From the perilous issue of homosexuality, one almost taboo in hip hop dance, Claire Moineau achieves the tour de force of producing a show that is poignant and just.
In Vertige d'Elle, Claire Moineau takes inspiration from the text by Pierre Notte, Les séparées, written for this project. There is a single imperative: the theme of female homosexuality. On the stage, within a trio, passion confronts reason to reveal an all-consuming love on the limits of social exclusion.
“It is about someone who is not there;
more precisely, someone who has left.
It is not just about this, though.
There will be three women's voices;
three desires, three female bodies.
It is a simple story,
the simple story that leads each of them to find themselves and each other at the exact other side of the world.”
Website of the company
Updating: July 2014
With both classical and modern training, Claire Moineau took lessons with Marie Folyot at the Opéra national de Paris and with Joëlle Mathieu in modern jazz for a great many years. In 1995 she trained in street jazz with Mia Frye, then hip hop dance with Guy Sembé. She completed professional training at Thony Maskot's school and regular placements with, among others, Junior, Les Electric Boogaloo, Walid and Joseph Go Nguessan. Since 2003 she has taken regular professional training in urban dance (ADIAM 95, Centre de Danse du Galion, CND) run by Mic Guillaume. Claire Moineau is the artistic director of the AscEnDanse Hip Hop association, with which she gives daily lessons in hip hop dance, organises placements and events such as "Histoire d'Elles" and regularly takes part in cultural activities in France and the Caribbean.
In 2004 she set up the company Uzumé and produced four pieces: the duo Namasté (2005) with Magali Duclos, part of the programme at, among others, Rencontres de la Villette, the Synodales competition and Karine Saporta's Dansoir; the solo Crescendo (2007), shown at different theatres around France (Festival H2O, Les Déchargeurs) and abroad in places such as the Caribbean, Niger and Dubai; the duo Autrement Moi (2010) with Franck Richard (now performed by Mathieu Hernandez), played at the Suresnes Cité Danse 2010 festival and Théâtre de l'Odyssée 2012 among others; and the trio Vertige d'Elle, winner of the Prix SACD-Beaumarchais 2012. Since 2005 she has been among the tutors for the young amateur company Atipik, which brings together her best students. She choreographed the pieces La Famille MacAdam (2006), Cinderella (2009), Génération Paris and Saison Barbara (2012). In 2006 she joined the company Difé Kako, directed by Chantal Loïal. She performed the piece Zandoli Pa Ti Ni Pat. In 2009 she performed the experimental piece Performance by Sébastien Lefrançois, presented at the Suresnes Cités Danse festival.
In 2010 she joined the Arthur Harel company and performed the piece Fragment(s), included in the 2011 programme at the Centre National de la Danse as part of the DANSE HIP HOP TANZ festival, and for its latest piece All Along Far Away.
In 2011 she joined the company Par Terre (Anne Nguyen) for the piece Promenade Obligatoire and then Bal.exe. Claire Moineau also takes part in battles: she was semi-finalist at Juste Debout in 2004 and winner of the pop category at Seven to Smoke 360 bpm Fire in 2005. She won Just 4 Ladies in 2004 and 2005. Along with Jessica Noita she reached the Pop quarter finals of Juste Debout 2007 and the semi-finals of the battle Ring 2010 in Maubeuge.
Latest update: July 2014
Centre national de la danse, Réalisation
Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).
Choreography : Claire MOINEAU
Interpretation : Claire MOINEAU, Jessica NOITA, Alexandre REA
Text : Pierre NOTTE
Duration : 26 minutes
[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.
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.
Why do I dance ?
Female / male
A walk between different conceptions and receptions of genres in different styles and eras of dance.
Les Rencontres chorégraphiques internationales de Seine-Saint-Denis
40 years of dance and music
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.
Body and conflicts
A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.
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!
Carolyn Carlson, a woman of many faces
Charles Picq, dance director
A Rite of Passage
When reality breaks in
On 24th May 1959, Tatsumi Hijikata portrayed the character of the "Man" in the first presentation of a play called Kinjiki (Forbidden Colours).
The Ankoku Butoh was born,