The ancestral separation between scholarly dance and popular dance continues to the point that "dancing" and "knowing how to dance" still designate two different activities today: popular dance practiced by all, and scholarly dance reserved for professionals only. Contemporary dance has echoed this cleavage, even if this opposition tends to diminish recently, some choreographers joining the scientist to the popular to invent a new form of dance.
This is the case of Cecilia Bengolea and François Chaignaud, who together do not hesitate to mix styles - Jamaican dub, dance on pointe, expressionist dance, twerk, house...

Source: Corps rebelles

More information: http://corpsrebelles.museedesconfluences.fr/

Born in Rennes, François Chaignaud studied dance from the age of 6. In  2003 he earned his degree at the Conservatoire National Supérieur de  Danse in Paris, working with, among others, the choreographers Boris  Charmatz, Emmanuelle Huynh, Alain Buffard and Dominique Brun. Ranging  from He's One that Goes to Sea for Nothing but to Make him sick (2004) to Думи мої  (2013), he has created many performance pieces, using different forms  of dance and voice, in a variety of venues, showing inspiration from  many different inspirations. We see in his work the possibility of a  body stretched between sensual demand and the power of the voice, as  well as a convergence of multiple, heterogenous historical references –  from erotic literature (Aussi Bien Que Ton Cœur Ouvre Moi Les Genoux, 2008) to the more sacred arts.
He is also a historian and has published at PUR L’Affaire Berger- Levrault : le féminisme à l’épreuve  (1898-1905). His historical curiosity has led him to initiate a number  of interesting artistic collaborations, notably with the legendary drag  queen Rumi Missabu, of the Cockettes, with the cabaret artist Jérôme  Marin (Sous l'ombrelle, 2011, which resurrected some forgotten melodies from the early 20th century), with the artist Marie Caroline Hominal (Duchesses,  2009), with the fashion designers Romain Brau and Charlie Le Mindu, the  plastician Theo Mercier, and the photographer Donatien Veismann …
He is currently doing research on polyphonic repertory (Georgian, pre-Christian, and medieval).

Source : CCN - Ballet de Lorraine

More information : http://vlovajobpru.com/

Jean-Louis Pecci is a canadian director.

Cecilia Bengolea and François Chaignaud have been collaborating since 2005. Together, they created Pâquerette (2005-2008), Sylphides (2009), Castor et Pollux (2010), Danses Libres (2010), (M)IMOSA (with Trajal Harrell and Marlene Monteiro Freitas, 2011), altered natives’ Say Yes To Another Excess –TWERK (2012), Dub Love (2013), DFS  (2016). In 2014, the Ballet de l’Opéra de Lyon commissioned them to  create a ballet for seven dancers on pointe shoes, set to Toru Takemitsu  music composition How slow the wind. In 2015, Bengolea and Chaignaud were commissioned by the Ballet de Lorraine to produce a new work set to Devoted, a music by Philip Glass. On the same year, they premiered a new piece, entitled The Lighters’ Dancehall Polyphony for Pina Bausch’s Tanztheater Wuppertal. The performance Sylphides,  written for vacuumed bodies in latex fetish envelopes won the Award de  la Critique de Paris in 2009 and the Young Artist Prize at Gwangju  Biennial, Korea in 2014. Over the past few years, they have presented  work at the Centre Pompidou in Paris, The Kitchen in New York, Tokyos  Spiral in Japan, the Biennale de la danse de Lyon, at Sadler’s Wells  Theatre in London, the Faena Art Center in Buenos Aires, of fig-2 at  ICA, London, at the Festival d’Avignon, the Festival d’Automne à Paris,  Montpellier Danse, ImpulsTanz in Vienna, deSingel in Antwerp, the Teatro  de la Ribera in Buenos Aires, at the Panorama Festival of Rio de  Janeiro, at the Centre National de la danse in Pantin, SESC in Sao Paulo  and most recently at Kyoto Experiment, the Kyoto International  Performing Arts Festival in October 2018.

Source: Company's website

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The exhibition Corps rebelles invited the public to discover contemporary dance. She presented the different approaches of the dancing body, illustrated by emblematic choreographies.

The question of interpretation was also at the heart of the exhibition with eight versions of The Rite of Spring created by eight great choreographers. The exhibition continued by treating notation as a tool for memorizing and transmitting a gesture.

Source: Corps rebelles

More information: http://corpsrebelles.museedesconfluences.fr/