NOIRBLUE's choreography creates a fictional and atlantic navigation between two colours: the blackness of the skin and an ultramarine blue pigment.
There was a time when blue did not exist. In many old languages, such as Greek, Japanese or Hebrew, there was no word to describe this colour. Some historians explain that linguistic absence by the rare occurrence of the blue colour in nature. Others say that it is because those civilizations weren't enough developed to master, produce or even see that colour. In some of those languages in which the colour blue was made invisible, the word was derived from the colour black.
If we take a moment to examine the field of dance, we find that the colour black is present, as the only colour somehow. What gestures would emerge in a choreography where the same etymological procedure was applied? What does a blue dance look like, that arises as a derivative from a dance that can be regard as black? From a sacred, traditional and popular form to the contemporary manifestations, related to black population in Africa and the Diaspora?
FR
Choreography, dramaturgy, costumes and objects, interpretation – Ana Pi | Original Soundtrack – Jideh High Elements | Lights – Jean-Marc Ségalen | Preparations for this dance with – Taata Mutá Imê, Samuel Mwamé, BesreKè Ahou, Ousmane Baba Sy | Diffusion : Sarah de Ganck / Art Happens | Production – Ana Pi & Météores | Plateforme chorégraphique | Co-productions & Partners : Théâtre de Vanves // Studio residence - Centre National de la Danse // Technical residence - Das Plateau aux Ulis - Espace culturel Boris Vian // Laboratory residence - ROSA ass. 1901 // partnership - Festival Circular - Vila do Conde - Portugal // partnership
NOIRBLUE is dedicated to international activist movements #JovemNegroVivo and #BlackLivesMatter, as well as those who preceded them, demanding freedom, dignity and health for Black people worldwide.
In the framework of THE FUTURE IS FEMINIST.
