On the rooftops of of la Porte de Montreuil at the display for Eloge du puissant royaume choreographed by Heddy Maalem, Nach speaks about urban rituals: “two beings converse in one body, exploring their internal contrasts and toying with the ambiguity of the androgynous body.” For Nach, like all “Krumpers”, is her own avatar, her own character.  In her solo Cellule she escapes her imprisonment, evoking not only the films of David Lynch but the autobiographical works of photographers like Francesca Woodman, Nan Goldin or Antoine d’Agata.  The walls of this cell are covered with blown up video projections of intertwined bodies.  Nach presents her personal version of krump, a coded and hierarchical dance created in Los Angeles in the 2000s following racial riots. It is liberated from the past but remains faithful to its roots. 

Source : Nach

Anne-Marie Vann (alias Nach) came across Krump dance by chance at the age of 22, at the Opéra de Lyon, having seen some of the first images of it in the documentary film Rize by David Lachapelle. The street was her first school: here she found a community which gave her her knowledge and the foundations for this urban, Gospel dance.

Nach’s dance was forged through her encounters.  Her meeting with the choreographer Heddy Maalem in 2012 was critical in forming her desire to develop Krump with the influence of other practices.  Equally significant was her encounter with the dancer Bintou Dembélé, with whom she shared the scene /T/R/A/T/E/S quartet.

Her encounters with traditional arts, like Kathakali (she trained in this at ARTA), are significant. Another example is flamenco, whose duende evokes for her the glee of of the Krump beats.

Her curiosity allows her to draw reference from the crossover point of different arts: photography (Antoine d’Agata, Francesca Woodman, etc.), poetry (Sony Labou Tansi etc.), audiovisual arts, and experimental film and music.

Nach begun to put her dance into theatrical settings. Marcel Bozonnet called on her to work on La neuvième nuit, nous passerons la frontière, created in November 2016.  She created her first solo Cellule in 2017 and continued with a focus on contemporary dance in Columbia, creating the duet -Et toi? with the choreographer Angela Bello.

Nach was a resident artist at the Kujoyama Villa between July and December 2018, and will hold her 2018 position as artistic fellow at the CCN de la Rochelle until 2020.  Additionally, she is supported by the Atelier de Paris/CDCN as part of  “Fonds FoRTE”.

Source: Manakin Production

Born in 1977, Fabien Plasson is a video director specialized in the field of performing arts (dance , music, etc).

During his studies at the Ecole Nationale des Beaux-Arts de Lyon (joined in 1995) Fabien discovered video art. He was trained by various video artists (Joel Bartoloméo Pascal Nottoli , Eric Duyckaerts , etc) .
He first experimented with the creation of installations and cinematic objects.

From 2001 to 2011, he was in charge of Ginger & Fred video Bar’s programming at La Maison de la Danse in Lyon. He discovered the choreographic field and the importance of this medium in the dissemination, mediation and pedagogical approach to dance alongside Charles Picq, who was a brilliant video director and the director of the video department at that time.

Today, Fabien Plasson is the video director at La Maison de la Danse and in charge of the video section of Numeridanse.tv, an online international  video library, and continues his creative activities, making videos of concerts, performances and also creating video sets for live performances.

Sources: Maison de la Danse ; Fabien Plasson website

More information: fabione.fr