When DANCE ON commissioned him for the first time, Rabih Mroué, a  director who was born in Lebanon, had never worked with dancers. The  result, Water Between Three Hands, combined his theatrical and  textual knowledge with movement, with the dancers’ improvisations being  set within graphic structures created by Rabih Mroué’s father. For this  new work, premiered in February at the festival organised by DANCE ON  ENSEMBLE at HAU (Berlin), he continues this unique dialogue, in which  the performers are the creators of their own choreographic material.

In The Pixelated Revolution and So Little Time, the  Lebanese director Rabih Mroué explores our visual culture. Based in  Berlin for the past four years, he has collaborated with DANCE ON  ENSEMBLE on two dance works.

Born in  Beirut, Rabih Mroué is an artist, actor and director whose work stands  at the intersection of the visual arts, performance and theatre. Using  found documents, video sequences, photographs and objects, Rabih Mroué  plays with the frontiets between reality and fiction to question the  authority of archives. He now lives in Berlin.

A joint founder and board member of the  Beirut Art Center (BAC), Rabih Mroué is also a member of the editorial  team for The Drama Review (New-York), and is associated stage directo  rat the Münchner Kammerspiele. From 2012 to 2015 he was associate  researcher and the “Interweaving Performance Cultures” international  research centre in Berlin. Recent works include: Ode to Joy (2015), Riding on a Cloud (2013) and 33 RPM and a Few Seconds  (2012) with Lina Majdalanie. His work was exhibited at the MOMA in 2015  and dOCUMENTA 13. In spring 2016,  the HAU Hebbel am Ufer theatre in  Berlin presented Outside the Image Inside Us, a retrospective selection of his major pieces (in collaboration with Lina Majdalanie).

Source: http://www.festivaldemarseille.com 

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.).

The DANCE ON ENSEMBLE embodies our central aim: to show how dance as an art form benefits from experienced dancers.

Whereas only young bodies are associated with beauty and virtuosity  on stage, DANCE ON is formulating what will hopefully be a trend-setting  perspective for the development and presentation of the artistic  potential of mature dancers. The added physical intelligence, confidence  and expressiveness of the latter arise from lived experience. In  addition to sound knowledge of numerous dance techniques and  choreographic styles, mature dancers also have in-depth awareness of the  impact of their own bodies in movement.

As from 2019 Ty Boomershine will be responsible for upcoming artistic direction of the DANCE ON ENSEMBLE.