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CÉDEZ LE PASSAGE - ÉPISODE 1 : Un homme qui dort - Hela Fattoumi et Eric Lamoureux

documentaire dansé, Un homme qui dort - Hela Fattoumi et Eric Lamoureux

Nawel Oulad 2020 - Directors : Sgambato, Antonin - Oulad, Nawel

Choreographer(s) : Fattoumi, Héla (France) Lamoureux, Éric (France)

Present in collection(s): Nawel Oulad , Documentaires dansés

Video producer : Pleine Image, Cie Nawel Oulad

Integral video available at CND de Pantin and at Maison de la danse de Lyon

en fr

CÉDEZ LE PASSAGE - ÉPISODE 1 : Un homme qui dort - Hela Fattoumi et Eric Lamoureux

documentaire dansé, Un homme qui dort - Hela Fattoumi et Eric Lamoureux

Nawel Oulad 2020 - Directors : Sgambato, Antonin - Oulad, Nawel

Choreographer(s) : Fattoumi, Héla (France) Lamoureux, Éric (France)

Present in collection(s): Nawel Oulad , Documentaires dansés

Video producer : Pleine Image, Cie Nawel Oulad

Integral video available at CND de Pantin and at Maison de la danse de Lyon

en fr

Documentaires Dansés- Cédez le passage

The series of danced documentaries-CEDEZ LE PASSAGE invites dancers-choreographers to invest in and question anti-homeless street furniture. We wish to offer a sensitive experimentation between dance and cinema to confront the body and the words of the dancers with "anti-body" furniture, now modestly called "dissuasive furniture".

We combine our worlds, with a common thread, our respective views on the city and the place of the excluded for the production of these documentaries.

Nawel Oulad & Antonin Sgambato


The DANCED DOCUMENTARIES seek to make visible attempts by the body to appropriate a space that seems a priori impossible for dance: anti-homeless street furniture.

Several dancer-choreographers go in duet to meet these dissuasive urban furniture. They question these inhospitable architectures with their bodies and their voices.


Production : Pleine Image & Cie Nawel Oulad
 Réalisateurs : Nawel Oulad & Antonin Sgambato
 

http://www.naweloulad.com

https://www.antonin-sgambato.com

https://www.pleineimage-loc.com

Fattoumi, Héla

Héla Fattoumi and Éric Lamoureux founded the Compagnie FATTOUMI/ LAMOUREUX in 1988. Their first work Husaïs was awarded the prize for best first piece at the Bagnolet International Choreographic Competition in 1990, then their trio Après-midi  received the “New Talents” prize from the SACD in 1991. These two  pieces placed them as leaders of the new generation of contemporary  choreographers and brought them international renown.

A space for research whose source is the intermingling of their individual features.
  From piece to piece, they mine the intrinsic intelligence of the body,  its power to reveal meaning, which can also be thought as a part of  movement.
  Several other important pieces were created in the same vein as Husaïs: Si loin que l’on aille (at the Théâtre de la Bastille and the Théâtre de la Ville, 1992); Fiesta (commissioned by the Avignon Festival, 1992); Asile Poétique (at the Théâtre de la Ville, 2000) based on texts by the poet Antonio Ramos Rosa; Wasla, ce qui relie… (at the Lyon Dance Biennial, 1998); Vita Nova (at the Grande Halle de la Villette, 2000) with the 11th graduating class of the National Center for Circus Arts.
  These pieces show choreographic work linked to the ideas of mastery/  nonmastery, strength/ fragility, minimalism/ performance, a dance whose  expressive weight is charged by a “graphic energy.”

They were appointed directors of the CCN of Caen/  Basse-Normandie in 2004, where they continued their work with pieces  focusing on societal issues.
  These works were La Madâ’a (at the Arsenal in Metz, 2004) with the Joubran brothers, Palestinian virtuosi on the oud; Pièze (a “pressure measurement”) and La danse de Pièze  (at the Festival Dialogue de corps, Ouagadougou, 2006 and the Théâtre  de la Bastille), about the idea of “homosensuality” in the Arab-Muslim  world; Just to dance… (the Espace des Arts in Chalon-sur-Saône, 2010), a piece about the idea of “creolization” developed by Édouard Glissant; MANTA,  a solo created at the Montpellier Festival in 2009 and performed on  tour (Tokyo, Séoul, Berlin, Tunis, Brussels, Stockholm, Oslo), based on  the problem inherent in wearing the niqab; Lost in burqa, (at  the Festival danse d’ailleurs, 2011) a performance for 8 dancers, based  on the “clothing-sculptures” by the Moroccan plastician Majida Khattari;  Masculines (at the Arsenal de Metz, 2013) and on the representations of the feminine on both sides of the Mediterranean.

They are reactivating a choreographic research recharging itself with the expressive and poetic potential of dance.
Une douce imprudence co-signed with Thierry Thieû Niang (at the  Festival Ardanthé 2013, and the Théâtre National de Chaillot, 2014) on  the idea of “Care”; Waves, a commission for the Swedish opera  company NorrlandsOperan and its symphony orchestra, under the auspices  of Umeå 2014, European cultural capital, for which they are associated  with the Swedish singer and composer Peter von Poehl.

They also chose to step outside theatres to work in situ in other reactive contexts.
  In February 2009, they created the performance Stèles as part of a special “Nocturne”, a commission from the Louvre Museum.
  In 2008 they created Promenade at the Grand Palais, imagining a dialogue with the monumental sculptures of Richard Serra.
  In January 2012 they created Circle, inviting the audience into  the center of a circular structure where dance goes wild with the  massed collective energy of 26 professional and amateur dancers.
  In 2013, as part of the Normandy Impressionist Festival they stepped  inside the exhibition “Summer at the water’s edge” at the Beaux-Arts  Museum of Caen for a choreographic Flânerie (wandering).

Creation of the Festival Danse d’Ailleurs (Dance from Elsewhere) (2005)
  Beginning in 2005, they founded the Festival Danse d’Ailleurs whose  vocation is to put back into perspective the idea of universalism while  questioning referent frameworks for modernity in art, relating to  cultural horizons.
  The first four editions focused on artists from the vast, diverse  African continent and brought international recognition to the event,  and the following editions opened as far as Asia, linking with the Hot  Summer Festival in Kyoto, Japan.

Héla Fattoumi and Éric Lamoureux are fully committed to the promotion and the defense of choreographic art.
  From 2001 to 2004, Héla Fattoumi was the dance vice president of the  SACD (Société des Auteurs Compositeurs Dramatiques). She was also in  charge of programming the section called ”Vif du sujet” at the Avignon  Festival.
  From 2006 – 2008, she was the President of the ACCN (Association of the  National Choreographic Centers). From 2010 – 2013 Éric Lamoureux took  over the Presidency; he is now the vice president.
  From 2013 to 2015, Héla Fattoumi has been the president delegated to long-term planning at the SYNDEAC.

In March 2015 Héla Fattoumi and Éric Lamoureux were named  Directors of the Centre chorégraphique national de Franche-Comté in  Belfort, for which they are developing their VIADANSE project.

Lamoureux, Éric

Héla Fattoumi and Éric Lamoureux founded the Compagnie FATTOUMI/ LAMOUREUX in 1988. Their first work Husaïs was awarded the prize for best first piece at the Bagnolet International Choreographic Competition in 1990, then their trio Après-midi  received the “New Talents” prize from the SACD in 1991. These two  pieces placed them as leaders of the new generation of contemporary  choreographers and brought them international renown.

A space for research whose source is the intermingling of their individual features.    From piece to piece, they mine the intrinsic intelligence of the body,  its power to reveal meaning, which can also be thought as a part of  movement.    Several other important pieces were created in the same vein as Husaïs: Si loin que l’on aille (at the Théâtre de la Bastille and the Théâtre de la Ville, 1992); Fiesta (commissioned by the Avignon Festival, 1992); Asile Poétique (at the Théâtre de la Ville, 2000) based on texts by the poet Antonio Ramos Rosa; Wasla, ce qui relie… (at the Lyon Dance Biennial, 1998); Vita Nova (at the Grande Halle de la Villette, 2000) with the 11th graduating class of the National Center for Circus Arts.    These pieces show choreographic work linked to the ideas of mastery/  nonmastery, strength/ fragility, minimalism/ performance, a dance whose  expressive weight is charged by a “graphic energy.”

They were appointed directors of the CCN of Caen/  Basse-Normandie in 2004, where they continued their work with pieces  focusing on societal issues.    These works were La Madâ’a (at the Arsenal in Metz, 2004) with the Joubran brothers, Palestinian virtuosi on the oud; Pièze (a “pressure measurement”) and La danse de Pièze  (at the Festival Dialogue de corps, Ouagadougou, 2006 and the Théâtre  de la Bastille), about the idea of “homosensuality” in the Arab-Muslim  world; Just to dance… (the Espace des Arts in Chalon-sur-Saône, 2010), a piece about the idea of “creolization” developed by Édouard Glissant; MANTA,  a solo created at the Montpellier Festival in 2009 and performed on  tour (Tokyo, Séoul, Berlin, Tunis, Brussels, Stockholm, Oslo), based on  the problem inherent in wearing the niqab; Lost in burqa, (at  the Festival danse d’ailleurs, 2011) a performance for 8 dancers, based  on the “clothing-sculptures” by the Moroccan plastician Majida Khattari;  Masculines (at the Arsenal de Metz, 2013) and on the representations of the feminine on both sides of the Mediterranean.

They are reactivating a choreographic research recharging itself with the expressive and poetic potential of dance. Une douce imprudence co-signed with Thierry Thieû Niang (at the  Festival Ardanthé 2013, and the Théâtre National de Chaillot, 2014) on  the idea of “Care”; Waves, a commission for the Swedish opera  company NorrlandsOperan and its symphony orchestra, under the auspices  of Umeå 2014, European cultural capital, for which they are associated  with the Swedish singer and composer Peter von Poehl.

They also chose to step outside theatres to work in situ in other reactive contexts.    In February 2009, they created the performance Stèles as part of a special “Nocturne”, a commission from the Louvre Museum.    In 2008 they created Promenade at the Grand Palais, imagining a dialogue with the monumental sculptures of Richard Serra.    In January 2012 they created Circle, inviting the audience into  the center of a circular structure where dance goes wild with the  massed collective energy of 26 professional and amateur dancers.    In 2013, as part of the Normandy Impressionist Festival they stepped  inside the exhibition “Summer at the water’s edge” at the Beaux-Arts  Museum of Caen for a choreographic Flânerie (wandering).

Creation of the Festival Danse d’Ailleurs (Dance from Elsewhere) (2005)    Beginning in 2005, they founded the Festival Danse d’Ailleurs whose  vocation is to put back into perspective the idea of universalism while  questioning referent frameworks for modernity in art, relating to  cultural horizons.    The first four editions focused on artists from the vast, diverse  African continent and brought international recognition to the event,  and the following editions opened as far as Asia, linking with the Hot  Summer Festival in Kyoto, Japan.

Héla Fattoumi and Éric Lamoureux are fully committed to the promotion and the defense of choreographic art.    From 2001 to 2004, Héla Fattoumi was the dance vice president of the  SACD (Société des Auteurs Compositeurs Dramatiques). She was also in  charge of programming the section called ”Vif du sujet” at the Avignon  Festival.    From 2006 – 2008, she was the President of the ACCN (Association of the  National Choreographic Centers). From 2010 – 2013 Éric Lamoureux took  over the Presidency; he is now the vice president.    From 2013 to 2015, Héla Fattoumi has been the president delegated to long-term planning at the SYNDEAC.

In March 2015 Héla Fattoumi and Éric Lamoureux were named  Directors of the Centre chorégraphique national de Franche-Comté in  Belfort, for which they are developing their VIADANSE project.

Héla Fattoumi, Eric Lamoureux (VIADANSE - CCN de Franche-Comté à Belfort)

Héla Fattoumi and Éric Lamoureux founded the Compagnie FATTOUMI / LAMOUREUX in 1988. Their first piece Husaïs won the first work prize at the Bagnolet international competition in 1990, followed by the Afternoon trio, Prix New Talents Danse from the SACD in 1991. These two works propel them among the leaders of a new generation of contemporary creation and bring them international recognition. From room to room, they tirelessly probe the intelligence of the body, its power of unveiling meaning which is also thought (thinking) in motion. They regularly venture out of theaters to react in-situ to other contexts of reactivity.

Nawel Oulad

Nawel grew up between her mother’s painting studio and the film sets where her father worked. In addition to pictorial universe, dance, theater and music, which she has been practicing for six years at the Conservatoire, have led her to nourish a sensitive thought that expresses itself through art. Curious to understand the history of her ancestors, she completed her dance training with university studies in sociology and visual arts.

 Convinced of the importance of creation and bodily awareness in the development of the human being, she obtained her Diploma of Psychopedagogy of the danced movement at Freedancesong. There, she will also complete her training in contemporary, classical and jazz dance, and the discovers African dances and Dunham technique. 

It is the meeting with the choreographer Christian Bourigault, then in residence at the University Paris Nanterre, which will be decisive for her career. She will find in his contemporary dance the committed body she sought, the possibility of reconciling the humanities and art. She will perform in 6 of Christian Bourigault’s creations, then joins the RIDC - Rencontres Internationales de Danse Contemporaine - where she obtains her State Diploma of contemporary dance teacher in 2012. 

She then participates as a dancer-interpreter to the resumption of Sans objet (“Irrelevant») with Mie Cocquempot , Co. K622, to Vertige délicieux («Delightful Vertigo») in Claire Jenny’s Point Virgule Company, Aublick by the Impact Company, and various creations of the Théoréma Company.

 In 2010 she founded the dance department of the association L’Envolée Bleue where she gave workshops, set up photo dance outings and created her first performances mixing dance and painting as well as her solo «Métis, terre damnée». 

The foundations of her work arise and the artistic and educational projects are linked together, leading her to set up her company. The history of art and sociology are at the heart of her work. Identity research, urbanity, memory and the place of the individual in the group are all recurring themes in her creations. 

She does not hesitate to go and meet other arts during performances in the most diverse places, in an always renewed dance. 

From the production of video-dance films to the installation of filmic devices, this medium accompanies and complements her choreographic and scenographic design research as well as En corps hors cadre («Embodied, out of frame») exposed in the month of the photo Off 2010 at La Fonderie de l’Image, or with the CINEMADANSE cycle inaugurated in 2015, by making the film Quitter le bitume (“Leaving concrete”) presented in various festivals. 

She works with several theater companies as well as a coach in the preparation of the actor as an actress (Cie Aziadé, KOTB collective, Guillaume Segouin, collective Theôrema.) 

In 2014, she created the annual festival L’Appel de la Lune («The Call of the Moon»), inviting artists and researchers to meet on a topic related to women. In 2015 she became a member of the UNESCO International Dance Council and creates the program CINEMADANSE  to develop her activity as film director .


Pour aller plus loin :

site de la Cie Nawel Oulad 

Chaine youtube 

Pour aller plus loin :

site de la Cie Nawel Oulad 

Chaine youtube 

Sgambato, Antonin

director

Oulad, Nawel

Nawel grew up between her mother’s painting studio and the film sets where her father worked. In addition to pictorial universe, dance, theater and music, which she has been practicing for six years at the Conservatoire, have led her to nourish a sensitive thought that expresses itself through art. Curious to understand the history of her ancestors, she completed her dance training with university studies in sociology and visual arts.


 Convinced of the importance of creation and bodily awareness in the development of the human being, she obtained her Diploma of Psychopedagogy of the danced movement at Freedancesong. There, she will also complete her training in contemporary, classical and jazz dance, and the discovers African dances and Dunham technique. 

It is the meeting with the choreographer Christian Bourigault, then in residence at the University Paris Nanterre, which will be decisive for her career. She will find in his contemporary dance the committed body she sought, the possibility of reconciling the humanities and art. She will perform in 6 of Christian Bourigault’s creations, then joins the RIDC - Rencontres Internationales de Danse Contemporaine - where she obtains her State Diploma of contemporary dance teacher in 2012. 

She then participates as a dancer-interpreter to the resumption of Sans objet (“Irrelevant») with Mie Cocquempot , Co. K622, to Vertige délicieux («Delightful Vertigo») in Claire Jenny’s Point Virgule Company, Aublick by the Impact Company, and various creations of the Théoréma Company.


 In 2010 she founded the dance department of the association L’Envolée Bleue where she gave workshops, set up photo dance outings and created her first performances mixing dance and painting as well as her solo «Métis, terre damnée». 

The foundations of her work arise and the artistic and educational projects are linked together, leading her to set up her company. The history of art and sociology are at the heart of her work. Identity research, urbanity, memory and the place of the individual in the group are all recurring themes in her creations. 

She does not hesitate to go and meet other arts during performances in the most diverse places, in an always renewed dance. 


From the production of video-dance films to the installation of filmic devices, this medium accompanies and complements her choreographic and scenographic design research as well as En corps hors cadre («Embodied, out of frame») exposed in the month of the photo Off 2010 at La Fonderie de l’Image, or with the CINEMADANSE cycle inaugurated in 2015, by making the film Quitter le bitume (“Leaving concrete”) presented in various festivals. 

She works with several theater companies as well as a coach in the preparation of the actor as an actress (Cie Aziadé, KOTB collective, Guillaume Segouin, collective Theôrema.) 

In 2014, she created the annual festival L’Appel de la Lune («The Call of the Moon»), inviting artists and researchers to meet on a topic related to women. In 2015 she became a member of the UNESCO International Dance Council and creates the program CINEMADANSE  to develop her activity as film director .


Pour aller plus loin :

site de la Cie Nawel Oulad 

Chaine youtube 

Cie Nawel Oulad

Created in 2011, the Nawel Oulad Company conducts contemporary dance projects in close connection with the visual arts and the humanities. The troupe federates around hybrid artistic projects, shows but also performances, installations, and films. Today the company has created and performed 5 shows, 5 performances and many video-dances including two movies.
 

website www.naweloulad.com .

 

Partenaires de la compagnie:
Conseil départemental de Seine Saint Denis /
Centre National de la Danse Pantin Mad /
Ménagerie de Verre StudioLab /
La Belle Orange bureau de production et diffusion /
Maison du théâtre et de la danse /
Centre Louis Lumière /
Ville d'Epinay Sur Seine
Pleine image /
​Palais de la Femme /
Sur les toits production

Pleine Image Production

Pleine Image has been producing films and photographs with passion for over six years. Our collaborators bring to life unique and meaningful worlds through images.

We lead a team of technicians and experienced artists, united by a common desire to tell strong human stories and to satisfy their taste for challenge and innovation.

Pleine Image offers a complete and integrated service, from writing, design, to the provision of technical equipment and post-production. All this allows our customers to confidently entrust us with all of their achievements.

Documentaires dansé- Cédez le passage #1 un homme qui dort

Artistic direction / Conception : Antonin Sgambato & Nawel Oulad

Choreography : Héla Fattoumi & Eric Lamoureux

Interpretation : Héla Fattoumi & Eric Lamoureux

Lights : Alexis Doare

Sound : Thomas Van Pottelberge

Production / Coproduction of the choreographic work : Pleine Image Pro & Sur les toits production

Production / Coproduction of the video work : Cie Nawel Oulad

Note d'intention- documentaires dansés CEDEZ LE PASSAGE

We sometimes help the excluded, the foreigner, the needy. He is treated in reception or accommodation centers. He is also locked up inside hospitals, prisons or detention centers. As long as the vagrant man hides himself under the folds of the city, we let it happen; but it is hardly tolerated when it comes to light.

The dance often proposes to take the bodies out of the established frameworks and limits. It seemed essential to us to call on dancer-choreographers to create filmed highlights of these anti-homeless street furniture.

Based on the observation that these concrete and steel structures force us to invent gestures in reaction, we ask the choreographers to offer - as space and time specialists - an expertise in these ergonomics of discomfort.

How to tame these surfaces? Is it possible that these dissuasive zones become subversive places? Can we sublimate them in meeting places? What do they say about our place and our role in society?

By risking stopping, touching, weight, suspension, contact with matter, the dancers deploy their bodies where they shouldn't. These dancing bodies play with the constraints that the city imposes on us in terms of rhythm and time. By confronting these urbanities, they bring to light these architectures designed specifically against the body. A battle of territory takes place over a few square meters between the stiffness of the concrete and the plasticity of the dancers.

The interest of DANCED DOCUMENTARIES is also to film the dancers' hesitations. Will they be able to fully move and offer a controlled choreography in the face of the pitfalls that these anti-homeless furniture hold out for them? Will their bodies not be prevented and hampered in their movements? How are they going to react?

The voice of artists is essential to understand at the same time as them their desires, their uncertainties, their frustrated emotions ...

The dancers grope, stumble and bounce until they find a balance. The danced act resists the silent obstinacy of these architectures erected against the well-being of bodies and against any form of human gathering. These architectures become, during a dance, the unexpected place of an improvised scenography, a space for a moment embellished by the contortions and arabesques of the dancers. The bodies of the dancer-choreographers deploy their creativity and act in resistance to these sculptures of the impossible.

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