A mon bel amour
Sun 12 Jun '2216:00Amare, Den HaagDanstheater
À mon bel amour questions our perception of the individual, the couple and the collective by exploring different conceits about identity and beauty.
Eight dancers, four men and four women, toy nonchalantly with the poses they strike with their bodies and the symbolism of their dances to assert their identity and challenge the limits of our gaze. The gesture and purpose of the eight virtuoso dancers reflect different cultural references, different archetypes, different perceptions of the self and of others. From classical ballet to voguing, krumping, popping, contemporary dance and waacking, their dance cultures and on-stage movements allude to the fashion show, or photographic or cinematographic representation, the clubbing scene, the tradition of theatre, or to society's trappings, thereby presenting manifold ways of approaching the audience. In À mon bel amour, everything is symbolic, not just dance movements and posture, but also appearances and clothing. Daring to show off, be flirtatious, assertive, dominating, to cock a snoop, to show love, they transcend themselves in order to exist. Like parading animals, the eight dancers advance towards us tirelessly, alone, in pairs, or collectively. In a world where we struggle to agree on values, can we arrive at a consensus about the concept of beauty?
Social networks and Noah's Ark
À mon bel amour is also a metaphor for the social networks in the sense that these are platforms for the glorification of narcissism. Moving towards us in a cyclical manner, alone, in pairs, or as a group, the dancers, regaled in all their finery, exhibit personalities full of contrasts and contradictions. They seek to distil trends, stand out from the crowd, win the public's approval or provoke the audience, reinvent themselves, always hoping that its gaze will offer them freedom and prove to them they are in some way exceptional in character.
What could the boarding of Noah's Ark symbolize? Set against the urgency of climate change and the conquest of space, how could we sum up mankind? If we were invited to climb aboard the Ark, who would we like to see alongside us? What kind of place would we reserve for others? How would we take leave of our contemporaries? If this ultimate farewell procession were really to take place, I would imagine it would be broadcast live on all TV channels, on the Internet and the social networks. But perhaps it has already begun.
“Why do we dance? Out of pride, love of beauty, the need to express ourselves, to belong to a community, to feel we exist…? A mon bel amour is a non-stop procession of bodies representing of a cosmopolitan idea of beauty. The dancers all dance from the heart, either bubbling over with exuberance, or with an impassivity expressive of the need to communicate something to any adventurous onlooker who dares to contemplate the scene. In A mon bel amour, I challenge the onlooker's idea of the body, beauty, femininity, virility, sensuality, animality, and identity. Everything is symbolic: not just dance movement and posture, but also appearances and clothing. Daring to show off, be flirtatious, assertive, dominating, to cock a snoop, to show love. To transcend oneself in order to exist.”
Choreography: Anne Nguyen
Dancers: Sonia Bel Hadj Brahim (waacking, popping), Arnaud Duprat (popping), Stéphane Gérard (voguing), Pascal Luce (popping, locking, waacking), Andréa Moufounda (contemporary dance), Sibille Planques (contemporary dance), Emilie Ouedraogo (krump), Tom Resseguier (ballet)
Soundtrack: (in progress) Fashion design: Manon Del Colle Lighting design: Ydir Acef
Deze voorstelling is te zien dankzij het Fonds Internationale Dans (FIND). Amare, Holland Dance Festival en Nederlands Dans Theater bundelen in dit fonds hun krachten met als doel spraakmakende internationale dansproducties in Amare te presenteren en Den Haag als de dansstad van Nederland te profileren.
À mon bel amour is een non-stop stoet van lichamen die een kosmopolitisch idee van schoonheid vertegenwoordigen.