After about twenty parts, Opus 07, seventh shutter of a project of Decalogue started in 2000, is the quintessence of the choreographic approach of James Carlès and brand the result of a long choreographic and personal research task: “Opus 07 is for me the found appeasing, a page which is closed and a news which opens… the end of my work on the rupture and the identity. Today the way appears clearer to me…. ”

“Opus 07 fact part of these marvellous solos which are connected with an autobiographical work: for Carolyn Carlson it is “Blue Lady”, for Marie-Claude Pietragalla it is “Don' T look back”, for Benjamin Lamarche it is “Icare”, each one delivering a share to it of oneself. Opus 07 resembles an intimate prayer. Superbly danced, James Carlès testifies there to a moving sincerity. Far from any proclaimed identity claim, it can on the contrary take as a starting point its African roots and by its years of “modern dancer” to reach a universality; so many heterogeneous elements which risked the collision find on the contrary a harmony here and form a sometimes pleasant unit, painful, but always logical walls and without dissonances. “Sonia Shoonejans – Ballet 2000, March 2006
James Carlès associates with the dance and the music two other “body-partners” to whom it gives a dominating place in this solo: scenography and the light. Far from being additional, they allow the choreographer and the dancer to confront themselves with new constraints, to work out a new form, to build and of déconstruire space…


CREDITS

Duration: 55 minutes

Choreography and interpretation: James Carlès
Artistic plate: 1 dancer and 3 managers
Music:  Vs Price and James Carlès according to Albert Ayler
Scenography:  Rachel Garcia
Costume:   James Carlès
Light creation:  Boris Molinié

James Carles is a choreographer, researcher and lecturer. He received initial training in dance and music of Africa and its Diaspora and then trained with the great names of modern dance in New York and London mainly. Since 1992, he hired an artistic and analytical approach that explores the “places junctions” between the dances, rhythms and philosophies of Africa and its Diaspora with technical and western thoughts frames. To date, his company’s directory contains more than fifty pieces of his own creation and authors like Katherine Dunham, Pearl Primus, Talley Beatty, Asadata Dafora, Geraldine Armstrong, Rick Odums, Wayne Barbaste, Carolyn Carlson, Robyn Orlin, etc.

Dancer soloist and outstanding performer, James Carles was performer and artistic collaborator for not only numerous “all music” ranging from Baroque to contemporary music, through jazz; but also choreographers such as Carolyn Carlson, Robyn Orlin, Rui Horta, Myriam Naisy, etc.

Artist associated with Astrada- Jazz In Marciac 2012-2014, research associate in the laboratory of the University LLA Créatis Jean Jaures Toulouse, James Carles is particularly invests in heritage projects for diversity and diffusion of choreographic culture. He is also founder and artistic director of the festival “Dances and Black Continents”.

Vincent Papon a.k.a cs price is a musician and composer.
In the Nineties, then pianist, guitarist and samplor of the group Anah, Vincent Papon work out vs_price his solo project and create Command.com. Man of scene, it occurs internationally with great names of the electronic music like Funkstörung, Köhn, Benge, Icarus, S. Chauveau, Pageantry, Opiate or AGF/DELAY. After the exposure Sonic Process to the Centre Pompidou, it joined the label expanding records (London): English and international criticism make him an eulogistic reception (press kit on request). J. Peel it included in its playlist and of new projects are born in the fields from the dance and the contemporary art.
Starting from 2001, he works for the cinema and the dance with inter alia Geniuses of the Mines and the dancers James Carlès, Pierre Meurier and Gérard Lafuste.
Note of the /arrangeur composer: As in the previous parts, musical dimension is essential. James Carlès and Vs_Price collaborated in a musical creation which takes its source in the work of Albert Ayler. The dialogue between the two artists is prolonged on scene since the music can be played “live”, leaving to the interpreters the possibility during time of the representation to explore the other possible ones while following a well defined screen.

Since 2016, James Carlès has made the choice to make available to the public a selection of its videos.