Douar [teaser]
2015
Choreographer(s) : Attou, Kader (France)
Present in collection(s): Kader Attou (direction 2008-2022)
Video producer : CCN de La Rochelle / Cie Accrorap
Douar [teaser]
2015
Choreographer(s) : Attou, Kader (France)
Present in collection(s): Kader Attou (direction 2008-2022)
Video producer : CCN de La Rochelle / Cie Accrorap
Douar
On both sides of the Mediterranean, the youth is projected on the other side of the sea.
In France for some it is about the land of origins, the pain and the difficulty to assume a double culture.
In Algeria we dream of freedom, social climbing ... while we are watching television ... we simply dream to forget the difficulties of life.
With Douar, Kader Attou puts in space the notion of boredom, confinement and the dream of freedom.
In his opinion, hip hop is a tool in the service of a message. From the engagement of the actors of the hip hop dance to the question of the exile posed by the young Algerians, how to reflect on the role of the culture, the role of the memory, the role of the dance in the particular context of the relations between France and Algeria?
Attou, Kader
Kader Attou is a dancer and choreographer from the company Accrorap. Athina, in 1994, marked the beginnings of the company set up with Mourad Merzouki, Eric Mezino and Chaouki Saïd, in Lyon. This show is a success that manages to transpose hip hop dance from the streets to the stage. Alone, he then created Prière pour un fou (1999) to renew the dialogue that the Algerian tragedy made improbable.
Douar (2004), conceived within the framework of the year of Algeria in France, questions the problems of the exile of young people from the districts of France and Algeria. Petites histoire.com (2008) recounts popular France based on burlesque sketches. In 2008, Kader Attou was appointed director of the National Choreographic Center of La Rochelle, thus becoming the first hip hop choreographer to head an institution. In 2018, he reunited with his early partner, Mourad Merzouki, with whom he created Danser Casa for the Montpellier Danse Festival. In 2019, he resumed a version for the street of The Roots with the dancers of the N.I.D. Epsedanse by Anne-Marie Porras for the Montpellier Dance Festival. Since 2022, he has settled in the Friche la Belle de Mai in Marseille.
Source: Montpellier danse
Douar (teaser)
Artistic direction / Conception : Kader Attou
Choreography : Kader Attou
Interpretation : Abdennour Belalit, Sim’Hamed Benalima, Fouaz Bounechada, Amine Boussa, Mabrouk Gouicem, Rachid Hamchaoui, Salem Mouhajir, Chaouki Saïd, Hichem Sérir Abdallah
Original music : Manuel Wandji
Lights : Fabrice Crouzet
Costumes : Nadia Genez
Other collaborations : avec l’aide de CHATEAUVALLON Centre National de Création et de Diffusion Culturelles
Production / Coproduction of the choreographic work : Cie Accrorap, La Coursive Scène Nationale de La Rochelle, le CCN de Franche-Comté à Belfort, Le Prisme Saint-Quentin-en-Yvelines, le Théâtre Jean Vilar de Vitry-sur-Seine.
Duration : 1 heure
DANCE AND DIGITAL ARTS
Yield Variations on dissuasive urban furniture
Roots of Diversity in Contemporary Dance
(LA)HORDE: RESIST TOGETHER
CHRISTIAN & FRANÇOIS BEN AÏM – VITAL MOMENTUM
Les Rencontres chorégraphiques internationales de Seine-Saint-Denis
Vlovajobpru company
LATITUDES CONTEMPORAINES
Amala Dianor: dance to let people see
Body and conflicts
A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.
James Carlès
Do you mean Folklores?
Presentation of how choreographers are revisiting Folklore in contemporary creations.
The BNP Paribas Foundation
Maison de la danse
Dancing bodies
Focus on the variety of bodies offered by contemporary dance and how to show these bodies: from complete nudity to the body completely hidden or covered.
Dance and music
The relationship between music and choreographic works varies throught dance history.
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.