We must eat our suckers with the wrappers on
2005 - Director : Centre national de la danse, Réalisation
Choreographer(s) : Orlin, Robyn (South Africa)
Present in collection(s): Centre national de la danse , CN D - Spectacles et performances
Video producer : Centre national de la danse
Integral video available at CND de Pantin
We must eat our suckers with the wrappers on
2005 - Director : Centre national de la danse, Réalisation
Choreographer(s) : Orlin, Robyn (South Africa)
Present in collection(s): Centre national de la danse , CN D - Spectacles et performances
Video producer : Centre national de la danse
Integral video available at CND de Pantin
We must eat our suckers with the wrappers on...
Before it became a real success beyond its own borders, “We must eat our suckers with the wrappers on..." was originally conceived as a piece for a South African audience. It is a militant piece which tackles the issue of teaching citizens to use condoms during sexual intercourse. "We must eat..." was devised to be performed in all kinds of venue. The tone of this piece underlines the gravity of the subject matter that it deals with: AIDS. It is darkly humorous, tinged with hope.
Further information
Updating: November 2010
Orlin, Robyn
Robyn Orlin was born in 1955 in Johannesburg and obtained bursaries to study in London (London Contemporary Dance School) and then in Chicago (School of Art Institute).
Since her first performance in Johannesburg in 1980, she has attempted to redefine choreography and the art of theatre in her country and has become one of the most committed anti-apartheid choreographers. She starts from the principle that “dance is political”, and in her pieces she examines the social and cultural situation in South Africa: its influences, its history, its rifts and its disintegration. The choreography then creates “an iconoclastic dance which puts its foot in it”, a dance-chronicle of today's South African society, skilfully handling irony and derision; a dance that shamelessly stirs up references and identities, blending traditional popular culture with the radical avant-garde, a dance that is capable of breaking down the artist-audience barrier by putting the audience at the centre of the event.
Robyn Orlin came to France for the first time in April 2000 at the invitation of La Filature Scène Nationale, Mulhouse, with “Daddy, I've seen this piece six times before...”
She achieved immediate recognition: Rencontres Chorégraphiques Internationales de Seine-Saint-Denis, Montpellier Dance Festival, Théâtre de la Ville, Paris, followed by tours all over the world.
In 2004, Robyn Orlin took part in the inauguration of the Centre National de la Danse, Pantin and composed a solo for Sophiatou Kossoko as part of “Vif du Sujet”.
In 2005 she created “When I take off my skin and touch the sky with my nose, only then I can see little voices amuse themselves...”, a piece with 6 singers from the South African Opera, then, during the summer, “Hey dude... i have talent... i'm just waiting for god...,” a solo for the dancer-choreographer Vera Mantero.
From September 2005 Robyn Orlin was in residency for two years at the Centre National de la Danse, Pantin. In April 2007 her “L'Allegro, il penseroso ed il moderato” was premièred at the Paris National Opera.
Source :
Digital resource - Médiathèque du Centre national de la danse
http://mediatheque.cnd.fr/spip.php?page=mediatheque-numerique-ressource&id=PHO00003887
More information : robynorlin.com
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.).
We must eat our suckers with the wrappers on…
Choreography : Robyn Orlin
Interpretation : Foxy Tsalaemang Riet, Makhosi Dlamini, Prince Mngomezulu, Sam Jack Mabona, Tshepo Gaborone, Phindile Ntuli, Nthabiseng Baloyi, Anna Louw, Bongani Ngenelwa, Ntombi Maqalika, Takalani Phophi, Walter Malekane, Sibusiso Ndumndum, Rodney Buyeye, Richard Manamela
Costumes : Robyn Orlin
Settings : Robyn Orlin
Other collaborations : Régisseur Mthokozisi Mchunu
Duration : 64 minutes
We must eat our suckers with the wrappers on…
Digital Resource by the Médiathèque du Centre national de la danse
http://mediatheque.cnd.fr/spip.php?page=mediatheque-numerique-ressource&id=PHO00003897
LATITUDES CONTEMPORAINES
James Carlès
Bagouet Collection
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.
The American origins of modern dance: [1930-1950] from the expressive to the abstract
[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
DANCE AND DIGITAL ARTS
Black Dance
Why do I dance ?
Strange works
Unconventional contemporary dance shows which reinvent the rapport to the stage.
Artistic Collaborations
Panorama of different artistic collaborations, from « couples » of choreographers to creations involving musicians or plasticians
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.
The Dance Biennale
Dance and visual arts
Dance and visual arts have often been inspiring for each other and have influenced each other. This Parcours can not address all the forms of their relations; he only tries to show the importance of plastic creation in some choreographies.
Hand dances
This parcours presents different video extracts in which hands are the center of the mouvement.
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.