On February 24, 2022, on the evening of the day when Russia began its war of conquest with Ukraine, I urgently left Kyiv and went into forced isolation. Kyiv began to be shelled with cruise missiles and I moved to the village of Morozivka, 50 km from Kyiv. I thought life would be safer there.

A week later, the war was 20 km from the place where I stayed. Around the clock we heard explosions and shooting, and a week later we got used to these sounds. Already in early April, Ukrainian Army drove out Russian troops from nearby villages and it became quiet here. Gradually, I began to regain mobility in my body and come out of the stupor. Then I decided to shoot a few videos of improvisations in order to look at the bodily transformations that happened to me from the outside. All the time before that, I felt completely paralyzed - I couldn't force myself to move or do anything at all. The only thing I could do was writing poetry - suddenly the thoughts and the feelings began to take the form of words.

When I analyze my perception of events and information during this time, I get the impression that everything has become completely black and white. Halftones disappeared and all people were divided into "friends" and "foes". In texts, which I began to collect on Facebook, I was searching for these same halftones to bring the ability to feel back into my life. It also become the ability to preserve the imaginative perception of the world beyond good and evil.

I felt it was important to capture this moment. That`s how the movie come out of being isolated in war time.


Anton Ovchinnikov

Kyiv

Lyon

Maqamat

Monochrome

A group of people emerges from the water. They try to work against the current of the river and the crowd of people in the city, but surrender to the flow and are washed ashore. Going with the flow or against it, resistance and devotion manifest as a basic instinct. A strategy of survival.

Un groupe de personnes émerge de l'eau. Ils essaient de travailler à contre-courant de la rivière et de la foule des gens de la ville, mais s'abandonnent au courant et sont rejetés sur le rivage. Aller avec le courant ou contre lui, la résistance et la dévotion se manifestent comme un instinct de base. Une stratégie de survie.

Cinedans Program

Cinedans

Downriver

How to overcome a harsh environment? People are living like ants. Sunlight may not be inevitable, but rain may bring clarity to the mind and body. The ant is getting used to being abused and enjoys the rain that brings vitality. Will it die? Maybe, but at least it lived courageously.

Comment surmonter un environnement difficile? Les gens vivent comme des fourmis. La lumière du soleil n'est peut-être pas inévitable, mais la pluie peut apporter de la clarté à l'esprit et au corps. La fourmi s'habitue à être maltraitée et profite de la pluie qui lui apporte de la vitalité. Va-t-il mourir ? Peut-être, mais au moins il a vécu courageusement. 

Come Rain or Shine

Hank does not fit in. Riding his motorcycle enables him to clear his mind. Riding over 130kmh everything turns black and white. During his nightly drives his thoughts and reality become deeply entwined.

Hank ne s'intègre pas. Conduire sa moto lui permet de se vider l'esprit. A plus de 130 km/h, tout devient noir et blanc. Au cours de ses promenades nocturnes, ses pensées et sa réalité deviennent profondément entrelacées. 

Leather

As slipping out of the cloth of constantly fluttering flags, heraldic symbols take form and weight. Chimerical beings and oneiric figures appear, like leafing through an armorial or medieval bestiary. They seem to tell us stories of conflicts which took place in the well delimited perimeter of an emblematic battlefield.
ARA! ARA! is the designation of a symbol. The symbol of a rising power that chooses a bird to represent itself. Not a majestic and fearsome raptor like the eagle, an animal often used as a heraldic symbol of power. On the contrary, a bird that communicates fun and quietness by becoming, according to a popular western look, an exotic icon: the parrot ARA. Second part of a diptych started with AeReA, ARA! ARA! continues to investigate the symbolic power of the flag. Photos © Ettore Spezza

En glissant hors du tissu constamment flottant des drapeaux, les symboles héraldiques prennent forme et consistence. Des êtres chimériques et des figures oniriques apparaissent, comme feuilletant un bestiaire armorial ou médiéval. Ils semblent nous raconter des histoires de conflits qui se sont déroulés dans le périmètre bien délimité d'un champ de bataille emblématique.
ARA ! ARA ! est la désignation d'un symbole. Le symbole d'une puissance montante qui choisit un oiseau pour se représenter. Pas un rapace majestueux et redoutable comme l'aigle, un animal souvent utilisé comme symbole héraldique de pouvoir. Au contraire, un oiseau qui communique plaisir et quiétude et qui est devenu, selon un look occidental populaire, une icône exotique : le perroquet ARA. Deuxième volet d'un diptyque commencé avec AeReA,  ARA ! ARA ! continue d'enquêter sur le pouvoir symbolique du drapeau. Photos © Ettore Spezza

Ginevra Panzetti 

Enrico Ticconi

Beirut

BIPOD 2022

ARA! ARA!

We will start by awakening the body with breathing exercises working from the joints towards the movement, to be able to flow and unify the breath with the movement. We will continue investigating and looking for different ways of using the floor, working on different qualities of movement, dynamics, space. In the second part, we will work mainly on contact and improvisation with a defined concept to be able to investigate and develop other interpretive facets


Nous commencerons par éveiller le corps avec des exercices de respiration travaillant des articulations vers le mouvement, pour pouvoir couler et unifier la respiration avec le mouvement. Nous continuerons d'étudier et de rechercher différentes manières d'utiliser le sol, en travaillant sur différentes qualités de mouvement, de dynamique, d'espace. Dans la deuxième partie, nous travaillerons principalement sur le contact et l'improvisation avec un concept défini pour pouvoir explorer et développer d'autres facettes interprétatives


Fabian Thomé

Flowing Connection

In 2019, Omar Rajeh, the choreographer, begins a series of explorations that will lead him to unprecedented questions: The forced dismantling of Citerne Beirut, a performing arts space of which he is the founder, the political and economic collapse of Lebanon and the civil unrest after October 17th, followed by the global Covid-19 crisis, and finally the tragic explosion at the port in August 2020, which destroyed half of the city of Beirut, killing and injuring thousands of people.

What voice do we insist on having after being silenced? What body do we walk around with when we are drowned in pain? What do we do with our memories when they deceive us and fail to resemble reality? What hopes do we carry when we are far from our struggles and dreams?

It is in a context of political, economic and health crisis that ‘The Odor of Elephants After the Rain’ was created. It was shot in Beirut in 2021 shortly after the August 4th explosion. It testifies of the experience of deep-rooted pain, loss, and disillusion. Dear places reduced to ashes, disfigured memories, trampled dreams, and dashed hopes


En 2019, commence pour le chorégraphe Omar Rajeh une série d'explorations qui vont le mener vers des questionnements sans précédents: Le démantèlement forcé du théâtre Citerne Beyrouth dont il est le fondateur, l'effondrement politique et économique du Liban et le soulèvement civil du 17 octobre, suivi de la crise mondiale du Covid-19, et enfin de la tragique explosion du port en août 2020 ; qui a détruit la moitié de la ville de Beyrouth, tuant et blessant des milliers de personnes.

Quelle voix porte-t-on après avoir été réduits au silence? Quel corps déambule-ton quand on a mal? Que fait-on de nos souvenirs quand ils nous déçoivent et ne ressemblent plus à la réalité? Quels espoirs porte-t-on quand on est loin de ses combats et de ses rêves?

C’est sur un fond de désastre politique, économique et sanitaire que The Odor of Elephants after the Rain prend forme. Ce solo dansé qui offre aussi un film tourné à Beyrouth en 2021 peu après l’explosion du 4 Aout, témoigne à la fois  de l’expérience de la douleur enfouie au fond de soi et celle de la perte et de la désillusion. Des lieux chers réduits en cendre, des souvenirs défigurés, des rêves piétinés et des espoirs bafoués.


Omar Rajeh

The Odor of Elephants after the Rain

Alexandre Roccoli draws his inspiration from the source of possession dances as they may have appeared in Morocco, particularly in the Gnaoua brotherhoods but also in certain more urban contemporary cultures, from hip hop to house music. By playing with the repetition of movements and sounds, Alexandre Roccoli produces a circular, hypnotic and magnetic aesthetic where the body is seized by the vertigo of dance. Between a state of grace and a state of shock, the energy and virtuosity of young Moroccan dancer Yassine Aboulakoul transmits a mad desire to dance.

Alexandre Roccoli puise son inspiration à la source de danses de possession telles qu’elles ont pu apparaître au Maroc. Notamment dans les confréries gnaoua mais aussi dans certaines cultures contemporaines plus urbaines, du hip hop à la house music. En jouant avec la répétition des mouvements et des sons, Alexandre Roccoli produit une esthétique circulaire, hypnotique et magnétique où le corps est saisi par les vertiges de la danse. Entre état de grâce et état de choc, l’énergie et la virtuosité du jeune danseur marocain Yassine Aboulakoul transmet un désir fou de danser. 

A Short term Effect | Alexandre Roccoli

Hadra

When we look at each other, I forget if it's me who looks at you or who you look at.
The idea we have of ourselves is not that of an organism of living cells, but something else. We are a mental construction (opsychological) of abstract concepts that results in what we call the Self, or Ego. An Ego that is observed, reflected and materialized in the gaze of the other. An external look that acts as a mirror for us and is essential to evolve in life, but that, in imbalance with our own internal listening, results in an unbalanced, deformed and fragile evolution. Looking inward leaves us in a listening void, without distraction and in harmony. Photos © Ignacio Urrutia

Quand on se regarde, j'oublie si c'est moi qui te regarde ou qui tu regardes. L'idée que nous nous faisons de nous-mêmes n'est pas celle d'un organisme de cellules vivantes, mais autre chose. Nous sommes une construction mentale (psychologique) de concepts abstraits qui aboutit à ce que nous appelons Je, ou Ego. Un Moi qui s'observe, se reflète et se matérialise dans le regard de l'autre. Un regard extérieur qui nous sert de miroir et qui est indispensable pour évoluer dans la vie, mais qui, en déséquilibre avec notre propre écoute intérieure, se traduit par une évolution déséquilibrée, déformée et fragile. Regarder à l'intérieur nous laisse dans un vide d'écoute, sans distraction et en harmonie. Photos © Ignacio Urrutia

Moi Je

Turbulent flow is an expression of time and space. It was shot in the Lebanese mountains during a time of transition as well as economical and political instability in the country. There is a heaviness of some sort in the air, especially in the city. The mountains are high enough above it.
The rocks stand strong, seemingly eternally unhinged by the elements and variables, they are quite a nice refuge.
Photos © Taymour Boulos


Turbulent flow est une expression du temps et de l'espace. Il a été tourné dans les montagnes libanaises pendant une période de transition et d'instabilité économique et politique dans le pays. Il y a une sorte de lourdeur dans l'air, surtout en ville. Les montagnes sont assez hautes au-dessus.
Les rochers sont solides, apparemment éternellement déstabilisés par les éléments et les variables, ils sont un assez bon refuge. Photos © Taymour Boulos


Natasha Karam

Cameras of October

Turbulent Flow

While merging and intertwining with nature, three young girls create a metaphorical and visionary narrative of their present condition and their projections towards the future. 
Through their lightness, disorientation, vitality, and strength, they embark on a choreographic journey facing high and low tides, turbulence and contradictions, calm and turmoil. Guided by absurd questions the oranges reflect the path of the protagonists in their delicate passage to adulthood and guide us in a poetic reflection on our lives. Photos © Nuanda Sheridan & Sofia Quercetti

En fusionnant et en s'entremêlant avec la nature, trois jeunes filles créent un récit métaphorique et visionnaire de leur condition actuelle et de leurs projections vers l'avenir.
Avec leur légèreté, leur dépaysement, leur vitalité et leur force, ils embarquent dans un voyage chorégraphique face aux hautes et basses marées, aux turbulences et aux contradictions, au calme et au tumulte. Guidées par des questions absurdes, les oranges reflètent le cheminement des protagonistes dans leur délicat passage à l'âge adulte et nous guident dans une réflexion poétique sur nos vies. Photos © Nuanda Sheridan & Sofia Quercetti

Silvia Giordano

Florence

 Fresh Oranges into the ocean

A spontaneous journey where the traveler leaves their life behind for a time to let the spirit of the landscape and architecture attract and move them. Derive is an exploration through movement and visual-arts of how our breathing bodies can leave this weight and be entranced by the existence around us.
Photo Mauricio Yazbeck


Un voyage spontané où le voyageur laisse un temps sa vie derrière lui pour se laisser attirer et émouvoir par l'esprit du paysage et de l'architecture. Derive est une exploration à travers le mouvement et les arts visuels de la façon dont nos corps respirants peuvent laisser ce poids et être fascinés par l'existence qui nous entoure. Photo Mauricio Yazbeck


Layal Berberi

Dérive

Snakes and Ladders is an imaginary excursion, examining darkness, metaphorically, sensorially and symbolically. Hopelessly powerless bodies move, scan a dying city, try to read the future in the dark.
The film creates a duality between a human body and a concrete building - attempting to open pathways of perception by melting the fortifications of our constructed meanings – by observing matter and thought, in their raw form.
In darkness, we construct, in light we deconstruct. Photos © Nader Bahsoun


Snakes and Ladders est une excursion imaginaire, examinant l'obscurité, métaphoriquement, sensoriellement et symboliquement. Des corps désespérément impuissants bougent, scrutent une ville mourante, tentent de lire l'avenir dans le noir.
Le film crée une dualité entre un corps humain et un bâtiment en béton - essayant d'ouvrir des voies de perception en faisant fondre les fortifications de nos significations construites - en observant la matière et la pensée, dans leur forme brute.
Dans l'obscurité, nous construisons, dans la lumière nous déconstruisons. Photos © Nader Bahsoun


Yara Boustany

Snakes and Ladders

In Nebula, Vania Vaneau approaches the human body-nature relationship as the meeting of force fields in a post-apocalyptic context. In a kind of archaeology of the future, Nebula questions what other relationships to time, craft, soil, and chimeras could emerge to draw a new cosmogony. What mutations and hybridizations could come out of chaos? Nebula is a crossing into the unknown, a moment of eclipse to glimpse at other possible worlds. Here, the future and the past meet, time flows in a spiral leading us to a “prehistoric science-fiction”. Photos @ Cécile Vernadat & Raoul Gilibert




Avec Nebula, Vania Vaneau aborde le corps humain en relation avec la nature comme la rencontre de champs de forces dans un contexte post-apocalyptique. Dans une sorte d’archéologie du futur, Nebula questionne quels autres rapports au temps, à la fabrication, à la terre et aux chimères pourraient surgir pour dessiner une cosmogonie nouvelle. Quelles mutations et hybridations pourraient advenir du chaos ? Nebula est une traversée vers l’inconnu, un moment d’éclipse pour entrevoir des possibles. Le futur et le passé s’y retrouvent, le passage du temps en spirale nous amène à une « science-fiction préhistorique. Photos @ Cécile Vernadat & Raoul Gilibert

Vania Vaneau

Cie Arrangement Provisoire

Nebula

A prison represents a powerful sentence of punishment and a forced limitation of freedom. Totalitarian regimes have used this establishment to subjugate free speech through intimidation and torture. 
How can such an experience affect the perception one has on its body, movements, and reactions. As a dancer, Bassam Abou Diab, attempts to embody the reaction of inhuman practices, leading to a world of fantasy, allowing the body to transcend into the supernatural. Dancing and dreaming in order to survive the pain. 

Une prison représente une condamnation puissante et une limitation forcée de la liberté. Les régimes totalitaires ont utilisé cet établissement pour assujettir la liberté d'expression par l'intimidation et la torture. Comment une telle expérience peut-elle affecter la perception que l'on a de son corps, de ses mouvements et de ses réactions. En tant que danseur, Bassam Abou Diab, tente d'incarner la réaction de pratiques inhumaines, conduisant à un monde fantasmatique, permettant au corps de se transcender dans le surnaturel. Danser et rêver pour survivre à la douleur. 


Bassam Abou Diab

Pina my Love

A human flock flows through wavy fields until an unenlightened hunter crosses its path. Environmental dance film or audiovisual meditation on Fibonacci numbers patterned in the landscape, herd behaviour, film structure and music.
Fibonacci is a series of numbers that form patterns, related to the golden ratio.


Un troupeau humain traverse des champs ondulés jusqu'à ce qu'un chasseur non éclairé croise son chemin. Film de danse environnementale ou méditation audiovisuelle sur les nombres de Fibonacci modelés dans le paysage, le comportement du troupeau, la structure du film et la musique. 

Fibonacci

Fabiola and her Mother moved to Canning Town London from Portugal in 2008. In 2018 they moved out. This film honours those 10 years by making a dance with the forces of union and separation - between two lovers, a mum and daughter, a country and its continent.

Fabiola et sa mère ont déménagé à Canning Town London depuis le Portugal en 2008. En 2018, elles ont déménagé. Ce film rend hommage à ces 10 ans en faisant danser les forces de l'union et de la séparation - entre deux amants, une mère et sa fille, un pays et son continent. 

Canning Town

Departures tells the story of Giralda, an undertaker who accompanies deceased human beings into their afterlife. Interpreted with the means of Spanish flamenco dance and music, and set at an old East German ship canal lift, the film creates an associative fusion between Northern and Southern Europe, movement and silence, farewell and eternity. Photos © Valentin Selmke

Départs raconte l'histoire de Giralda, une croque-mort qui accompagne des êtres humains décédés dans leur vie après la mort. Interprété avec les moyens de la danse et de la musique flamenco espagnoles, et se déroulant dans un ancien ascenseur du canal maritime est-allemand, le film crée une fusion associative entre l'Europe du Nord et du Sud, le mouvement et le silence, l'adieu et l'éternité. Photos © Valentin Selmke

Departures

Ioannis’ aim is to create on the spot a performance based upon the spectators’ ideas that will be thrown at him at the time of the performance. To collect, process and render the audience’s suggestions in the form of a dance, improvised instantaneous performance, hence its title. By involving the audience in the creative process, Ioannis offers a new perspective on the choreographic art, from the inside, which aims to help understand some of the rules and tools of the composition of a choreographic piece. Photos © Jean-Baptiste Bucau

Le but de Ioannis Mandafounis est de créer sur le vif une performance basée sur les idées des spectateurs qui lui seront lancées au moment de la représentation. Recueillir, traiter et restituer les suggestions du public sous forme de danse, improvisée instantanément sous ses yeux, est ce qui constitue le danger de cette performance, d'où son titre. En impliquant le public dans le processus de création, il lui offre un nouveau regard sur l'art chorégraphique, de l'intérieur, qui vise à lui faire comprendre certaines règles et outils de composition d'une pièce chorégraphique. Photos © Jean-Baptiste Bucau

Ioannis Mandafounis

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For the opening of BIPOD 2020 the directors of the Beirut International Platform of Dance, Mia Habis & Omar Rajeh, would like to address their audience on this 16th edition, which is taking place in very special circumstances and times. 

They will be joined by dance activist Peggy Olislaegers who accompanied Omar and Mia through the whole concept of this year's edition, sharing a space for thoughts and the three of them wanted to extend the invitation to all the guests speakers of BIPOD 2020. 

On this opening, 10 international guest artists will individually share a concern about culture, society, dance, thought, risk, and relationships.

Simultaneous translation available FR/EN.

Pour l'ouverture du BIPOD 2020, les directeurs de la Plateforme internationale de danse de Beyrouth, Mia Habis & Omar Rajeh, souhaitent s'adresser à leur public à l'occasion de cette 16e édition, qui se déroule dans des circonstances et des moments très particuliers.

Ils seront rejoints par la militante de la danse Peggy Olislaegers qui a accompagné Omar et Mia à travers tout le concept de l'édition de cette année, partageant un espace de réflexion au bout duquel ils ont voulu étendre l'invitation à tous les invités de BIPOD 2020.

Lors de cette ouverture, 10 invités exceptionnels partageront individuellement une préoccupation concernant la culture, la société, la danse, la pensée, le risque et les relations.

Traduction simultanée FR/EN.

BIPOD 2020 Opening | Concerns Out Loud

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