Ibuki (excerpt from Namasya)
2008 - Director : Picq, Charles
Choreographer(s) : Amagatsu, Ushio (Japan) Shivalingappa, Shantala (India)
Present in collection(s): Maison de la Danse de Lyon , Saisons 2000 > 2009
Video producer : Maison de la Danse
Ibuki (excerpt from Namasya)
2008 - Director : Picq, Charles
Choreographer(s) : Amagatsu, Ushio (Japan) Shivalingappa, Shantala (India)
Present in collection(s): Maison de la Danse de Lyon , Saisons 2000 > 2009
Video producer : Maison de la Danse
Namasya
With an Indian classical dance background, my first experience with another way of dancing was my work with Pina Bausch. My meeting with her was one of the most powerful in my whole career, both in human and in artistic terms. With her immense talent, sensitivity and generosity, she opened up for me the door to a new gestural universe. With her and her dancers, I learnt to think and to feel movement differently, from its design through to its execution: spontaneity, freedom and rigour, fluidity, movement flowing from the body but also from the heart.
There is an apparent contrast between Amagatsu’s universe, fabricated with slowness, sketches and abstraction, and that of Indian dance, rhythmic and rapid, ornamented and narrative. However, both practices meet in their end goal: the light given off and the intensity of emotion.
The project is thus the result of an evening spent around two solis worked on with these two choreographers whom I admire and whose choreographic universe, extremely personal and special, touches me and finds a resonance in my artistic sensibility.
Their work had a magnetic effect on me and rekindled my desire to explore the movement and the emotion given off.
I was truly won over by the idea of working with these choreographers on the basis of my Indian classical dance gestures and technique, believing in the universality of dance and the movement and emotion they provoke, with no need for a shared technical language.
Based on the pure technique of Indian dance, will we travel towards another form of narrative, another way of experiencing and feeling dance? Or is the Rasa, the flavour which emanates from dance, not as different as the apparent contrast of forms would lead us to believe?
Mirroring my fascination for Kuchipudi art, my desire to take this path to explore dance is also extremely intense. Along this path, nothing can be compared to the exceptional privilege of working with these great artists and of embodying the link uniting them for the space of one evening.
Source: Shantala Shivalingappa
Amagatsu, Ushio
Director, Choreographer and Designer
He was born in Yokosuka,Japan in 1949 and founded Butoh company Sankai Juku in 1975. He created "Amagatsu Sho" (1977), "Kinkan Shonen" (1978), "Sholiba" (1979) before the first world tour in 1980. Since 1981, France and The Theatre de la Ville,Paris has become his places for creation and work and that year he created "Bakki" for Festival d'Avignon. The Theatre de la Ville, Paris he has created 14 productions since 1982.
Amagatsu also works independently outside Sankai Juku. In 1988 he created “Fushi” on the invitation of Jacob's Pillow Foundation, in the U.S., with music by Philip Glass. In 1989, he was appointed Artistic Director of the Spiral Hall in Tokyo where he directed “Apocalypse” (1989), and “Fifth-V” (1990). In February 1997, he directed the opera “Bluebeard's Castle” by Bartok's opera conducted by Peter Eotvos at Tokyo International Forum. In March 1998, at Opera National de Lyon, France, he directed Peter EOTVOS's opera “Three Sisters” (world premiere).
In March 2008, Amagatsu directed “Lady Sarashina,” Peter EOTVOS’s new opera at Opera National de Lyon (world premiere), and created two pieces: « Tobari - As if in an inexhaustible flux » and « Utsushi ». His last creations are « Kara・Mi - Two Flows » (2011) and « UMUSUNA - Memories before History » (premiered at Opera de Lyon, France).
Source : Sankai Juku 's website
More information : sankaijuku.com
Shivalingappa, Shantala
Born in Madras, India, brought up in Paris, Shantala is the child of east and west.
She grew up in a world filled with dance and music, initiated at a tender age by her mother, dancer Savitry Nair. Deeply moved and inspired by Master Vempati Chinna Satyam’s pure and graceful style, Shantala dedicated herself to Kuchipudi, and received an intense and rigorous training from her master.
Driven by a deep desire to bring Kuchipudi to the western audience, she has performed in important festivals and theatres, earning praise and admiration from all.
Acclaimed as a rare dancer by artists and connoisseurs in India and Europe, Shantala combines a perfect technique with flowing grace and a very fine sensitivity. Since the age of 13, she also had the privilege of working with some of the greatest artists of our times: Maurice Béjart (“1789…et nous”), Peter Brook (for whom she played Miranda in “The Tempest” and Ophelia in “Hamlet”), Bartabas (“Chimère”), Pina Bausch (“O Dido”, “Néfès”, and “Bamboo Blues), Amagatsu (“Ibuki”). Such experiences make her artistic journey a truly unique one.
Today, Shantala shares her time between touring, expanding her choreographic work in the Kuchipudi style, and collaborating with various artists in the exploration of dance, music and theatre.
Some of these collaborations are: “Play” (2010), a duet with dancer-choreographer Sidi Larbi Cherkaoui, “Nineteen Mantras” (2012), a modern opera inspired by hindu myths, directed by Giorgio Barberi Corsetti and for which Shantala created the choreography; “Peer Gynt” (2012) directed by Irina Brook for the Salzburg Festival, in which Shantala was acting, dancing, and singing.
In 2013, Shantala was awarded the prestigious “Bessie” dance award in New York City for Shiva Ganga, for Outstanding Performance.
In 2014, she performed in “AM I”, the latest piece by Sydney-based “Shaun Parker & Company” at the Sydney Opera House, with a cast of 13 Australian dancers and musicians.
She also created “Blooming” at the Vail International Dance Festival, a short duet with Charles ‘Lil Buck’ Riley, a wizard in jookin’, a street-dance style from Memphis, Tennessee.
Her latest collaborations have both been in Barcelona and closely weaving together movement and music. First Impro-Sharana, with the Catalan singer Ferran Savall, and four of his musical accomplices, and most recently, « We Women » with Sol Pico, Julie Dossavi and Minako Seki.
Source : Shantala Shivalingappa Company 's website
More information : shantalashivalingappa.com
Picq, Charles
Author, filmmaker and video artist Charles Picq (1952-2012) entered working life in the 70s through theatre and photography. A- fter resuming his studies (Maîtrise de Linguistique - Lyon ii, Maîtrise des sciences et Techniques de la Communication - grenoble iii), he then focused on video, first in the field of fine arts at the espace Lyonnais d'art Contemporain (ELAC) and with the group « Frigo », and then in dance.
On creation of the Maison de la Danse in Lyon in 1980, he was asked to undertake a video documentation project that he has continued ever since. During the ‘80s, a decade marked in France by the explosion of contemporary dance and the development of video, he met numerous artists such as andy Degroat, Dominique Bagouet, Carolyn Carlson, régine Chopinot, susanne Linke, Joëlle Bouvier and regis Obadia, Michel Kelemenis. He worked in the creative field with installations and on-stage video, as well as in television with recorded shows, entertainment and documentaries.
His work with Dominique Bagouet (80-90) was a unique encounter. He documents his creativity, assisting with Le Crawl de Lucien and co-directing with his films Tant Mieux, Tant Mieux and 10 anges. in the 90s he became director of video development for the Maison de la Danse and worked, with the support of guy Darmet and his team, in the growing space of theatre video through several initiatives:
- He founded a video library of dance films with free public access. This was a first for France. Continuing the video documentation of theatre performances, he organised their management and storage.
- He promoted the creation of a video-bar and projection room, both dedicated to welcoming school pupils.
- He started «présentations de saisons» in pictures.
- He oversaw the DVD publication of Le tour du monde en 80 danses, a pocket video library produced by the Maison de la Danse for the educational sector.
- He launched the series “scènes d'écran” for television and online. He undertook the video library's digital conversion and created Numeridanse.
His main documentaries are: enchaînement, Planète Bagouet, Montpellier le saut de l'ange, Carolyn Carlson, a woman of many faces, grand ecart, Mama africa, C'est pas facile, Lyon, le pas de deux d'une ville, Le Défilé, Un rêve de cirque.
He has also produced theatre films: Song, Vu d'ici (Carolyn Carlson), Tant Mieux, Tant Mieux, 10 anges, Necesito and So schnell, (Dominique Bagouet), Im bade wannen, Flut and Wandelung (Susanne Linke), Le Cabaret Latin (Karine Saporta), La danse du temps (Régine Chopinot), Nuit Blanche (Abou Lagraa), Le Témoin (Claude Brumachon), Corps est graphique (Käfig), Seule et WMD (Françoise et Dominique Dupuy), La Veillée des abysses (James Thiérrée), Agwa (Mourad Merzouki), Fuenteovejuna (Antonio Gades), Blue Lady revistied (Carolyn Carlson).
Source: Maison de la Danse de Lyon
Ibuki (extrait de Namasya)
Artistic direction / Conception : Shantala Shivalingappa
Choreography : Ushio Amagatsu
Interpretation : Shantala Shivalingappa
Additionnal music : Yoichiro Yoshikawa
Video conception : Alexandre Castres, Jim Vivien (régie)
Lights : Nicolas Boudier
Costumes : Ushio Amagatsu
Production / Coproduction of the video work : Maison de la Danse de Lyon
Strange works
Parcours
Strange works
Parcours
Unconventional contemporary dance shows which reinvent the rapport to the stage.
Scenic space
Parcours
Scenic space
Parcours
A dance performance takes place in a defined spatial area ... or not. This course helps to understand the occupation of the stage space in dance.
Dance and visual arts
Parcours
Dance and visual arts
Parcours
Dance and visual arts have often been inspiring for each other and have influenced each other. This Parcours can not address all the forms of their relations; he only tries to show the importance of plastic creation in some choreographies.
Dance and percussion
Parcours
Dance and percussion
Parcours
Découvrez de quelles manières ont collaboré chorégraphes et éléments percussifs.
Rituals
Parcours
Rituals
Parcours
Discover how the notion of ritual makes sense in various dances through these extracts.
The contemporary Belgian dance
Parcours
The contemporary Belgian dance
Parcours
This Parcours presents different Belgian choreographers who have marked history and participated in the creation of a "Belgian" style.
Arts of motion
Parcours
Arts of motion
Parcours
Generally associated with circus arts, here is a Journey that will take you on a stroll through different artists from this world.
The committed artist
Parcours
The committed artist
Parcours
In all the arts and here especially in dance, the artist sometimes creates to defend a cause, to denounce a fact, to disturb, to shock. Here is a panorama of some "committed" choreographic creations.
Genres and styles
Parcours
Genres and styles
Parcours
Dance is a rather vast term, which covers a myriad of specificities. These depend on the culture of a country, on a period, on a place. This Journey proposes a visit through dance genres and styles.
Hand dances
Parcours
Hand dances
Parcours
This parcours presents different video extracts in which hands are the center of the mouvement.
Genesis of work
Parcours
Genesis of work
Parcours
A dance show is created in multiples steps between the enunciation of an initial desire which launch the project and the first representation. This parcours presents diff
Artistic Collaborations
Parcours
Artistic Collaborations
Parcours
Panorama of different artistic collaborations, from « couples » of choreographers to creations involving musicians or plasticians
Meeting with literature
Parcours
Meeting with literature
Parcours
Collaboration between a choreographer and a writer can lead to the emergence of a large number of combinations. If sometimes the choreographer creates his dance around the work of an author, the writer can also choose dance as the subject of his text.
When reality breaks in
Parcours
When reality breaks in
Parcours
Dance and performance
Parcours
Dance and performance
Parcours
Here is a sample of extracts illustrating burlesque figures in Performances.
Butoh
Parcours
Butoh
Parcours
On 24th May 1959, Tatsumi Hijikata portrayed the character of the "Man" in the first presentation of a play called Kinjiki (Forbidden Colours).
The Ankoku Butoh was born,
Do you mean Folklores?
Parcours
Do you mean Folklores?
Parcours
Presentation of how choreographers are revisiting Folklore in contemporary creations.
States of the body
Parcours
States of the body
Parcours
Explanation of the term « State of the body » when it’s about dance.
Dance in Quebec: Untamed Bodies
Parcours
Dance in Quebec: Untamed Bodies
Parcours
First part of the Parcours about dance in Quebec, these extracts present how bodies are being used in a very physical way.