2017 - Director : Centre national de la danse, Réalisation
Video producer : Centre national de la danse
Integral video available at CND de Pantin
Through the creation of Altered Natives Say Yes To Another Excess TWERK in September 2012, we met DJs Elijah and Skilliam from Label Butterz, references in British Grime musical scene. This unusual musical style is a complex dancehall, hip hop and garage hybridisation. As all electronic musical styles, it also derives from Jamaican sound systems – musicwalls which have played since the 1950s a major role in the evolution of various Jamaican musical styles and helped develop ska, reggae, ragga, dub…
For Dub Love project, they collaborate with HIGH ELEMENTS, Dubplates DJ from the Reunion island, who draws from dub roots in order to create an upbeat solar music, defined by a tension between deep bass sounds characteristic of dub and bright melodies. Dub is performed for massive social gatherings in Europe and Jamaica (Nothing Hill Carnival, One Love Rave Festival) with powerful sound systems. Their intense vibrations, their physical impact and their unifying power turned these musical styles into spiritual or even religious events, going way beyond mere entertainment.
On stage, HIGH ELEMENTS plays Dub sets Dubplates mixes through a sound system.
Along with this musical investigation, the duet Bengolea-Chaignaud is carrying out a hybrid choreographic research, from punk bouncing that some early reggae tunes trigger to the most extreme physical constructions that ballet on pointe allows. Pointe shoes, as western classical dance fetish, have been used to challenge gravity and invent an ethereal and celestial body. Outside classical technique, it is also a fascinating tool, generating speed, height, balance, unbalance, lines. Confronting on pointe to Jamaican music, very motivated by a need to go back to basics, to the earth, to peaceful and brotherly intentions, creates potential tension, a fiction, to get away from stereotypes related to those cultures. Far from resurrecting a classical body, the intention to combine on pointe practice with soft religious dances and violent urban dances. Through the sound system vibrations, the three bodies thus draw an abstract and detailed writing. A repertoire of reggae and Dancehall songs will be performed by three performers, Ana Pi, François Chaignaud and Cecilia Bengolea together with High Éléments’ mix.
Born in Buenos-Aires, Cecilia Bengolea studied urban dance forms, before to pursue studies in anthropological dances with Eugenio Barba, as well as Philosophy and Art History at the University of Buenos Aires. In 2001, she moved to Paris and followed the training Ex.e.r.c.e. directed by Mathilde Monnier in Montpellier.
In dialogue with Levi Strauss’s œuvre Tristes tropiques, Cecilia Bengolea co-directed two videos in 2011: La Beauté (tôt) vouée à se défaire with Donatien Veisman and Cri de Pilaga with Juliette Bineau. As a dancer, choreographer and performance artist, Cecilia Bengolea perceives dance and performance as ‘animated sculpture’ and welcomes the fact that these forms allow her to become both ‘object and subject at the same time’.
In 2016, Bengolea was commissioned by the ICA for London Art Night 2016 to present a video installation into holographic mirrors at Covent Garden Market and perform an outdoor participatory dancehall practice in the historical West Piazza of Covent Garden with ballerina Erika Miyauichi and dancehall artist Damion BG Dancerz. Bengolea also works with artists Dominique Gonzalez-Foerster, Monika Gintersdorfer, Knut Klassen as well as Jamaican Dancehall artists such as Joan Mendy and Damion BG dancerz. In collaboration with Jeremy Deller (UK), she co-directed the film RythmAssPoetry (rap) commissioned by the Biennale de Lyon 2015. Their second film, Bombom’s Dream, shot in Jamaica in 2016, commissioned by Hayward Gallery London and Sao Paulo Biennial 2016.
Source: The company Vlovajob Pru 's website
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/
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.).
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
En savoir plus : vlovajobpru.com
Artistic direction / Conception : Cecilia Bengolea, en collaboration avec Ana Pi et François Chaignaud
Artistic direction assistance / Conception : Ange Koué
Interpretation : Cecilia Bengolea, François Chaignaud et Hanna Hedman (dans le rôle créé par Ana Pi)
Live music : MatDTSound (sur des musiques de High Elements), Soundsystem Stepper Allianz
Duration : 50 minutes
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