Cygne - Daddy, I've seen this piece six times before and I still don't know why they're hurting each other
2006 - Director : Centre national de la danse, Réalisation
Choreographer(s) : Orlin, Robyn (South Africa)
Present in collection(s): Centre national de la danse , CN D - Spectacles et performances
Video producer : Centre national de la danse
Integral video available at CND de Pantin
Cygne - Daddy, I've seen this piece six times before and I still don't know why they're hurting each other
2006 - Director : Centre national de la danse, Réalisation
Choreographer(s) : Orlin, Robyn (South Africa)
Present in collection(s): Centre national de la danse , CN D - Spectacles et performances
Video producer : Centre national de la danse
Integral video available at CND de Pantin
Daddy, I've seen this piece six times before and I still don't know why they're hurting each other
Robyn Orlin's Daddy explores politics in the arts in terms of performance empowerment and ownership of space. Six performers fight over the same space while they wait for their director to arrive for a performance. The performers wait in panic five minutes before the show, but the director has not arrived. Their waiting becomes the background against which a collage of dances are set.
The production of Daddy won the prestigious Laurence Olivier Theatre Award for Outstanding Achievement in Dance 2003.
It came third in the African and Indian Ocean Choreographic Competition and also won the Jan Fabre Award at the Bagnolet Choreographic Society.
Further information
http://theartchive.co.za/works/daddy/
Updating: December 2010
Orlin, Robyn
Robyn Orlin was born in 1955 in Johannesburg and obtained bursaries to study in London (London Contemporary Dance School) and then in Chicago (School of Art Institute).
Since her first performance in Johannesburg in 1980, she has attempted to redefine choreography and the art of theatre in her country and has become one of the most committed anti-apartheid choreographers. She starts from the principle that “dance is political”, and in her pieces she examines the social and cultural situation in South Africa: its influences, its history, its rifts and its disintegration. The choreography then creates “an iconoclastic dance which puts its foot in it”, a dance-chronicle of today's South African society, skilfully handling irony and derision; a dance that shamelessly stirs up references and identities, blending traditional popular culture with the radical avant-garde, a dance that is capable of breaking down the artist-audience barrier by putting the audience at the centre of the event.
Robyn Orlin came to France for the first time in April 2000 at the invitation of La Filature Scène Nationale, Mulhouse, with “Daddy, I've seen this piece six times before...”
She achieved immediate recognition: Rencontres Chorégraphiques Internationales de Seine-Saint-Denis, Montpellier Dance Festival, Théâtre de la Ville, Paris, followed by tours all over the world.
In 2004, Robyn Orlin took part in the inauguration of the Centre National de la Danse, Pantin and composed a solo for Sophiatou Kossoko as part of “Vif du Sujet”.
In 2005 she created “When I take off my skin and touch the sky with my nose, only then I can see little voices amuse themselves...”, a piece with 6 singers from the South African Opera, then, during the summer, “Hey dude... i have talent... i'm just waiting for god...,” a solo for the dancer-choreographer Vera Mantero.
From September 2005 Robyn Orlin was in residency for two years at the Centre National de la Danse, Pantin. In April 2007 her “L'Allegro, il penseroso ed il moderato” was premièred at the Paris National Opera.
Source :
Digital resource - Médiathèque du Centre national de la danse
http://mediatheque.cnd.fr/spip.php?page=mediatheque-numerique-ressource&id=PHO00003887
More information : robynorlin.com
Centre national de la danse, Réalisation
Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).
Daddy, I've seen this piece six times before and I still don't know why they're hurting each other
Choreography : Robyn Orlin
Interpretation : Gerard BESTER, Nico MOREMI, Toni MORKEL, Pule MOLEBATSI, Nelisiwe XABA, Lindiwe NDLOVU Groupe Ramses (direction : Zaza HASSAN) : Nouria HASSAN, Laetitia GUESSAS, Soraya MEBARKI, Zora GUIMONE, Isabelle KHAÏAT, Linda ZEITOUN
Set design : Robyn Orlin
Costumes : Robyn Orlin
Settings : Robyn Orlin
Technical direction : Direction plateau : Michael Maxwell - Régisseur général Thabo PULE
Daddy, I've seen this piece six times before and I still don't know why they're hurting each other
Digital Resource of the Centre national de la danse
http://mediatheque.cnd.fr/spip.php?page=mediatheque-numerique-ressource&id=PHO00003877
James Carlès
The committed artist
In all the arts and here especially in dance, the artist sometimes creates to defend a cause, to denounce a fact, to disturb, to shock. Here is a panorama of some "committed" choreographic creations.
La part des femmes, une traversée numérique
Qudus Onikeku - Reclaim a forgotten memory
CHRISTIAN & FRANÇOIS BEN AÏM – VITAL MOMENTUM
Indian dances
Discover Indian dance through choreographic creations which unveil it, evoke it, revisit it or transform it!
les ballets C de la B and the aesthetic of reality
DANCE AND DIGITAL ARTS
Black Dance
Why do I dance ?
Artistic Collaborations
Panorama of different artistic collaborations, from « couples » of choreographers to creations involving musicians or plasticians
Meeting with literature
Collaboration between a choreographer and a writer can lead to the emergence of a large number of combinations. If sometimes the choreographer creates his dance around the work of an author, the writer can also choose dance as the subject of his text.
Dance and performance
Here is a sample of extracts illustrating burlesque figures in Performances.
Round dance
Presentation of the Round’s figure in choreography.
The Dance Biennale
Female / male
A walk between different conceptions and receptions of genres in different styles and eras of dance.
Dance and visual arts
Dance and visual arts have often been inspiring for each other and have influenced each other. This Parcours can not address all the forms of their relations; he only tries to show the importance of plastic creation in some choreographies.
Hand dances
This parcours presents different video extracts in which hands are the center of the mouvement.
Contemporary Italian Dance : the 2000s
Panorama of contemporary dance practices in Italy during the 2000s.