bipod 2009

Lev is the re-elaboration of the true story of a Russian soldier who, wounded in the head, does not remember his past anymore and can’t grasp his present. Alone he struggles to put the pieces back, fighting a battle with himself that lasted thirty years. Space and time here lose their predictable paths and through Lev’s voyage we perceive how fragile our world really is.

Nothing stands alone and everything can be reflected Iconic/Ironic is a consistent, abstract choreographic game that circles around POP ART and the use of clichés - not less my own ones! Modern art offen comes to live by promoting the classics - the icons og put them into new connections - new images of the world.  Iconic/Ironic moves this game into the world of dance and will be a distorted and humoristic performance. The piece consists choreographic fragments, that among its own interaction poses the performance. Seperate fragments har references to former productions while others are new material.

Escaping Grey is a choreography inspired by different aspects of ambition.

Fleshy duets and trio’s melt with moments of sheer dance and disarming human expressions. Within an original scenography involving masks, fiction and reality blend.

Avoid what is predictable in the dance vocabulary as well as in the compositional structures : this aesthetic postulate by Gilles Jobin is confirmed by each of his creations by distinguishing itself from the previous and by encouraging the audience “to break their habits”. One could say that this in itself is the subject of Black Swan; at any given moment, his new piece astonishes, surprises, branches off into an unexpected direction; and, paradoxically, it could also be that it initiates with this creator who is forever on the lookout, a renewed interest in pure choreography. Even if Gilles Jobin is a child of his times and does not duck any of the issues that dance has had to deal with in the course of the last years; he does not shut himself away in anything (not even his own “systems”) and moves forward, pushing the questioning into his material every time a bit further: the body, and its practice; but also the real world that does not cease to fluctuate, to have run-ins with itself, to make and break itself before our very eyes. […] 

Sylviane Dupuis (written during the rehearsals on the 28th of february 2009) 

Arnica 9CH offers a satirical endoscopy of the dancer’s trade. Filmed fragments of private life are associated with live performance in order to reveal the hidden part of a body that we imagine as perfect. Cigarettes, alcohol, cramps, painful joints…some of the realities of a dancer’s life revealed behind the scenes. This choreographic self-fiction destroys a few fantasies and many received ideas with a good dose of humor and self-mockery” (Eva Cousido) 

"Three men, living together in the same house start, with time, to disagree and resist each other. Greed and malignance, violence and killing become their only language. ‘Crying of my mother’, is a dance performance looking at the source of violence that is growing in these three characters, that are from different religious groups, in order to express it through dance, gestures, and stylized emotions.” 

“Grace on a Friday Night” chronicles the story of a “fallen angel”, 

choreographed and performed by Leyya Tawil. The angel here is a raucous and defiant character that reverberates with movement symbolism and emotional force.  Tawil’s performance is precise and fiercely irreverent, while also tapping into the statuesque gracefulness of the Fallen Angel archetype.

Alone on a bare stage, Radhouane El Meddeb conjures the presence of loved-ones and summons a world woven from the materials, images, ghosts and texts that it is made of. Through a huge effort of concentration, the body becomes a core that distills memories and gives form to gestures and memories. At the end of this confrontation with oneself - with truth and illusion – there may be the momentum to come back to what remains: just somebody who is going to dance.

It is a work on the text “critical relationships” by the French writer Christophe Pellet. The work developed and progressed into focusing on the inner self of a human soul. “Critical relationships” is a way to get closer and deeper into the human being in order to be able to reconstruct his/her connections with him/herself, the others and the environment. 

When incidents crowd my mind with thoughts… I question them… unheard. The blood rushes to my head and sweat runs down my face…I get thirsty …so I drink. However, the desire to express my thoughts and demand my rights remains…unheard.   So I fall silent.   And my rage mounts and the words surge to my mouth ... speech fails me, and I stutter. I deviate, and the night turns to day, marked by the crow of the rooster, arousing my spirit, whose presence bursts unto my limbs, which on my behalf.. Speaks. 

“Trip-Tik” is a generic title for three distinct short pieces: Obscure Windows/So-Lo/Visit.  Loren Palmer & Khalid Bin Ghreib enter cyclically in the production around the body’s organs and its semantics. The Union of both is fact in TRIP-TIK. Cie 2k_far proposes to assist to a sequence of indistinct causes, unforeseeable, in an organic space, plastic, or absent by moment. Trip -Tik explores the specific relationship to scenery, the investment of space and its geometry, the relation to projected image with dialectical cinematography. 

“Contract” is a duet performance with poems written and recited by Adonis (one of the founders of modern Arab poetry)  The performance discusses the conflicts that come out of the cultural and social environments shaping a woman's world (both the traditional and the contemporary lifestyles). It is also dealing conflicts and problems questioning if these problems are within me or within the outside society?  

Is that all I can be? Is it really what I want? Am I the same person? 

The story of these bodies, hidden by day and searching for freedom by night, will be told by women: dancers who can carry those beings through all their transformations, their joys and sufferings, their violence, their fear and their desires, and expose them to the spectator -- at the threshold of a new vision.

Next tour. From. 23rd August to 7th october 2009 : Tour in East Africa ( La Réunion, Mozambique, Madagascar, Djibouti, South Africa…)

« It’s curious feeling that this piece should have been the first one…A kind of movement that goes from the intimate to the surface, until it disappears. A path that constantly uses each one of my pieces, but maybe this one will not go further, it stands there, it contains the scream and ends with it… It is a simple idea, and endless and vital one…»

“During a recent journey to Vietnam and to Cambodgia, I discovered a new way to explore the feeling of being a foreigner. In a discussion about the violence of the conflicts that have torn these countries apart, I remembered the pages of my father’s military papers; my father, who was made to crush this Indochina of earlier times. As the discussion progressed, because of my French nationality, I realized that I was considered the son of a colonialist, even though what linked my father to Indochina was the legacy of another colonisation, that to his country, Algeria. Once again during this conversation, it struck me that the upheavals and the devastation caused by the violence of armed conflict should lead us to reflect upon the image of the foreigner in many areas of the world. “ Rachid Ouramdane

She struggles between the different facets of her femininity.