SWING Museum
2018 - Director : Habas, Nicolas
Choreographer(s) : Lamoureux, Éric (France) Fattoumi, Héla (Tunisia)
Present in collection(s): VIADANSE Direction Fattoumi/Lamoureux - CCN de Bourgogne Franche-Comté à Belfort
Video producer : VIADANSE - DIRECTION FATTOUMI/LAMOUREUX Centre chorégraphique national de Bourgogne Franche-Comté à Belfort
SWING Museum
2018 - Director : Habas, Nicolas
Choreographer(s) : Lamoureux, Éric (France) Fattoumi, Héla (Tunisia)
Present in collection(s): VIADANSE Direction Fattoumi/Lamoureux - CCN de Bourgogne Franche-Comté à Belfort
Video producer : VIADANSE - DIRECTION FATTOUMI/LAMOUREUX Centre chorégraphique national de Bourgogne Franche-Comté à Belfort
SWING Museum
intégral- SWING Museum
SWING Museum
What child has not dreamed, while wandering through a museum – of seeing the works of art on the walls come to life? Simultaneously channeling contemporary dance, Dada art, puppetry and video images, this work for young audiences is a hymn to diversity, a fairy tale whose magical, mobile set includes sculptures inspired by Arp – which come to life and begin to dance ...
SWING Museum or a dance about a surprising museum and its living works of art …
Alone in a deserted museum gallery, a guard is beginning to nod off. Surrounded by four large, organically shaped sculptures, he drifts into a strange hallucination, a wonderful dream during which he becomes one of these intriguing statues.
These creatures, half-human, half- vegetable, are called OSCYLS. They are part of a family of fantastic characters, ranging in size from quite small to very large, resembling mysterious marine beings or perhaps a cloud formation, fallen from the sky and solidified.
Children learn very early that in museums it is forbidden to touch the works of art. But in this wonderful dream world, the rules don’t exist. And it is the guard who first dares to touch the smooth surfaces of these fascinating statues.
From there, things progress. The guard’s hand acts like a magic wand: at his touch the statues awaken, come to life and begin to move. From his first contact to a caress, followed by a gentle but voluntary push, it takes a single step.
Having been turned on, released, the sculptures tilt, whirl, bend over and begin dancing, in duos and body-to-body work. Thrilled by their release, they choose their own rhythms and their own movements, seeming to be completely in control.
Taken aback by the sculptures’ unexpected reactions, the guard wonders who exactly the OSCYLS are – when they begin moving they take on a number of surprising identities. Are they women, men, a dancer’s body oddly extended ? Friends, alter egos, playmates, adversaries, puppets, stuffed animals or a cuddly toy to whom one might whisper, or supernatural beings ?
Welcome to this museum unlike any other, transformed with projected 3-D videos into a dream-like space in which things come to life and take flight.
Lamoureux, Éric
Héla Fattoumi and Éric Lamoureux founded the Compagnie FATTOUMI/ LAMOUREUX in 1988. Their first work Husaïs was awarded the prize for best first piece at the Bagnolet International Choreographic Competition in 1990, then their trio Après-midi received the “New Talents” prize from the SACD in 1991. These two pieces placed them as leaders of the new generation of contemporary choreographers and brought them international renown.
A space for research whose source is the intermingling of their individual features. From piece to piece, they mine the intrinsic intelligence of the body, its power to reveal meaning, which can also be thought as a part of movement. Several other important pieces were created in the same vein as Husaïs: Si loin que l’on aille (at the Théâtre de la Bastille and the Théâtre de la Ville, 1992); Fiesta (commissioned by the Avignon Festival, 1992); Asile Poétique (at the Théâtre de la Ville, 2000) based on texts by the poet Antonio Ramos Rosa; Wasla, ce qui relie… (at the Lyon Dance Biennial, 1998); Vita Nova (at the Grande Halle de la Villette, 2000) with the 11th graduating class of the National Center for Circus Arts. These pieces show choreographic work linked to the ideas of mastery/ nonmastery, strength/ fragility, minimalism/ performance, a dance whose expressive weight is charged by a “graphic energy.”
They were appointed directors of the CCN of Caen/ Basse-Normandie in 2004, where they continued their work with pieces focusing on societal issues. These works were La Madâ’a (at the Arsenal in Metz, 2004) with the Joubran brothers, Palestinian virtuosi on the oud; Pièze (a “pressure measurement”) and La danse de Pièze (at the Festival Dialogue de corps, Ouagadougou, 2006 and the Théâtre de la Bastille), about the idea of “homosensuality” in the Arab-Muslim world; Just to dance… (the Espace des Arts in Chalon-sur-Saône, 2010), a piece about the idea of “creolization” developed by Édouard Glissant; MANTA, a solo created at the Montpellier Festival in 2009 and performed on tour (Tokyo, Séoul, Berlin, Tunis, Brussels, Stockholm, Oslo), based on the problem inherent in wearing the niqab; Lost in burqa, (at the Festival danse d’ailleurs, 2011) a performance for 8 dancers, based on the “clothing-sculptures” by the Moroccan plastician Majida Khattari; Masculines (at the Arsenal de Metz, 2013) and on the representations of the feminine on both sides of the Mediterranean.
They are reactivating a choreographic research recharging itself with the expressive and poetic potential of dance. Une douce imprudence co-signed with Thierry Thieû Niang (at the Festival Ardanthé 2013, and the Théâtre National de Chaillot, 2014) on the idea of “Care”; Waves, a commission for the Swedish opera company NorrlandsOperan and its symphony orchestra, under the auspices of Umeå 2014, European cultural capital, for which they are associated with the Swedish singer and composer Peter von Poehl.
They also chose to step outside theatres to work in situ in other reactive contexts. In February 2009, they created the performance Stèles as part of a special “Nocturne”, a commission from the Louvre Museum. In 2008 they created Promenade at the Grand Palais, imagining a dialogue with the monumental sculptures of Richard Serra. In January 2012 they created Circle, inviting the audience into the center of a circular structure where dance goes wild with the massed collective energy of 26 professional and amateur dancers. In 2013, as part of the Normandy Impressionist Festival they stepped inside the exhibition “Summer at the water’s edge” at the Beaux-Arts Museum of Caen for a choreographic Flânerie (wandering).
Creation of the Festival Danse d’Ailleurs (Dance from Elsewhere) (2005) Beginning in 2005, they founded the Festival Danse d’Ailleurs whose vocation is to put back into perspective the idea of universalism while questioning referent frameworks for modernity in art, relating to cultural horizons. The first four editions focused on artists from the vast, diverse African continent and brought international recognition to the event, and the following editions opened as far as Asia, linking with the Hot Summer Festival in Kyoto, Japan.
Héla Fattoumi and Éric Lamoureux are fully committed to the promotion and the defense of choreographic art. From 2001 to 2004, Héla Fattoumi was the dance vice president of the SACD (Société des Auteurs Compositeurs Dramatiques). She was also in charge of programming the section called ”Vif du sujet” at the Avignon Festival. From 2006 – 2008, she was the President of the ACCN (Association of the National Choreographic Centers). From 2010 – 2013 Éric Lamoureux took over the Presidency; he is now the vice president. From 2013 to 2015, Héla Fattoumi has been the president delegated to long-term planning at the SYNDEAC.
In March 2015 Héla Fattoumi and Éric Lamoureux were named Directors of the Centre chorégraphique national de Franche-Comté in Belfort, for which they are developing their VIADANSE project.
Fattoumi, Héla
Héla Fattoumi and Éric Lamoureux founded the Compagnie FATTOUMI/ LAMOUREUX in 1988. Their first work Husaïs was awarded the prize for best first piece at the Bagnolet International Choreographic Competition in 1990, then their trio Après-midi received the “New Talents” prize from the SACD in 1991. These two pieces placed them as leaders of the new generation of contemporary choreographers and brought them international renown.
A space for research whose source is the intermingling of their individual features.
From piece to piece, they mine the intrinsic intelligence of the body, its power to reveal meaning, which can also be thought as a part of movement.
Several other important pieces were created in the same vein as Husaïs: Si loin que l’on aille (at the Théâtre de la Bastille and the Théâtre de la Ville, 1992); Fiesta (commissioned by the Avignon Festival, 1992); Asile Poétique (at the Théâtre de la Ville, 2000) based on texts by the poet Antonio Ramos Rosa; Wasla, ce qui relie… (at the Lyon Dance Biennial, 1998); Vita Nova (at the Grande Halle de la Villette, 2000) with the 11th graduating class of the National Center for Circus Arts.
These pieces show choreographic work linked to the ideas of mastery/ nonmastery, strength/ fragility, minimalism/ performance, a dance whose expressive weight is charged by a “graphic energy.”
They were appointed directors of the CCN of Caen/ Basse-Normandie in 2004, where they continued their work with pieces focusing on societal issues.
These works were La Madâ’a (at the Arsenal in Metz, 2004) with the Joubran brothers, Palestinian virtuosi on the oud; Pièze (a “pressure measurement”) and La danse de Pièze (at the Festival Dialogue de corps, Ouagadougou, 2006 and the Théâtre de la Bastille), about the idea of “homosensuality” in the Arab-Muslim world; Just to dance… (the Espace des Arts in Chalon-sur-Saône, 2010), a piece about the idea of “creolization” developed by Édouard Glissant; MANTA, a solo created at the Montpellier Festival in 2009 and performed on tour (Tokyo, Séoul, Berlin, Tunis, Brussels, Stockholm, Oslo), based on the problem inherent in wearing the niqab; Lost in burqa, (at the Festival danse d’ailleurs, 2011) a performance for 8 dancers, based on the “clothing-sculptures” by the Moroccan plastician Majida Khattari; Masculines (at the Arsenal de Metz, 2013) and on the representations of the feminine on both sides of the Mediterranean.
They are reactivating a choreographic research recharging itself with the expressive and poetic potential of dance.
Une douce imprudence co-signed with Thierry Thieû Niang (at the Festival Ardanthé 2013, and the Théâtre National de Chaillot, 2014) on the idea of “Care”; Waves, a commission for the Swedish opera company NorrlandsOperan and its symphony orchestra, under the auspices of Umeå 2014, European cultural capital, for which they are associated with the Swedish singer and composer Peter von Poehl.
They also chose to step outside theatres to work in situ in other reactive contexts.
In February 2009, they created the performance Stèles as part of a special “Nocturne”, a commission from the Louvre Museum.
In 2008 they created Promenade at the Grand Palais, imagining a dialogue with the monumental sculptures of Richard Serra.
In January 2012 they created Circle, inviting the audience into the center of a circular structure where dance goes wild with the massed collective energy of 26 professional and amateur dancers.
In 2013, as part of the Normandy Impressionist Festival they stepped inside the exhibition “Summer at the water’s edge” at the Beaux-Arts Museum of Caen for a choreographic Flânerie (wandering).
Creation of the Festival Danse d’Ailleurs (Dance from Elsewhere) (2005)
Beginning in 2005, they founded the Festival Danse d’Ailleurs whose vocation is to put back into perspective the idea of universalism while questioning referent frameworks for modernity in art, relating to cultural horizons.
The first four editions focused on artists from the vast, diverse African continent and brought international recognition to the event, and the following editions opened as far as Asia, linking with the Hot Summer Festival in Kyoto, Japan.
Héla Fattoumi and Éric Lamoureux are fully committed to the promotion and the defense of choreographic art.
From 2001 to 2004, Héla Fattoumi was the dance vice president of the SACD (Société des Auteurs Compositeurs Dramatiques). She was also in charge of programming the section called ”Vif du sujet” at the Avignon Festival.
From 2006 – 2008, she was the President of the ACCN (Association of the National Choreographic Centers). From 2010 – 2013 Éric Lamoureux took over the Presidency; he is now the vice president.
From 2013 to 2015, Héla Fattoumi has been the president delegated to long-term planning at the SYNDEAC.
In March 2015 Héla Fattoumi and Éric Lamoureux were named Directors of the Centre chorégraphique national de Franche-Comté in Belfort, for which they are developing their VIADANSE project.
Pauvret, Stephane
visual artist / scenographer
Stéphane Pauvret is a multi-disciplinary artist. A graduate from the École des arts décoratifs de Strasbourg (HEAR), the École d’architecture de Nantes (DPEA), and Sciences-Po in arts and politics, he approaches performing arts as a scenographer for the stage and cultural living spaces, artistic collaborator and documentarian for theater, dance and opera.
Since 2007, he has collaborated with Héla Fattoumi and Éric Lamoureux in all of their productions, contributing to stage theory in the broad sense of the term. His scenographic work has been frequently presented in Centres dramatiques, Centres chorégraphiques and Scènes nationales. As a visual artist, he has extensively exhibited his work a taken part to a great number of workshops, residencies and conferences in France and abroad.
Bouget, Gwendoline
COSTUME DESIGN
Since 2004, she has designed costumes for theater and dance. For theater, she has worked with Aurélia Guillet, Hubert Colas, Antoine Lemaire, Scali Delpeyrat, Antoine Gindt, and Charlotte Lagrange. Since 2016, she has pursued an artistic collaboration with Maya Bösch, Sturmfrei company, and Sylvain Creuzevault. For dance, she has worked with Jean-François Durroure, Odile Duboc, Jean Guizerix, and Michèle Rust, and, since 2017, with choreographers Héla Fattoumi and Éric Lamoureux.
Couturier, Jim
Dancer
Jim Couturier began studying contemporary dance at the age of 5, studying jazz, hip hop and ballet. He also played sports (soccer, gymnastics and circus arts). In 2005 he was admitted to the prestigious CNSM in Paris, where he obtained his degree and danced for the companies Toujours après minuit (Roser Montllo Guberna and Brigitte Seth), Didascalie (Vincent Morrieux) and Hervé Diasnas. He co-founded the Company A.J.T with Aymeric Bichon, Aurore Godfroy and Thalia Ziliotis. Since 2013 he has worked with Héla Fattoumi and Éric Lamoureux, on Flânerie and Waves..
Boury, Jimmy
LIGHT PRODUCTION
A lighting designer and scenographer, he works with light and its possible theoretical media. He began his career in the field of dance, working in close collaboration with Thierry Thieû Niang and Claude Lévêque, as well as Héla Fattoumi and Éric Lamoureux. Afterwards, he pursued his career in the theater field with Ariane Ascaride and Marie Desplechin, Anne Alvaro and Nicolas Daussy, Emilie Vendenameele and Alexandra Cismondi, Le Bel Après Minuit, Compagnie de l’Enelle, and Julie Moulier. He has also developed an approach to lighting design in relation to music and sound creation with the Collectif IO at the Opéra de Reims, pianist Donia Berriri (Achille), the Coax collective and sound artist Méryll Ampe.
Habas, Nicolas
Nicolas Habas comes from cinema first, as a screenwriter and director of several short fiction films including Le mal de Claire, broadcast on French TV and documentaries (La parole en chantier, triptych on a popular neighborhood in urban renewal). He is very interested in the tensions between reality and the imaginary, society and intimacy, geography and territories. With a self-taught apprenticeship that led him to a deep understanding of the codes of the film industry, he decided to find «his» cinema and returned with Le Corps de la Ville, the web series anchored in dance, to his first loves, since he made his first dance video in 1998. Shot during the 30° Eurockéennes de Belfort Festival and Broadcast on Arte Concert, Mouvements is its second web series.
Filmography :
2024 Le corps de la ville en Guadeloupe - Documentaire 52 ‘(support : HD, © JPL Productions/ WIPS Productions/ Canal +) - en cours de post production -
2023 L'envol - Court métrage documentaire d'après Ruptures de Bouziane Bouteldja (support : 4k, durée 28' © Cie Dans6T/Cie CinéDanse). Best Cinematography Award, 2024 Breaking Walls Dance Film Festival, Le Caire, Égypte.
2022 Le corps de la ville en Guyane - pilote du documentaire 52’ (support : HD, durée : 5’, © JPL Productions/ WIPS Productions). Sélection officielle : Festival Cinédanse Quebec, Danca Em Foco à Rio de Janeiro, Wyoming Dance Film Festival à Cheyenne, USA.
2022 Danse ton île - Documentaire 52’ (support : HD, © JPL Productions/ AV Com Productions/ France Télévision).
2021 Le corps de la ville en Martinique - Documentaire 52 ‘ et web série (support : HD, durée : 10 x 5’, © JPL Productions/ WIPS Productions/ France Télévision).
2020 Pères en prison - Court métrage documentaire (support HD, durée 5’ © Festival La Rochelle Cinéma/ studio Un Poil Court)
2019 Le corps de la ville à Nouméa - Documentaire 52 ‘ et web série (support : HD, durée : 10 x 5’, © JPL Productions/ AV Com Productions/ France Télévision).
2018 Mouvements - Documentaire 26’ et web série (support : HD, durée : 18 x 3’, © Séquence SDP/ Eurockéennes de Belfort/ Viadanse/ Ccn de Belfort/ Arte Concert).
2014/2019 Le corps de la ville - web série (support : HD, durée : 36 x 4’, © studio Un Poil Court en partenariat avec le Festival La Rochelle Cinéma, Studio Chérie (Berlin), le Périscope (Lyon), Le Festival Nocte Graus (Espagne), le Festival DAN.CIN.FEST, Le CCN de La Rochelle, la Cie En Knap (Slovénie), la Cie Hors Série, la Cie Propos, la Cie Jean Claude Gallotta et le CNSMD de Lyon).
2011 Mauvaise graine - Court métrage de fiction (support : 35 mm, durée : 21’, © CLC Productions/ Lyon TV).
2006/2012 La parole en chantier - Triptyque documentaire (support : HDV, durée : 3x40’, © Petits bolides films/ Espace Louis Aragon).
2004 Le mal de Claire - Court métrage de fiction (support : Super 16 mm, durée 14’, © Lumina Films/France Télévision).
2000 En attendant septembre - Court métrage de fiction (support : DV, durée : 30’, © Petits Bolides films/ Carré Image).
1998 Marie au parc - Vidéo danse (support : S-VHS, durée 7’, auto production).
VIADANSE - Direction Fattoumi-Lamoureux - CCN de Bourgogne Franche-Comté à Belfort
The Centre Chorégraphique National de Franche-Comté in Belfort (CCNFCB) is a space dedicated to contemporary creation. The French CCN label (National Choreographic Center) was established in 1984.
Currently there are 19 of these National Choreographic Centers in France.
Since March 2015, the Centre chorégraphique national de Franche-Comté in Belfort has been directed by Héla Fattoumi and Éric Lamoureux, for which they created the project VIADANSE.
Their project VIADANSE is laid in the prospect of a 3rd generation choregraphic center, revolving around a dynamic concept highlighting the circulation of projects and the building of networks, from Franche-Comté to Burgundy ; from the Grand Est to Switzerland and Europe.
SWING Museum
Artistic direction / Conception : Héla Fattoumi/Éric Lamoureux
Choreography : Héla Fattoumi/Éric Lamoureux
Interpretation : Jim Couturier
Artistic consultancy / Dramaturgy : Stephane Pauvret
Original music : Eric Lamoureux
Video conception : Nicolas Habas
Lights : Jimmy Boury
Costumes : Gwendoline Bouget
Technical direction : Thierry Meyer
Production / Coproduction of the choreographic work : Production / VIADANSE - Co-production / MA scène nationale, Montbéliard
Production / Coproduction of the video work : un poil court
Duration : 45 minutes
Lil' Acta
Noé Soulier Rethinking our movements
CHRISTIAN & FRANÇOIS BEN AÏM – VITAL MOMENTUM
LATITUDES CONTEMPORAINES
Meeting with literature
Collaboration between a choreographer and a writer can lead to the emergence of a large number of combinations. If sometimes the choreographer creates his dance around the work of an author, the writer can also choose dance as the subject of his text.
The BNP Paribas Foundation
Maison de la danse
Dance and visual arts
Dance and visual arts have often been inspiring for each other and have influenced each other. This Parcours can not address all the forms of their relations; he only tries to show the importance of plastic creation in some choreographies.
The American origins of modern dance: [1930-1950] from the expressive to the abstract
Black Dance
Why do I dance ?
Käfig, portrait of a company
Genesis of work
A dance show is created in multiples steps between the enunciation of an initial desire which launch the project and the first representation. This parcours presents diff
The contemporary Belgian dance
This Parcours presents different Belgian choreographers who have marked history and participated in the creation of a "Belgian" style.
The American origins of modern dance. [1960-1990] Postmodern dance and Black dance: artistic movements of their time
While the various forms of modern dance that emerged from the late 1920s onwards continued to develop, evolve and grow internationally, a new generation of dancers arose in a changing America.
Dance at the crossroad of the arts
Some shows are the meeting place of different trades. Here is a preview of some shows where the arts intersect on the stage of a choreographic piece.
The Dance Biennale
Female / male
A walk between different conceptions and receptions of genres in different styles and eras of dance.
Dance and percussion
Découvrez de quelles manières ont collaboré chorégraphes et éléments percussifs.
Rituals
Discover how the notion of ritual makes sense in various dances through these extracts.