La dystopie des heures creuses création

  • AYAGHMA

    France

    Hip hop dance, Chinese pole

  • 45mn
    Ages 5 and up
© Christian Varlet
© Julien Gros
© Christian Varlet

Presentation

Before nothing, before ennui, there is the deafening noise of the modern world, the rumor of the outside. Realistic idealists and dreamers seize these quiet, slow spaces so their imaginations can make room for new ambitions and creations. They eulogize boredom with panache in order to thwart the present and perhaps make it more palpable?

With La dystopie des heures creuses [The Dystopia of the Slow Hours], these artists offer us a chance to take our time and allow us to appreciate the possibilities of boredom. They do this through a quest for verticality and by moving their daily horizontal practice to another plane, ascending to a new place of imbalance, even risk.

By and with Nacim Battou and Julien Gros
Music Matthieu Pernaud
Scenography "Caillou" Michael Varlet and Axel Queval
Technical team Mathieu Guiseppi and Axel Queval (alternating)

With the support of Théâtre du Rond-Point in Valréas / Théâtre Le Sémaphore / Port de Bouc / L’Espace de la Confluence in Auriol / the Conservatory of Martigues / Site Pablo Picasso in Martigues / Loly Circus in Oraison

The AYAGHMA company receives support from DRAC PACA within the framework of the "Re-Opening the World" project.

When Nacim Battou was discovering "the world of art" at age 19, hip hop music imposed itself as a passion and a call to adventure that felt predestined. In 2016, he created the company AYAGHMA with the mad idea of creating a collective project and building a team that established a common identity composed of free spirits and unique perspectives, a company that would be like an artist collective. The idea was to develop projects together and to establish a microcosm of artists that fosters long-lasting relationships that provide time for deep reflections and where the fields of activity shape a space for individual expression. Sensitive to contemporary dance and its history, Nacim Battou’s movements are based on hip-hop dance as a language that can be transformed and imbued with a strong history of social and political commitment.

The company is nourished by encounters with artists from different horizons – musicians, photographers, actors, circus artists – and together they establish a shared vision: dance as a horizon for interaction with the world where projects are developed around a collaborative human dynamic and a multidisciplinary artistic approach.

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