PHOENIX

Cathartic duel between a dancer from beirut and a French, Phoenix probe their relationship in a transgender dance, which is a transgressive fusion mixing the Waacking - feminized dance from American gay clubs of the 1970s, more recently showed up on Youtube - and the Dakbhe - Arab folk dance often used during weddings. By a continuous repetition and a mimetic relationship between the two dancers, a hypnotic trance spreads such a shock wave in slow motion, amplified by device of mapping video brought by the company. The renaissance is here that the gaze, subjected to optical power, questions our representations. Eric Minh Cuong Castaing created the french company Shonen in 2007.Choreographer, but also creative in the cartoon movie (awarded a diploma by school les Gobelins), he crosses on stage choreographic art and visual arts by new technologies.

MIMESIS & DETERRITORIALIZATION

The two dancers form an ambiguous duo. Close to each other, sharing a culture and pace of ur- ban dance ( Waacking , electro, hip hop ...), they are also enrolled in various choreographic currents. Entissar, from Lebanon, has developed his practice from traditional martial arts and popular dances as dabkeh. Gaëtan, borned in Paris, prac- tice mostly contemporary dance (for Nathalie Pernette or Emmanuel Gat, among others). We will work primarily on what we called « the mimesis ». This is a work of imitation which is developped since the first steps of the company. This practice of composition incorporates the meeting between the two in the manufacture of the writing itself. Specifically, the first one copy the second ; then, the second can do the same, alternately. It is certainly to reproduce images, but it is also a question of reinterpretation. Imitation is not a reproduction of the same. It creates another «same», and the in-between, the space between the two dancers : the difference. In this mimetic , the differences are widening. The otherness unfolds and creates shock. Imitation also connects the two dancers who constitute a larger whole, a coordinated body that can come aggregate projected images.

COMMUNION & CLEAR

Through the inspiration of Waacking – a communion and transgender dance from clubbing - we will seek a continuous gesture. The movement will move in their feet and their arms, which will project outwardly and flow around them a wave. It will also move into the center of the body, able to tighten and loosen to distribute energy. Their common rhythm - marked by movements of the legs and steps - will be dissociated or not from the music. It will be a dance in which not only vary the degrees of power, speed or density, but also the degree of presences and absences. Forward or backward, connected to one another or not, attendance will advance and recede in the evocation of a pulsating obsession. The viewer will work in time. This will see the exhaustion happen to offer the body of public empathy. To do this, we will register in a deployed temporality : past, present and future. It will also be able at times to move the presence to reduce it to a pure movement, a global movement, a fee- ling of space and gestures, a general movement to be and things. Dance will surface projection and reflection of our own desires. In this deployed time, the superposition of the two dancers let appear a multitude of men and possibilities. This masculine duo, which necessarily deals with the matter of virility, also refers to the vital need for externalization : dancing to expel and to leave itself the option to an empty existence. It is a cathartic duel, sometimes archaic, where the sexual and the violence percent and fold alternately.

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IDEOLOGICAL ORGANIZATION

If the dance becomes the projection surface for the viewer, it is also an absorbent layer ingesting images and ideological signs (such as those emanating from the architecture or projected by mapping video frames). It is an attempt to remove the image in favor of dance. It is a tense writing by the relationship between image and movement, between archetypal signs and dance (that is fee- ling of space and gestures). It always sits this question : Is the picture or the bodie that remain in the retina of the viewer ? Is this signs or movement ? Is this icon or dance?


REFERENCES

The Waacking style of street/club dance, can trace its roots back to the nightclub culture of the late 60’s in New York City. Disco Music was the perfect vehicle for Waacking, with its driving rhythms and hard beats. In the early 1970s in Los Angeles, dancer Lamont Peterson was one of the first to start using his arms and body to the music. At the time Waacking was primarily a Black and Latino dance. Many people mistakenly believe that “Waacking” came from “Locking” because some of the movements are very similar. Although waacking and Locking do have some similarities, they are different dances. Although Waacking has gone from many names such as « The Garbo, Punkin etc, The most known name that represents the dance as a whole is «Waacking». The name “Waacking “ most commonly coined by The Soul Train dancer «Tyrone Proctor « of the Outrageous Waack Dancer’s in 1974., and The “Garbo” name given to the dance by Andrew because of a style of posing (like the pictures of the glamour women of the 40’s) . The difference between “Waacking” and “Voguing”. “Waacking” became popular in the early 70’s on the West Coast. “Waacking” is mostly done to Disco Music. “Voguing” became popular in the late early 80’s on the East Coast.”Voguing” is done to mostly House Music and was popular around the early 80s. WithahistoryofOver35years“Waacking”isstill going strong. Sparking the fire for new young talented dancers to help the culture live on such as.

Dabke is a modern Levantine Arab folk dance of possible Canaanite or Phoenician origin. It is popular in Palestine, Lebanon, Jordan, Turkey, Syria. A line dance, it is widely performed at weddings and joyous occasions. The line forms from right to left. The leader of the dabke heads the line, alternating between facing the audience and the other dancers.

Mapping video is a projection technology used to turn objects, often irregularly shaped, into a dis- play surface for video projection. These objects may be complex industrial landscapes, such as buildings. By using specialized software, a two- or three-dimensional object is spatially mapped on the virtual program which mimics the real environment it is to be projected on. The software can interact with a projector to fit any desired image onto the surface of that object.[1] This technique is used by artists and advertisers alike who can add extra dimensions, optical illusions, and notions of movement onto previously static objects. The video is commonly combined with, or triggered by, audio to create an audio-visual narrative.