Fan Dance [Danse des éventails] [remontage 2014]
2014 - Director : Violaine, Rival
Choreographer(s) : De Groat, Andy (United States)
Present in collection(s): Centre national de la danse , Danse en amateur et répertoire
Video producer : Centre national de la danse
Integral video available at CND de Pantin
Fan Dance [Danse des éventails] [remontage 2014]
2014 - Director : Violaine, Rival
Choreographer(s) : De Groat, Andy (United States)
Present in collection(s): Centre national de la danse , Danse en amateur et répertoire
Video producer : Centre national de la danse
Integral video available at CND de Pantin
Fan Dance [Danse des éventails] [remontage 2014]
Choreography by Andy De Groat
A choreographic extract remodelled by the company LalYre (Lyon), as part of the “Danse en amateur et repertoire” programme (2013) (a programme created to assist and promote amateur dancing).
The group
The company LalYre was set up three years ago as a result of the wish to develop creative work and to multiply stage experiences both in theatres and in unusual places. To date, the company has two pieces in its repertoire: Place de la mairie 18 h by Andréane Jenatton and Boîtes à couleurs by Margot Rémond. The company also calls on other choreographers to nurture its dance and thus try out other approaches to movement. Continually on the outlook for new inspirations and experiences, the company pursues its creative work. Today it has ten members and is self-directed.
The project
“Fan Dance is a mixture of simple but unusual steps, to which are added precise arm movements and a constant random space. The conception of this Chinese puzzle is the apparently contradictory combination of unison and freedom of movements. It is an ode to physical, mental and sensory coordination, to group discipline and to individual freedom.” (A. De Groat)
This short five-minute piece has been interpreted in all kinds of conditions and distributions: from four to more than forty dancers. It is a piece that requires great concentration. The total attentiveness the dancers pay each other generates a very strong sensation of belonging to the group. This work presents characteristics that challenge the group in its own search around contemporary dance.
The choreographer
Born in 1947 in Paterson (New Jersey) and after studying the Fine Arts, Andy De Groat followed the work of Merce Cunningham, Yvonne Rainer, George Balanchine and Jerome Robbins. In the early 1970s, he became interested in a form of minimalism, known as spinning, a form of repetitive whirling. Robert Wilson’s interpreter, he collaborated with the stage director for ten years. In 1982, he settled in Paris and created the company Red Notes, within which he revisited the ballets of the great 19th century repertoire (Swan Lake, Giselle, La Bayadère, The Nutcracker), combining academic vocabulary and contemporary syntax.
De Groat, Andy
(1947-2019)
Andy De Groat was born in 1947 in the United States into a family of Dutch, Italian, French, German and English origins. Whilst studying at the New York School of Fine Art in 1967, he met the director Robert Wilson. He joined his troupe as a dancer, then as a choreographer for all the productions from Deafman Glance in 1971, A Letter for Queen Victoria in 1974 to Einstein on the Beach in 1976, created for the Avignon Festival.
In 1981, he received a grant from the Guggenheim Foundation in New York for his choreographic research.
He created new works in succession for red notes, including several for Jean Guizerix, Wilfride Piollet, Jean-Christophe Paré, the Choreographic Research Group of the Opera of Paris (GRCOP), the Scala in Milan, Ris et Danceries, the Ballet du Nord (Roubaix) and Wah Loo Tin Tin Co, a Montauban-based company of young performers.
Today, his work totals over sixty creations that have been presented in around twenty countries and periodically goes back to questioning the repertoire and the heritage of dance.
His company has worked regularly on lyrical productions since 1988, in particular on "The Magic Flute" (Mozart), with Robert Wilson at the Opera Bastille, Paris, "The Rake's Progress" (Stravinsky), with Alfredo Arias for the Aix-en-Provence Festival of Lyric Art and at the Operas of Lyon, Gênes and Montpellier, "Aida" (Verdi) and Klaus Michael Grüber at the Amsterdam Opera.
Source : website of the Centre national de la danse (CND, Pantin)
Violaine, Rival
Fan Dance [Danse des éventails] [remontage 2014]
Choreography : Andy De Groat
Interpretation : Kerstin Eckstein, Cécile Féré, Aïnara Fernandez, Aude-Marie Foucaut, Marine Homan, Andréane Jenatton, Élodie Loecmach, Aurélien Mochalski-Courteix, Clémence Motte, Margot Rémond, Garance Troupillon
Original music : Michael Galasso
Other collaborations : Extrait chorégraphique remonté par la compagnie LalYre (Lyon), dans le cadre de Danse en amateur et répertoire (2013) - Transmission Andy De Groat et Catherine Beziex-Singer
Duration : 5 minutes
Danse en amateur et répertoire
Amateur Dance and Repertory is a companion program to amateur practice beyond the dance class and the technical learning phase. Intended for groups of amateur dancers, it opens a space of sharing for those who wish to deepen a practice and a knowledge of the dance in relation to its history.
Laurent Barré
Head of Research and Choreographic Directories
Anne-Christine Waibel
Research Assistant and Choreographic Directories
+33 (0)1 41 83 43 96
danse-amateur-repertoire@cnd.fr
Source: CN D
More information: https://www.cnd.fr/en/page/323-danse-en-amateur-et-repertoire-grant-programme
LATITUDES CONTEMPORAINES
James Carlès
The Dance Biennial Défilé
The American origins of modern dance: [1930-1950] from the expressive to the abstract
Indian dances
Discover Indian dance through choreographic creations which unveil it, evoke it, revisit it or transform it!
[1970-2018] Neoclassical developments: They spread worldwide, as well as having multiple repertoires and dialogues with contemporary dance.
In the 1970s, artists’ drive towards a new classic had been ongoing for more than a half century and several generations had already formed since the Russian Ballets. As the years went by, everyone defended or defends classical dance as innovative, unique, connected to the other arts and the preoccupations of its time.
Black Dance
Why do I dance ?
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.
The Dance Biennale
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.
Contemporary techniques
This Parcours questions the idea that contemporary dance has multiples techniques. Different shows car reveal or give an idea about the different modes of contemporary dancer’s formations.
Les Rencontres chorégraphiques internationales de Seine-Saint-Denis
Vlovajobpru company
Body and conflicts
A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.
The national choreographic centres
Roots of Diversity in Contemporary Dance
Modern Dance and Its American Roots [1900-1930] From Free Dance to Modern Dance
At the dawn of the 20th century, in a rapidly changing West, a new dance appeared: Modern Dance. In the United States as in Europe, modern trends emerge simultaneously and intertwine in thier development. Let's dive into the beginnings of American modern dance!