Artists, companies, institutions, these structures bring to the platform their audiovisual heritage, their knowledge, their expertise in favor of the choreographic art. For the platform's 10th anniversary, it was important and necessary to put the contributors of Numeridanse in the spotlight! 

In order to celebrate them and so that Numeridanse users get to know them better, we have invited our contributors to answer a series of questions about their works, their inspirations, their desire for collaborations, their creation anecdotes. 

Discover these artists in the We are Numeridanse collection!

Heddy Maalem is sometimes rather withdrawn, a man of silence. 

He is wary of fakers, pretenders, those who fiddle with things that should be exact. Like him, his dancing is simple, blunt, seeking interior change without ostentation or ornament.
The secret tension simmering beneath the surface can be felt both in his work and in his person. A man who technically is from two countries, France - he clarifies: from Languedoc - and Algeria, Heddy Maalem prefers to think of himself as a son of the Mediterranean, this sea trying valiantly to fill the gap separating the two peoples. You have to nudge him, and when you do, Heddy Maalem actually tells us one of his boyhood memories, precise, emblematic: “In Algeria, we lived in the Aurès, in Batna. We lived in the ‘black quarter,' where the black Africans lived. The country was at war, and we were constantly hearing drums playing, accompanying the dances of the immigrants from the South. Since then, war and dance have always been linked in my mind.”
The choreographer emerged from this violence, this separation. He came to it rather late, after several years studying Oriental languages, traveling, odd jobs and especially amateur boxing, until he was 28. His encounter with dance was accidental, achieved mostly through teaching aikido for many years. He perceived dance as something unexpected, clear, a way of moving, of being, of working with his memories, historic, ancestral, personal.
“Having survived the tearing apart of my two countries, I sometimes feel like a stranger. In dance I am not borrowing from any existing school of thought, I must invent my own language, an ‘unmarked' language.”
Heddy Maalem spent a great deal of time researching the workings of his own body, asking himself simple questions: why and how to move? How do I use the floor? How do I run, walk? Little by little he found a style, movements which begin from the center of the body or from the floor, movements which cut into space or touch a partner, without lyricism but with a certain aesthetic, a pure physicality.
His approach also deals with time, using the body as a poet uses language, as material. His intent to stand apart from the current frenzy is his commitment to a kind of radicality.

Source : the company Heddy Maalem 's website 

More information

heddymaalem.com

After training in video editing, Tiffanie Deschamps made her debut in television. From the start, she never ceased to build bridges between her work as an audiovisual editor and her activities as light manager and assistant director for live shows with the Mac Guffin collective. Co-founder and co-director of the Théâtre de l'Uchronie in Lyon since 2013, she naturally comes to portray theatrical and choreographic pieces, and to tell the dance, in particular within the Maison de la Danse de Lyon and during cultural events such as the Lyon Dance Biennale.