Malandragem
Choreographer(s) : Tchouda, Bouba Landrille (France)
Present in collection(s): Maison de la Danse de Lyon
Malandragem
Choreographer(s) : Tchouda, Bouba Landrille (France)
Present in collection(s): Maison de la Danse de Lyon
Malandragem
Tchouda, Bouba Landrille
As with many hip-hop dancers, his learning begins in a self-taught way. In 1995, he decided to found the company Aca in Saint-Martin-d'Hères, with Habib Adel, dancer of the same generation. Their first creation, presented in 1996 as part of the Rencontres Danse Ville Danse in Paris, allows them to become a reference company in hip hop dance in the Rhône-Alpes region.
Influenced by urban and world culture, this artist enjoys many kinds of dance, including hip hop, capoeira and contemporary dance. For him, every genre of dance is a new world to tackle, to move in, to sweat in, to turn upside down, to help everyone find their humanity, to question the meaning of their future, their desires.
Like many hip-hop dancers, he was initially self-taught, but gradually began to explore other disciplines like capoeira and contemporary dance.
In 1995, he decided to found the dance company ACA in Saint-Martin-d'Hères, with one of his contemporaries, Habib Adel. Their first creation, presented in 1996 as part of the Rencontres Danse Ville Danse (Danse Ville Danse Encounters) in Paris, made their name as the urban dance company to be reckoned with in the Rhône-Alpes region.
It was during this time that Bouba met the choreographer Jean-Claude Gallotta, director of the CCN in Grenoble (National Choreography Centre). This meeting resulted in a duet called SMH. Choreographed by Jean-Claude Gallotta, this duet forms an integral part of the piece La rue (“The street”), presented by the Emile Dubois group in January 1997 at Suresnes.
His national and international tours – with Aca and Accrorap – have allowed Bouba to establish his reputation as a choreographer both in France and abroad.
In 2001, with Eric Mézino, he founded the Malka Company whose first show was Paroles de sable, paroles de vent (“Words of sand, words of wind”).
Source : Malka Company 's website
More information : ciemalka.com
[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.
Amala Dianor: dance to let people see
Why do I dance ?
Female / male
A walk between different conceptions and receptions of genres in different styles and eras of dance.
Hip hop / Influences
This Course introduce to what seems to be Hip Hop’s roots.
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.
Käfig, portrait of a company
Genesis of work
A dance show is created in multiples steps between the enunciation of an initial desire which launch the project and the first representation. This parcours presents diff
Ballet pushed to the edge
Ballet’s evolution from its romantic form until néo-classicism.
Dance in Quebec: Collectivities in motion
This Parcours introduces several extracts of works by contemporary Quebecois choreographers, situating them in an anthropological perspective.
Dance and music
The relationship between music and choreographic works varies throught dance history.
Scenic space
A dance performance takes place in a defined spatial area ... or not. This course helps to understand the occupation of the stage space in dance.
Reinterpreting works: Swan Lake, Giselle
Some great shows are revisited through the centuries. Here are two examples of pieces reinterpreted by different choreographers.