December 7th 1995. It is 9pm. Laurence and Nicolas are on tour with a dance company called Le Ballet Jazz Art de Paris. The show is over; they are on their way from the Beirut Theatre to an evening specially organized for the company in an up-market restaurant of the capital. The twelve dancers together with the rest of the team arrive at the restaurant to join a table of intellectuals, journalists, writers, poets and TV presenters eagerly waiting to meet the Parisian troupe.<\/em><\/p>\n It is 1995. The mezz\u00e9s are flowing and there is a feast-like atmosphere. The Lebanese civil war has come to a close. The city has regained its status as a tourist, commercial, cultural and intellectual centre of the Middle East. The guests are enjoying Lebanese pop music and are partying like there is no tomorrow. Everything that matters is happening here and now.<\/em><\/p>\n Laurence starts to dance with one of her colleagues and a TV personality, sweating and undulating in a collective euphoria. The evening is at its climax.On the same evening, Mohamed Matar passes away. Moving as if her body is as solid and fragile as an undulating rope, Laurence seems to be driven by<\/em> an endless motive of torsions and isolations. Did Mohamed Matar transmit his maq\u00e2m to her? Meanwhile, Nicolas is sat struggling at a table attempting to work out whether he has drunk too much arak, whether his polish roots have let him down or if he cannot handle 50 per cent alcohol anymore. Or maybe it is Laurence, who he has been flirting with for a few days, that is slowly casting a spell over him through her alluring dance.<\/em><\/p>\n All this has happened.<\/p>\n Since then, Laurence Yadi and Nicolas Cantillon have created a dance style that invites the body to continuously and endlessly unravel, which is similar in process to how the maq\u00e2m works: playing around the restrictions of the occidental tonal system. This is what defines their multi-styles FuittFuitt.<\/p>\n With Beirut 1995<\/strong>, the choreographers aim to stage a specific moment; a moment that they hold on to and stretch in order to keep it alive. Which is perhaps what they have attempted to do since the very beginning of their careers as dancers and choreographers. In order to do it, they invite two musicians on stage for the project\u00a0: Adel Degaichia and Ammar Toumi, both maq\u00e2m specialists and trained in Arabic classical music. The format of the piece is a concert in which Arabic traditional music will be played live alongside a dance that is the natural projection of it.<\/p>\n <\/p>\n","protected":false,"raw":"It is 1995, Laurence Yadi and Nicolas Cantillon are in Beirut, Lebanon. There begins a story that will lead them to a world of creation tainted by the unique atmosphere of what they consider being their first true meeting.<\/h4>\r\n
The same year, Mohamed Matar (Arabic buzuq master) dies prematurely in Beirut, aged 56. Laurence and Nicolas never met Mohamed Matar but he will play a central role in this creation.<\/h4>\r\n
Beirut 1995 is an attempt to reenact the moment of birth of their multi-styles FuittFuitt under the guise of a fairy tale.<\/h4>\r\nDecember 7th 1995. It is 9pm. Laurence and Nicolas are on tour with a dance company called Le Ballet Jazz Art de Paris. The show is over; they are on their way from the Beirut Theatre to an evening specially organized for the company in an up-market restaurant of the capital. The twelve dancers together with the rest of the team arrive at the restaurant to join a table of intellectuals, journalists, writers, poets and TV presenters eagerly waiting to meet the Parisian troupe.<\/em>\r\n\r\nIt is 1995. The mezz\u00e9s are flowing and there is a feast-like atmosphere. The Lebanese civil war has come to a close. The city has regained its status as a tourist, commercial, cultural and intellectual centre of the Middle East. The guests are enjoying Lebanese pop music and are partying like there is no tomorrow. Everything that matters is happening here and now.<\/em>\r\n\r\nLaurence starts to dance with one of her colleagues and a TV personality, sweating and undulating in a collective euphoria. The evening is at its climax.On the same evening, Mohamed Matar passes away. Moving as if her body is as solid and fragile as an undulating rope, Laurence seems to be driven by<\/em> an endless motive of torsions and isolations. Did Mohamed Matar transmit his maq\u00e2m to her? Meanwhile, Nicolas is sat struggling at a table attempting to work out whether he has drunk too much arak, whether his polish roots have let him down or if he cannot handle 50 per cent alcohol anymore. Or maybe it is Laurence, who he has been flirting with for a few days, that is slowly casting a spell over him through her alluring dance.<\/em>\r\n\r\nAll this has happened.\r\n\r\nSince then, Laurence Yadi and Nicolas Cantillon have created a dance style that invites the body to continuously and endlessly unravel, which is similar in process to how the maq\u00e2m works: playing around the restrictions of the occidental tonal system. This is what defines their multi-styles FuittFuitt.\r\n\r\nWith Beirut 1995<\/strong>, the choreographers aim to stage a specific moment; a moment that they hold on to and stretch in order to keep it alive. Which is perhaps what they have attempted to do since the very beginning of their careers as dancers and choreographers. In order to do it, they invite two musicians on stage for the project\u00a0: Adel Degaichia and Ammar Toumi, both maq\u00e2m specialists and trained in Arabic classical music. The format of the piece is a concert in which Arabic traditional music will be played live alongside a dance that is the natural projection of it.\r\n\r\n "},"parent":0,"menu_order":20,"template":"","meta":{"_fr_post_content":"
En 1995, Laurence Yadi et Nicolas Cantillon sont au Liban, \u00e0 Beyrouth. Commence alors une histoire qui les conduira dans un monde de cr\u00e9ation, lequel sera continuellement berc\u00e9 par l\u2019atmosph\u00e8re singuli\u00e8re de leur premi\u00e8re vraie rencontre.<\/h4>\r\n
La m\u00eame ann\u00e9e \u00e0 Beyrouth, Mohamed Matar (ma\u00eetre du buzuq arabe) d\u00e9c\u00e8de pr\u00e9matur\u00e9ment \u00e0 l\u2019\u00e2ge de 56 ans. Laurence et Nicolas n\u2019ont jamais rencontr\u00e9 Mohamed Matar, mais il sera une figure centrale dans cette nouvelle cr\u00e9ation.<\/h4>\r\n
Beyrouth 1995 se propose de rejouer le moment fondateur du Multi styles FuittFuitt sous la forme d'un conte.<\/h4>\r\nIl est 21h, le 7 d\u00e9cembre 1995 \u00e0 Beyrouth, Laurence et Nicolas sont en tourn\u00e9e avec le Ballet Jazz Art de Paris, compagnie de danse. Le spectacle est termin\u00e9, ils quittent le th\u00e9\u00e2tre de Beyrouth pour une soir\u00e9e organis\u00e9e en l'honneur de la compagnie dans un restaurant couru de la capitale. Les douze danseurs ainsi que le reste de l\u2019\u00e9quipe arrivent au restaurant. Sont d\u00e9j\u00e0 attabl\u00e9s des intellectuels, des journalistes, des \u00e9crivains, des po\u00e8tes, des pr\u00e9sentateurs-t\u00e9l\u00e9 impatients de rencontrer la troupe parisienne.<\/em>\r\n\r\nLes mezz\u00e9s passent, l\u2019ambiance est \u00e0 la f\u00eate, nous sommes en 1995. Le Liban se rel\u00e8ve \u00e0 peine de sa guerre civile: la ville a alors retrouv\u00e9 son statut de centre touristique, commercial, culturel et intellectuel du Moyen-Orient. Les tubes de musique pop libanaise engagent les convives \u00e0 l\u2019amusement. L\u2019ambiance est celle de ces soir\u00e9es o\u00f9 on imagine que le lendemain ne veut rien dire et que tout se passe ici et maintenant.<\/em>\r\n\r\nLaurence se met \u00e0 danser avec une vedette de la t\u00e9l\u00e9 et un danseur de la compagnie, c\u2019est le climax de la soir\u00e9e. Transpiration, ondulations, euphorie collective. <\/em>Au m\u00eame moment, Mohamed Matar s'\u00e9teint. <\/em>Laurence est transport\u00e9e par une force qui fera de son corps une corde aussi solide que fragile o\u00f9 se cr\u00e9e une combinaison de torsions et d\u2019isolations qui semblent vouloir ne jamais s\u2019arr\u00eater. <\/em>Mohamed Matar vient-il de lui transmettre son maq\u00e2m? <\/em>Assis \u00e0 une table, imbib\u00e9 d\u2019arak, Nicolas est interdit sur sa chaise. Il ne sait plus si tout \u00e7a est r\u00e9el, si ses origines polonaise l\u2019ont l\u00e2ch\u00e9, s\u2019il ne supporte plus l\u2019alcool \u00e0 50\u00b0 ou si Laurence, avec laquelle il flirte depuis quelques jours, est en train de l\u2019ensorceler par le biais d\u2019une danse fatale.<\/em>\r\n\r\nTout cela a bien eu lieu.\r\n\r\nDepuis, Laurence et Nicolas \u00e9laborent des pi\u00e8ces o\u00f9 le style de danse invite le corps \u00e0 se d\u00e9rouler continuellement, sans fin, \u00e0 l'instar des modes des maq\u00e2ms qui d\u00e9jouent les contraintes du syst\u00e8me tonal occidental. Voil\u00e0 le Multi stylesFuittFuitt. Avec la pi\u00e8ce\u00a0Beyrouth 1995, les chor\u00e9graphes mettent en sc\u00e8ne un instant. Cet instant, ils l\u2019\u00e9tirent comme pour le conserver \u00e9ternellement. C\u2019est peut-\u00eatre cela qu\u2019ils font depuis le d\u00e9but de leur carri\u00e8re de danseurs et chor\u00e9graphes, \u00e9tirer cet instant-l\u00e0.\r\n\r\nPour cela, ils invitent deux musiciens form\u00e9s \u00e0 la musique classique arabe et sp\u00e9cialistes des maq\u00e2ms sur sc\u00e8ne: Adel Dega\u00efchia et Ammar Toumi.\u00a0 La pi\u00e8ce prend la forme d'un concert o\u00f9 sera jou\u00e9 en direct des partitions musicales de tradition arabe. Les chor\u00e9graphes r\u00e9v\u00e8lent une danse qui est la projection naturelle du concert.\r\n\r\n<\/div>","_fr_post_excerpt":"","_fr_post_title":"Beyrouth 1995","_fr_post_name":"beyrouth-1995","edit_language":"en"},"excerpt":{"raw":"","rendered":""},"_links":{"self":[{"href":"https:\/\/archives2025.cie7273.com\/en\/wp-json\/wp\/v2\/project\/8"}],"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=8"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}