Le vertige du papillon
Vertige du papillon (Le)
A butterfly breaks free of its chrysalis for a single day of life and sees the world through a prism of over-bright colours. What we too often take for an elegant carefree dance, from tree to flower, is in fact only a symptom of the butterfly's dizziness: the instant that precedes its fall.
Le Vertige du Papillon, the third show by the circus company Feria Musica, brings together seven acrobats-trapeze artists and four musicians, in a mixture of harmony and turbulence, take-off and imbalance; between fall... and rebound. Together they confront instability, tell us about it and explore its infinite variations: I seize you around the waist, you lose yourself in suspended flight, he or she suddenly springs off the trampoline, we dance... Together they enjoy outsmarting the circus, venturing into forbidden zones, such as that, for example, of an acrobat subject to an irresistible dizziness. Then dance is born from the fall, and the circus is reborn from the dance. And if that makes the show somewhat "impure" and impossible to classify, it is nevertheless total, both successive and simultaneous.
Le Vertige du Papillon is choreographed by Fatou Traoré and mixes music, dance and circus in a stage area enriched with many possibilities, equipped with trapdoors and secret exits. Masts and an aerial cradle rise up somewhere between earth and sky, the front of the stage is a slope, a removable dance floor pulls back to reveal a trampoline. Ephemeral encounters happen, movements are interrupted; imbalance offers new trajectories, triggers a series of events, and encourages the use of various circus techniques: juggling, swinging aerial silk, Chinese pole, aerobatics. Throughout, in the ceaseless movement of bodies, can be discerned the shimmering of a butterfly wing.
Fatou Traoré is a dancer/choreographer, working on the Belgian stage since 1989. Fatou Traoté starts her career as a dancer with Rosas, Nadine Ganase, Claudio Bernardo, Johanne Leighton, les ballets C de la B ans many others. She makes her first choreography in 1995. In 1999 she founds her own company F.T.1X2X3. Born of a French mother and Malian father, Fatou Traoré has been confronted with cultural illusions during her life.
The encounters with other artists, the potential of human diversity and the mixture of genres nourish the chaos she needs to be creative.
As a choreographer, she explored, for more ten years, the close relation between dance and contemporary jazz, working together with mostly Belgian scene composers and musicians.
Ever since she made Mar'L (March 2004) – based on Julio Cortazar's book Marelle - a performance joining actors and dancers, film and graphical arts, she has worked with theatre directors Sofie Kokaj, Isabelle Pousseur and Giorgio Barberio Corsetti.
She likes to switch between intimate and spectacular pieces, but she also found contemporary circus arts on her choreographic way: La Syncope du 7 (AOC), Le Vertige du Papillon (Feria Musica) amongst others. For four years she worked as a dance coordinator at CNAC (2008/2011). Since Autumn 2008, she participates as a dancer and choreographer in the creation of Vibration, a performance of the 14:20 company which is a young collective working on new magic and illusion.
Source : Web Site les ballets C de la B
More information : http://www.lesballetscdela.be
Le vertige du papillon
Artistic direction / Conception : Philippe de Coen
Choreography : Fatou Traoré
Interpretation : Gaël Bernier, Anke Bucher, Linde Hartman, Serge Lazar, Anna Nilsson, Kiluangi Runge, Niels Seidel
Stage direction : Fatou Traoré
Set design : Philippe de Coen, Bruno Renson et Serge Simon
Original music : François Garny
Live music : François Garny, Manuel Hermia, Benoît Louis, Michel Seba
Additionnal music : François Garny, Manuel Hermia et Benoît Louis
Lights : Philippe Baste, Serge Simon
Costumes : Françoise Van Thienen, Serge Simon, Delphine Joly et Marie Nils
Sound : Nicolas Haber
Other collaborations : Arnaud Bernard (régie plateau)
Production / Coproduction of the choreographic work : produit par Feria Musica, en coproduction avec La Coursive, scène nationale de La Rochelle (F), Le Phénix, scène nationale de Valenciennes (F – en partenariat avec Lille 2004, Capitale européenne de la culture), Les Arts à la Rencontre du Cirque, Ville de Nexon, Haute-Vienne/Limousin (F), Le Pôle cirque Cévennes/Cratère, scène nationale d'Alès (F), Les Halles de Schaerbeek (B), La Maison de la Culture de Tournai/Circulons! (B/F), La Maison de la Culture de Nevers et de la Nièvre (F), Agora, scène conventionnée de Boulazac (F) et Het Huis voor Kunsten op Straat, Neerpelt (B). Avec le soutien de la Fondation BNP Paribas, de la Communauté française Wallonie-Bruxelles (Service des Arts de la Scène, Comité de Coordination « Lille 2004 » et Commissariat Général aux Relations Internationales), de la Loterie Nationale et de la COCOF.
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.
CHRISTIAN & FRANÇOIS BEN AÏM – VITAL MOMENTUM
[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.
les ballets C de la B and the aesthetic of reality
Why do I dance ?
The Dance Biennale
Contemporary Italian Dance : the 2000s
Panorama of contemporary dance practices in Italy during the 2000s.
Hip hop / Influences
This Course introduce to what seems to be Hip Hop’s roots.
Arts of motion
Generally associated with circus arts, here is a Journey that will take you on a stroll through different artists from this world.
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.
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.
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!