Thematic montages

Les Raretés du fonds Cinémathèque de la danse
[Rarities from the Cinémathèque de la Danse collection]

2017, 50 min.
This is an exploration, one of a thousand possible explorations, of the masterpieces of the collection of the CN D’s Cinémathèque de la Danse, drawing on the invention of movements, the history of dance, cinema and the visual arts. From the explosive minimalism of the flamenco dancer Vicente Escudero to Segundo de Chomon’s fake Japanese acrobats, who invented ways of defying gravity worthy of Trisha Brown, this montage reveals the styles, periods and major figures, from Mary Wigman to Alwin Nikolais, from Martha Graham to Louise Lecavalier and even the hip-hop dancer Blondy.

Bailes primitivos flamencos masculinos, réalisation d’Herbert Matter,1955
Le tapdancer Bunny Briggs, 1950
Topic 2, réalisation de Pascal Baes, 1989
Fusion, réalisation d’Ed Emshwiller et Alwin Nikolais, 1967
Le Lys, réalisation de George R. Busby, 1934
Au Revoir et merci, chorégraphie de Mary Wigman, 1942
Lamentation, chorégraphie de Martha Graham, 1950
Tanzstudie, chorégraphie de Dore Hoyer, 1961
Blondy Style, réalisation de François Gauttret, 2011
What I’d say, scopitone, réalisation de Vince Taylor, 1961
La la la human sex duo numéro 1, réalisation de Bernar Hébert, 1987
Les Kiriki, acrobates japonais, réalisation de Segundo de Chomon, 1907


Danser l’espace

2018, 50 min.

La Féérie des ballets fantastiques by Loïe Fuller, directed by George R. Busby, 1934, (excerpts) Three choreographies by Loïe Fuller, performed by the company of Loïe Fuller dancers directed by Gab Sorère:
Schubert's musical moment, with Miss Briggs
Le Lys, Prélude du Déluge de Saint-Saëns, with Miss Baker
Margaret Morris's Exercices pour enfants, 1936
Inspiration and Ballspiel, choreography by Isadora Duncan, transmission of Lisa Duncan, directed by Jacques Pyros interpretation of Odile and Valérie Pyros, from the movie Danser, c'est vivre, 1971
Unpublished plan of Isadora Duncan dancing
Out of boundaries, choreography Anna Halprin, directed by Jacqueline Caux, 2004
Early Works by Trisha Brown filmed in the Tuileries gardens in 2008: Primary Accumulation Group (1973) and Spanish Dance (1973)
Muurwerk, choreography by Roxane Huilmand, directed by Wolfgang Kolb, 1987
Topic I, Pacal Baes, 1990
Rapture, choreography and realization of Noémie Lafrance, 2008
Melte, choreography Ana Rita Teodoro, directed by Alex Mogly, 2012
100 km DanceWalk, Foofwa d’immobilité
Although I live inside ... My hair will always reach towards the sun, conception of Robyn Orlin, interpretation of Sophiatou Kossoko, 2004


Danse et espaces urbains, danse et architecture
[Dance and urban spaces, dance and architecture]

Ever since the post-modern dance choreographers abandoned theatres to dance in art galleries, the street, apartments and in nature, dance, sometimes accompanied by cinema, has continued to occupy urban spaces, using them not only as a new stage, but also as a tool for specific dances, created in and for the street.

Kaze no Keshiki / Paysages du vent, chorégraphie de Tatsumi Hijikata, réalisation de Keiya Ouchida, 1976
Tango mio, réalisation de Jana Bokova, 1985
Sticks On the Move, réalisation de Pooh Kaye et Elisabeth Ross, 1983
Roof Piece, chorégraphie de Trisha Brown, 1973
Walking On the Wall, chorégraphie de Trisha Brown, 1970
Rapture, chorégraphie de Noémie Lafrance, 2008
Muurverk, chorégraphie et interprétation de Roxanne Huilmand, 1987
Calico Mingling, chorégraphie de Lucinda Childs, réalisation de Babette Mangolte, 1973
Topic II, réalisation de Pascal Baes, avec Sara Denizot, Laurence Rondoni, Jérôme Bel
Images de Parkour (art du déplacement en milieu urbain) – sous réserve, 1989

Un regard sur la danse actuelle
[A look at dance today]

This montage presents the work of around ten choreographers. Some began as early as the 1980s and continue to produce works, while others are younger emerging artists, as is the case of the two choreographers who appear at the end of the montage.

These choreographers are multi-disciplinary artists working in various media, breaking down barriers between the arts (visual arts, music) and collaborating, above all, with numerous artists.

Shirtologie II, conception Jérôme Bel, réalisation Aldo Lee et Jérôme Bel, 2015
100% Polyester, conception Christian Rizzo, lumière Caty Olive,1999
Corbeau, chorégraphie Myriam Gourfink, réalisation Stéphane Caroff, 2007
I Apologize, conception Gisèle Vienne, 2005
Les Inconsolés, conception Alain Buffard, 2005
Magma, chorégraphie et réalisation Boris Charmatz, 2007
Soapéra, conception Mathilde Monnier et Dominique Figarella, 2010
Promenade obligatoire, chorégraphie Anne N’ Guyen
Movement Materials, conception et chorégraphie Noé Soulier, Fondation Vuitton, 2014

Communauté / être ensemble
[Community / being together]

What communities does dance create? How do they relate to reality and to society? Are they critiques or utopias? This montage focuses in particular on the collective adventures that have represented moments of intense freedom, mainly in avant-garde movements, but also that can be expressed by the simple desire to have a good time together on the dance floor.

Denishawn, école de Ruth St-Denis et de Ted Shawn, 1919-1930
Parade&Changes replay in expansion, chorégraphie d’Anna Halprin, version d’Anne Collod, 2008
Document École Laban, c.1925
Messe pour le temps présent, chorégraphie de Maurice Béjart, 1968
The Savoy Ballroom, chorégaphie de Mura Dehn, 1950
Blush, réalisation et chorégraphie de Wim Vandekeybus, 2005

La Nudité en danse
[Nudity in dance]

Far from being a recent feature of contemporary dance, nudity was present from the very beginnings of modern dance, with the costumes of Isadora Duncan that played cleverly on the tension between clothing and nakedness. It traces an unbroken line to the present day, where it can become the very subject of dance, as in the work of Jan Fabre and Maria Donata d’Urso.

Isadora Duncan dansant, 1920
Danse Nicolska, 1920
Documents d’archives sur le cabaret Tabarin, 1930
Duo d’Eden, chorégraphie de Maguy Marin, 1986
Striptiz, conception de Graziella Martinez, 1986
Tragédies, chorégraphie d’Olvier Dubois, 2012
Pezzo 0 (due), conception et interprétation de Maria Donana D’urso, 2002
Magma, chorégraphie et réalisation de Boris Chartmatz, 2007
Quando l’uomo principal é una donna, chorégraphie de Jan Fabre, 2004


Danse traditionnelle contemporaine
[Contemporary traditional dance]

This montage focuses on folk dancing and how it has inspired contemporary choreographers. This document shows that contemporary dance has been mainly interested in two aspects of popular dances. To begin with there was a lot of foot stamping, clapping of hands and banging of feet, as if the body was a sounding board, a percussion instrument, as if the main aim of popular dance was to produce a body that would follow a binary rhythm. Most of these dances indeed have a binary rhythm and some people think that this rhythm is one that is very close to the rhythm of life. This is evidently what Nijinsky was seeking, but he was not the only one. Contemporary choreographers have also been interested in the highly geometric arrangement of folk dances. Forming a circle or a line, coming out of the circle or the line, and then to come back, all the while tracing fairly complex combinations of geometrical figures – all of that seems to have been a basic element for contemporary choreographers, for whom folk dances offer a way of creating an abstract space on stage.

Jota antiga by Rio de Onor, choreography and performance by Ana Rita Teodoro, music performed by Ricardo Santos and Ti Mariano, directed by Tiago Pereira, 2018
Sons of Sissy choreography by Simon Mayer, directed by CN D, 2016
JINX 103 choreography by Jozsef Trefeli and Gabor Varga, directed by CN D, 2014
FOLK-S will you love me tomorrow? choreography by Alessandro Sciarroni, production by Cosimo Terlizzi, 2012
D’après une histoire vraie by Christian Rizzo, 2013
9 000 pas, choreography by Joanne Leighton, teaser, 2015
Penelope, choreography by Lisbeth Gruwez, 2017
Colin Dunne & eRikm Project, realization of CN D, 2016
Colin Dunne, Evening Discoveries "Danses Partagées", realization of CN D, 2014
Nkululeko, choreography by Via Katlehong Pantsula, directed by CN D, 2009
On va gâter le coin !, Act 2 of the Coupé-Décalé show, choreography by Robyn Orlin and James Carlès, directed by CN D, 2014 Sardinian dances collected by Francine Lancelot, 1983
Flute of Krishna, choreography by Martha Graham, 1926
Sacre #2, Reenactment of Vaslav Nijinski's Dance of 1913, choreography by Dominique Brun, directed by Ivan Chaumeille, 2014

La danse performance

This montage examines the significance of performance in the field of choreography and on the two defining concepts: performance as an artistic, and even political, act and physical performance.

Tanzerische Pantominen, 1925, realization of Susa Byk, with Valeska Gert
Early Works by Trisha Brown at the Tuileries Gardens, 2008: Group Primary Accumulation (1973) and Floor of the Forest (1969-1971)
Lalala human sex duo n ° 1, 1982, by Bernar Hébert, choreography Edouard Lock, with Louise Lecavallier and Marc Béland MC 14/22 (ceci est mon corps), 2001, choreography Angelin Preljocaj, with Jean-Charles Jousni and Sylvère Lamotte Quando Quando l’uomo principale è una donna, 2004, choreography by Jan Fabre, with Sung-Im Her
Warm, 2013, choreography by David Bobée, with Frédéric Arsenault, Alexandre Fray and Séverine Ragaigne. Registered at CN D on April 11, 2013
Sweat Baby Sweat, 2011, choreography by Jan Martens, with Kimmy Ligtvoet and Steven Michel
parades & changes replay in expension, 2008, choreography by Anne Collod, reinterpretation of Anna Halprin's Parade and Changes (1965)
Im Bade Wannen, 1982, directed by Charles Picq, choreography and interpretation by Susanne Linke
It’s going to get worse and worse and worse, my friend, 2012, design, choreography and interpretation of Lisbeth Gruwez


Duende & Flamenco

This montage presents some of the leading figures of flamenco – men and women – from the beginning of the 20th century to the present day, in very varied dance styles. Viewers will see Vincente Escudero, with his very specific braceo and his extremely pure style; Carmen Amaya, praised by Cocteau, dressed as a man, and her intense taconeo. We could not resist including several numbers from the greatest film on this Andalusian art form, Duende y misterio del flamenco. Finally, Rodrigo de Zayas was kind enough to give us access to a copy of the short film that his father, Marius de Zayas, made about La Argentinita, who sings and dances with her younger sister, Pilar Lopez.

Bailes Primitivos, avec Vicente Escudero
Duende y misterio del flamenco, chorégaphie d’Edgar Neville, 1952
Danzas Gitanas, réalisation de Jack Kemp, 1941
Extrait de Los Tarantos, réalisation de Francisco Rovira Beleta, 1963
La Argentinita, réalisation de Marius de Zayas, 1938

Danse et burlesque

In cinema, slapstick is based on a subtle discordance between body, objects and spaces, propelling Charlie Chaplin, Buster Keaton and Harold Lloyd into frenetic choreographies. Dance would also explore the poetry of these incongruities, in works that mischievously link up with these early sources.

Steamboat Bill Junior (Cadet d’eau douce), avec Buster Keaton, 1928
Abracadabra, chorégraphie de Philippe Decouflé, 1998
Les 3 Jones, numéro de music-hall, 1869
Never Weaken (Voyage au Paradis), avec Harold Lloyd, 1921
Gustavia, chorégraphie et interprétation de Mathilde Monnier et La Ribot, 2008
Les Hallucinations d’un pompier, avec Joséphine Baker, 1927
Calling All Stars, avec Buck and Bubbles, 1927
Sorry Do the Tour !, chorégraphie de Marco Berrettini, 2005
Love, chorégraphie de Loïc Touzé et Latifa Laâbissi, 2003
One A.M. (Charlot rentre tard), avec Charles Chaplin, 1916

La Comédie musicale égyptienne
[The Egyptian musical comedy]

During the 1950s, Egypt turned out between 50 and 80 films per year, mostly musicals, melodramas and comedies that were shown throughout North Africa, in the Middle East and even in certain traditionally Muslim Asian countries (such as Indonesia).

But the Egyptian musical succeeded in inventing a style that was radically different from Hollywood. Director Henry Barakat, singer Farid al Atrache and dancer Samia Gamal in particular produced half a dozen particularly enchanting musicals in the 1950s.

al-Wahch (Le Monstre), réalisation de Salah Abou Seif, 1954
Intiqâm al-habib (La Vengeance de l’être aimé), réalisation de Gianni Vernuccio, 1951
Tamr henna (Fleur de henné), réalisation de Hussein Fawzi, 1957
Gharâm wa Intiqâm (Amour et vengeance), réalisation de Youssef Wahbi, 1944
Mâ t’oulch lihadd (Ne le dis à personne), réalisation de Henry Barakat, 1952
Taxi al-gharâm (Taxi d’amour), réalisation de Niazi Mostafa, 1954
‘Ifrîtah hânim (Madame La Diablesse), réalisation de Henry Barakat, 1949
Sigârah wa kâs (Un verre, une cigarette), réalisation de Niazi Mostafa, 1955
Fatmah, réalisation de Ahmed Badrakhan, 1947
Anta habîbî (Tu es mon amour), réalisation de Youssef Chahine, 1957