La Minute du spectateur : Collectif FAIRE (2022)
The Spectator's Moment
The Spectator's Moment or how to discover an artist, a piece of work or a company in just two minutes. It is a collection of programmes produced by the Maison de la Danse in Lyon and presented by Dominique Hervieu. Each episode is devoted to an artist or a company that is programmed at the Maison de la Danse and offers the public keys or artistic benchmarks for better understanding and appreciating the choreographic art.
© Maison de la Danse de Lyon
Of Mauritanian and Spanish descent, Iffra Dia joined the Black Blanc Beur company where he took his first steps in the dance world and acquired the tools and methods that enable him to transmit his passion.
He broadened his horizons by exploring contemporary, African and jazz dance, while also rubbing shoulders with the masters of hip-hop dance. This desire to decompartmentalize different styles and genres is at the heart of his approach to dancing and allows him to create his own choreographic language. Today he passes on his knowledge of a rich culture of various trends: graffitti art, dance, but also a new mastery of sound and music.
Updating: September 2013
When conventional language falls short, the body, inhabited by the senses, becomes a vehicle for stories and dialog-building between the protagonists. Finding a middle ground through movement is among the objectives central to Johanna Faye’s creative gesture. The resulting conversation stems from the choreographer’s multiple sources of inspiration, where the importance of the relationship to the dance floor, rooted in her practice as a b-girl, is coupled with verticality and a sensory approach to contemporary dance.
Johanna Faye strives to rehabilitate this non-verbal language as a need to draw our attention back to our instinctive sense of self. Starting with Iskio (2015), her first choreographic attempt written and performed as a duo with Saïdo Lehlouh, Johanna explores a one-on-one relationship, where otherness becomes a foothold for the individual. Moving from a duo to a group, the two members of the Black Sheep dance company take it to the next level in Fact (2017), a piece for seven performers in which both the human and material environments prompt the dancers to reshape their mutual interactions in motion.
Lastly, Johanna Faye finds a narrative balance to her inaugural independent piece in the magic number represented by the trio. Meaning literally “far within” or “away from” in Portuguese, Afastado Em (2018) traces the intertwining paths of three female dancers, each representing a divergent practice: flamenco, Krumping, and contemporary dance. In a decelerating tug-of-war, the piece figures an introspective insight into the characters through an external gesture, such as the act of contemplative breathing in tandem.
Together, Johanna Faye and Saïdo Lehlouh created Earthbound (2021), a celebration through dance of the rebel and underground hip hop scene’s diversity which questions the stage’s performative codes. Emerging from her encounter with clarinetist Guillaume Humery, jazz pianist Léo Jassef and dancer-jiujitsuka Julien Fouché, Inner (2022) is a shared introspection where body and music echo each other spontaneously.
Source : site du CCN de Rennes et de Bretagne
Although Linda Hayford is best known as an ambassador for popping, her dance practice has evolved through the encounter between genres and moves. Above all a practitioner of upright dance inspired by funk and its diverse aesthetics, she is driven by a desire for versatility and a blend of styles that calls for team battles, which brings her into contact with hype, of course popping, as well as locking, the new style, and house. As part of the group Paradox-sal, launched by Ousmane Sy, and the INsideOut dance company she founded, the Rennes-based dancer and choreographer adopts an open-ended and plural approach.
Taking a crossover of styles as her starting point, Linda Hayford finds a common thread between multiple emotional and physical states and focuses her aesthetic research on metamorphosis. Her inaugural solo Shapeshifting materializes the power represented by the passage from one form to another in an intimate fresco that deploys a succession of chimeras. In the process of this quest for transformation, the switch-point or the flipping point between forms and energies charts the course of action sustained by the desire to get closer to the animal side of the body.
In AlShe/Me (2019, pronounced as “alchimie” in French, meaning “chemistry”), Linda Hayford appears on stage alongside her older brother, Mike Hayford. Years after having given her a leg up in the world of popping, the dancer accompanies his sister in a duo that focuses on the ephemeral character of the genre. Created in 2022, Recovering invites 3 performers to reflect on the healing process following a trauma through the transmission and appropriation of different tools from Linda Hayford’s “Shifting Pop” vocabulary.
For Linda Hayford, alteration has become an object of reflection on the constantly changing nature of identity, where every stage embodies a facet of humanity, culminating in the complexity of displacement.
Ait Atmane, Bouside
Bouside Ait Atmane’s encounter with dance almost appears as the result of a misstep. From his first introductory hip hop sessions, conducted by Emmanuel Oponga, Bouside seemed to be made for breakdance and floor work, giving little hint that he would spend his life dancing upright. And yet it is in the vertical position, under the banner of locking, a dance style closely tied to funk and spontaneity, that he came into his own as a performer, and later as a dancer and choreographer.
Inside the circle – the center-stage of the battle – “Zid” gives a show of skill and force. In France and abroad, alone or with a crew, building on the energy of confrontation, he has developed a penchant for a direct language. This vocabulary gave birth in 2015 to Dans l’arène, a show jointly choreographed with Yanka Pédron, the other face of the YZ dance company. This piece for two dancers speaks to unmediated inspiration drawn from confrontation: alternating between workouts and moments of strife, it bridges the gap that traditionally separates battle and stage choreography.
Created two years later, R1R2 Start was the first project written entirely by Bouside Ait Atmane. Here, the choreographer plays with digital coding and real actions in a courseware-like tribute to video game culture. This piece marks a “recovery point” in Bouside’s career, analogous to his interpretation of “Tetris” with the group Géométrie Variable.
Keen on innovation, Bouside Ait Atmane imagined several battle concepts: The Ones invites crews from various dance styles to compete against each other; Fighting Dance Battle, co-produced with the association 3 Hit Combo, confronts 2 teams, each composed by a dancer and a fighting game player.
Bouside’s projects give form to a unique choreographic intention that emphasizes musical gesture as a technical and aesthetic accomplishment, drawing as much on the pugnacity of the protagonists on stage as on creative chance.
In the mid-90s, the style produced by the Parisian b-boying scene stunned the world with a new vision of breakdance. Wild Cat, Saïdo Lehlouh’s first choreographic attempt, created in 2018, foregrounds this style distinguished by its fluidity and its truly feline refinement. The dancer and choreographer’s stint as a breaker with the Bad Trip Crew informs the sincerity of his gesture which tends toward introspection and submission to gravity while lending explosive force to his performance within the circle.
Having cut his teeth on street dance, the choreographer offers an alternative sequel to his début show with his 2019 composition, Apaches. Saïdo Lehlouh makes use of the authenticity afforded by improvisation in a versatile stage piece that perpetually adapts to the context of each performance. Whether in a public space or on stage, Apaches arranges bodies and sets them to rhythm in a transitional space where the circulating energies and sincere intentionality are the message.
By taming the floor through touch, “Darwin” continuously builds a corporal vocabulary responsive to the needs of the moment. With his partner Johanna Faye, the other member of the Black Sheep dance company, Saïdo Lehlouh explores in Iskio (2015), and later in Fact (2017), the possibilities of speaking out in a choreographic dialog. Together, Saïdo Lehlouh and Johanna Faye created Earthbound (2021), a celebration through dance of the rebel and underground hip hop scene’s diversity which questions the stage’s performative codes.
Source: CCN de Rennes et de Bretagne
Since his first footwork nearly thirty years ago, Ousmane Sy has worked to translate his fascination with the orchestrated movement of a soccer team into dance. His artistic world, occupying various fields, is made up of step-overs, lunges between the dance floor and the stage, and the irrepressible desire to overcome oneself through the group.
One foot in the club, the other in battle: Ousmane Sy, nicknamed “Babson,” stakes his belonging to house dance between these two spaces of expression, becoming one of its major proponents in France. With the “Battle of the Year,” won in 2001 with his crew the “Wanted Posse,” he brought the “French touch” to the forefront of the international scene by transposing androgynous gestures inspired by New York nightclubs into the heart of the contest. Extending far beyond the boundaries of the Marshall Plan, his dance practice has gradually turned to the hybrid histories and African lineages of house rhythms. The result was “Afro House Spirit,” a contemporary dance style marked by the heritage of traditional African and Caribbean dances.
The driving force behind All 4 House, Ousmane Sy endeavors to harmonize, through the mise-en-scène of a multi-act performance, the individual pathways of the female dancers from the group Paradox-Sal, whom he has trained in house dance for years. Queen Blood (2019) and One Shot (2021) were born from this approach: two “corps de ballets” alternating between group choreographies and expressive solos for an encounter of styles in the joyful spirit of confrontation. Ousmane Sy’s aesthetic exploration is influenced as much by the mass as by the freestyle spirit of hip hop. He strongly believes that identity must serve entity.
Source: CCN de Rennes et de Bretagne
Born in 1977, Fabien Plasson is a video director specialized in the field of performing arts (dance , music, etc).
During his studies at the Ecole Nationale des Beaux-Arts de Lyon (joined in 1995) Fabien discovered video art. He was trained by various video artists (Joel Bartoloméo Pascal Nottoli , Eric Duyckaerts , etc) .
He first experimented with the creation of installations and cinematic objects.
From 2001 to 2011, he was in charge of Ginger & Fred video Bar’s programming at La Maison de la Danse in Lyon. He discovered the choreographic field and the importance of this medium in the dissemination, mediation and pedagogical approach to dance alongside Charles Picq, who was a brilliant video director and the director of the video department at that time.
Today, Fabien Plasson is the video director at La Maison de la Danse and in charge of the video section of Numeridanse.tv, an online international video library, and continues his creative activities, making videos of concerts, performances and also creating video sets for live performances.
Sources: Maison de la Danse ; Fabien Plasson website
More information: fabione.fr
CCN de Rennes et de Bretagne
With a background in hiphop and all its influences, we represent a new generation of choreographers. Our driving force—dance, as well as art brut—draws on self-taught skills and takes on a universal dimension that informs our values. It is dance that allows us to forge a cross-disciplinary dialog with other aesthetics and to be in touch with reality. We affirm the use of making (faire) as a way of relating to the world, as well as a method of appropriating, through action and reaction, our immediate environment and of infusing it, whenever possible, with desire, poetry, justice, imagination, joy, sharing, and community…
Gathered together, enriched by our differences and by our individual artistic approaches, we have been able to sweep aside the residual modalities of writing specific to our respective fields of aesthetics. We thus invite you to discover our worlds and partake in the auteur dance that fits perfectly within the panorama of contemporary dance.
Source: CCN de Rennes et de Bretagne