Search

Reprise of a score of the “Baton dance” (1930) and the “Slavic dance” (1923) by Rosalia Chladek, a leading figure of Austrian modern dance who was trained in the Dalcroze school in Hellerau, who authored over 150 pieces, among which 70 soli.

Presentation of the Laban kinetographic transcription of this entire piece by Thomas Lebrun (trio, solo, quatuor), along with a reflection on memory through 6 of his older pieces, and a presentation of the 10-year research of this choreographer about choreographic vocabulary. 

A prelude to the formalization of a new curriculum in Indian Classical Dance (odissi) in the Bobigny conservatory (conservatoire à rayonnement départemental de musique, danse et théâtre Jean Wiéner à Bobigny) through the “World Expressions” program which started in 2020-2021, and is organized by the city of Bobigny, the conservatory and the Jean-Jaurès center (centre de loisirs Jean-Jaurès).

Elaboration of a pedagogical approach exploring the articulation between dancing and learning a second language, and the process of stumbling on new words and movements, through a series of conversations with American artists and academics from Bennington College, such as Susan Sgorbati, Isabelle Kaplan, and Simone Forti.

A study of the skills needed to learn seven traditional dances from Gascogne, Brittany, Auvergne-Aubrac and the Catalan country. Traditional dances will be analyzed as a sensitive, subtle and sophisticated physical mode of expression: what body type, which qualities are necessary to have and to acquire to practice traditional dances?

A study of the work of Bernardo Montet – and particularly, of Issê Timossé, a play co-written with writer Pierre Guyotat –, through the perspective of an “aesthetics of displacement”, and the gestures and choreographic writing which echo a transcultural movement of the complexification of bi-racial imageries. 

Realization of filmed interviews of a selection of artists around or above the age of 70 who have danced and still dance several styles of dance – whether they have willingly retired from the stage or not; we will analyze the reasons of their retirement, and which artistic, aesthetic, symbolical, kinesthetic, perceptive, psychological, political and social structures can be upheld and organized to keep dancing after the “traditional” age of retirement.

Researchers, critics and choreographers present the progress of their work here – artistic approaches, practices and movements spanning a range of aesthetics: somatic practices, so-called ‘traditional’ or ‘historical’ dances, the fundamentals of contemporary dance, classical choreography seeking a new identity, and breakdancing as it prepares for the upcoming Olympic Games.

A study of choreographic transfers between Chile and Germany through two main figures: Patricio Bunster (1924-2006) and Joan Turner (born in 1927), who were both trained by Kurt Jooss and Sigurd Leeder, in the Universidad de Chile in Santiago, then in Folkwang in Essen, in the Palucca Hochschule für Tanz in Dresde and the Espiral dance center, which later became an instrumental institution in the training of Chilean dancers.

A collective translation project around the written works of Jill Johnston, a 1960’s NYC critic, performer and lesbian activist who supported the artists of the Judson Dance Theater [Dance Journal, Village Voice], and who participated in dance performances and happenings with Deborah Hay, Robert Morris, John Cage and Yvonne Rainer.

An experimental research project designed to explore the performer’s artistic experience, focusing on the bodily knowledge and skills employed in mohini attam, with the aim of identifying the gestures and sub-gestures that underpin the performers’ motor and cognitive activities, in order to make this accessible to the wider choreographic community.

Creation of a program around bharatanatyam, which approaches the artform through cathartic music and theory and proposes to combine the perspectives of professional instructors and non-professional students from various backgrounds, in order to formalize a possible curriculum, with the help of the Bharatanatyam program director in the Kalakshetra foundation.