Doris Humphrey was born in Oak Park, Illinois, in 1895 and grew up in Chicago. Her father operated a residence home for vaudeville performers called the Palace Hotel, and her mother offered piano lessons. As a girl, Humphrey studied piano, ballet, ballroom dance, Americanized Delsarte and Dalcroze's system of Eurythmics. A talented dancer, she began teaching ballet and interpretive dance to children when she was 15. During the next few years, Humphrey traveled the Santa Fe railroad line with a variety troupe, giving performances to railroad employees of her home-made aesthetic dances and Spanish numbers. When she returned home to Oak Park she began her own studio with her mother as accompaniest and business manager.
By 1931, the Humphrey and Weidman companies and their joint studio/school were firmly established in New York City. With Graham, Humphrey was considered by most critics to be a primary innovator of the new modern dance. Her theory of "fall and recovery"-- and the technique that sprang from it--was the foundation of her teaching method and her choreography. Underlying it, according to Humphrey, was the German philosopher Frederick Nietzsche's idea about the split in the human psyche between each person's Apollonian side (rational, intellectual) and our Dionysian side (chaotic, emotional). The true essence of the modern dance was the movement that happened in between these extremes, which Humphrey labeled "the arc between two deaths."
Source: University of Pittsburg
From live stage images to life in images, the director and video artist Karim Zeriahen seems to have found the shortest way. Since the beginning of the 90s, when he worked in close relationship with choreographer Philippe Decouflé, he learned how to put the art of stage in motion, contemporary dance most of the time. Karim Zeriahen then starts a fruitful collaboration with Montpellier based choreographer Mathilde Monnier. Stop, Videlilah, day of night, short films adapted from her stage creations. Each time, Karim Zeriahen's camera takes over the place with movement, the body language is not frozen but magnified. Choreographer Herman Diephuis also joins this gallery of dancing portraits. Documentaries on figures such like Albert Maysles or Hubert de Givenchy and from Joe Dalessandro to Paul Morrissey, he sets a signature, a camera always in action with confidence.
Today the director goes further with a new project and tracks the subtle movements of the body language beyond the physical appearance. A collection of living portraits as unique pièces reminding us of the master portraitists of renaissance. These living natures consists in filming the subject in a certain amount of time, almost still, with signs of respiration, eye blinks, as if it were posing for a painting. They are then displayed on a flat screen with a memory card. With this collection starting, Karim Zeriahen, with his documentary and artist vision, interrogates himself about the virtual world filled with images. By taking a pause, and his models with him, he questions the way we look at things, the way we look at life.
Source: Philippe Noisette
En savoir plus: www.karimzeriahen.com
Ritmo Jondo [remontage 2017]
Coline Blanchard-Muller, Inès Campan,
Bettina Lefèbvre, Naorah Nago, Jiye Oh, Karelle Payen, Eloïse Nizan
Extrait remonté par Décor Mobile (Noisiel), responsable artistique Caroline Baudouin, dans le cadre de Danse en amateur et répertoire (2016) - Transmission Sophie Jacotot
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.
Head of Research and Choreographic Directories
Research Assistant and Choreographic Directories
+33 (0)1 41 83 43 96
Source: CN D
More information: https://www.cnd.fr/fr/page/323-danse-en-amateur-et-repertoire-programme-d-aide