In Point Zéro, Amala Dianor works again with Johanna Faye and Mathias Rassin, well-known dancers and friends he knows from the street dance world. Working with music by Awir Léon, they create a trio which shares the experience of their artistic journeys and each artist’s aesthetics, in order to (re)discover the founding values of hip hop, and to see how and if it is possible to use them to create, transmit and dance together. Creator’s note “It is sometimes difficult to know where we are going, but we do know where we come from. Dance, street dance, hip hop and contemporary dance are our DNA. We have fully experienced these differing vocabularies which have redefined us as artists, each and every time.
Point Zéro is above all, an invitation to dance -- with two of my friends, both well-known dancers. It is about experiencing together the journey each of us have taken, through the various aesthetics which are the landmarks of that journey. Johanna, Mathias and I all began doing street dance, then each of us chose our own paths, as it were, filled with personal encounters, sharing, a hybridization of ideas. Point Zero is literally the central, chosen place from which all distances are calculated. What is the road we have traveled on during all these years of research? In France our point zero is the plaza in front of the great Cathedral, Notre Dame de Paris, in a city which is also one of the centers of hip hop culture. Coincidentally, there was a terrible fire at Notre Dame this year, creating a wave of emotion and sadness.
What remains of our cathedral of urban dancers, of our original chapels? Are they still intact after so many years? Are we still able to go back there, to draw from this place to create, transmit, move together? For Mathias the answer is a firm ‘yes’ – he never gave up his signature dance, a fusion of street dance and hip hop. There is however the question of the aging of the body, which affects somewhat the physical intensity of his dance vocabulary. With Johanna, I am interested in exploring not only finding a balance between the multiple techniques which coalesce in her dancing, but also the space where the brute tonicity of Mathias meets the fluidity and flow which I have worked with for so many years.
Point Zéro is also an opportunity to begin addressing the power relationship: is otherness also a subtle game of power? How can we remain authentic? What am I willing to give up? What relationship can be built if we are trying to create it together while remaining faithful to our individualism?”
“To the electro-atmospheric music of Awir Leon, who has worked with Dianor for years, he leads his colleagues into an exploration of deep waters, cruising through paths they have traveled before, revisiting the fundamentals, the channels they need to open to keep moving forward. This will be an exciting trio.”
“(…) Point Zéro, a brand new work by Dianor, is an ode to movement. It accentuates the pelvis, dares to let the bodies undulate, deconstructing the trio form. You can’t tell which genre is infiltrating which form, the contemporary or the urban dancing. In nuanced work, the choreographer creates an autobiography of three friends gradually caught up in the passage of time. Point Zéro is however not about nostalgia, focusing more on the energy of the dancing. (…) Before our eyes, the soloist in Wo-Man seems to take on different faces, that of a warrior or of a child. To an electronic music score by Awir Léon, Gomis’ movement is precise, quite inventive. Wild currents of adrenaline seem to ripple through her limbs, accelerating to the point of exhaustion.”
“At the Maison de la danse, the choreographer will himself dance in Extension, then in Point Zéro. At more than 45 years old, he is currently planning his next work for twelve dancers, in collaboration with the plastician Grégoire Korganow, and inspired by Greek mythology.”
“Through his own experience, he gradually built his own transdisciplinary language (melding hip hop, neoclassical, African dance and contemporary dance), notable for its virtuosity, simplicity, the absencce of spectacular effects, the exploration of the fundamental materials in movement and the body.”
“Placed somewhere between contemporary, ballet, hip hop and African dance, he creates a hybrid of their vocabularies, revealing a unique language which seeks the link between our differences. Luminous and poetic, his dancing consists of powerful, feline movements. Amala Dianor continues to seduce both audiences and programmers.”
“Having been part of the Babel project established in 2018, these five impassioned dancers bulldoze their way into disobedience, attempting to make their dreams come true.”
“Since transmission and collective work have always been essential components for this creator, it is for five hip hop dancers that he participated in the choreography of Urgence (Urgency), a near conjuring of urban rage as a form of personal emancipation.”
“In 2020, Amala Dianor, instead of reviving his own solo, imagined for this dancer a prolongation of the choreography, recreating it on the body of a young woman. A vibrant, pulsating dancer, Nangaline allows him to transpose himself into an entirely different body, reconstructing, reinventing and rewriting his journey. This solo resonates like an extension, a prolongation of [him]self, supported by this dancer’s tonicity, vitality and commitment,”
“Time seems to stop onstage during Culturebox, the program where the dancers and choreographers Amala Dianor and Johanna Faye (from the Compagnie Amala Dianor) present the creation Point Zéro.
You may find this program presented by Daphné Bürki and Raphäl, here: www.bit.ly/3sSxHFz.”
Amala Dianor is associated artist to Touka Danses, CDCN Guyane, France (2021-2024) and Théâtre de Macon, France (2021-24) ; Les Quinconces - l’Espale, scène nationale le Mans, France (2021-2024).
Cie Amala Dianor / Kaplan, sustained by French State - DRAC Pays de la Loire, Pays de la Loire Region, Town of Angers. Since 2020, it is receiving the support of BNP Paribas Foundation.