{"id":49,"date":"2019-10-25T14:13:37","date_gmt":"2019-10-25T14:13:37","guid":{"rendered":"https:\/\/cie7273.com\/nouveausite2019\/?post_type=project&p=49"},"modified":"2025-09-15T10:38:52","modified_gmt":"2025-09-15T10:38:52","slug":"tarab","status":"publish","type":"project","link":"https:\/\/archives2025.cie7273.com\/en\/project\/tarab\/","title":{"rendered":"","raw":""},"content":{"rendered":"

A gigantic spinal column blows like grass in the wind, fanning the dancers across the stage. We gaze upon the heart of\u00a0Tarab<\/em>, this ductile calligraphy, alive and spreading in the background, now unfolding into two continuous, rhythmic lines of lingering, magnetic agitation. What follows is an uninterrupted choreographic phrase in continual metamorphosis. It avoids accented beats, favoring the transitions between fluid patterns and forms with a certain mysterious quality. In the wake of the sextet\u00a0Nil<\/em>\u00a0(Swiss Dance and Choreography Award 2011) and its effervescent undulation of flowing bodies,\u00a0Tarab<\/em>\u00a0unveils ten dancers in striking combinations. It calls to mind the DNA of our shared humanity as much as the cultural jigsaw puzzle unfurling in the hybrid choreographic grammar of Laurence Yadi and Nicolas Cantillon.<\/h4>\n

The Oriental-inspired dance with undulating pelvic movements encountered in this piece engages a delicate balancing act with the classic groove across the\u00a0dance floor,<\/em>\u00a0marvelously slowed down and out of sync. The choreographers combine hip movements found in the soul dancing of B-Series, funk, R&B and rock, with lines of liquid, graphic arms. Unbound hands move in a continuous cascade of fluttering fingers, an element which the former masters of tap-dancing and acrobatic dance, the Nicholas Brothers, turned to their choreographic advantage. This is reminiscent of Henri Michaux\u2019s asemic writing, those fleeting figures of evanescent beauty, peculiar and distorted.<\/p>\n

In the multiple layers of changing positions, of bodies spinning and coiling slowly upon themselves as if following the drift of a languid flamenco, the piece avoids dramatizing movement. It traces without pause a continuous line of anatomical curves. This hypnotic and limpid line, at once fleshy and ethereal, generates a flow whose source emanates from the young dancers. Transmission is the silt of the work undertaken. We watch these bodies moving again and again in a state at times volatile and diffuse, forming a shifting semi-circle of community which envelopes the soloist, depicting a landscape, an emotion and other often inexpressible sensations. In this respect,\u00a0Tarab<\/em>\u00a0is perhaps the most accurate fulfillment of the vow formulated as far back as\u00a0Climax<\/em>\u00a0(2006)\u2014an orderly progression without rhythmic changes moving towards an always deferred orgasmic plateau. In other words, the infinite renewal of the question of what dance should consist of. The piece gives the audience the liberty to contemplate and to question; we find in these endless spiral movements a nourishment both appeasing and staggering.<\/p>\n

True to the festive side of\u00a0soufi-groovy<\/em>,\u00a0Tarab<\/em>\u00a0bathes in an atmosphere of vibrating strings which resound in echoes, brought to us by the prodigious jazz and world music guitarist Jacques Mantica. This enveloping sound matrix is sustained by the meandering, muffled tread of layers of bass. We are at the source of \u201ctarab\u201d, a musical emotion evoking an instrumental and expressive chant, like an evocative poem, or a palette of feelings gravitating from a deep interiority to an intense exaltation, a reflection of life in the streets of Cairo. Hence this distant recollection of the melodic and traditional form of quarter tone called\u00a0maqam<\/em>\u00a0which stresses the tie between two movements.<\/p>\n

Tarab<\/em>\u00a0approaches the realm of trance with the disarming innocence of an adolescent, reaping wholeheartedly the states that it attempts to render simultaneously\u2014rapture and melancholy, concentration and letting go. The choreography takes a musical turn, tuned to the fluctuating strata of low, deep strings which create an echo chamber for the solitude of a gently undulating strand of algae, carried along by the languid twists and turns of its course. This moment of deepening twilight confirms the appeal of\u00a0Tarab\u00a0<\/em>for the intermediary, for that which lies between, and resonates like a promise held by awakened senses, the enticing savor of an encounter to be continued.<\/p>\n

Bertrand Tappolet<\/strong><\/p>\n

Translation :\u00a0Steven Hanebutt<\/strong><\/p>\n","protected":false,"raw":"

A gigantic spinal column blows like grass in the wind, fanning the dancers across the stage. We gaze upon the heart of\u00a0Tarab<\/em>, this ductile calligraphy, alive and spreading in the background, now unfolding into two continuous, rhythmic lines of lingering, magnetic agitation. What follows is an uninterrupted choreographic phrase in continual metamorphosis. It avoids accented beats, favoring the transitions between fluid patterns and forms with a certain mysterious quality. In the wake of the sextet\u00a0Nil<\/em>\u00a0(Swiss Dance and Choreography Award 2011) and its effervescent undulation of flowing bodies,\u00a0Tarab<\/em>\u00a0unveils ten dancers in striking combinations. It calls to mind the DNA of our shared humanity as much as the cultural jigsaw puzzle unfurling in the hybrid choreographic grammar of Laurence Yadi and Nicolas Cantillon.<\/h4>\r\nThe Oriental-inspired dance with undulating pelvic movements encountered in this piece engages a delicate balancing act with the classic groove across the\u00a0dance floor,<\/em>\u00a0marvelously slowed down and out of sync. The choreographers combine hip movements found in the soul dancing of B-Series, funk, R&B and rock, with lines of liquid, graphic arms. Unbound hands move in a continuous cascade of fluttering fingers, an element which the former masters of tap-dancing and acrobatic dance, the Nicholas Brothers, turned to their choreographic advantage. This is reminiscent of Henri Michaux\u2019s asemic writing, those fleeting figures of evanescent beauty, peculiar and distorted.\r\n\r\nIn the multiple layers of changing positions, of bodies spinning and coiling slowly upon themselves as if following the drift of a languid flamenco, the piece avoids dramatizing movement. It traces without pause a continuous line of anatomical curves. This hypnotic and limpid line, at once fleshy and ethereal, generates a flow whose source emanates from the young dancers. Transmission is the silt of the work undertaken. We watch these bodies moving again and again in a state at times volatile and diffuse, forming a shifting semi-circle of community which envelopes the soloist, depicting a landscape, an emotion and other often inexpressible sensations. In this respect,\u00a0Tarab<\/em>\u00a0is perhaps the most accurate fulfillment of the vow formulated as far back as\u00a0Climax<\/em>\u00a0(2006)\u2014an orderly progression without rhythmic changes moving towards an always deferred orgasmic plateau. In other words, the infinite renewal of the question of what dance should consist of. The piece gives the audience the liberty to contemplate and to question; we find in these endless spiral movements a nourishment both appeasing and staggering.\r\n\r\nTrue to the festive side of\u00a0soufi-groovy<\/em>,\u00a0Tarab<\/em>\u00a0bathes in an atmosphere of vibrating strings which resound in echoes, brought to us by the prodigious jazz and world music guitarist Jacques Mantica. This enveloping sound matrix is sustained by the meandering, muffled tread of layers of bass. We are at the source of \u201ctarab\u201d, a musical emotion evoking an instrumental and expressive chant, like an evocative poem, or a palette of feelings gravitating from a deep interiority to an intense exaltation, a reflection of life in the streets of Cairo. Hence this distant recollection of the melodic and traditional form of quarter tone called\u00a0maqam<\/em>\u00a0which stresses the tie between two movements.\r\n\r\nTarab<\/em>\u00a0approaches the realm of trance with the disarming innocence of an adolescent, reaping wholeheartedly the states that it attempts to render simultaneously\u2014rapture and melancholy, concentration and letting go. The choreography takes a musical turn, tuned to the fluctuating strata of low, deep strings which create an echo chamber for the solitude of a gently undulating strand of algae, carried along by the languid twists and turns of its course. This moment of deepening twilight confirms the appeal of\u00a0Tarab\u00a0<\/em>for the intermediary, for that which lies between, and resonates like a promise held by awakened senses, the enticing savor of an encounter to be continued.\r\n\r\nBertrand Tappolet<\/strong>\r\n\r\nTranslation :\u00a0Steven Hanebutt<\/strong>"},"parent":0,"menu_order":7,"template":"","meta":{"_fr_post_content":"
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Une colonne vert\u00e9brale g\u00e9ante s\u2019agite comme herbes au vent articulant en \u00e9ventail les\u00a0danseurs.\u00a0Contemplez au c\u0153ur de\u00a0Tarab, cette ductile calligraphie du vivant \u00e9tag\u00e9e au lointain, qui maintenant\u00a0se d\u00e9double en deux lignes continues de rythmes jouant de l\u2019agitation lente, magn\u00e9tique. D\u00e8s lors\u00a0infuse une phrase chor\u00e9graphique ininterrompue en constante m\u00e9tamorphose. Elle fuit le temps accentu\u00e9, pour privil\u00e9gier les transitions entre les motifs fluides, aux formes empreintes de myst\u00e8re. Dans le sillage renouvel\u00e9 du sextuor\u00a0Nil\u00a0(Prix suisse de la danse et de la chor\u00e9graphie 2011) et son ondulation mousseuse de corps flottants,\u00a0Tarab\u00a0d\u00e9voile un saisissant couplage de dix corps. Il \u00e9voque\u00a0autant l\u2019ADN de notre humanit\u00e9 commune que le puzzle culturel se d\u00e9ployant dans la grammaire\u00a0chor\u00e9graphique m\u00e9tiss\u00e9e cisel\u00e9e par Laurence Yadi et Nicolas Cantillon.<\/h4>\r\n<\/div>\r\n<\/div>\r\n
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\r\n\r\nDans le feuillet\u00e9 des changements d\u2019orientations des corps tournoyant et s\u2019enroulant lentement sur eux-m\u00eames comme au fil d\u2019un flamenco alangui, la cr\u00e9ation s\u2019\u00e9carte de toute dramatisation du mouvement dans\u00e9. Sans but\u00e9e ou pause, s\u2019\u00e9pelle une ligne continue de volutes anatomiques. Hypnotique et limpide, cette ligne \u00e0 la fois charnue et \u00e9th\u00e9r\u00e9e g\u00e9n\u00e8re un flux, dont les sources\u00a0d\u2019\u00e9missions sont \u00e9galement r\u00e9parties entre de juv\u00e9niles\u00a0interpr\u00e8tes, la transmission \u00e9tant ici le limon du travail men\u00e9\u00a0en commun. Il suffit de regarder encore et encore ces corps \u00e0 l\u2019\u00e9tat parfois volatil,\u00a0diffus, dessinant un demi-cercle mouvant d\u2019\u00e9coute\u00a0communautaire\u00a0bordant la soliste, S\u2019y d\u00e9peignent un paysage, une \u00e9motion et bien d\u2019autres sensations parfois indicibles. En cela,\u00a0Tarab\u00a0est peut-\u00eatre\u00a0aussi la plus fid\u00e8le r\u00e9alisation au v\u0153u formul\u00e9 d\u00e8s\u00a0Climax\u00a0(2006)\u00a0\u2013\u00a0progression distanci\u00e9e sans changement de rythmes vers un plateau orgasmique toujours repouss\u00e9. Soit cet infini recommencement du regard en quoi devrait consister la danse. Ce qui se donne \u00e0 voir favorise ainsi une grande mobilit\u00e9 du regard chez le spectateur, trouvant dans ses mouvements spiral\u00e9s sans fin,\u00a0une nourriture d\u2019apaisement\u00a0et de sid\u00e9ration m\u00eal\u00e9es.\r\n\r\nFid\u00e8le \u00e0 sa dimension festive de\u00a0soufi-groovy, la pi\u00e8ce est sertie par une atmosph\u00e8re de cordes chatoyantes perl\u00e9es en \u00e9chos, dont nous innerve le guitariste prodige Jacques Mantica venu du Jazz et de la World Music. Soutenue par des teintes de basse, serpentant \u00e0 pas feutr\u00e9s, voici une matrice sonore enveloppante. On est l\u00e0 aux sources du \u00ab tarab \u00bb, une \u00e9motion musicale renvoyant \u00e0 une m\u00e9lop\u00e9e instrumentale expressive favorisant une po\u00e9sie \u00e9vocatrice. Mais aussi une palette de sentiments gravitant d\u2019une grande int\u00e9riorit\u00e9 \u00e0 une exaltation parfois violente, reflet de la vie des rues populaires du Caire.\u00a0D\u2019o\u00f9 ce\u00a0lointain souvenir du mode m\u00e9lodique traditionnel en quart de ton appel\u00e9\u00a0maq\u00e2m\u00a0et soulignant la liaison entre deux mouvements.\r\n\r\nCe grand bain de transe,\u00a0Tarab\u00a0le prend avec un s\u00e9rieux d'adolescent, qui l'autorise \u00e0 recueillir pleinement, et avec une innocence d\u00e9sarmante, les \u00e9tats qu'il cherche \u00e0 rendre simultan\u00e9ment\u00a0\u2013\u00a0extase et m\u00e9lancolie, concentration et l\u00e2cher prise.\u00a0La chor\u00e9graphie suit en cela une direction toute musicale, r\u00e9gl\u00e9e sur la ventilation de nappes de cordes profondes qui finissent par faire chambre\u00a0d\u2019\u00e9chos \u00e0 la solitude d\u2019un corps d\u2019algue\u00a0ondoyant doucement au gr\u00e9 de sa sinuosit\u00e9 languide. Ce\u00a0moment d\u2019heure bleue confirme le go\u00fbt de\u00a0Tarab\u00a0pour l'entre-deux. Et r\u00e9sonne comme une promesse tenue pour les sens en \u00e9veil,\u00a0qui a la secr\u00e8te saveur d\u2019un rendez-vous encourageant pour la suite.\r\n\r\nBertrand Tappolet\r\n\r\n<\/div>\r\n<\/div>","_fr_post_excerpt":"","_fr_post_title":"Tarab","_fr_post_name":"tarab","edit_language":"en"},"excerpt":{"raw":"","rendered":""},"_links":{"self":[{"href":"https:\/\/archives2025.cie7273.com\/en\/wp-json\/wp\/v2\/project\/49"}],"collection":[{"href":"https:\/\/archives2025.cie7273.com\/en\/wp-json\/wp\/v2\/project"}],"about":[{"href":"https:\/\/archives2025.cie7273.com\/en\/wp-json\/wp\/v2\/types\/project"}],"wp:attachment":[{"href":"https:\/\/archives2025.cie7273.com\/en\/wp-json\/wp\/v2\/media?parent=49"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}