... [remontage 2017]
An extract remodelled by the Street Dancers group (Kaweni), artistic manager Sophie Huvet, as part of the “Danse en amateur et repertoire” programme (2016) (a programme created to assist and promote amateur dancing).
The 500 amateur hip-hop dancers of the association Hip Hop Evolution make up the pool of the Street Dancers group that units some twenty interpreters aged 14 to 20. Created in 2014 in Kaweni, Mayotte and led by Sophie Huvet, this collective had the additional challenge of responding by creation to the struggles of rival youth gangs in Mayotte. A show, Malaïka, was staged and shown in eight secondary schools.
The choice of the work, Étant donné la conjoncture actuelle (1999), highlights the talents of these young hip-hop dance amateurs but in theatrical mode with a sense of humour. A festoon of colourful characters, this show makes fun of clichés with a force and panache that sweep up the entire public into the adventure. Elena Bertuzzi, Laura Scozzi’s assistant and notator, ensures the transmission of an extract from the work that “runs the risk” of being completely in harmony with the group’s vitality.
Somewhere in between choreography and opera, with a clear penchant for the latter since 2005, Laura Scozzi, with a background in classical, contemporary, jazz and tap dance as well as theatre before enrolling in the Milan department of sociology, emerges as an iconoclastic lookout on the contemporary dance scene. At the head of her company Opinioni in Movimento, created in 1994, Scozzi combines an aphrodisiac elixir of gestures and texts, instilled with a sense of the comical and preposterous in its most jubilant form. Alongside her shows, she regularly collaborates with stage directors such as Coline Serreau, Laurent Pelly and Sébastien Lifschitz.
Born in Milan in 1964, Laura Scozzi found her path in weaving together the miscellaneous. She established her own company Opinioni in Movimento in 1994, and chose to mix dance, singing and theatre together. She went on to carry out research work on emotions, entitled F.E.I.R. - Facteur Extérieur Cherche Individu en vue de Résultat (External Factor Seeking an Individual to Achieve a Result), the series began in 1995 with L’Amour (Love). She continued her route with La Peur (Fear) in 1998, La Colère (Anger) in 2002 and Le Désir, Le Dégoût (Desire, Disgust) in 2004.
At the same time as running her company, she developed her career as an independent choreographer and created several works with hip-hop dancers for the Suresnes Cités Danse Festival. She revisited La Dolce Vita in 2001 and orchestrated Brecht/Weill’s ballet-opera Les Sept Péchés Capitaux (The Seven Deadly Sins) also in 2001. Laura Scozzi has also worked hand-in-hand with a myriad of other creators, and has imagined choreographies for operatic performances, for the theatre and the cinema: Coline Serreau, Laurent Pelly, Jean-Louis Grinda, Emmanuelle Bastet, Matthieu Poirot-Delpech and Sébastien Lifschitz. In 2008, she created her first opera production with Benvenuto Cellini by Hector Berlioz. After this, she produced Die Zauberflöte (The Magic Flute) by Wolfgang Amadeus Mozart (2009-2010). In 2014, she created Barbe-Neige et les sept petits cochons au Bois dormant with eight hip-hop dancers.
Source : Théâtre du Rond Point
From live stage images to life in images, the director and video artist Karim Zeriahen seems to have found the shortest way. Since the beginning of the 90s, when he worked in close relationship with choreographer Philippe Decouflé, he learned how to put the art of stage in motion, contemporary dance most of the time. Karim Zeriahen then starts a fruitful collaboration with Montpellier based choreographer Mathilde Monnier. Stop, Videlilah, day of night, short films adapted from her stage creations. Each time, Karim Zeriahen's camera takes over the place with movement, the body language is not frozen but magnified. Choreographer Herman Diephuis also joins this gallery of dancing portraits. Documentaries on figures such like Albert Maysles or Hubert de Givenchy and from Joe Dalessandro to Paul Morrissey, he sets a signature, a camera always in action with confidence.
Today the director goes further with a new project and tracks the subtle movements of the body language beyond the physical appearance. A collection of living portraits as unique pièces reminding us of the master portraitists of renaissance. These living natures consists in filming the subject in a certain amount of time, almost still, with signs of respiration, eye blinks, as if it were posing for a painting. They are then displayed on a flat screen with a memory card. With this collection starting, Karim Zeriahen, with his documentary and artist vision, interrogates himself about the virtual world filled with images. By taking a pause, and his models with him, he questions the way we look at things, the way we look at life.
Source: Philippe Noisette
En savoir plus: www.karimzeriahen.com
Étant donné la conjoncture actuelle... [remontage 2017]
El-Fakirdine Ahamadi, Anrifoudine Ali, Moanamaoulida Assani, Raissane Assoumani, Raychat Chamasse, Chawka Dhoiffir, Antoine Mhoudhoiri, Moustoifidhou Mohamed, Ibrahim M'soili
Extrait remonté par le groupe Street Dancers (Kaweni), responsable artistique Sophie Huvet, dans le cadre de Danse en amateur et répertoire (2016) - Transmission Elena Bertuzzi
Danse en amateur et répertoire
Amateur Dance and Repertory is a companion program to amateur practice beyond the dance class and the technical learning phase. Intended for groups of amateur dancers, it opens a space of sharing for those who wish to deepen a practice and a knowledge of the dance in relation to its history.
Head of Research and Choreographic Directories
Research Assistant and Choreographic Directories
+33 (0)1 41 83 43 96
Source: CN D
More information: https://www.cnd.fr/en/page/323-danse-en-amateur-et-repertoire-grant-programme