PRESS FILE 14 30 SEPT 2016 WWW BIENNALEDELADANSE COM he Lyon Dance Biennale (14-30 September 2016) features 43 T productions including 23 French new works and premieres – in Lyon, the wider metro area, and across the Auvergne- Rhône-Alpes region. For this 17th edition, Dominique Hervieu is highlighting the dialogue between highbrow dance and SUM popular dance, and offering a snapshot of current output. As well as the shows, the Biennale line-up includes talks, debates, workshops… and the famous Défilé, a parade of 5,000 participants on the theme “together”. Its finale? A new creation by Yohann Bourgeois, staged on Place Bellecour. MARY MEDIA INFORMATION 2016 PROJECT | P.2 [PARIS] CALENDAR | P.4 Dominique Berolatti +33(0)6 14 09 19 00 THE BIENNALE MAP | P.6 [email protected] [LYON] TRAILS | P.8 Jean-Paul Brunet 1 +33(0)6 09 09 89 16 EXHIBIT | P.10 [email protected] LE DÉFILÉ | P.13 Laura Lamboglia +33(0)6 83 27 84 46 NATIONAL CONFERENCE | P.16 [email protected] assisted by Adèle Auge IN ANTICIPATION… | P.17 +33(0)4 27 46 65 68 SHOWS | P.18 DOWNLOADS FAMILIES | P.86 www.biennaledeladanse.com “Press” section SCHOOLS | P.87 MEDIA PICTURE LIBRARY CELEBRATING THE RITE | P.88 Connect to www.biennaledeladanse.com, “Press” section and request your accredi- AMATEUR STUDIO | P.89 tation to access the picture library. STUDIO OF PERSPECTIVES | P.91 EVENTS FOR PROFESSIONALS | P.94 BIENNALE FRINGE | P.96 CAFÉ DANSE | P.98 PRACTICAL INFORMATION | P.99 FOLLOW US! Twitter #BiennaleDanse / BiennaleDanse Facebook La Biennale de Lyon / Danse Instagram #Biennaledeladanse Youtube Biennale de Lyon Danse 17TH DANCE BIENNALE BY DOMINIQUE HERVIEU Artistic director, Lyon Dance Biennale WHAT’S THE IDENTITY OF THE LYON DANCE BIENNALE? tendency is also reflected in Sound of Music by Yan more than a century, dance has mirrored the deep highbrow dance – what you go to see – gives rise to The Biennale has three core missions: supporting Duyvendak, co-devised with Olivier Dubois, Christophe upheavals that have shaken societies. But I note that participations and commitments that are the stuff of the production of new work, showing the aesthetic Fiat and Michael Helland. Duyvendak, originally a the artists now addressing political subjects are doing culture and society. It’s up to us to deepen this bond diversity of dance, and helping the public to gain its conceptual artist, who describes the show as an so in a far more complex way. Condemnation has given with the public, to cultivate their taste for new work, bearings and thus find its way around this teeming encounter between pleasure and meaning, is relaxed way to more sensitive and embodied approaches. It and to help them enjoy imaginations other than their creativity. What always comes first for me is the power about combining a political piece with the format of is a far cry from over-emphatic militant art – and it’s own. of a piece, irrespective of register: contemporary, hip a musical, “because it’s beautiful and makes you feel stimulating! Politics can be found in the form, in how The Fabrique du Regard (Studio of Perspective), which hop, neo-classical, circus, performance, dances from good”. He readily embraces the idea of pleasure, long a piece relates to the socio-cultural context, in the truly serves as a school for spectators, attracts around the world… This is why the Lyon Dance Biennale viewed as suspect in France. topic or references… The exhibition at the Musée des about 8,500 people during each edition. I am seeking has popular appeal but is experimental too and can Confluences, with a specific lead-in to the subject of to invent an inclusive cultural policy, and one of my resonate on Place Bellecour amid a 15,000-strong YOU TOO EMBRACE THE IDEA OF PLEASURE IN the art/politics relationship, is most enlightening in this main objectives is to anchor dance among the gene- crowd or in a room of 120 spectators. CONTEMPORARY WORK… respect. ral public. The Biennale de Lyon, in partnership with I’ve often felt that, in the field of contemporary choreo- French daily Libération, is hosting a national event: a WHAT ARE THE MAIN THEMES OF THIS YEAR’S PRO- graphy, the earnest and the profound were unable to WHICH BIENNALE ARTISTS ARE EXPONENTS OF THIS day of debate around the question “Can culture be a GRAMMING? WHAT ARE WE GOING TO SEE? go hand-in-hand with sensuality, beauty or aesthetic APPROACH? pillar of democratic action, of open-mindedness and This year’s Biennale features 23 new pieces and pleasure. Perhaps this is due to the French mind, which I naturally think of Alain Platel, whose work is always tolerance, of personal and collective enrichment?”. French premieres. Above all, it’s a panorama of new separates physical and mental, seriousness and plea- totally plugged into the disorders in our world, with his Today, the ravages of defensive inwardness, cultural work today – a snapshot of this profuse art form, sure? Personally, I love the current period and its state extremely singular and profound perspective on what isolation, and populism are giving artists and cultu- from which a number of ‘force lines’ emerge. For of flux… The rich array of values covered by aesthe- it means to be human. Bouchra Ouizguen, with her Aita ral institutions a new responsibility, so strongly is the this edition, we will highlight the dialogue between tic pleasure excludes no topic or demanding artistic performers, will develop her approach combining poli- making of art acknowledged as a way to overcome highbrow dance and popular dance, which is clearly standard. I don’t mean to say that it’s the only value, tics and Moroccan tradition. Marina Mascarell, one of social group-specific and intellectual rigidities. We apparent in current output. or the highest value of art, but nor should it be treated this Biennale’s discoveries, will stage an openly femi- will ask a central question: can culture make society? with systematic distrust – especially as pleasure often nist piece borne by the virtuoso skill of the Ballet de WE SEEM TO HAVE REACHED A TIPPING-POINT IN exists in tandem with a human impact that is doing us l’Opéra de Lyon’s dancers. Greek performer Euripides THE CORPS REBELLES EXHIBITION, RUNNING FROM 3 THE CHOREOGRAPHY BEING CREATED. THESE PAST good today. To examine the subject in greater depth, Laskaridis will massacre social conventions in his pre- 13 SEPTEMBER TO 5 MARCH AT THE MUSÉE DES 20 YEARS, MANY CONTEMPORARY ARTISTS HAVE the Biennale will host an academic study day, open posterous cabaret. Roy Assaf will address the Six Day CONFLUENCES, RETRACES 100 YEARS OF DANCE FOCUSED ON DECONSTRUCTING DANCE. NOW, THERE to all, that carries the title “Dance: just for pleasure?” War and how brutal the conflict was for young Israelis HISTORY IN THE 20TH CENTURY. IT’S ALSO A WAY OF SEEMS TO BE A DIFFERENT ISSUE IN PLAY… and will explore the history of dance through the prism on “the hill”. I am also very pleased that the Groupe GETTING THE GENERAL PUBLIC TO DEVELOP A MORE Indeed. What we appear to be seeing today is dance of the antagonism between Dionysian and Appollonian Acrobatique de Tanger’s first self-authored piece will COMPLEX RELATIONSHIP WITH DANCE… being revitalised by other forms, and particularly pleasure. come into being at the Biennale de Lyon. Their crea- I’m very happy that this exhibition, a project led by the through drawing on popular kinds of artistic language tion will mark a watershed – an aesthetic and political musée des Confluences and co-produced with the that were previously excluded. Artists who went IN THE CURRENT CONTEXT, MARKED BY THE WAVERING emancipation. Musée de la Civilisation in Québec, is able to echo the through an extremely rigorous Deconstructionist period OF OUR POLITICAL CERTAINTIES, WHAT ROLE CAN Dance Biennale’s programming. The exhibition is based are now tapping into the absolute freedom of poetic BE PLAYED BY ART IN GENERAL AND DANCE IN CAN DANCE BE ANY USE AGAINST THE FORCES THAT on a parallel between the history of contemporary fantasy, physical exertion, the intimacy of portraiture, PARTICULAR? ARE ATTACKING COMMUNITY TOGETHERNESS? dance and the history of landmark events in the 20th narrative, and conversation between stage dance and I don’t think the illusion of full-on combat should be I see no salvation other than school and art education. century. It’s an exhibition intended for everyone – from anonymous dance. Yet this is no backward-looking, maintained… To paraphrase Yuri Dombrovsky, I would I’m sure that for some young people, experiencing Novices to professionals – and features an original nostalgia-fuelled return to the past. I am very pleased say that “now more than ever, man is in need of use- aesthetics is the only way they can explore some of design with innovative digital exhibits. For instance, that the Biennale de Lyon will stage the new piece by lessness”. As we face an uncertain world, let’s respond the big questions, to do with openness and humanity. visitors can watch video excerpts of seminal dance Olivier Dubois, who militates for “the intelligence of by exercising the finest art; our rampart is the power The Biennale’s political challenge is essentially works from the 20th century. sensation”. Christian Rizzo takes inspirations from the of art for its own sake… Artworks must not necessarily embodied by the Défilé, which involves a whole Interview by Maxime Fleuriot dance which he has abundantly partaken in at clubs; have a function, and it’s for this reason that they are year’s work with 5,000 participants, many of whom Cecilia Bengolea and François Chaignaud will continue indispensable.