Concept Eszter Salamon and Endre Liber, Ròbert Liber, Ròbert Csögör, Zoltan Gemesi, Ferenc Salamon, Erzsébet Salamon
Musical composition Ferenc Salamon

“What remains of a past choreographic experience?”, wonders Eszter Salamon. What remains of the old movements and rhythms in the memory of the body and the imagination? How do our movements retain the trace of mixed, yet crucial, experiences? These questions have a particularly strong resonance in the itinerary of Eszter Salamon. 

Born in Hungary and surrounded since childhood with traditional Hungarian dance, she also trained in classical dance. These are two models for the body with radically different social meanings, two irreconcilable representations, each equally as unequal, of the role of men and women, which slowly settles in over the course of historic, political and national developments. 

Since venturing into contemporary dance in the 1990s, Eszter Salamon has never ceased to redistribute the differences in sex. With Magyar Tàncok, we understand just how much these concerns are rooted in the experience of the dancer herself. 

To go back over her experience, she has invited her mother (who is a teacher of traditional dance in Hungary) onto the stage, as well as her brother and other musicians – all of whom are members of the group 'Marton' – and her ex-dance partner. Over the course of a performance that interweaves lecture, autobiographical analysis and dance, Eszter Salamon lays down several major milestones in the history of Hungarian folk dance, while showing its impact on her own identity path and her more recent choreography practice. 

Annie Suquet

ESZTER SALAMON is a choreographer and performer. Since 2001 she has created solos and group pieces. Her work has been widely shown around the world and she is regularly invited to give presentations in museums. Eszter Salamon uses choreography as an extensive practice viewed as a machine to manoeuvre among various media: video, sound, music, text, voice, movement and bodily actions.
In her first works, the activation of cognitive experience questions visual perception, sensation and kinaesthesia.

From 2005 she started expressing an interest in documentaries and women’s autobiography, which led her to explore multiple formats such as dance conference, video-choreography or monodrama. Her research on speculation and fiction led her to create TALES OF THE BODILESS, futuristic opera without performers, picturing the possible ways of life following human extinction. Lately Salamon initiated a new series of pieces exploring both  the concept of a monument and an attempt to rewrite history.
Eszter Salamon will be factory artist with LE CND until 2017.

Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).