Symbol of the short-lived and the revival, the sakura is the cherry tree or the plum tree in Japanese. The dance of the cherry tree often inspires soloes of dance traditionelle or contemporary.  With a "sakura" animated dancing, by inspiration "awa", the video director wishes to pay tribute in the wisdom and in the timelessness of this ancestral culture.  Marianne ML reinterprets this period by playing on dichotmies around an axis, in the passages of the black to the white, the somber in the light. A dance awa in a celestial body moving, with cyclic sets on the trâce, the appearance or the disappearance of the silhouette.  The dancer turns around a point of fragile ground balance, just like the period of blooming / falling of blossoms here dissected and subjected in slow down. Petals appear and give rhythm to seasons between period of blooming. Trâces is born between the movement of the figure and their flows. The time is sometimes imperative to the detriment of the dancer.  

As the myths and the legends, the vidéodanse Sakura invites in the interpretation and in the reverie.

What dances here is a poetic and social metaphor. The work rejoind the Zen philosophies and the samurai: prepair in face the life, with its accomplissemens, its dark sides and its plenitude in the revival.

The original sound track mixes contemporary traverse flute and electronic music. It pays tribute to the Japanese composer Michio Miyagi and his work " Haru no umi, the sea of spring ", Inspired by instruments the sakuachi and the koto. Inkal translates here the harmonies of the piece by working only from the sound material of playing of the flute (melody, blows, clétage).

Eclectic and multi-instrumentalist, two words that summarize well the profile of Julien Decaux. Fascinated by the guitar, he starts the instrument at  the age of eight and will not leave it.
From meetings to concerts, he quenched his thirst for music by experimenting  with electric guitars, piano, drums, clarinet, saxophone, bass and  double bass as well as singing.
During  his university studies, he was also passionate about contemporary  music, particularly computer-assisted music. He creates pieces for  electronics and instruments, and interactive sound installations.

Marianne ML conducted plastic and poetical post-universitary research in  dance in connection with digital video. She directed videodanses for  festivals dedicated or in the form of clips for electronic artists  (Kiosk Records) and VJ performances in lives (Live Performers Meeting,  evenings IRL) where still one or more dancing body. Upstream, she works  with professional dancers and amateurs, with built choreographic  creations or free improvisations.

Former student in Arts and  Digital Technologies at the University of Rennes, in 2008 she turned to  contemporary dance and its different forms at the time of the  multimedia, and has been a pioneering theoretical research on the  passage of the body dancing in its image.

Hybridization, metamorphosis and transfer to the computer age issues are central in her research.