Share, take pleasure, do to understand: this is Amala Dianor’s way. His search for movements is structured around choreographic genres, giving birth to a dance without limits or barriers. He puts dance back into what really matters in this world: a warm and sensitive link between human beings, a bond between differences. He turns hip hop values of openness and challenge into his driving force to surpass boundaries that he thought couldn’t be overcome.
Dance was already part of his universe when Amala Dianor entered the CNDC d’Angers in 2000, to discover contemporary dance at its exacting level of demand and diversity. He comes to dance by popping, with the sabar as legacy – a Senegalese dance expressing vital energy.
On leaving school he continued to train as a dancer in a variety of companies. He wishes “to let contemporary dance emerge” in his body, that is, open out to the aesthetics of other artists, such as Abou Lagraa or Dominique and Françoise Dupuy, before creating his own specific vocabulary.
His first duo, Tranche de vie, co-created with Orin Camus, is a dialogue mixing hip hop and contemporary dance, creating a hybrid vocabulary.
De(s)génération, created in 2016, is a sextet bringing together hip hop dancers from different generations. It is a putting into form of dialogue and transmission.
Amala Dianor pursues his research into danced movement. “In a world in which it is sometimes hard to accept your neighbour, on stage, you shape a different world by presenting the public with abstract proposals”. He wishes to shift lines: his work on movement is linked to a transgression in the spirit of hip hop challenge. In his words: “Dance constructs our critical spirit”. “It does not express, it lets people see and dream. »
The Falling Stardust (2019), is his latest tour piece, created for four contemporary dancers and five classical dancers.
Amala Dianor seeks continuously to leave each person a place in the scenic space, by aligning bodies with one another. Accompany, precede, prepare, initiate, follow, trigger… Each movement allows each person to express him/herself in a whole, without merging into a mix: Amala Dianor fosters differences. His choreographic process aims at valorising and supporting the other person.
One of the first pieces of his company created in 2012, Crossroads is a fluid encounter between interpreters brimming over with good will where one body sublimates the other.
“The aim is never to erase who you are: each dancer, male and female alike, is a personality and an added value for dance. »
Extension (2014), is born from the dialogue between Amala Dianor and the dancer BBoy Junior, in a play of movements where contemporary dance prolongs and amplifies those of the BreakerBoy.
Far from proceeding by mere pasting or juxtaposition, Amala Dianor uses the different choreographic languages one by one, interlinked by a precise intention. “To be a choreographer”, he clarifies, “is the work of a lifetime, to place value in what you show people. It is to ensure that everything is right, that the balance is right. And often, you need to readjust. »
In Fénène (2014), he composes a tangle of solos interpreted by a quartet of dancers, to live electronic music. Each dancer explores the stage with their own language: postures hailing both from classical dance, contemporary dance and from break dance.
In Man Rec (2014) – “only me” in Wolof – we find again that exploration of the self and of the choreographic language developed by Amala Dianor. This solo, like an autobiography, offers us an overview of the different languages explored in each of the pieces presented in this exhibition.
”Why does dance matter? It allows spectators, young spectators, to develop a critical mind. You can hate, dislike, take sides, give a point of view; it lets you assert yourself as an individual and forge your personality. »