{"id":1105,"date":"2015-11-14T14:58:55","date_gmt":"2015-11-14T13:58:55","guid":{"rendered":"https:\/\/www.viadanse.com\/?page_id=1105"},"modified":"2017-07-12T22:56:41","modified_gmt":"2017-07-12T21:56:41","slug":"the-directors","status":"publish","type":"page","link":"https:\/\/www.viadanse.com\/en\/the-directors\/","title":{"rendered":"The directors"},"content":{"rendered":"

[vc_row][vc_column width=”2\/3″][vc_column_text]H\u00e9la Fattoumi and \u00c9ric Lamoureux founded the Compagnie FATTOUMI\/ LAMOUREUX in 1988. Their first work Husa\u00efs<\/em> was awarded the prize for best first piece at the Bagnolet International Choreographic Competition in 1990, then their trio Apr\u00e8s-midi<\/em> received the \u201cNew Talents\u201d prize from the SACD in 1991. These two pieces placed them as leaders of the new generation of contemporary choreographers and brought them international renown.<\/p>\n

A space for research whose source is the intermingling of their individual features.<\/strong>
\nFrom piece to piece, they mine the intrinsic intelligence of the body, its power to reveal meaning, which can also be thought as a part of movement.
\nSeveral other important pieces were created in the same vein as Husa\u00efs<\/em>: Si loin que l\u2019on aille (at the Th\u00e9\u00e2tre de la Bastille and the Th\u00e9\u00e2tre de la Ville, 1992); Fiesta<\/em> (commissioned by the Avignon Festival, 1992); Asile Po\u00e9tique<\/em> (at the Th\u00e9\u00e2tre de la Ville, 2000) based on texts by the poet Antonio Ramos Rosa; Wasla, ce qui relie\u2026<\/em> (at the Lyon Dance Biennial, 1998); Vita Nova<\/em> (at the Grande Halle de la Villette, 2000) with the 11th graduating class of the National Center for Circus Arts.
\nThese pieces show choreographic work linked to the ideas of mastery\/ nonmastery, strength\/ fragility, minimalism\/ performance, a dance whose expressive weight is charged by a \u201cgraphic energy.\u201d<\/p>\n

They were appointed directors of the CCN of Caen\/ Basse-Normandie in 2004, where they continued their work with pieces focusing on societal issues.<\/strong>
\nThese works were La Mad\u00e2\u2019a<\/em> (at the Arsenal in Metz, 2004) with the Joubran brothers, Palestinian virtuosi on the oud; Pi\u00e8ze<\/em> (a \u201cpressure measurement\u201d) and La danse de Pi\u00e8ze<\/em> (at the Festival Dialogue de corps, Ouagadougou, 2006 and the Th\u00e9\u00e2tre de la Bastille), about the idea of \u201chomosensuality\u201d in the Arab-Muslim world; Just to dance…<\/em> (the Espace des Arts in Chalon-sur-Sa\u00f4ne, 2010), a piece about the idea of \u201ccreolization\u201d developed by \u00c9douard Glissant; MANTA<\/em>, a solo created at the Montpellier Festival in 2009 and performed on tour (Tokyo, S\u00e9oul, Berlin, Tunis, Brussels, Stockholm, Oslo), based on the problem inherent in wearing the niqab; Lost in burqa<\/em>, (at the Festival danse d\u2019ailleurs, 2011) a performance for 8 dancers, based on the \u201cclothing-sculptures\u201d by the Moroccan plastician Majida Khattari; Masculines<\/em> (at the Arsenal de Metz, 2013) and on the representations of the feminine on both sides of the Mediterranean.<\/p>\n

They are reactivating a choreographic research recharging itself with the expressive and poetic potential of dance.<\/strong>
\nUne douce imprudence<\/em> co-signed with Thierry Thie\u00fb Niang (at the Festival Ardanth\u00e9 2013, and the Th\u00e9\u00e2tre National de Chaillot, 2014) on the idea of \u201cCare\u201d; Waves<\/em>, a commission for the Swedish opera company NorrlandsOperan and its symphony orchestra, under the auspices of Ume\u00e5 2014, European cultural capital, for which they are associated with the Swedish singer and composer Peter von Poehl.<\/p>\n

They also chose to step outside theatres to work in situ in other reactive contexts.<\/strong>
\nIn February 2009, they created the performance St\u00e8les as part of a special “Nocturne”, a commission from the Louvre Museum.
\nIn 2008 they created Promenade at the Grand Palais, imagining a dialogue with the monumental sculptures of Richard Serra.
\nIn January 2012 they created Circle,<\/em> inviting the audience into the center of a circular structure where dance goes wild with the massed collective energy of 26 professional and amateur dancers.
\nIn 2013, as part of the Normandy Impressionist Festival they stepped inside the exhibition \u201cSummer at the water\u2019s edge\u201d at the Beaux-Arts Museum of Caen for a choreographic Fl\u00e2nerie<\/em> (wandering).<\/p>\n

Creation of the Festival Danse d\u2019Ailleurs (Dance from Elsewhere) (2005)<\/strong>
\nBeginning in 2005, they founded the Festival Danse d\u2019Ailleurs whose vocation is to put back into perspective the idea of universalism while questioning referent frameworks for modernity in art, relating to cultural horizons.
\nThe first four editions focused on artists from the vast, diverse African continent and brought international recognition to the event, and the following editions opened as far as Asia, linking with the Hot Summer Festival in Kyoto, Japan.<\/p>\n

H\u00e9la Fattoumi and \u00c9ric Lamoureux are fully committed to the promotion and the defense of choreographic art.<\/strong>
\nFrom 2001 to 2004, H\u00e9la Fattoumi was the dance vice president of the SACD (Soci\u00e9t\u00e9 des Auteurs Compositeurs Dramatiques). She was also in charge of programming the section called \u201dVif du sujet\u201d at the Avignon Festival.
\nFrom 2006 – 2008, she was the President of the ACCN (Association of the National Choreographic Centers). From 2010 – 2013 \u00c9ric Lamoureux took over the Presidency; he is now the vice president.
\nFrom 2013 to 2015, H\u00e9la Fattoumi has been the president delegated to long-term planning at the SYNDEAC.<\/p>\n

In March 2015 H\u00e9la Fattoumi and \u00c9ric Lamoureux were named Directors of the Centre chor\u00e9graphique national de Franche-Comt\u00e9 in Belfort, for which they are developing their VIADANSE project.<\/strong>[\/vc_column_text][\/vc_column][vc_column width=”1\/3″ animation=”none” column_padding=”no-padding” column_center=”” text_size=”petit” text_align=”left”][vc_column_text]BIBLIOGRAPHY<\/strong><\/p>\n

Instincts de danse<\/em><\/strong>, \u00c9d. En vue, 1999. – Christophe Wavelet, Marie-Christine Vernay, Natacha de Pontcharrat,<\/p>\n

Fattoumi Lamoureux, Danser l\u2019entre l\u2019autre<\/strong><\/em>, \u00c9d. S\u00e9guier, 2009. – Christine Roquet (preface Jean-Marc Adolphe).[\/vc_column_text][minti_spacer height=”15″][tiret_separation][minti_spacer height=”15″][vc_column_text]FILMOGRAPHY<\/strong><\/p>\n

Solstice-film<\/em><\/strong>, Christophe Bargues, Lancelot Film, Urvan Letro\u00efga, Le Centre Pompidou, Canal+ 1996.<\/p>\n

Animal Regard-film<\/em><\/strong>, Benjamin Silvestre, Urvan Letro\u00efga, Cie des Indes, France 3 Lorraine Champagne Ardenne, TV8 Moselle, L\u2019Arsenal de Metz, 2003<\/p>\n

Entre-Temps<\/strong><\/em>, Benjamin Silvestre, Heure d\u2019\u00e9t\u00e9 productions, Urvan Letro\u00efga, TV8 Moselle-Est, 2005<\/p>\n

La Mad\u00e2\u2019a-film<\/em><\/strong>, Benjamin Silvestre, Heure d\u2019\u00e9t\u00e9 productions, Arte France, CCNC\/BN, 2006<\/p>\n

Manta-film<\/strong><\/em>, Val\u00e9rie Urr\u00e9a, Cie des Indes, CCNC\/BN, 2013.[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"[vc_row][vc_column width=”2\/3″][vc_column_text]H\u00e9la Fattoumi and \u00c9ric Lamoureux founded the Compagnie FATTOUMI\/ LAMOUREUX in 1988. Their first work Husa\u00efs […]","protected":false},"author":1,"featured_media":3247,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"_acf_changed":false,"footnotes":""},"categorie-page":[],"class_list":["post-1105","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.viadanse.com\/en\/wp-json\/wp\/v2\/pages\/1105","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.viadanse.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.viadanse.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.viadanse.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.viadanse.com\/en\/wp-json\/wp\/v2\/comments?post=1105"}],"version-history":[{"count":4,"href":"https:\/\/www.viadanse.com\/en\/wp-json\/wp\/v2\/pages\/1105\/revisions"}],"predecessor-version":[{"id":1109,"href":"https:\/\/www.viadanse.com\/en\/wp-json\/wp\/v2\/pages\/1105\/revisions\/1109"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.viadanse.com\/en\/wp-json\/wp\/v2\/media\/3247"}],"wp:attachment":[{"href":"https:\/\/www.viadanse.com\/en\/wp-json\/wp\/v2\/media?parent=1105"}],"wp:term":[{"taxonomy":"categorie-page","embeddable":true,"href":"https:\/\/www.viadanse.com\/en\/wp-json\/wp\/v2\/categorie-page?post=1105"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}