It is sometimes difficult to know where we are going, but we do know where we come from. Dance, street dance, hip hop and contemporary dance are our DNA. We have fully experienced these differing vocabularies which have redefined us as artists, each and every time.
Point Zéro is above all, an invitation to dance — with two of my friends, both well-known dancers. It is about experiencing together the journey each of us have taken, through the various aesthetics which are the landmarks of that journey. Johanna, Mathias and I all began doing street dance, then each of us chose our own paths, as it were, filled with personal encounters, sharing, a hybridization of ideas. Point Zero is literally the central, chosen place from which all distances are calculated. What is the road we have traveled on during all these years of research? In France our point zero is the plaza in front of the great Cathedral, Notre Dame de Paris, in a city which is also one of the centers of hip hop culture. Coincidentally, there was a terrible fire at Notre Dame this year, creating a wave of emotion and sadness.
What remains of our cathedral of urban dancers, of our original chapels? Are they still intact after so many years? Are we still able to go back there, to draw from this place to create, transmit, move together? For Mathias the answer is a firm ‘yes’ – he never gave up his signature dance, a fusion of street dance and hip hop. There is however the question of the aging of the body, which affects somewhat the physical intensity of his dance vocabulary. With Johanna, I am interested in exploring not only finding a balance between the multiple techniques which coalesce in her dancing, but also the space where the brute tonicity of Mathias meets the fluidity and flow which I have worked with for so many years.
Point Zéro is also an opportunity to begin addressing the power relationship I intend to explore in my next group work, planned for 2022. For many years I have looked to prioritize a relationship of caring, based on personal encounter and experiencing things together. An honorable choice but an idea which runs contrary to the reality of current reltationships. Is otherness also a subtle game of power? How can we remain authentic? What am I willing to give up? What relationship can be built if we are trying to create it together while remaining faithful to our individualism?
Source: Amala Dianor
More information: amaladianor.com
A hip hop dancer, Amala Dianor trained at the CNDC in 2000. Working as a performer in many diverse productions (from hip hop to neo-classical, contemporary and afro-contemporary dance), he quickly acquired undeniable recognition in the dancing community.
During these years, Amala perfected his writing: he masterfully went from one technique to another, but truly thrived through building bridges through these worlds. With the company C dans C, he choreographed (or co-choreographed) and performed in his first shows.
In 2012 he created “Crossroads” (winner of the Second and Third Awards at the Concours Renaissance), as well as his own company, the Amala Dianor Company, with which he developed his work as a choreographer.
The following year, he created “Parallèle”, a feminine dancing quartet at the Centre National de la Danse. In 2014, he choreographed the Extension duo alongside Bboy Junior, a surprising encounter between two esteemed performers of the French hip hop scene. That same year, he created and performed in his first solo show, Man Rec, which premiered in the Avignon festival.
In 2015, the company launched a regional project called “A Wink of Time” putting in the spotlight 18 amateur dancers on their way to becoming professionals. This project led to the creation of “Overflow”, co-signed with Mickael Le Mer, Pierre Bolo and Annabelle Loiseau. Amala also became the artist in residence at the Théâtre Louis Aragon in Tremblay-en-France, on a two-year contract.
In 2016 he created “Di(s)generation”, bringing together several generations of hip hop dancers, and showcased “New School”, a trio from “Di(s)generation” inspired by Abstract dance.
The 2016-2017 season marks Amala Dianor’s first of three years as an Associate Artist for the CDC Pôle Sud in Strasbourg, as well as for the 104 in Paris, and the Scènes de Pays dans les Mauges (Maine et Loire), France.
Source : The Amala Dianor Company 's website
More information : amaladianor.com
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
Choreography : Amala Dianor
Choreography assistance : Alexandre Galopin
Interpretation : Amala Dianor, Johanna Faye, Mathias Rassin
Original music : Awir Léon
Lights : NicolasTallec
Production / Coproduction of the choreographic work : Cie Amala Dianor I Kaplan
Production / Coproduction of the video work : Maison de la Danse de Lyon - Fabien Plasson, 2021
Hip hop on French theater stages
Maison de la danse
40 years of dance and music
CHRISTIAN & FRANÇOIS BEN AÏM – VITAL MOMENTUM
Les Rencontres chorégraphiques internationales de Seine-Saint-Denis
Body and conflicts
A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.
Focus on the variety of bodies offered by contemporary dance and how to show these bodies: from complete nudity to the body completely hidden or covered.
Reinterpreting works: Swan Lake, Giselle
Some great shows are revisited through the centuries. Here are two examples of pieces reinterpreted by different choreographers.