"The DANCED DOCUMENTARIES invite dancer-choreographers to invest in and question anti-homeless street furniture. We wish to offer a sensitive experimentation between dance and cinema to confront the body and the words of dancers with" anti-body "furniture, called modestly today. 'hui "dissuasive furniture". We associate our worlds, with a common thread, our respective views on the city and the place of the excluded for the realization "
Nawel Oulad and Antonin Sgambato.
Nawel Oulad- Dancer, choreographer www.naweloulad.com
Antonin Sgambato- Director, producer https://www.antonin-sgambato.com
Anti-homeless street furniture, which does not speak its name (it is often called "dissuasive furniture") serves as an unwarranted foil and protection against the excluded. Sometimes falsely design, always uncomfortable or dangerous for the body, these growths fill our modern cities with their thorns. With the DANCED DOCUMENTARIES we invite dancer-choreographer duets to invest these non-places and transform them into spaces of possibilities. From a selection of anti-homeless urban furniture present in public places, we wish to seek through dance and cinema, how to take hold of these spaces, divert them from their uses, experience them, give them to see and hear.
The anti-homeless street furniture becomes, during filming, the dancers' playground. They proceed by trial and error, research, experimentation… They comment directly on their impressions and their essentis. They warm up between blocks, slalom between spikes, fences or bollards. We capture their proposal danced on this furniture and the spectator begins to understand the meaning of their wanderings, gradually embraces their point of view.
The dance often proposes to take the bodies out of the established frameworks and limits. It seemed essential to us to call on dancer-choreographers to create filmed highlights of these anti-homeless street furniture. Based on the observation that these concrete and steel structures force us to invent gestures in reaction, we let's ask the choreographers to offer - as specialists in space and time - an expertise in these ergonomics of discomfort. How to tame these surfaces? Is it possible that these dissuasive zones become subversive places? Can we sublimate them in meeting places? What do they say about our place and our role in society?
A territory battle takes place over a few square meters, risking stopping, touching, weight, suspension, contact with matter, the dancers deploy their bodies where they shouldn't. These dancing bodies play with the constraints that the city imposes on us in terms of rhythm and time. By confronting these urbanities, they bring to light these architectures designed specifically against the body.
These architectures become, during a dance, the unexpected place of an improvised scenography, a space for a moment embellished by the contortions and arabesques of the dancers. The bodies of the dancers deploy their creativity and act in resistance to these sculptures of the impossible.
These “materials” require the development of an agile range of movements in counterpoint. The bodies contort themselves until they find a rest area. The choreographer reveals to the spectator an alienating device. These reliefs of the absurd act against the presence of the body. They comment and document the barely masked aggressiveness of our cities. A real colonization has already started in our streets. Private initiatives are multiplying (traders, restaurateurs) to create dissuasive furniture. Day by day, these architectures encroach on public space and restrict it by dislodging with halberds and pikes - presented as decorative - the last entrenched ones from our sidewalks.