“Lil’dragon”, by Eric Minh Cuong Castaing

Lil’dragon has been performed about a dozen times, in Vienna and on national and regional stages in France. What comes to my mind above all with this piece is the impact of working with children… the impact on stage (which is something we expected even before getting down to work) and the impact on the creative process.

In fact, there have been as many different creations as groups of children. We knew it and we were looking forward to it but experiencing it was something else. So that is what I would most like to tell you about today.

Image 006Children, a living material
Children are a living material for the stage: they bring reality to it. Each group was also a social material that gave a different colouring to the stage, which is something that greatly inspired us.

In Vienna, for example, the children were already aware of what dance involves. We had our fears because we didn’t want any formatting. One of the little girls had already adopted the ballet posture and she even came on tiptoes to the rehearsals. In this case, however – just as always – we quickly saw that children are children in their childish bodies. They hadn’t anchored other people’s gazes within themselves and we were quickly able to work on their interiority and their interiority’s expressivity, which is what we actually want to deal with. In fact, with these Viennese children, we were even surprised to see that this task was easier than usual on certain levels: they were more familiar with learning a choreography but they preserved this quality of spontaneous bodies that we wished to present. Read more of this post

“Spekies”. By La Zampa

Beyond our experience with respect to this European programme itself, which could be summed up by exclaiming “Fantastic! Encore! Encore!” in connection with the residencies, the welcome and meeting the different partners, here we would like to look at our experience from the standpoint of having had the chance to “get away from our own territory”.

Getting away from one’s “territory” does not only mean travelling.

In our case, leaving our territory entailed some big changes:

– In our creative habits, since our creation process usually unfolds in a single quintessentially French context – whereas with modul-dance the separation, the distance, allowed us to return home invigorated and lighter in weight.

– In our time-management habits: we usually stay longer in each place. In this project, however, between the discovery of the venues and of the working hours, which were always different, we had to constantly adapt ourselves. Read more of this post

“ego breathing”. By Brigitte Wilfing

On my residency at ADC Genève I started out by researching the movement in my new piece ego breathing. This piece is based on a fictional scenario (although it is growing steadily less fictional in today’s world), in which even air, the last thing shared by everyone, becomes privatized.

Brigitte Wilfing_ego breathing © Michael Schultesego breathing is a performance and a living installation that presents an existential state of being revolving around the basic life sign of breathing and the will to grow as large as one can and to take control of as much surrounding space as possible.

The process of inflating oneself with a pneumatic skin restricts the biological body in a way that determines its movement as well as breathing itself. The breath is used to inflate the second skin and the performer’s extended muscles, breasts and even lungs store air. Read more of this post

Interview with La Zampa

Romuald Luydlin talks about Spekies and the artistic collaboration with Magali Milian, both members of the company La Zampa.

Interview done during the residency done at Graner (Mercat de les Flors) in Barcelona in November 2013.

La Zampa is one of the modul-dance artists. Proposed for the project by CDC Toulouse, the company was selected in 2011 to develop a project named “Spekies”. The piece was premiered a few days ago at CDC Toulouse.

More modul-dance videos on http://www.numeridanse.tv.

Modul-dance experience. By Leja Jurišić

Summer 2010, Ljubljana, Slovenia
Goran Bogdanovski (Kino Šiška, Slovenia) invited me to present my proposal of a new dance work to dance house partners of the European project modul-dance. He explained me the project and I said yes. The possibility to research, create and tour the piece among the participating houses sounded great. I immediately knew what I want to propose. There was a solo piece I wanted to do for some time now. My debut choreography was a solo, and I felt, that after several collaborative and group projects, the time was right to return to this format. I even had the perfect team in my mind for the work.

The end of September 2010, Lyon, France
Meeting of the representatives of all 22 dance houses participating in the project and artists which were invited to present their proposals. Three Days. During the day we had conferences and in the evenings we watched performances at Lyon Dance Biennial. It was great to meet in person all the artists and all the representatives. The construction and goals of the project were presented. All 22 artists shortly presented their work and proposals. Interesting people. There was a little stage with the screen where we saw mainly videos of performances that artists present. The conference hall with a little stage! The idea of talking from behind the desk didn’t appeal to me very much, as the stage is much more the place, which I know and understand. I decide to do my presentation in a format of presentation- performance. This is what I do and what I do best. Good choice. I got some nice offers for creating my new work. What I liked the most was that after the presentation we (the artists) had our own desks where presenters could come to meet us and to show their interest.

With the feeling of being taken care of as an artist, even kind of belonging, and more, getting offers for creating a new solo piece we flew back to Ljubljana. I felt very sick on the plane. Never happened before. No worries. Read more of this post

The creation of “Home for Broken Turns”. By Ben Duke

We began the creation of Home for Broken Turns at Station Zuid in Tilburg. We had two weeks in their fantastic studio. It was a new group of dancers so it was a time to meet and explore ideas. To begin a process in a residency situation like this is, I find, invaluable. The process of getting to know each other is accelerated when you are removed from your usual environment and living together in a bungalow in the Dutch woods. I had an idea about a group of women waiting for a friend/fellow/outcast to return but those two weeks in Tilburg made it clear to me that this was a piece about a family and the dynamics of that family formed in the Station Zuid studio.

Our second modul-dance residency was more familiar to us. We spent a week at the Place Theatre in London. It was a privilege to have so much time in a theatre space and to work with the technical elements of the show.

Read more of this post

Kaori Ito: my current Situation

On March 2011 the first modul-dance newsletter included the following text written by Kaori Ito.

Kaori Ito © Elodie Chapuis“My current situation is that I was in Tokyo and I am in Tokyo and I am in Tokio”.

When there was a huge earthquake, I was in front of the sea in Yokohama. The water came up until the limit of the building but somehow it went down. I was still teaching under the danger of nuclear for a while and now there is no light and water in some regios of Tokyo, the radiation of nuclear is getting worse everyday.

It is really unbelievable to see all these people suffering and to feel the earthquake every 15 minutes. I also am very worried to leave my family who are spread out now inside Japan.

There is a mentality of Japanese who has guilt to quit their works and still continue to work everyday in Tokyo, people are still working as if nothing is happening…

There is no lights or traffic light or water in some area in Tokyo and the rate of radiation is going up everyday. There are some people who cannot do their funerals because there are no electricity.

There 13000 death for now and this will increase if this situation get worse.

Please do something if you can to send some support for them. They do not have anywhere to settle down and unluckily it is getting really cold to survive for them.

Picture: © Elodie Chapuis