Fabrice Ramalingom et Benoît Lachambre cherchent ce qui est contenu dans leurs fonds terrestres.
Le processus spectaculaire est un mouvement qui vacille de la résistance  à la fusion. Le relâchement apaise les corps qui semblent vouloir s’accorder dans l’épuisement de la transe.
Fabrice la « métamorphose », Benoît le « rayonnement », la rencontre duale se veut désormais incontournable tandis qu’elle se jouait jusque-là de façon sous-jacente.
Des grondements de corps aux tensions terrestres…

Filmé au Théâtre de Grammont - Montpellier, dans le cadre du Festival Montpellier Danse 2015. 

Fabrice Ramalingom started dancing at around the age of 19 years old and then trained between 1986 and 1988 at the National Center of Contemporary Dance in Angers, which was then directed by Michel Reilhac. Then he began his career as a dancer and performer at the National Choreographic Center of Montpellier in France.
He worked there for Dominique Bagouet, an iconic French choreographer known for the intelligence of his writing and the importance of his work in French choreography. He also danced in the work One Story As in Falling conceived by Trisha Brown ,one of the emblematic American choreographers of post-modern dance.
In 1992, after the death of Dominique Bagouet, the dancers from the former company founded the Carnets Bagouet. The ensemble sees itself as an archive for analysis and passing on the works of the deceased choreographer. Fabrice Ramalingom was an active member of the ensemble until 2003 and took part in the transmission of one of the most important pieces of Bagouet's repertoire, So Schnell (1998), which was developed with dancers from the Opéra de Paris.He was also the artistic director in the restaging of Meublé Sommairement, in which dance enters an alliance with the text of the novel Aftalion Alexandre(2000) by Emmanuel Bove.

In 1993, he met Hélène Cathala within The Compagnie Bagouet. Together, they founded the ensemble La Camionetta. Their choreographic cooperation resulted in eleven works. In 2003, Fabrice Ramalingom began his solo career as a choreographer, and staged the work Implication ; later, in 2004, Touché and Mis Bolivias (creation for a cooperation french and bolivian supported by the French Embassy of Bolivia). Within the Camionetta Company, Fabrice Ramalingom gaimed experience as an artist collaborating with the Théâtre de l'équinoxe in Chateauroux (1998), also with the Théâtre of Nîmes (1997-2000) and at the Scène Nationale of Sète and of
the Bassin de Thau(2004-2007). In 2000 and 2001, he was advisor for the programming of the festival Jours de Danse in Nîmes. In 2002, in Montpellier, he experimented the notion of interdisciplinarity by creating, with two directors and three choreographers, the ensemble Changement de Propriétaire, which is an alternative place of production and creation, where lessons are proposed along with performances and experimental project.
After thirteen years, the collaboration between Fabrice Ramalingom and Hélène Cathala ceased and the adventure of The Camionnetta came to an end. In 2006, he founded his own company : R.A.M.a.
In 2007,he created the solo Comment Se Ment and Postural :Etudes, a performance for 15 men for the Festival Montpellier Danse.
In 2008,he created Vancouver Versus Vancouver at the International Dance Festival in Vancouver, a duet for two canadian performers and Fiction in Between, a duet which he perfoms with the austrian Saskia Holbing.
In 2008 and 2009, Fabrice was an artist in residence in the Aude area in the framework of the Rési-Dence Départementale directed by the Conseil Général ADDMD11.
In 2010 for the 30th anniversary of the Festival Montpellier Danse, Fabrice will perform Pandora Box / Body at the Théâtre de l'Agora, cité internationale de la danse.
Alongside his work as a choreographer, he has continued to be active as a performer and has appeared in the following works: Flowing Along by Hervé Robbe (1994),
CPAD by Yvonne Rainer, taken up again and « reactivated » by Quatuor Knust(1998), PAST/FORWARD by the White Oak Project/Mikhail Barishnikov company (2001), Barakooda by Yves Noël Genod, Lugares Comunes (2006) by Benoit Lachambre and Quintet Cercle (2007) by Boris Chamatz. Since his first experience as a performer
at the Centre Chorégraphique National de Montpellier, Fabrice Ramalingom has been interested and engaged in the transmission and teaching in its various forms (vocational training,intervention in universities, master classes, danced lectures, courses and workshops for amateur adults or children). He also works with professional companies such as Phillipe Decoufflé or as those of national choreographic centers : the Montpellier center first directed by Dominique Bagouet and then by Mathilde Monnier or the center of Tours headed by Daniel Larrieu.
In 2005 he was appointed artistic advisor for the training EX.E.R.CE at the Centre Chorégraphique National of Montpellier, led by Mathilde Monnier.

More information: rama.asso.fr

Vincent Bosc est arrivé à la vidéo à travers la pratique des arts plastiques et de la musique. C’est cette pratique qui l’a amené à collaborer avec des chorégraphes intéressés par ses captations de spectacles engagées dans une posture créative. Parti de la vidéo expérimentale, son travail s’est ensuite adapté à l’objet de création. A la fin des années 1990, il rencontre Hervé Robbe qui développe alors un pôle sur l’image pour et sur le plateau au sein du CCN du Havre. Ensemble, ils explorent depuis 2002 la thématique de la mise en scène et en espace de l’image, accompagnant les évolutions technologiques et esthétiques en la matière. Leur collaboration questionne la danse dans sa représentation et le corps filmé en mouvement, expérimente les limites, dans des formes dynamiques, jamais figées.

Nous c’est R.A.M.a, compagnie chorégraphique créée en 2006 par Fabrice Ramalingom.

Après une carrière d’interprète auprès de Dominique Bagouet, après avoir codirigé la Camionetta pendant plus de 10 ans puis éprouvé l’expérience d’un collectif d’artistes au sein de Changement de Propriétaire à Montpellier, Fabrice désire recentrer son parcours autour d’une écriture chorégraphique qui lui ressemble. S’entourant au sein de RAMa de collaborateurs venus de pays et d’horizons différents, Fabrice Ramalingom signe des pièces qui sont autant de prétextes/espaces où il aime à convoquer des paradoxes tel que l’homme et l’animal, la communauté et  l’individualité, la présence et l’absence