IDENTITIES, TRANSMISSION, GENERATIONS
In this 3rd part of the triptych of the Métis, Wayne Barbaste continues his reflection on the question of interbreeding by approaching it this time with the gaze of childhood. He collaborates here with several artists to offer a show combining dance, live music and cartoon. This play will make you, especially the youngest, aware of the issue of interbreeding and multiculturalism.
Métis #3 is a humanist and enchanting tale that questions the origin of cultures, speaks to us of exodus and belonging, and invites us to travel to re-imagine our identity.
Several levels of gaze make this piece a privileged opportunity to share a sensitive experience with the family and to discuss these subjects.
Choreography and direction Wayne Barbaste
Animation and scenography Hélène Moinerie
Florence Moinerie cartoon scenario
Musical creation Lionel Tabar
Lights Sandrine Faure
“Identities, transmission, generations: how to become an actor in a multicultural society? ".
"Like an echo, like a support" - a wish expressed by the choreographer of this new creation, to get away from caricatural visions and shake up the clichés of the world of jazz culture by proposing a convergence of the artistic, the cultural, the lived.
Beyond the simple knowledge of different traditions, creation must highlight the interactions that exist between cultures, in particular by valuing the expressions of individuals and the artistic sensibilities that result from crossings, interbreeding.
In a context where the question of identity and memory give rise to numerous debates and controversies, this creation is an invitation to come out of a frozen world.
Heritage, transmission and memory of the contemporary political animal in society are at the heart of the artist's concerns.
In a society where landmarks shift and values change, we question the term “identity”. The images are at the service of the subject and the material makes it possible to construct the piece. Fusion between the origins of jazz dance based on African dance, the Negro spiritual voice and soul music, oriental dance. A journey into the very essence of jazz that allows us to take a look at today's society. A work carried out from archival images that questions a hybrid existence.
Based on the poem by Rudyard Kipling
When the music of the origins brings back childhood memories, the choreographer invites the figures of the mother and the grandmother and addresses the question of filial transmission. A creation of enveloping softness that also challenges the public on the barriers and stereotypes of the aging body and demonstrates that any body can be beautiful, express itself, dance and convey a story.
Design, choreography: Wayne Barbaste
Live music composition: Mark Dopson
Video Creation: Richard Volante
Lighting Design: Sandrine Faure
Produced by: Calabash Co.
Co-production: La Soierie
With the help: General Council of Haute-Savoie, City of Seynod
With the support: CRR of the Agglomeration of Annecy and the Pays de Savoie, Daléas Danse
IN THE CROWD
Touching the collective memory and alerting our senses. Floating with the spaces we have left, giving the body its rightful place.
An interrogation on the encounters between beings and the place we have left in our society.
What is the place of the individual in a collective?
What is the place of society in an individual world?
Is the public square always public?
And how are we going to occupy this space?
What are our choices?
An interactive work setting up games, recorded images in which the dancers evolve. A questioning of Jazz dance, inspired by its origins and its heritage, in a resolutely contemporary perception.
As such, the work of creation is placed in the transversality of the arts. Scenography and video are the support of a gesture that consecrates the emergence of an innovative jazz dance and inscribes its difference in its relationship to space-time. The creative process is part of a research undertaken since 2000, entitled Danse Jazz Nouveau Concept, by the choreographer Wayne Barbaste.
Appropriate the space in the relationship to the other and the constraint of the scenic volume. Each has its own orientation, depending on the other. Finding direction and movement.
An evolution induced by the other gesture: top/bottom, dancer/carrier, space/time.
Create the feeling. Pleasure of physical perceptions. Sense awakener.
Mister Ex digs into this particle that serves as his identity. It gives to read a gestural writing in internal focus: by Mister Ex and through Mister Ex, this solo expresses the traces of multiple imprints.
The body presents itself as the vector of a past, that of a black man at the confluence of Western and African culture. The body asserts itself as the driving force of its present in a dance blending its jazz heritage and its contemporary inscription.
This danced monologue poses here the movement as a ferryman towards a free identity, nourished by its history and its cultural plurality and whose craftsmanship is imbued with all the singularity; of a personal and intimate introspection.
THE IDENTITIES OF MISTER EX
Social identity: "objective" identity, the subject is identified according to the socio-professional categories to which he belongs. It is often a “prescribed” or assigned identity insofar as the individual does not fix one, or not completely.
Cultural identity: includes the rules, norms and values that the subject shares with his community. Belonging to a culture thus translates into adherence to the norms and values of that culture.
Personal identity: "subjective" identity that refers the subject to what is unique about him, to his individuality. It encompasses notions such as self-awareness. This self-apprehension is part of a dynamic of change in continuity, of adjustment of divergences and oppositions.
VISUAL TRACES: THE VIDEO SUPPORT
From collective memory to personal or transmitted memory: the images are a contextualization of a "political animal" individuality in the fragmented and fragmentary form of a past History.
Magnifying effect of an internal flow.
Fourth physical wall, the veil of the video screen is presented as a reminder of the spectacular dimension of “self-representation”.
No Body's Games
A small story in the big story, that of the relationship between a brother and a sister. From early childhood to a certain maturity with the boy who grows up as a man and takes his place in society until overshadowing his sister.
Between memory and becoming, a study of the body and the relationships between individuals in a choreographic approach to similarity and difference, to belonging to the human race and to the emancipation of one's own identity. Difference is thought of as a way of understanding human relationships.
What is the influence of social codes on bodily relationships? What does the presence of these social codes imply in the relationship to oneself and in the relationship to the other? How to make it feel, how to imagine it?
The texturing of the project takes shape in a multidisciplinary practice between the reality of the body.
No Limit Hors Zone
« Multiples alvéoles éphémères, qui se construisent, se mêlent, disparaissent dans un espace hors du temps »
No Limit / hors Zone est une interrogation à la danse Jazz, empreinte à la fois d’innovations et d’héritage, dans une perception résolument contemporaine.
« Perception d’une réalité dans le temps qui passe, qui s’efface pour laisser place à un autre temps, à une autre réalité »
La démarche de création s’inscrit dans la recherche initiée par la précédente chorégraphie de Wayne Barbaste, Exquises Esquisses. Il s’agit d’interroger à nouveau la danse jazz dans ses possibilités d’évolution et d’inscrire ses origines dans une perspective résolument contemporaine. À ce titre, le travail de création se place dans la transversalité des arts et montre un travail plastique qui opère un découpage tridimensionnel de l’espace. La scénographie au moyen d’un labyrinthe réalisé de parois plastiques transparentes, trace des lieux différenciés : couloirs, chemins, endroits individuels et collectifs qui trouveront petit à petit leur spécificité.
Les contraintes opérées par l’espace font naître des individualités ou provoquent des rencontres.
Voulues ou fortuites celles-ci se jouent des différents modes de communication et se déploient en sensations et états d’être. La suspension de tulles verticaux complète l’occupation de l’espace et réalise le support de projections vidéos.
The underlying theme of the piece, which deals with communication or non-communication between individuals, could not be done without reference to the image.
Richard Volante, videographer and photographer, evolves in the same way as the dancers, works and projects the moments of the piece live, thus offering the spectator a vision that challenges the frontality and the conventional organization of the stage space.
Scenography and videos are the support of a gesture that consecrates the emergence of a jazz dance borrowing both innovation and heritage and which inscribes its difference in its relationship to space-time. The characteristic dynamic of this specificity remains, it is not reused but reintegrated by the body, almost “reingested”. It is about internalizing it to make it more organic. Energy is no longer an expression that can be seen, it is intrinsically breathed by the dancer and conveyed by his sensations.
No Solo is a solo for one dancer from the piece No Limit/Hors Zone.
Perception of a reality in passing time, which fades away to make way for another time, another reality. The underlying theme of the piece which deals with communication or non-communication between individuals could not be done without reference to the image.
Choreographer: Wayne Barbaste