Through the creation of Altered Natives  Say Yes To Another Excess TWERK in September 2012, we met DJs Elijah and  Skilliam from Label Butterz, references in British Grime musical scene.  This unusual musical style is a complex dancehall, hip hop and garage  hybridisation. As all electronic musical styles, it also derives from  Jamaican sound systems – musicwalls which have played since the 1950s a  major role in the evolution of various Jamaican musical styles and  helped develop ska, reggae, ragga, dub…

For Dub Love project, they collaborate  with HIGH ELEMENTS, Dubplates DJ from the Reunion island, who draws from  dub roots in order to create an upbeat solar music, defined by a  tension between deep bass sounds characteristic of dub and bright  melodies. Dub is performed for massive social gatherings in Europe and  Jamaica (Nothing Hill Carnival, One Love Rave Festival) with powerful  sound systems. Their intense vibrations, their physical impact and their  unifying power turned these musical styles into spiritual or even  religious events, going way beyond mere entertainment.
On stage, HIGH ELEMENTS plays Dub sets Dubplates mixes through a sound system.

Along with this musical investigation,  the duet Bengolea-Chaignaud is carrying out a hybrid choreographic  research, from punk bouncing that some early reggae tunes trigger to the  most extreme physical constructions that ballet on pointe allows.  Pointe shoes, as western classical dance fetish, have been used to  challenge gravity and invent an ethereal and celestial body. Outside  classical technique, it is also a fascinating tool, generating speed,  height, balance, unbalance, lines. Confronting on pointe to Jamaican  music, very motivated by a need to go back to basics, to the earth, to  peaceful and brotherly intentions, creates potential tension, a fiction,  to get away from stereotypes related to those cultures. Far from  resurrecting a classical body, the intention to combine on pointe  practice with soft religious dances and violent urban dances. Through  the sound system vibrations, the three bodies thus draw an abstract and  detailed writing. A repertoire of reggae and Dancehall songs will be  performed by three performers, Ana Pi, François Chaignaud and Cecilia  Bengolea together with High Éléments’ mix.

Source: http://vlovajobpru.com

Born in Buenos-Aires, Cecilia Bengolea studied urban dance forms, before to pursue studies in anthropological dances with Eugenio Barba, as well as Philosophy and Art History at the University of Buenos Aires. In 2001, she moved to Paris and followed the training Ex.e.r.c.e. directed by Mathilde Monnier in Montpellier.
In dialogue with Levi Strauss’s œuvre Tristes tropiques, Cecilia Bengolea co-directed two videos in 2011: La Beauté (tôt) vouée à se défaire with Donatien Veisman and Cri de Pilaga with Juliette Bineau. As a dancer, choreographer and performance artist, Cecilia Bengolea perceives dance and performance as ‘animated sculpture’ and welcomes the fact that these forms allow her to become both ‘object and subject at the same time’.

In 2016, Bengolea was commissioned by the ICA for London Art Night 2016 to present a video installation into holographic mirrors at Covent Garden Market and perform an outdoor participatory dancehall practice in the historical West Piazza of Covent Garden with ballerina Erika Miyauichi and dancehall artist Damion BG Dancerz. Bengolea also works with artists Dominique Gonzalez-Foerster, Monika Gintersdorfer, Knut Klassen as well as Jamaican Dancehall artists such as Joan Mendy and Damion BG dancerz. In collaboration with Jeremy Deller (UK), she co-directed the film RythmAssPoetry (rap) commissioned by the Biennale de Lyon 2015. Their second film, Bombom’s Dream, shot in Jamaica in 2016, commissioned by Hayward Gallery London and Sao Paulo Biennial 2016.

In spring 2018 Cecilia Bengolea created Insect Train with Florentina Holzinger, a collaborative piece devoted to the interface between nature and artifice in the human body.

Source and more information: https://vlovajobpru.com/en/show/

Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).

Cecilia Bengolea and François Chaignaud have been collaborating since 2005. Together, they created Pâquerette (2005-2008), Sylphides (2009), Castor et Pollux (2010), Danses Libres (2010), (M)IMOSA (with Trajal Harrell and Marlene Monteiro Freitas, 2011), altered natives’ Say Yes To Another Excess –TWERK (2012), Dub Love (2013), DFS  (2016). In 2014, the Ballet de l’Opéra de Lyon commissioned them to  create a ballet for seven dancers on pointe shoes, set to Toru Takemitsu  music composition How slow the wind. In 2015, Bengolea and Chaignaud were commissioned by the Ballet de Lorraine to produce a new work set to Devoted, a music by Philip Glass. On the same year, they premiered a new piece, entitled The Lighters’ Dancehall Polyphony for Pina Bausch’s Tanztheater Wuppertal. The performance Sylphides,  written for vacuumed bodies in latex fetish envelopes won the Award de  la Critique de Paris in 2009 and the Young Artist Prize at Gwangju  Biennial, Korea in 2014. Over the past few years, they have presented  work at the Centre Pompidou in Paris, The Kitchen in New York, Tokyos  Spiral in Japan, the Biennale de la danse de Lyon, at Sadler’s Wells  Theatre in London, the Faena Art Center in Buenos Aires, of fig-2 at  ICA, London, at the Festival d’Avignon, the Festival d’Automne à Paris,  Montpellier Danse, ImpulsTanz in Vienna, deSingel in Antwerp, the Teatro  de la Ribera in Buenos Aires, at the Panorama Festival of Rio de  Janeiro, at the Centre National de la danse in Pantin, SESC in Sao Paulo  and most recently at Kyoto Experiment, the Kyoto International  Performing Arts Festival in October 2018.

Source: Company's website

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