Opinion Public is a contemporary dance company that was created in Brussels in 2010. This collective is comprised of Etienne Béchard, Johann Clapson, Sidonie Fossé and Victor Launay. They have met through their education at the Rudra school and the Béjart Ballet Lausanne.
The choreographic work is based upon neo-classical and contemporary techniques. It is rich in movement, dynamism, pace, fluidity and it is particularly physically demanding. The floorwork as well as the partnering fall within the choreographic research.
The created pieces are inspired by today’s sociological context. The artists defend the causes they take at heart by using not only dance, but also drama and digital media to create their works. Each year, a new creation is being added to their repertoire: Opinion Public, Apart/heid, Obsolescence, Post Anima, Mr. Follower, Arcadia, Aeterna ,Rocking Chair (a multiple-choice show via a smartphone application, in 2019), Maniac, SO’FAR, Ecran de Fumée and Contact Zéro.
The company has also been invited to perform outside of Belgium, in Europe and in Russia by participating in international festivals, to name but a few: Le Temps d’aimer in Biarritz, France; The Kuopio Dance Festival in Finland, The Black Box Festival in Bulgaria, The Open Look Festival in Sint-Petersburg, The Baltic Ballet Festival in Lithuania, etc.
The worry of order and the meticulous management of each deed and gesture may be virtuous, but what about the mania, if not that it haunts each of us like an irresistible temptation. So many gestures, so many fixed ideas that reassure and frame us, constituting what we believe to be: multiple “I's” which create confusion about our own identity … An interior struggle, an obsession with precise gestures by a deliberately neutral-gender duo. Harmony, gentleness, opposition: Which facet will have the last word?
A contemporary dance solo about determination and freedom as a contrast. How do they become one to become whole. Searching for an unity trough true experiences.
Every person gets to a point when they know change is coming. Life is entering another stage. The last skin will be pulled off, the feeling will become a sore throat, feel the bursting happening soon for sure. The countdown starts, the change starts.
Clean sheet. Old habits, traditions are being transformed. Mind, thinking also goes to a higher level. Points of view change. The individual gains space as if had arrived home. The person reigns and lives again. Gets back the really old friend: power.
9 minutes solo work, using different qualities of body.
Danseur Afro contemporain, domaine des danses traditionnelles et rituelles de l'Afrique de l'ouest, originaire du Burkina Faso, il se forme au côté de Alassan Congo et Germaine Acogny école des sables au Sénégal.
With photographer Alban Mecuyer, Adama Tibiri Adame offers a solo
KURU, THE SPIRIT OF THE CITY
Bobo-Dioulasso, in Burkina Faso, was founded in the 14th century
century. The city has grown by absorbing neighboring villages and then causing the emergence of new
outskirts. At the same time, the former capital of the country is making
continue the tradition of masquerades dedicated to the deceased or to ancestors.
Kuru, the spirit of the city is a danse and video project that explores the evolution of Bobo-Dioulasso, its physical geographies, social and political.
To what extent are the new modes of urbanization freeing themselves from the mythological dimension that presided over the first settlements of the region? What remains of the pact made between the founding ancestors and the kuru when moves away from the historic center to reach the factories of the industrial zone or the more westernized suburbs that appeared in the over the past decade? By adopting the form of an uchronic story, where new architectural styles are substituted little by little in the original cradle of the first inhabitants, this work initiates a broader reflection on the place of spirituality in the construction of the contemporary city.
During 18 minutes and 15 seconds on a score by Philip Glass, 5 dancers affirmed musically and spatially are going to be immersed in the emergency.
Urgency is present in many places today, in many fields and at different levels. It is what requires an action, an immediate decision, a necessity to act quickly without possible delay.
The musical power imposes and reveals bodies with a physical engagement pushing to exhaustion, asserting the dynamic lines that shape a uniform space. It is absolutely necessary to belong to the present during these eighteen minutes and fifteen seconds where one de.counts the time by conversing and weaving with the music in an obsessive way.
For the materiel :
– beach stuff
– table and computer
– indoor or outdoor with 10m x 10m.
Author: Egle Ukanyte
Performers: 4 dancers
Music: A. Sapiega
Contemporary dance performance „Taming Loneliness“ is an artistic research work about a relevant topic – solitude. Dancers embodied aspects about solitude that they found during the research process. And expressed them through movements and emotions in an open dramaturgy performance with live gong music. During the process dancers had to get used to changing circumstances, new ending every time, undefined music, each other and the solitude theme.
Santiago de Compostela, Spain
Cia.Nocolo is a young emerging company from Galicia.
We are 5 artists with different backgrounds and circus disciplines.
We got to know each other in a Circus School in Galicia. We all went to study abroad and now created our company.
We are willing to create and perform.
Our dance piece is called “Nin eu, nin ti”.
A space, two bodies.
To fall and get up.
The charge of weight and suspension accompanies the rythm of the movement.
(In)dependence between both bodies.
Prague, Czech Republic
LEDET-We Didn’t Know What To Do So WE Danced
A site specific performance where dancers and musicians explore their relationships to each other and a space. Creating new music together through improvisation and connection. The closeness and distance that is possible in a space. Each artist is brought to the space with this moment to make something new. A new song, a choreography, a moment.
We Didn’t Know What To Do So We Danced brings people together from different worlds, different genres, and lives. Creating a moment of connection away from the world. Join us for the experience and watch something new come to life.
Materials: Technical equipment for musicians, lights, smoke machine. This projects is designed to fit in any space. So it’s important to know what space we would be performing in so we can work with it. We have performed in a small gallery (as seen in my video submission), a theatre in the center of Prague with 4 stories of apartments turned gallery spaces, an Austro-Hungarian invalid building for soldiers.
The beauty of this project is how each space, each performance is different. Watching it transform with each new version. Each new audience.
The concept is to bring people together. Not only the audience and the artists. But also artists who would normally not meet in their professional world. Musicians and dancers from different backgrounds in one space. Connecting and creating an ephemeral moment of artistry and exploration.
Over the past 9p years, Ellina has been continuously discovering the most diverse facets of dance. The journey of discovery began with the ‘Authentics’ crew in 2012 in Dresden, where the focus was on freestyle, and above all on finding and developing one’s own voice and style. Over the next few years, she took part in several workshops in a wide variety of urban dance styles such as hip hop, house, dancehall, popping, as well as dance exchanges, jams, cyphers, battles and shows.
After completing her master’s degree in Euroamerican Literatures, Translation and Literary criticism in Italy and thanks to her passion for languages and new cultures, the 4-lingual openminded globetrotter fell in love with Afro dance. Since then she has participated in several dance and art projects, shows and video productions. Dance for Ellina is a language per se, an inner voice that communicates with the outside world, conveys feelings and emotions, connects souls and arts, that’s why she is focused in the first line on the freestyle and the inner flow of movement.
Originally Russian the song speaks up to every woman in the world encouraging to stand up for ourselves: “stand up and go”, ” you are strong enough”, ” we are the change” are the main exclamations. The song is a fusion of the different music and singing styles. It calls every woman to liberate herself from patriarchal and ancient (also, partly traditional) thinking patterns, it’s about resistance against stereotypes, about transformation and self-awareness. Every woman regardless her nationality, sexual orientation,believes or appearance has a right to have a free choice of her life style.
I grown up with those stereotypes about woman the song is talking about, so I know how hard it is to step above them, I keep doing it every day. In my dance interpretation of this song I used steps of different dance style and worked with visual traditional signs to break the wall of the stereotypes, symbolically freeing myself.
For hundred of years woman and her sexuality is being controlled through rights limitations and morality, but we can decide how we act, think and appear: we are the change.
We’re all unique, we’re all one.