Mnémosyneextrait de 13'
Mnémosyne extrait de 13minutes
extract from the show
In Greek mythology, Mnemosyne is the goddess of memory. Daughter of Gaia (the earth) and Uranus (the sky), she would have invented the words and the language, allowing humans to express themselves. She gave birth to the 9 muses, and is often represented chin in her hand, her hair beaded with pearls and pinching the tip of her ear between her two fingers.
MneMosyne transports us into a quantum universe where the infinitely small and the infinitely large meet. This trio was born from a reflection around the body’s memory and the latest research in epigenetics *. It thus summons cellular, individual and collective memory in a fractal dance where different scales of reading are superimposed. At the heart of our cells lies the body’s memory of our ancestors, a silent memory that is passed down from generation to generation. But, just as, on an individual level, the encounter with a person or an event can forever bewilder our intimate life or our vision of the world, the expression of our genes can also change if we change our habits and our environment... In a never-ending ballet, the dancers do and undo their links, distort a pin-point choreographic writing; new arrangements are composed by successive waves of binary movements, where the bodies complete each other, intermingle, reject each other in a succession of micro Big Bangs.
These choreographic mutations, by soliciting the spectator’s memory, create both an impression of déjà vu and first times, mixed together.
chorégraphe : Nawel Oulad
Danseuses: Marion Amoretti , Laurianne Faure, Nawel Oulad
Captation: Pleine Image
Lumiere : Manuella Rondeau
musique : OMMA
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.
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
Artistic direction / Conception : Nawel OUlad
Choreography : Nawel Oulad
Choreography assistance :
Interpretation : Marion Amoretti, Laurianne Faure, Nawel Oulad
Artistic consultancy / Dramaturgy : Christian Bourigault
Original music : OMMA
Lights : Manuella Rondeau
Production / Coproduction of the choreographic work : CIe Nawel Oulad
Production / Coproduction of the video work : Maison du Théatre et de la danse / Conseil départemental de Seine Saint Denis
Duration : 50 minutes
Processus chorégraphique de Mnémosyne
l’écriture chorégraphique du spectacle Mnémosyne
Mnemosyne is a trio, but only on the surface. Other dancers
crossing the way of the artists during the choreographic process
in fact enriched the final creation. The embodied memory of the
interpreters was thus directly solicited: by the memory of the
contact with the others, with their impulses, with their presence, the
dancers appeal to the corporeal and sensory memory, to rediscover
the sensations those past encounters could have provoked. In the
process, as in the background, lies the question of a footprint that
each of them has left in time and the repercussion it has on others.