L’Homme rare by Nadia Beugré (IC/FR)

Arrangementsinformasjon

NO (See english below)
5+6 November @ 20.00 (dørene åpner @ 19.00)
L'Homme rare av Nadia Beugré (IC/FR)
Billetter: 150kr/ 100Kr student


Nadia Beugré
L'Homme rare

Om en skulle nevne alle kunstnere som
har preget og inspirert Nadia Beugré, ville navnet Alain Buffard stå høyt på listen.. Problemstillinger knyttet til kjønn har vært et tema som Buffard var opptatt av i flere av sine verk og har også alltid vært underliggende i Beugré sine verk. I dette stykket har hun jobbet med 5 utøvere som definerer seg kjønnsmessig som menn, permanent eller midlertidig. Med høye heler, bare rygger og med ellers relativt nakne kropper, mestrer disse fantastiske danserne å utøve ulike koreografiske trender hvor de tidvis er sammen for så å være overlatt til seg selv med sine egne intime tolkninger.

De er likevel alltid sammenknyttet av en felles koreografisk struktur som omfatter hoftebevegelser satt til forskjellige rytmer. Disse bevegelsene er basert på studier av spesifikke urbane danser fra hele verden. I dette stykket er hun spesielt interessert i de som er «sosiologisk» reservert for kvinner, basert på hoftebevegelser.

Hva definerer og skiller oppfattelsen av kjønn, og hvordan oppstår de/eller også brytes? Hvilken verden ville de designet om oppfatningene ikke var verktøy for stigmatisering, men heller pådrivere for kreative potensialer i stedet for å virke undertrykkende?

Koreografen setter spørsmål ved hvilken oppmerksomhet kropper får og kvaliteter som tillegges kroppen. Ved å eksperimentere på hvordan maskuline og feminine egenskaper kan snus rundt på, takler hun denne spesifikke oppfatningen og ideer rundt det å kikke ved å gi carte blanche til de kvinnelige voyeurer.

Gjennom å analysere hvordan kropper dømmer andre kropper, kan en også sette i gang en historisk forskning om hvordan befolkning fra Midt Østen og Europa betraktet og gransket den svarte kroppen i tidligere tider knyttet opp til slaveriet, hvor folk ble evaluert med en påfølgende pris. Hva med aktuelle former for slaveri? Effekten av dette forretningsmessige “blikket” er fortsatt til stede i dag, i følge koreografen, i trender som angår utviklingen av ens kropp, hvor de som gir seg selv autorisasjon om å linkes til, er som rangen av en kult.

Skapelse og koreografi: Nadia Beugré
Utøvere: Lucas Nicot, Vadel Guei, Daouda Keita, Nadim Bahsoun, Marius Moguiba
Lysdesign og teknisk ledelse: Anthony Merlaud
Musikk: Serge Gainsbourg, Lucas Nicot, Percussions d’Obilo
Eksternt øye: Faustin Linyekula
PRODUKSJON: Virginie Dupray
Med støtte fra Latitudes Contemporaines, Studios Kabako
CO-PRODUKSJON: Kunstenfestivaldesarts, Brussels, Belgium. Théâtre de la Ville, Festival d’Automne à Paris, France. Montpellier Danse 2019/2020 résidence de création à l’Agora, cité internationale de la danse, Med støtte fra Fondation BNP Paribas. CCN2, Centre Chorégraphique National de Grenoble, France CCN d’Orléans, France. KunstencentrumVooruit, Gent, Belgium. Musée de la Danse, Centre Chorégraphique National de Rennes et de Bretagne, France. BIT Teater garasjen, Bergen, Norway. Théâtre de Nîmes, France. Med støtte fra L’échangeur CDCN Hauts-de France (Studio Libre), Château-Thierry, France og DRAC Occitanie – French Ministry of Culture and Communication.

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EN
5+6 November @ 20.00 (doors open @ 19.00)
L'Homme rare by Nadia Beugré (IC/FR)
Tickets: 150kr/ 100Kr student


Nadia Beugré
L'Homme rare

If we had to name the artists who deeply changed and also greatly inspired Nadia Beugré, the name of Alain Buffard would undoubtedly be quoted among these. The admiration was reciprocal and she performed in his pieces Baron Samedi and Mauvais Genre, 2 of the 4 pieces he wanted to survive himself after his deeply sad passing. He considered Quartiers Libres, signature solo of the Ivorian choreographer, as a female version of Good Boy. The gender issue, tackled many times in Buffard's work, has always been underlying in Beugré’s. However, her will to make it central and to deal with it head-on appeared recently. She got amused with the discomfort felt by many men while they were letting themselves indulge in dances qualified as more ‘feminine’, or better, judged as such, because of their insisting use of the bottom. As if engaging in wiggling or moving pelvis and hips was a threat to a hard constructed manliness.

In this piece she gathers five dancers and performers who see themselves as belonging, permanently or temporarily, to the male gender. Wearing high-heeled shoes, showing their backs, relatively naked, those Virtuosi artists master different choreographic trends and are alternately assembled and left to their own intimate expression. Nevertheless, they are always linked by a common choreographic construction dealing with the flexibility of their undulating pelvises to various rhythms. Those movements are based on the study of specific urban dances from all over the world Beugré is leading. In this piece, she’s especially interested in those sociologically “reserved” for women, based on hips movements.

What defines and distinguishes the notions of genders, how are they built and/or broken? What world would they design if they were not tools for stigmatization anymore, but drivers of creative potentials instead of repressive ones?

The choreographer also questions the attention paid to the bodies and the qualities their movements are assigned. While experimenting on the inversion of masculine and feminine attributes, she tackles the issues of this particular perception and the notion of peeping, granting in this work a white cheque to the female voyeurs.

Analyzing how bodies pass judgment on other bodies is also the opportunity to lead an historical research on the way populations from Middle-East and Europe consider and scrutinized the black bodies in past times of slavery, how they were valued and given a price. What about actual forms of slavery? The influence of this mercantile gaze is still lingering nowadays, according to the choreographer, in the trends raising the building of ones' bodies, and those of others they authorize themselves to be linked with, to the rank of a cult.

BIO
Nadia Beugré was born in Ivory Coast in 1981. She made her first appearance in 1995 as a member of the Dante Theatre, where she trained in traditional dance. Two years later, she became a founding member of Béatrice Kombé’s groundbreaking, all-female dance ensemble, TchéTché, with whom she toured for years to critical acclaim across Africa, Europe and North America. Following Kombé’s untimely death in 2007, Beugré immersed herself in contemporary dance by taking choreography classes with Germaine Acogny in Senegal, and continued her training in 2009 by joining Ex.e.r.ce., Mathilde Monnier’s programme for talented, up-and-coming choreographers at the Centre Chorégraphique National de Montpellier.

She was soon staging productions of her own, such as un espace vide: moi ('An empty space: me') in 2009 and Quartier libres ('Free Territory') in 2012, and still touring, and attracting attention from estimable publications like The New York Times, which wrote of her work: ‘It's harrowing, both in action and sound, Ms. Beugré knows how to make a crowd trust her just as, in a split second, she knows how to knock the air out of people. She’s wild, like the wind.’

Legacy premiered at the La Bâtie festival in Geneva in 2015 and has also been performed at the Festival d'Automne in Paris, among other events. Beugré’s most recent piece, Tapis Rouge (2017), builds on an earlier work she co-created with Sébastien Martel for the Festival d'Avignon in 2014.

In 2018 she creates Roukasskass Club (on tour) . In 2020, she choreographed the musical piece Atem for the Darsmstadstaatstheater (Germany).

Beugré also performs in works by fellow choreographers, such as Seydou Boro (Burkina Faso), Alain Buffard (France), Dorothée Munyaneza (France/Rwanda), Faustin Linyekula (DRC), Bernardo Montet (France) and appeared in Boris Charmatz’s 10 000 gestes. In 2017, Nadia Beugré began a five-year artist-in-residence programme at De Vooruit in Ghent.

CAST
Creation et choreography: Nadia Beugré
Performers: Lucas Nicot, Vadel Guei, Daouda Keita, Nadim Bahsoun, Marius Moguiba
Light creation and technical direction: Anthony Merlaud, Beatriz Kaysel
Music: Serge Gainsbourg, Lucas Nicot, Percussions d’Obilo
External eye: Faustin Linyekula

PRODUCTION
Virginie Dupray
With support from Latitudes Contemporaines, Studios Kabako

COPRODUCTION
Kunstenfestivaldesarts, Brussels, Belgium
Théâtre de la Ville, Festival d’Automne à Paris, France
Montpellier Danse 2019/2020 résidence de création à l’Agora, cité internationale de la danse, with support from the Fondation BNP Paribas
CCN2, Centre Chorégraphique National de Grenoble, France
CCN d’Orléans, France
KunstencentrumVooruit, Gent, Belgium
Musée de la Danse, Centre Chorégraphique National de Rennes et de Bretagne, France
BIT Teater garasjen, Bergen, Norway
Théâtre de Nîmes, France
With support from L’échangeur CDCN Hauts-de France (Studio Libre), Château-Thierry, France and DRAC Occitanie – French Ministry of Culture and Communication