Skip to main content
Back to search
  • Add to playlist

La mirada del avestruz

Biennale de la danse 2002 - Director : Picq, Charles

Choreographer(s) : Fernandez, Tino (Spain)

Present in collection(s): Biennale de la danse , Biennale de la danse - 2002

Video producer : Maison de la Danse ; Biennale de la Danse

Integral video available at Maison de la danse de Lyon

en fr

La mirada del avestruz

Biennale de la danse 2002 - Director : Picq, Charles

Choreographer(s) : Fernandez, Tino (Spain)

Present in collection(s): Biennale de la danse , Biennale de la danse - 2002

Video producer : Maison de la Danse ; Biennale de la Danse

Integral video available at Maison de la danse de Lyon

en fr

La mirada del avestruz

In a Colombia ravaged by violence, choreographers fight with what weapons they have: body and dance. Tino Fernández, a Spaniard who has lived in Bogota for nearly eight years, is constantly devising allegories, sometimes unknowingly, for Colombia: a country where it is increasingly dangerous to set foot. The instability of the land in this zone of earthquakes, volcanic eruptions and landslides is well known and feared. Of course, this also brings to mind the current guerrilla war, the fact that Colombian citizens are confined to their towns, that it's impossible for them to go down a road without fear of being kidnapped. Every Colombian carries the marks of violence within.


Source : Maison de la Danse programme


“Without wishing to justify barbarism, of course,” Tino Fernández explains, “I have tried to show the poignant poetry, the tragic beauty, like on the face of a mother whose children have been killed. I have followed the drama of the ‘desplazados', peasants torn from their land by the violent excesses of FARC, the paramilitaries and the greed of big land owners. They have fallen into the most abject poverty, and have nothing more than a scrap of waste ground on which they attempt to survive. In short, I also wished to evoke the impossibility of dialogue when every word is annihilated in fury and tumult. By bringing out the emotions of the audience, who applaud us with tears in their eyes, and identify here with the drama that Colombia is living through, with the twisted, mud-spattered bodies of the dancers, found in the myriad of abandoned shoes on stage, evoking the multitude of the disappeared: yes, in this emotion, I find my ‘raison d'être'.”


Accounts collected by Raphaël de Gubernatis for Nouvel Observateur (September 2002)

Fernandez, Tino

Tino Fernández was born in Navia (Spain). After studying drama in Madrid from 1977 to 1980, he began his professional career with the Trasgú theatre company, taking part in three of their productions. Later, he turned to contemporary dance and moved to Paris in 1983, where he continued his studies with the teacher-choreographers Jacques Patarozzi, Éléonore Ambash, Catherine Diverrès, Sara Sugihara and Jacqueline Fynnaert. As a dancer, he premièred new contemporary pieces with various companies, including François Larochevalière, Jean-Marc Colet, Gilles Mussard and Catherine Berbessou. He was also a member of La Règle d'Or (The Golden Rule), a Parisian contemporary choreographic research group. In 1991 he formed his own company, L'Explose, with which he produced and staged several pieces: "Con los ojos cerrados” (With Your Eyes Closed), his first solo "El silencio de las palabras" (The Silence of Words), "El secreto de Inés" (Inés's Secret), “Contre-cœur”. In Bogota he made his first short film on similar themes entitled "L'Attente". Since it was founded, L'Explose has based its working methodology on research which aims to take the energy of movement beyond form, with a theatricality which is able to speak of the human being in order to move the audience. In 1995, Tino Fernández moved to Bogota and created the L'Explose Foundation. With their strong and violent energy, the company emphasizes emotion over movement. Between 1996 and 2002 he created many pieces which have been performed in numerous venues throughout Colombia and as part of international events: “Sol a solas” (Lonely Sun, 1996), “La irrupción de la nada” (The Invasion of the Void, 1997), “La huella del camaleón” (The Chameleon's Footprint, 1998), “Háblame de amor” (Talk to Me of Love, 1999). In August 1999 he won the Pasos Para el Umbral (Towards the Threshold) competition of the Instituto Distrital de Cultura y Turismo de Bogota. This prize allowed him to create the piece “Sé que volverás” (I Know You Will Return), performed to great acclaim in August 2000 at Bogota's Teatro Nacional. To celebrate its ten years of existence, L'Explose created a new piece in 2001, "¿Por quién lloran mis amores?” (For Whom Do My Loves Mourn). In November the same year, Tino Fernández produced his first work in the field of musical comedy when he directed the piece "Electroshock" with Juliana Reyes. In August he was awarded the Towards the Threshold prize for a second time, which allowed him to create "La Mirada del Avestruz” (The Ostrich's View), premièred during the 8th Latin American Theatre Festival in Bogota.

Source : Biennale de la Danse program

More information

lexplose.com

Picq, Charles

Author, filmmaker and video artist Charles Picq (1952-2012) entered working life in the 70s through theatre and photography. A- fter resuming his studies (Maîtrise de Linguistique - Lyon ii, Maîtrise des sciences et Techniques de la Communication - grenoble iii), he then focused on video, first in the field of fine arts at the espace Lyonnais d'art Contemporain (ELAC) and with the group « Frigo », and then in dance.
   On creation of the Maison de la Danse in Lyon in 1980, he was asked to undertake a video documentation project that he has continued ever since. During the ‘80s, a decade marked in France by the explosion of contemporary dance and the development of video, he met numerous artists such as andy Degroat, Dominique Bagouet, Carolyn Carlson, régine Chopinot, susanne Linke, Joëlle Bouvier and regis Obadia, Michel Kelemenis. He worked in the creative field with installations and on-stage video, as well as in television with recorded shows, entertainment and documentaries.

His work with Dominique Bagouet (80-90) was a unique encounter. He documents his creativity, assisting with Le Crawl de Lucien and co-directing with his films Tant Mieux, Tant Mieux and 10 anges. in the 90s he became director of video development for the Maison de la Danse and worked, with the support of guy Darmet and his team, in the growing space of theatre video through several initiatives:
       - He founded a video library of dance films with free public access. This was a first for France. Continuing the video documentation of theatre performances, he organised their management and storage.
       - He promoted the creation of a video-bar and projection room, both dedicated to welcoming school pupils.
       - He started «présentations de saisons» in pictures.
       - He oversaw the DVD publication of Le tour du monde en 80 danses, a pocket video library produced by the Maison de la Danse for the educational sector.

       - He launched the series “scènes d'écran” for television and online. He undertook the video library's digital conversion and created Numeridanse.


His main documentaries are: enchaînement, Planète Bagouet, Montpellier le saut de l'ange, Carolyn Carlson, a woman of many faces, grand ecart, Mama africa, C'est pas facile, Lyon, le pas de deux d'une ville, Le Défilé, Un rêve de cirque.

He has also produced theatre films: Song, Vu d'ici (Carolyn Carlson), Tant Mieux, Tant Mieux, 10 anges, Necesito and So schnell, (Dominique Bagouet), Im bade wannen, Flut and Wandelung (Susanne Linke), Le Cabaret Latin (Karine Saporta), La danse du temps (Régine Chopinot), Nuit Blanche (Abou Lagraa), Le Témoin (Claude Brumachon), Corps est graphique (Käfig), Seule et WMD (Françoise et Dominique Dupuy), La Veillée des abysses (James Thiérrée), Agwa (Mourad Merzouki), Fuenteovejuna (Antonio Gades), Blue Lady revistied (Carolyn Carlson).


Source: Maison de la Danse de Lyon

La mirada del avestruz

Artistic direction / Conception : Tino Fernández

Choreography : Tino Fernández

Interpretation : Marvel Benavides Angela Bello Natalia Orozco Leyla Castillo Paola Escobar John Henry Gerena Tino Fernández Wilman Enrique Romero Vladimir Rodriguez

Artistic consultancy / Dramaturgy : Juliana Reyes

Set design : Víctor Sánchez

Lights : Humberto Hernández

Costumes : Eunice García

Other collaborations : Pierre Pugibet (régie générale)

Production / Coproduction of the choreographic work : coproductionVIII Festival iberoamericano de Teatro de Bogotá, Instituto Distrital de Cultura y Turismo, Alcaldía Mayor de Bogotá avec le soutien de Fundación L'Explose

Production / Coproduction of the video work : Maison de la Danse

Our videos suggestions
03:01

Hard to Be Soft

Doherty, Oona (France)

  • Add to playlist
31:26

Montpellier, le saut de l'ange

Bagouet, Dominique (France)

  • Add to playlist
01:27:28

Inanna

  • Add to playlist
07:51

Lied Ballet - Creation to the Maison de la Danse

Lebrun, Thomas (France)

  • Add to playlist
03:14

The Vile Parody of Address

Forsythe, William (France)

  • Add to playlist
06:38

Vertige d'Elle

Moineau, Claire (France)

  • Add to playlist
55:18

Odile Duboc, une conversation chorégraphique (with french subtitles)

Duboc, Odile (France)

  • Add to playlist
07:13

Bonhomme de vent

Charmatz, Boris (France)

  • Add to playlist
05:00

Slogans

Robbe, Hervé (France)

  • Add to playlist
03:13

Debout !

Delaunay, Raphaëlle (France)

  • Add to playlist
04:39

Next Days

Robbe, Hervé (France)

  • Add to playlist
01:12

Ways to Strength and Beauty

  • Add to playlist
47:10

Texane

Brumachon, Claude (France)

  • Add to playlist
01:14:54

El Djoudour, the roots

Lagraa, Abou (France)

  • Add to playlist
10:37

Chambre (La)

Obadia, Régis (France)

  • Add to playlist
09:16

Another Bloody Mary

La Ribot (Switzerland)

  • Add to playlist
03:07

Opus 40

Maillot, Jean-Christophe (Monaco)

  • Add to playlist
03:00

Les arpenteurs

Noiret, Michèle (Belgium)

  • Add to playlist
09:04

Uncles and Angels

Xaba, Nelisiwe (South Africa)

  • Add to playlist
27:00

What about Ida

Tompkins, Mark (France)

  • Add to playlist
Our themas suggestions

Western classical dance enters the modernity of the 20th century: The Ballets russes and the Ballets suédois

If the 19th century is that of romanticism, the entry into the new century is synonymous of modernity! It was a few decades later that it would be assigned, a posteriori, the name of “neo-classical”. 

Parcours

fr/en/

[1930-1960]: Neoclassicism in Europe and the United States, entirely in tune with the times

The Ballets Russes paved the way for what would become known as: neo-classical. Back then, the term “modern ballet” was frequently used to define this renewal of aesthetics: a savvy blend of tradition and innovation, which each choreographer defined in their own way.

Parcours

fr/en/

Bagouet Collection

Exposition virtuelle

fr/en/

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.

Parcours

fr/en/pl/

Exposition virtuelle

fr/en/

Night ballet

Exposition virtuelle

fr/en/

CHRISTIAN & FRANÇOIS BEN AÏM – VITAL MOMENTUM

Exposition virtuelle

fr/en/

Indian dances

Discover Indian dance through choreographic creations which unveil it, evoke it, revisit it or transform it!

Parcours

fr/en/

[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.

Parcours

fr/en/

les ballets C de la B and the aesthetic of reality

Exposition virtuelle

fr/en/

Why do I dance ?

Social dances, anti-establishment, protest dances, rhythms or identities, rituals or pleasures... There are a myriad of reasons for dancing and a myriad of points of view. A webdoc to discover, enhanced with extracts from performances and accounts from amateurs... all the right reasons for dancing!

Webdoc

fr/en/

Artistic Collaborations

Panorama of different artistic collaborations, from « couples » of choreographers to creations involving musicians or plasticians

Parcours

fr/en/

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.

Parcours

fr/en/

The Dance Biennale

Exposition virtuelle

fr/en/

Female / male

A walk between different conceptions and receptions of genres in different styles and eras of dance.

Parcours

fr/en/es/de/pl/pt-pt/

Contemporary Italian Dance : the 2000s

Panorama of contemporary dance practices in Italy during the 2000s.

Parcours

fr/en/

Vlovajobpru company

Exposition virtuelle

fr/en/

40 years of dance and music

Exposition virtuelle

fr/en/

The “Nouvelle Danse Française” of the 1980s

In France, at the beginning of the 1980s, a generation of young people took possession of the dancing body to sketch out  their unique take on the world. 

Parcours

fr/en/

Body and conflicts

A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.

Parcours

fr/en/
By accessing the website, you acknowledge and accept the use of cookies to assist you in your browsing.
You can block these cookies by modifying the security parameters of your browser or by clicking onthis link.
I accept Learn more