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.

Source: http://vlovajobpru.com

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

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Depuis 2005, un dialogue soutenu entre Cecilia Bengolea et François Chaignaud donne vie à des œuvres hétéroclites, présentées dans le monde entier. En 2009, ils reçoivent le prix de la révélation chorégraphique de la critique. Ensemble, ils créent Pâquerette (2005-2008),Sylphides (2009), Castor et Pollux (2010). Ces trois premières pièces placent le corps dans des dispositifs de transformation extrême (pénétration, privation d’air, suspension) et lient l’écriture chorégraphique à un coefficient de réalité élevé. Ces situations exacerbent autant la puissance que la vulnérabilité des corps, leur puissance sexuelle, et leur infinie capacité de mutation.

En 2010, ils rencontrent Suzanne Bodak et exhument les Danses Libres de l’entre deux guerres, d’après des chorégraphies oubliées de François Malkovsky. Cette découverte aiguise leur désir d’une écriture chorégraphique rigoureuse et joueuse, voluptueuse et acérée et porteuse d’idéaux. Ce travail se poursuit dans (M)IMOSA (coécrit et interprété avec Trajal Harrell et Marlene Monteiro Freitas) qui les confronte à la scène du voguing new yorkais. En 2012, altered natives Say Yes To Another Excess – TWERK laisse fraterniser ces différentes influences – urbaines, modernes, classiques – aux sons des DJ’s du label Butterz dont le grime mixe des beats de provenances également diverses. C’est au son du dub d’High Elements qu’ils créent avec Ana Pi, Dublove (2013), épreuve spirituelle et chorégraphique, entièrement sur pointes. Une conférence dansée (Le Tour du Monde des Danses Urbaines en 10 villes) permet de partager avec les jeunes et adolescents leur fascination pour la richesse, la grammaire et la créativité des danses urbaines. Ils créant un ballet pour sept danseurs de l’Opera de Lyon , How slow the wind (2014), dansée sur pointes.
Ils préparent une création avec le Ballet de Lorraine pour mai 2015.