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CN D CARAVANE MIDWEST Chicago & Milwaukee 24 > 30 Oct.19 CN D CARAVANE MIDWEST Chicago & Milwaukee 24 > 30 Oct.19 Performances Screenings Master classes Conversations Caravane, a mobile CN D Caravane, a collaborative project, was created by the Centre national de la danse team. Caravane is a mobile CN D that works with lo- cal organisations and audiences in France and abroad. Caravane enables the CN D to travel to the French regions and abroad, enabling it to make its various resources – patrimonial, pedagogical, artistic and professional – avai- lable to local audiences and organisations. After Porto, Guanajuato, Mexico, Le Moule (Guadeloupe), Aurillac, Pau, Madrid, Taipei, Caravane will tour in the US. Conceived with the cultural services of the ge- neral French consulate in Chicago, it will invest several cultural sites in the city. This Caravane is part of a special European moment, Between Gestures, in collaboration with the Goethe Institute, PACT Zollverein in Essen, to offer a broad programme of shows, performances, workshops, encounters and projections, aimed at students, young artists, professionals in the Midwest and the general public. The Caravane will start in Chicago and then will continue in Milwaukee with Noé Soulier, Trajal Harrell, Pol Pi, Ola Maciejewska, Elisabeth Lebovici. CN D Centre National de la Danse Created in 1998 at the instigation of the French Ministère de la Culture, it is a unique place that brings together all of the resources connected with dance. The CN D is unique and original in that it brings together in one establishment a broad range of activities for professionals, from dance training to artistic support and career advice and assistance, while also appealing to the general public. At the CN D, spectators, artists, researchers, amateurs and professionals can take an advan- tage of a myriad of opportunities and discover how the creation, dissemination, training and transmission of a heritage can form the heart of an ambitious and open project thanks to the diverse professions involved. The CN D is based in the Île-de-France, in Pantin, while the CN D in Lyon ensures its various missions are car- ried out in the Auvergne-Rhône-Alpes region. For everybody their memories perhaps a new signature work on the imagination and our accountabi- Performances lity for what we keep; what we choose to remember and forget; and what Mouvement sur mouvement we are powerfully left to invent in the here Noé Soulier and now. In Movement on Movement, Noé Soulier ana- lyzes and describes different ways to conceive ECCE (H)OMO movements that aim to offer multiple ways to Pol Pi experience the body. By analyzing them, Sou- How can a choreographer’s legacy be preserved? lier proposes different ways of focusing one’s In ECCE (H)OMO, Pol Pi reconstructs and attention on a given movement. Words and transports Afectos Humanos, a work from gestures interact with each other creating German choreographer and dancer Dore correspondences, frictions, and gaps. Using Hoyer. Originally produced between 1959 and gestures from William Forsythe’s Improvisa- 1962, Afectos Humanosis was composed of tion Technologies as source material, Soulier five short solos representing five emotions: investigates the ways in which we talk about vanity, desire, hatred, fear and love. Pol Pi movement and the ways in which movement recreates the piece for ECCE (H)OMO in colla- generates discourse. boration with choreographer Martin Nachbar and translates Hoyer’s gestures into a style of The Return of la Argentina his own. The result is an intensive investiga- Trajal Harrell tion into what it means when movements are With The Return of La Argentina, Trajal expressed by different bodies, a choreogra- Harrell’s work ventures into a new realm of phic language is reinterpreted, and history is performativity. Drawing upon memory and reanimated in the present. invention, the performance invites the audience into a fictional archiving of butoh Okidoki co-founder Kazuo Ohno’s signature work, Trajal Harrell Admiring La Argentina, as directed by other For Okidoki, Trajal Harrell returns to the founder of butoh, Tatsumi Hijikata. Here, groundswell of his first solo, It is Thus From Harrell fictitiously remembers, stores, ac- a Strange New Perspective that We Look counts for, forgets, registers, memorializes, Back On the Modernist Origins and Watch it ritualizes, and gives home to Ohno’s work- Splintering Into Endless Replication (1999). and essentially a new work which seeks to This original work set out the trajectory of envisage Admiring La Argentina by abstrac- what would become Harrell’s groundbreaking ting with a similar verve to that Ohno and signature mark — runway movement as elemental Hijikata gave to La Argentina, the stage dance and choreography — foregrounding name of the famous Spanish dancer, Antonia posing, gazing, and walking as a theoretical Merce. Perhaps one could humorously sum- conversation between American early post- marize it as: Harrell is voguing Ohno voguing modern dance and voguing. Over the last five La Argentina and/or Harrell is voguing Hiji- years Harrell’s oeuvre began to take shape also kata voguing Antonia Merce. It is all at once a through the lens of Japanese butoh dance, departure for Harrell – bringing voguing which further questioned the role of glamour theory and the archive together with butoh’s and virtuosity teased out in Harrell’s initial life among ghosts. As much for those with inquiries. With this new work, Okidoki, the no prior knowledge of Ohno’s original work, stark minimalism and artistic gesture of the the viewer’s presence becomes essential as past is refashioned in an uncanny manner witness and admirer as they too archive into that makes the viewer believe the past is Screenings being regenerated, however it is Harrell’s A dance film evening craft that renders the aesthetic gaze into a by The Nouvelle Cinémathèque de la Danse plausible past that never was, resettling into the present with a vengeance. From the archives of the Nouvelle Cinéma- thèque de la Danse, a selection of videos and LOÏE FULLER : Research excerpts from dance films will bring together Ola Maciejewska works from today and the past in France and Ola Maciejewska’s LOIE FULLER: Research Europe. considers the agency of objects and actions, and reflects on the relationship between — Portrait Ana Rita Teodoro: animal body, sculptor and sculpture. Human movement vegetal body (15 min.) sculpts matter into form in this sparse per- — Portrait Solitude(s) de Mathilde Monnier formance based on the works of Loïe Fuller, (30 min.) often regarded to be a precursor to American — Portrait Noé Soulier, écriture sur écriture modern dance. (15 min.) — Portrait Miet Warlop, la désinstallation (15 min.) Noé Soulier, écriture sur écriture 2017, 15 min. Writing is a recurring theme in Noé Soulier’s work, whether he is commenting on and explaining out loud his own dancing while he is doing it, or whether he is writing precise phrases that dancers appropriate in their own way, starting and ending them where they want. Each time he reflects on what wri- ting can contribute to dance. It is no doubt Noé Soulier’s belief in the richness of choreo- graphy that makes the way he has started to explore so unique. For professionals artists Afterlives by Ola Maciejewska Master Classes This workshop will anchor on performative for professional dancers and artists strategies behind the solo entitled Loie Fuller: Research that investigates the work and life Practical movements of Loïe Fuller one of the pioneers of Modern by Noé Soulier dance through the lens of Post-Modern mi- “Avoid someone who avoids, start movements nimalist tendencies in dance articulated by that will never happen, hit with the most fragile Simone Forti, Yvonne Rainer and Robert Mor- parts of the body… We will explore these para- ris. By bringing seemingly unrelated histories doxical instructions to capture the qualities of Maciejewska engages in re-thinking and acti- movement produced by practical actions while vating the past in critical yet playful manner. avoiding a direct identification of the actions in The gesture of activating historical material question. The absence of immediate recognition builds on examining in depth alternative of the aim makes it possible to offer a plurality modes of movement production as a strategy of readings. The improvisations and movement to work on legacy of object - centred dances, sequences produced by these instructions and invests in the process of re-writing dance will be coordinated by simple relationships: history from ones own personal experience. waiting, joining, following… We will thus The participants will explore principles, develop a decentralized choreography where the ideas, and tasks connected to the work. adjustments and decisions made by each dancer determine the composition.” Meeting Maybe To Spectacle Timeline by Trajal Harrell by Aymar Crosnier, Deputy Director General Trajal Harrell will conduct a seminar that is of the CN D & Rachel Spengler, General Secre- part lecture part conversation part moving and tary’s Deputy all us together. Using video and photographs, From training to retraining, the career path Harrell will map the trajectory of his aesthetic of a dancer is long and varied. The career history beginning with his work on voguing pathway of each artiste will feature a plethora and early postmodern dance and moving on to of training, professional opportunities, re- his more recent work with butoh and modern sidential programmes, and maybe even retrai- dance. Short sections of some of the dances will ning. This conference will give a glimpse of be learned as theoretical examples. The class the various possible options open to a dancer transforms freely between moving, seeing, and at CN D, in France and in Europe. talking as interests and questions arise from being in the room together. Conference Making Bodies Searching for one’s dance in someone else’s Noé Soulier dance I will try to analyze the way movements are by Pol Pi defined in various choreographic practices and Pol Pi will share with the students his practices the experiences they create.
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