Performance - To da Bone, (LA)HORDE

TO DA BONE is also presented in a performative version that can be adapted to any venue. On Krampf’s eclectic musical atmosphere mixing hardcore tracks with ambient or acoustic layers, the dancers reproduce the choreographic patterns of the piece as well as introducing some improvisation. They combine energetic jumpstyle figures with moments of pose or rest, playing with the elements of the performance space. This performative version is designed to run continuously throughout the evening, with 15 minutes loops. Alongside the film Novacieries, or The Master’s Tools (see following pages), a real dialogue occurs between the performers and the video, as they reenact some of the movements and figures seen on the screen.

In a world where revolution happens at night and laws are voted by day; what new shapes can rebellion take? TO DA BONE is a work which hope to talk about an intimate revolt of the youth. And which tries to ask itself about the part the new medias, mostly social network such as Facebook or YouTube, can have in mobilising crowds and in creating opposition movements. Several dances that we gather under the term “post internet” will be revived on set and especially those coming from the Hardstyle movement as well as some Hard-Dances like the Tekstyle, the Shuffle, the Hakken and particularly the Jumpstyle. Jumpstyle is a dance that can be discovered online and that is first practiced in your bedroom. Jumpers film their sequences and post them online to share their passion but also their progress with their community. The outline followed by those autodidacts is often the same, the first videos are first realised in their bedrooms then they move to their living room before developing in public spaces. Outside, videos are first filmed in their street, then they move in spaces that are larger and more scenic. The practice is developed naturally on social medias through videos to which a community react by commentating and by responding through new videos. Associations are created to form groups inside of a community that can face each other through virtual battles. Those virtual battles can lead to real ones, during Jumpstyle meetings organised in several European capitals.

(THE) HORDE

Founded in 2013, (LA)HORDE is a collective comprising three artists: Marine Brutti, Jonathan Debrouwer and Arthur Harel. Together, they explore the conventions of various artistic disciplines, particularly in the fields of the performing arts and contemporary art. At the helm of the CCN – National Ballet of Marseille since September 2019, (LA)HORDE creates choreographic works, films, video installations and performances centred on the body in motion. Using a variety of media, they develop scenarios and actions rooted in contemporary issues and expressed across multiple narrative spaces. (LA)HORDE collaborates with communities of individuals on the margins of mainstream culture, embarking on a journey of solidarity and artistic exploration: septuagenarians, blind people, smokers, teenagers… Opposed to all forms of hierarchy and cultural appropriation, they practise interrelation and cooperation. Both concerned and exploratory, they remain vigilant. The body is at the heart of their creative work. They produce works inspired by their encounters with various online communities, seeking to define what dance has become in the wake of the internet’s advent - a subject close to (LA)HORDE’s heart, which has led the collective’s members to define the phenomenon using the term/concept: post-internet dances. – Claire Diez (journalist and playwright, dance specialist)

(LA)HORDE's Instagram

A choreographed piece for 11 performers; running time: 60 minutes

Concept and Direction: (LA)HORDE - Marine Brutti, Jonathan Debrouwer, Arthur Harel,

Sound design: Aamourocean

Lighting Design: Patrick Riou

Stage Manager and Lighting Assistant: Claire Dereeper

Costumes: Lily Sato Outside Perspective: Jean-Christophe Lanquetin

Rehearsal Director and Sound Engineer: Céline Signoret Featuring: Magali Casters (Belgium), Mathieu Douay aka Magii'x (France), Camille Dubé-Bouchard aka Dubz (Quebec), László Holoda aka Leslee (Hungary), Pawel Nowicki aka Pafcio (Poland), Kevin Martinelli aka MrCovin (France), Bartłomiej Paruszewski aka Bartox (Poland), Edgar Scassa aka Edx (France), Andrii Shkapoid aka Shkap (Ukraine), Michal Adam Zybura aka Zyto (Poland), Maxence Four aka Skylerz (France), Quentin Gars, aka Snak’e (France)

Production: (LA)HORDE Premiered on May 31, 2017, at the FestivalTransAmérique in Montreal Added to the BNM repertoire on January 29, 2020

Co-production: Charleroi danse, Théâtre de la Ville de Paris, MAC - Maison des Arts de Créteil, le Manège - scène nationale de Reims, Teatro Municipal do Porto, POLE-SUD - CDC Strasbourg, La Gaîté Lyrique, BNP Paribas Foundation, DICRéAM - Program for Multimedia and Digital Artistic Creation, Spedidam, Institut français - Agreement with the City of Paris. Support: City of Paris, SACD - Société des Auteurs et Compositeurs Dramatiques, Cité internationale des Arts, Liberté Living-Lab, CCN2 - Centre chorégraphique national de Grenoble, DGCA - Direction générale de la création artistique. The (LA)HORDE collective has been hosted in residence by Charleroi danse, MAC—Maison des Arts de Créteil, Teatro Municipal do Porto, Le Manège—Scène nationale de Reims, and CCN2—National Choreographic Center of Grenoble.