Skip to main content
Back to search
  • Add to playlist

La mirada del avestruz

Biennale de la danse 2002 - Director : Picq, Charles

Choreographer(s) : Fernandez, Tino (Spain)

Present in collection(s): Biennale de la danse , Biennale de la danse - 2002

Video producer : Maison de la Danse;Biennale de la Danse

Integral video available at Maison de la danse de Lyon

en fr

La mirada del avestruz

Biennale de la danse 2002 - Director : Picq, Charles

Choreographer(s) : Fernandez, Tino (Spain)

Present in collection(s): Biennale de la danse , Biennale de la danse - 2002

Video producer : Maison de la Danse;Biennale de la Danse

Integral video available at Maison de la danse de Lyon

en fr

La mirada del avestruz

In a Colombia ravaged by violence, choreographers fight with what weapons they have: body and dance. Tino Fernández, a Spaniard who has lived in Bogota for nearly eight years, is constantly devising allegories, sometimes unknowingly, for Colombia: a country where it is increasingly dangerous to set foot. The instability of the land in this zone of earthquakes, volcanic eruptions and landslides is well known and feared. Of course, this also brings to mind the current guerrilla war, the fact that Colombian citizens are confined to their towns, that it's impossible for them to go down a road without fear of being kidnapped. Every Colombian carries the marks of violence within.


Source : Maison de la Danse programme


“Without wishing to justify barbarism, of course,” Tino Fernández explains, “I have tried to show the poignant poetry, the tragic beauty, like on the face of a mother whose children have been killed. I have followed the drama of the ‘desplazados', peasants torn from their land by the violent excesses of FARC, the paramilitaries and the greed of big land owners. They have fallen into the most abject poverty, and have nothing more than a scrap of waste ground on which they attempt to survive. In short, I also wished to evoke the impossibility of dialogue when every word is annihilated in fury and tumult. By bringing out the emotions of the audience, who applaud us with tears in their eyes, and identify here with the drama that Colombia is living through, with the twisted, mud-spattered bodies of the dancers, found in the myriad of abandoned shoes on stage, evoking the multitude of the disappeared: yes, in this emotion, I find my ‘raison d'être'.”


Accounts collected by Raphaël de Gubernatis for Nouvel Observateur (September 2002)

Fernandez, Tino

Tino Fernández was born in Navia (Spain). After studying drama in Madrid from 1977 to 1980, he began his professional career with the Trasgú theatre company, taking part in three of their productions. Later, he turned to contemporary dance and moved to Paris in 1983, where he continued his studies with the teacher-choreographers Jacques Patarozzi, Éléonore Ambash, Catherine Diverrès, Sara Sugihara and Jacqueline Fynnaert. As a dancer, he premièred new contemporary pieces with various companies, including François Larochevalière, Jean-Marc Colet, Gilles Mussard and Catherine Berbessou. He was also a member of La Règle d'Or (The Golden Rule), a Parisian contemporary choreographic research group. In 1991 he formed his own company, L'Explose, with which he produced and staged several pieces: "Con los ojos cerrados” (With Your Eyes Closed), his first solo "El silencio de las palabras" (The Silence of Words), "El secreto de Inés" (Inés's Secret), “Contre-cœur”. In Bogota he made his first short film on similar themes entitled "L'Attente". Since it was founded, L'Explose has based its working methodology on research which aims to take the energy of movement beyond form, with a theatricality which is able to speak of the human being in order to move the audience. In 1995, Tino Fernández moved to Bogota and created the L'Explose Foundation. With their strong and violent energy, the company emphasizes emotion over movement. Between 1996 and 2002 he created many pieces which have been performed in numerous venues throughout Colombia and as part of international events: “Sol a solas” (Lonely Sun, 1996), “La irrupción de la nada” (The Invasion of the Void, 1997), “La huella del camaleón” (The Chameleon's Footprint, 1998), “Háblame de amor” (Talk to Me of Love, 1999). In August 1999 he won the Pasos Para el Umbral (Towards the Threshold) competition of the Instituto Distrital de Cultura y Turismo de Bogota. This prize allowed him to create the piece “Sé que volverás” (I Know You Will Return), performed to great acclaim in August 2000 at Bogota's Teatro Nacional. To celebrate its ten years of existence, L'Explose created a new piece in 2001, "¿Por quién lloran mis amores?” (For Whom Do My Loves Mourn). In November the same year, Tino Fernández produced his first work in the field of musical comedy when he directed the piece "Electroshock" with Juliana Reyes. In August he was awarded the Towards the Threshold prize for a second time, which allowed him to create "La Mirada del Avestruz” (The Ostrich's View), premièred during the 8th Latin American Theatre Festival in Bogota.

Source : Biennale de la Danse program

More information

lexplose.com

Picq, Charles

Author, filmmaker and video artist Charles Picq 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.

More recently, he launched the series “scènes d'écran” for television and online. He undertook the video library's digital conversion and created the website numeridanse.tv, an international video library for dance online.

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

La mirada del avestruz

Artistic direction / Conception : Tino Fernández

Choreography : Tino Fernández

Interpretation : Marvel Benavides Angela Bello Natalia Orozco Leyla Castillo Paola Escobar John Henry Gerena Tino Fernández Wilman Enrique Romero Vladimir Rodriguez

Artistic consultancy / Dramaturgy : Juliana Reyes

Set design : Víctor Sánchez

Lights : Humberto Hernández

Costumes : Eunice García

Other collaborations : Pierre Pugibet (régie générale)

Production / Coproduction of the choreographic work : coproductionVIII Festival iberoamericano de Teatro de Bogotá, Instituto Distrital de Cultura y Turismo, Alcaldía Mayor de Bogotá avec le soutien de Fundación L'Explose

Production / Coproduction of the video work : Maison de la Danse

Our videos suggestions
03:38

Yvette Chauviré

Fokine, Michel (France)

  • Add to playlist
03:01

Hard to Be Soft

Doherty, Oona (France)

  • Add to playlist
31:26

Montpellier, le saut de l'ange

Bagouet, Dominique (France)

  • Add to playlist
01:07:15

Blue Lady

Carlson, Carolyn (Italy)

  • Add to playlist
28:55

Carolyn Carslon, A Woman of Many Faces

Carlson, Carolyn (France)

  • Add to playlist
11:37

Arcana : Density 21.5

Carlson, Carolyn (France)

  • Add to playlist
04:52

Commedia

Carlson, Carolyn (France)

  • Add to playlist
05:01

Hexentanz

Wigman, Mary (France)

  • Add to playlist
12:08

Blue Lady : montage d'extraits

Carlson, Carolyn (Italy)

  • Add to playlist
06:54

Dark

Carlson, Carolyn (France)

  • Add to playlist
17:18

Blue Lady [revisited]

Carlson, Carolyn (France)

  • Add to playlist
08:18

Blue marine

Carlson, Carolyn (Italy)

  • Add to playlist
02:59

Jewels

Balanchine, George (France)

  • Add to playlist
03:18

Destierro

Arteaga, Mariana (Mexico)

  • Add to playlist
01:04

SNAPSHOTS #1 Anne-Flore de Rochambeau

Ben Aïm, Christian & François (France)

  • Add to playlist
04:44

Le Cantique des cantiques

Lagraa, Abou (France)

  • Add to playlist
02:12

Moving Numbers

Swinston, Robert (France)

  • Add to playlist
Our themas suggestions

Modern Dance and Its American Roots [1900-1930] From Free Dance to Modern Dance

Parcours

Modern Dance and Its American Roots [1900-1930] From Free Dance to Modern Dance

Modern Dance and Its American Roots [1900-1930] From Free Dance to Modern Dance

Parcours

At the dawn of the 20th century, in a rapidly changing West, a new dance appeared: Modern Dance. In the United States as in Europe, modern trends emerge simultaneously and intertwine in thier development. Let's dive into the beginnings of American modern dance!  

Discover
Know more

Western classical dance enters the modernity of the 20th century: The Ballets russes and the Ballets suédois

Parcours

Céline Roux

Western classical dance enters the modernity of the 20th century: The Ballets russes and the Ballets suédois

Parcours

If the 19th century is that of romanticism, the entry into the new century is synonymous of modernity! It was a few decades later that it would be assigned, a posteriori, the name of “neo-classical”. 

Discover
Know more

40 ans de rock et danse

Exposition virtuelle

Maison de la Danse de Lyon

40 ans de rock et danse

Exposition virtuelle

Chic planète, dansons dessus, oh oh oh

Chic planète, dansons dessus, oh oh oh

Chic planète, dansons dessus...

Et mettons-nous tous nus > Chanson de l’Affaire Louis Trio (1987)

Discover
Know more

[1930-1960]: Neoclassicism in Europe and the United States, entirely in tune with the times

Parcours

Céline Roux

[1930-1960]: Neoclassicism in Europe and the United States, entirely in tune with the times

Parcours

The Ballets Russes paved the way for what would become known as: neo-classical. Back then, the term “modern ballet” was frequently used to define this renewal of aesthetics: a savvy blend of tradition and innovation, which each choreographer defined in their own way.

Discover
Know more

Indian dances

Parcours

Anne Décoret-Ahiha

Indian dances

Parcours

Discover Indian dance through choreographic creations which unveil it, evoke it, revisit it or transform it!

Discover
Know more

The “Nouvelle Danse Française” of the 1980s

Parcours

Francis de Coninck

The “Nouvelle Danse Française” of the 1980s

Parcours

In France, at the beginning of the 1980s, a generation of young people took possession of the dancing body to sketch out  their unique take on the world. 

Discover
Know more

Body and conflicts

Parcours

Olivier Lefebvre

Body and conflicts

Parcours

A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.

Discover
Know more

Charles Picq, réalisateur en danse

Exposition virtuelle

Maison de la Danse de Lyon

Charles Picq, réalisateur en danse

Exposition virtuelle

Rencontre avec Charles Picq, réalisateur et vidéaste de la danse. 

Discover
Know more

A Rite of Passage

Webdoc

Julie Charrier

A Rite of Passage

Webdoc

Classical, telluric, shamanic, revolutionary? On May 29th, 1913, the first performance of Nijinski's "Rite of Spring" made such a scandal. This webdoc tells the story of this key work which inspired so many artists.
Discover
Know more

Why do I dance ?

Webdoc

Julie Charrier

Why do I dance ?

Webdoc

Social dances, anti-establishment, protest dances, rhythms or identities, rituals or pleasures... There are a myriad of reasons for dancing and a myriad of points of view. A webdoc to discover, enhanced with extracts from performances and accounts from amateurs... all the right reasons for dancing!
Discover
Know more

Genesis of work

Parcours

Centre national de la danse

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

Discover
Know more

Artistic Collaborations

Parcours

Centre national de la Danse

Artistic Collaborations

Parcours

Panorama of different artistic collaborations, from « couples » of choreographers to creations involving musicians or plasticians

Discover
Know more

Meeting with literature

Parcours

Centre national de la danse

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.

Discover
Know more

When reality breaks in

Parcours

Centre National de la danse

When reality breaks in

Parcours

How does choreographic works are testimonies of the world? Does the contemporary artist is the product of an era, of its environment, of a culture?
Discover
Know more

Butoh

Parcours

Olivier Lefebvre

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,

Discover
Know more

The committed artist

Parcours

Anne Décoret-Ahiha

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.

Discover
Know more

Genres and styles

Parcours

Anne Décoret-Ahiha

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.

Discover
Know more

Contemporary Italian Dance : the 2000s

Parcours

Ada d’Adamo

Contemporary Italian Dance : the 2000s

Parcours

Panorama of contemporary dance practices in Italy during the 2000s.

Discover
Know more

Vidéo-danses mexicaines

Exposition virtuelle

Centre de Vidéo Danse de Bourgogne

Vidéo-danses mexicaines

Exposition virtuelle

Une sélection de vidéo-danses mexicaines réalisée par le festival AGITE Y SIRVA (https://www.agiteysirva.com/).
 

Discover
Know more

LE BALLET DE LA NUIT

Exposition virtuelle

Centre de Vidéo Danse de Bourgogne

LE BALLET DE LA NUIT

Exposition virtuelle

Film collectif composé de 13 segments d'une heure, basé sur Le Ballet Royal de la Nuit de 1653. Des artistes de vidéo-danse en provenance de divers pays ont relevé le défi du Centre de Vidéo Danse de Bourgogne de réaliser chacun un film venant illustrer une heure de la nuit, en s'appuyant sur des oeuvres musicales électroacoustiques composées exclusivement pour le projet.

Discover
Know more
By accessing the website, you acknowledge and accept the use of cookies to assist you in your browsing.
You can block these cookies by modifying the security parameters of your browser or by clicking onthis link.
I accept Learn more