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Le tour du monde des danses urbaines en dix villes

CN D - Centre national de la danse 2017 - Director : Centre national de la danse, Réalisation

Choreographer(s) : Pi, Ana (Brazil) Bengolea, Cecilia (Argentina) Chaignaud, François (France)

Present in collection(s): Centre national de la danse

Video producer : Centre national de la danse

Integral video available at CND de Pantin

en fr

Le tour du monde des danses urbaines en dix villes

CN D - Centre national de la danse 2017 - Director : Centre national de la danse, Réalisation

Choreographer(s) : Pi, Ana (Brazil) Bengolea, Cecilia (Argentina) Chaignaud, François (France)

Present in collection(s): Centre national de la danse

Video producer : Centre national de la danse

Integral video available at CND de Pantin

en fr

Le Tour du monde des danses urbaines en dix villes

Dances are invented everywhere. Styles and ways of moving spread, take shape locally, relying on or generating communities, lifestyles, ways of occupying space and making oneself heard there. Communities in turmoil, linked to social inequality and violence but also to energy and the intensity of urban life. Although linguistics has attempted to make an inventory of languages and the ways in which humans communicate and socialise with each other using words, phrases and intonations, an inventory has not yet been made of gestures, rhythms and bodily movements. What distinguishes one way of dancing from another? How is the subject mobilised in its relation to a symbolic or imaginary community? What common musical sources generate these dances without a stage or theatre, where every person can be alternately performer and spectator, judge and judged? How do gestures, music and style of clothing intertwine? To answer these questions, the choreographers embarked on a subjective and non-exhaustive inventory of a few urban dances that they encountered and learnt. In the course of his presentation, which veers between documentary enquiry, lecture and performance, the performer reveals a complex cartography in which voguing, dancehall, pantsula and many other dance forms are a reminder of the history of migrations, exclusion and struggle that these bodies bear witness to.

Pi, Ana

Choreographic  and imagery artist, researcher in urban dances, contemporary dancer and  pedagogue. Her practice is situated among notions of transit,  displacement, belonging, overlaping, memory, colors, and ordinary  gestures.

In 2018 she creates  COROA, the performance and installation for  the Galeria Vermelho – São Paulo, also presented in Lafayettes  Anticipations – Paris, at this same year she is awarded with the  “Revelation Prize” by the Cooperativa Paulista de Dança – São Paulo. In 2017 she creates NoirBLUE, a solo work for stage played in France, Portugal and Belgium, and also the Périphérie & Périphériques Project in collaboration with Lá da Favelinha – cultural center, where she is a partner for the dance.  In 2015 she creates DRW2 for the Instituto Inhotim and in 2014 she creates Le Tour du Monde des Danses Urbaines,  a project for the CDCN in France, with those interactive lectures she  have been performing in Brazil, in Europe and in Africa as well.   Besides those main projects she develops the practice CORPO FIRME; danças periféricas, gestos sagrados and collaborates with many artists in works of diverse natures and durations.

NoirBLUE – les déplacements d’une danse  (2018 – 27′) is her first documentary, awarded by FestCURTAS in Belo  Horizonte, Janela de Cinema in Recife, as winner of the brazilian  short-film competition in both festivals. Official selection for the  Fórum.Doc in Belo Horizonte, also for the Semana de Realizadores in  2018, then at Tiradentes Film Festival and International Film Festival  Rotterdam in 2019.

Brazil,  France, Turkey, Belgium, Portugal, Spain, Germany, Switzerland,  Austria, Italy, Poland, Romania, Japan, Peru, United States, Martinique,  Reunion Island, Niger, Burkina Faso, Mali, Nigeria, Angola, Equatorial  Guinea, Côte d’Ivoire and Mauritania are the countries where she has  been crossing her professional experience, through programs of artistic  residency, giving workshops on body, image, sacred gestures &  periphery, or within the programming of international festivals as  performer and tours of her work.


Source: Website of the artist

More information: https://anazpi.com/

Bengolea, Cecilia

Born in Buenos-Aires, Cecilia Bengolea studied urban dance forms, before to pursue studies in anthropological dances with Eugenio Barba, as well as Philosophy and Art History at the University of Buenos Aires. In 2001, she moved to Paris and followed the training Ex.e.r.c.e. directed by Mathilde Monnier in Montpellier.
In dialogue with Levi Strauss’s œuvre Tristes tropiques, Cecilia Bengolea co-directed two videos in 2011: La Beauté (tôt) vouée à se défaire with Donatien Veisman and Cri de Pilaga with Juliette Bineau. As a dancer, choreographer and performance artist, Cecilia Bengolea perceives dance and performance as ‘animated sculpture’ and welcomes the fact that these forms allow her to become both ‘object and subject at the same time’.

In 2016, Bengolea was commissioned by the ICA for London Art Night 2016 to present a video installation into holographic mirrors at Covent Garden Market and perform an outdoor participatory dancehall practice in the historical West Piazza of Covent Garden with ballerina Erika Miyauichi and dancehall artist Damion BG Dancerz. Bengolea also works with artists Dominique Gonzalez-Foerster, Monika Gintersdorfer, Knut Klassen as well as Jamaican Dancehall artists such as Joan Mendy and Damion BG dancerz. In collaboration with Jeremy Deller (UK), she co-directed the film RythmAssPoetry (rap) commissioned by the Biennale de Lyon 2015. Their second film, Bombom’s Dream, shot in Jamaica in 2016, commissioned by Hayward Gallery London and Sao Paulo Biennial 2016.

Source: The company Vlovajob Pru 's website

More information

vlovajobpru.com

Chaignaud, François

Born in Rennes, François Chaignaud studied dance from the age of 6. In  2003 he earned his degree at the Conservatoire National Supérieur de  Danse in Paris, working with, among others, the choreographers Boris  Charmatz, Emmanuelle Huynh, Alain Buffard and Dominique Brun. Ranging  from He's One that Goes to Sea for Nothing but to Make him sick (2004) to Думи мої  (2013), he has created many performance pieces, using different forms  of dance and voice, in a variety of venues, showing inspiration from  many different inspirations. We see in his work the possibility of a  body stretched between sensual demand and the power of the voice, as  well as a convergence of multiple, heterogenous historical references –  from erotic literature (Aussi Bien Que Ton Cœur Ouvre Moi Les Genoux, 2008) to the more sacred arts.
He is also a historian and has published at PUR L’Affaire Berger- Levrault : le féminisme à l’épreuve  (1898-1905). His historical curiosity has led him to initiate a number  of interesting artistic collaborations, notably with the legendary drag  queen Rumi Missabu, of the Cockettes, with the cabaret artist Jérôme  Marin (Sous l'ombrelle, 2011, which resurrected some forgotten melodies from the early 20th century), with the artist Marie Caroline Hominal (Duchesses,  2009), with the fashion designers Romain Brau and Charlie Le Mindu, the  plastician Theo Mercier, and the photographer Donatien Veismann …
He is currently doing research on polyphonic repertory (Georgian, pre-Christian, and medieval).

Source : CCN - Ballet de Lorraine


More information : http://vlovajobpru.com/

Centre national de la danse, Réalisation

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.).

Vlovajobpru

Cecilia Bengolea and François Chaignaud have been collaborating since 2005. Together, they created Pâquerette (2005-2008), Sylphides (2009), Castor et Pollux (2010), Danses Libres (2010), (M)IMOSA (with Trajal Harrell and Marlene Monteiro Freitas, 2011), altered natives’ Say Yes To Another Excess –TWERK (2012), Dub Love (2013), DFS  (2016). In 2014, the Ballet de l’Opéra de Lyon commissioned them to  create a ballet for seven dancers on pointe shoes, set to Toru Takemitsu  music composition How slow the wind. In 2015, Bengolea and Chaignaud were commissioned by the Ballet de Lorraine to produce a new work set to Devoted, a music by Philip Glass. On the same year, they premiered a new piece, entitled The Lighters’ Dancehall Polyphony for Pina Bausch’s Tanztheater Wuppertal. The performance Sylphides,  written for vacuumed bodies in latex fetish envelopes won the Award de  la Critique de Paris in 2009 and the Young Artist Prize at Gwangju  Biennial, Korea in 2014. Over the past few years, they have presented  work at the Centre Pompidou in Paris, The Kitchen in New York, Tokyos  Spiral in Japan, the Biennale de la danse de Lyon, at Sadler’s Wells  Theatre in London, the Faena Art Center in Buenos Aires, of fig-2 at  ICA, London, at the Festival d’Avignon, the Festival d’Automne à Paris,  Montpellier Danse, ImpulsTanz in Vienna, deSingel in Antwerp, the Teatro  de la Ribera in Buenos Aires, at the Panorama Festival of Rio de  Janeiro, at the Centre National de la danse in Pantin, SESC in Sao Paulo  and most recently at Kyoto Experiment, the Kyoto International  Performing Arts Festival in October 2018.


Source: Company's website

En savoir plus : vlovajobpru.com

Na Mata Lab

Laboratory for the invention of new tools of radical imagination, thanks to choreographic art, discursive experimentation and poetic-political movements. Research space for healings, improvisations and connections between beings, the objective of which is to design artistic works and educational acts that highlight ancestral technologies of endurance and vitality. Together these three words are pleasant in the mouth, NA MATA LAB. At the same time an invitation to pleasure, at the same time a sound which in the Kikongo language can evoke: injury, luminescence, speech, struggle, sewing, path, the 4th, season, edge and the action of climbing. While in late Latin refers to small forests, or even the reed mat, in the etymology of its derived languages.

Source: Ana Pi

Le Tour du monde des danses urbaines en dix villes

Artistic direction / Conception : Ana Pi, Cecilia Bengolea, François Chaignaud

Interpretation : Dalila Cortes

Text : Ana Pi

Video conception : Ana Pi

Other collaborations : Illustrations du livret Juan Sáenz Valiente

Production / Coproduction of the choreographic work : Association des Centres de Développement Chorégraphique Nationaux avec l’aide de la Direction Générale de la Création Artistique [La Place de la Danse CDCN Toulouse Occitanie ; La Manufacture CDCN Nouvelle-Aquitaine ; La Maison Uzès Gard Occitanie ; Les Hivernales CDCN d’Avignon ; Le Pacifique CDCN Grenoble Auvergne-Rhône-Alpe ; Art Danse CDCN Bourgogne-Franche-Comté ; La Briqueterie CDCN Val-de-Marne ; Atelier de Paris CDCN ; L’échangeur CDCN Hauts-de-France ; Le Gymnase CDCN Hauts-de-France ; Pole- Sud CDCN Strasbourg ; Touka Danses CDCN Guyane.

Duration : 65'

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