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Sacré printemps !

Maison de la Danse de Lyon 2014 - Director : Plasson, Fabien

Choreographer(s) : M'Barek, Aïcha (Tunisia) Dhaou, Hafiz (Tunisia)

Present in collection(s): Maison de la Danse de Lyon , Saisons 2010 > 2019

Video producer : Maison de la Danse

en fr

Sacré printemps !

Maison de la Danse de Lyon 2014 - Director : Plasson, Fabien

Choreographer(s) : M'Barek, Aïcha (Tunisia) Dhaou, Hafiz (Tunisia)

Present in collection(s): Maison de la Danse de Lyon , Saisons 2010 > 2019

Video producer : Maison de la Danse

en fr

Sacré Printemps !

“Sacré Printemps is modelled on Tunisia today, the Tunisia that is seeking its constitution but also the one that has managed to reassemble and reunite, despite the different tonalities and nuances.”

Interview with Aïcha M'Barek and Hafiz Dhaou – Words recorded by Gallia Valette-Pilenko, October 2014

How did this piece come about? 

Hafiz Dhaou: We were actually already working on it when we created 'Toi et Moi', our duet, in 2013.

Aïcha M'Barek: The duet was like a eureka moment, or rather the motivation to go elsewhere and translate what we had both been testing on mass, because we both really enjoy working on bodily mass and the mass (or number) of dancers. We seek out their individuality while searching for a common language.

H.D: 'Kharbga' (2011) marked a turning point in our work. It showed us the need to revisit the entire vocabulary that we had previously constructed. We focused on something that belongs to us; the taste for a certain path. It's not so much the form of an action that is important, but the path taken to arrive at it.

A.M'B: There is a notion that we have to offer something; a challenge that would require commitment. And besides, we have known the whole team for 14 years, even though not everyone has danced all the pieces. We go straight to what is essential; lying isn't possible, nor is ‘doing’. It's ‘being’ that interests us.

H.D: We share things in a very concrete way: joy, breathing, tiredness, etc. All that allows us to converge on the same objective, to be as one.

The title you've chosen, 'Sacré Printemps!', has two meanings. There's obviously the reference to the Sacre du Printemps (The Rite of Spring), and the other – just as obvious – to the Arab Spring. Why? 

A.M'B: For us, the Sacre du Printemps (Rite of Spring) was a turning point in the history of dance, not so much in the work itself but in the shock wave it created, which caused a kind of resonance. We don't identify with music itself – more with the way it is written. Each time the body is involved, like with Stravinsky's score which deconstructs its musical phrases.

H.D: "Sacré" (“Blessed” or “Sacred”) also evokes mythology, religion and the untouchable; something permanent that outlasts generations. Spring is also a synonym for hope, even though there is also that exclamation mark which tempers and questions it. We are in the middle of two contradictory movements: hope for a better day and dogma. Faith in the future, as well as fear. How do you reconcile the sacred and the contemporary? Tunisia is a sort of "open-air laboratory", the "startup of democracy". What happens there is scrutinised by the entire Arab world. Civil society in Tunisia obliged politics to determine its position.

A.M'B: This urgency is part of the body, because it conditions it, plunges it into a permanent state of urgency. This leads to acts of rebellion. We put everything into place in order to place the body into a state of urgency and, when it reaches this, we can no longer let our guard down. But we're witnesses, not representatives. This is where the importance of set design comes into play.

Yes, let's talk about this set design, which is made up of 32 life-size characters drawn by Dominique Simon.

A.M'B: It actually came from an encounter on the streets of Tunis with the painted cartoons of Bilal Berrini – or Zoo Project – a young French-Algerian graffiti artist; they really spoke to us. His figures, fallen martyrs from the Tunisian Revolution, move around the city of Tunis like silent witnesses. At the time, in 2011, we had met him and talked about doing something together. When we wanted to get back in touch with him, he had disappeared. We later found out that he was found murdered in Detroit.

H.D: Out of respect for him, we didn't want to just help ourselves to his work, even though it had partly motivated our new research.  We asked the illustrator Dominique Simon, to pay homage to his work by creating characters of whom some were anonymous and others recognisable, which would become an integral part of the piece.  Characters or people important to us, but also some of the martyrs painted by Bilal, and other anonymous figures. He translated our intentions through those whom we had wanted to see feature alongside us, with a different reading and characteristics. We are open to his point of view.

A.M'B: Yes, we explored the postures of the body, because these silent witnesses condition the space and the movements of the dancers, imposing a time for reflection and openness. Their presence develops the imagination and opens new spaces.

H.D: The audience is no longer just a spectator and a consumer, but also a witness to what is happening. A dialogue is opened up between them, the figures and the performers.

M'Barek, Aïcha

Aïcha M'Barek was born into a family of artists in 1974 in Tunis and began dancing at the age of 5. Like Hafiz Dhaou, she studied at the Conservatory of Music and Dance in Tunis and joined the Syhem Belkhodja 's company (Sybel Ballet Theater). In 1995-1996, his meeting with Fadhel Jaziri (Founder of the Nouveau Théâtre Tunisien, author, director and producer) will mark her dance.

In 1999 she also began cinematographic studies at IMC (Institut Maghrébin de Cinéma) in Tunis. In 2000 she obtained a scholarship from the Institut Français de Coopération to study at the Centre National de Danse Contemporaine, Angers, where she met the choreographers and teachers Dominique Dupuy, Angelin Preljocaj, Joëlle Bouvier etc. In 2001, she choreographed a piece for four dancers, “Essanaï”  (The Artisan), then a solo, “ Le Télégramme”, in June 2002 which take inspiration from "The Lover" Marguerite Duras 's novel. 

She performed in "Temps de feu" directed by Sophie Tabakov (Anou Skan Company). Since 2005, Aïcha had a Master's degree at the I.U.P. “Métiers des Arts et de la Culture”, University of Lyon 2. At the same time, in 2005, again with Hafiz Dhaou, they decided to set up the Chatha Company, combining their artistic aspirations.

Sources: The Chatha Company 's press file ("Narcose, 2017) ; Paris Art

Dhaou, Hafiz

Hafiz Dahou was born in 1976 in Tunis. It was the Tunisian choreographer Syhem Belkhodja who trained this hip-hop dancer, initiated him into modern dance and invited him to join her company (Sybel Ballet Théâtre) in 1989. He went on to take part in numerous projects, such as those of the director Fadhel Jaziri, which were an opportunity to be surrounded by music, singing, and popular, Sufi and folk dance.

In 1999 he began cinematographic studies at IMC (Institut Maghrébin de Cinéma) in Tunis. This discipline nourished his dance and was enormously influential. In 2000 he obtained a scholarship from the Institut Français de Coopération to study at the Centre National de Danse Contemporaine, Angers. During this period he began a close collaboration with the Tunisian dancer Aïcha M'Barek, who was also at CNDC. Together, they undertook an in-depth study of movement “which would be Tunisian”.

In 2001, he created the trio “Inta Omri”, inspired by the song lyrics of Arab diva Om Koulyhoum.  In 2003-2004 he took part in the EX.E.R.CE training course run by the Centre National Chorégraphique, Montpellier, directed by Mathilde Monnier. In 2004 he danced for Abou Lagraa (Compagnie La Baraka) in "Cutting Flat" in 2004 and "Où transe" in 2005. The same year, he joined the Centre National Chorégraphique in Caen, directed by Héla Fattoumi and Eric Lamoureux, as both a performer and associated artist. 


Source: Cie Chatha 's press file ("Narcose", 2017) 

Plasson, Fabien

Born in 1977, Fabien Plasson is a video director specialized in the field of performing arts (dance , music, etc).

During his studies at the Ecole Nationale des Beaux-Arts de Lyon (joined in 1995) Fabien discovered video art. He was trained by various video artists (Joel Bartoloméo Pascal Nottoli , Eric Duyckaerts , etc) .
He first experimented with the creation of installations and cinematic objects.

From 2001 to 2011, he was in charge of Ginger & Fred video Bar’s programming at La Maison de la Danse in Lyon. He discovered the choreographic field and the importance of this medium in the dissemination, mediation and pedagogical approach to dance alongside Charles Picq, who was a brilliant video director and the director of the video department at that time.

Today, Fabien Plasson is the video director at La Maison de la Danse and in charge of the video section of Numeridanse.tv, an online international  video library, and continues his creative activities, making videos of concerts, performances and also creating video sets for live performances.


Sources: Maison de la Danse ; Fabien Plasson website


More information: fabione.fr

Sacré Printemps !

Choreography : Aïcha M’Barek et Hafiz Dhaou

Interpretation : Stéphanie Pignon, Johanna Mandonnet, Aïcha M’Barek, Amala Dianor, Rolando Rocha, Mohamed Toukabri, Hafiz Dhaou

Text : Horrya – Liberté (poème de Khaled Waghlani)

Original music : Éric Aldéa et Ivan Chiossone avec la participation de Sonia M’Barek

Live music : Sonia M’Barek (voix)

Lights : Xavier Lazarini

Settings : Dominique Simon (illustrations), Bernard Ledey (constructeur)

Sound : Christophe Zurfluh

Other collaborations : Sandrine Faure (régie générale)

Production / Coproduction of the choreographic work : Simge Gücük (Administration et production)

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

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