Artistic Process
“Choreography of a Sound Poetry” - A poly-artistic practice / Dance – Music – Poetry
Choreography of a Sound Poetry is a transdisciplinary approach that I have been practicing and developing in the fields of dance, music and poetry for several years. It is a poly-artistic approach. I understand it as a sensitivity and an artistic practice that I deploy in several aesthetic and expressive forms and which summon very different, even distant artistic qualities, and which often come together in a piece, a body, an event…
Productions
Poly-artistic choreographic performances
Artistic Process
“Choreography of a Sound Poetry” - A poly-artistic practice / Dance – Music – Poetry
Choreography of a Sound Poetry is an interdisciplinary approach that I have been practicing and developing for several years in the fields of dance, music and poetry. It's a polyartistic approach. I understand it as a sensitivity and artistic practice that I use in multiple aesthetic and expressive forms. Very different, even distant artistic qualities are revealed that can be combined in the same form.
I borrow this term from various modern and contemporary artistic movements and artists, such as William Kentridge, with whom I feel close. His polyartistic approach unfolds an astonishing variety of forms of expression, from which a particularly coherent and unique universe emerges. It exudes a great freedom, a creative freedom that, in my opinion, is applicable to all freedoms, especially political freedom - also an important aspect, albeit much more implicit, in my work.
By adopting this term for myself, I pay homage to the idea of freedom as fundamentally constitutive of art and human beings. This idea of freedom is both the engine of my artistic gesture and claim, source and goal, subject and object at the same time. I plant them at the core of my artistic approach, which is my way of being in the world, my being.
Alongside this work of experimenting and creating in each of these disciplines, my artistic approach explores their relationships - their tensions, their influences and mutual transformations - up to their merging into one entity, one space, one event, one body, here and now, to a coherence in an apparent heterogeneity.
What connects us all is the back and forth between the familiar and the strange when encountering the world, the back and forth between understanding and misunderstanding, between security and discomfort. For me it touches on what was called in ancient Greece: cosmos and chaos. In the work I try not to feel safe, not to relax in the face of familiar forms that have become hollow in a world of constant movement.
I value both heritage and tradition, cultural assets – thoughts, techniques, rules – tradition, memory, continuity and repetition. All the things that make us who we are. I am fascinated by the tension between these two poles, the familiar and the unknown, harmony and dissonance, cosmos and chaos, a vital tension that accompanies and nourishes my work - how to carry past and future into the present.
I attach great importance to the practice in daily work. It is the permanent repetition of the selected and transmitted forms that generates and sustains my inner movement. The resulting insight, like my stepping stone into the unknown, is always in search of “new information to change the world”.
The body, its presence, its organic existence - which was born, lives and will die - and the "I", carrier of its story, interacts with music and words that inhabit and transform it. It, the "I", produces and perceives them. Object and subject merge, they become one.
My physicality carries a different story, it speaks its own language with its own vocabulary and syntax. It is then as if the body were speaking from another level of consciousness: its language is itself, performatively.
This performative writing does not stabilize around an explicit meaning, a fixed form, it never stops moving. My creative process is allowed to be visible, meaning slips and meanings collide.
In my writing, the words, with an already percussive sound and an enigmatic polysemy, refer to the time and rhythm they create themselves. The poem, sung or spoken from a sonorous and extremely physical score, thus superimposes various signs, meanings and meaning.
The music unfolds at the intersection of popular traditions, classical and contemporary music in an often minimalist and dissonant approach.
These created elements are deconstructed, transformed through unusual musical twists and transported into the urgency of the present through a pulsating rhythm.
To the hybridization of art forms is added a multilingual script with its scenographic and musical embodiment: it then creates different levels of accessibility for the public, depending on the foreignness or familiarity of the language, its culture, its history, its sound. It evokes different universes and places them close and in relation to each other. In this way I offer the audience to have their own experience of their inner "landscape". The words are repeated, translated by intertwining the different languages - the original language and its translation, the foreign language or the one understood by the native audience. Playing with the interchangeability of the translated language depending on the geographical and cultural venue is part of my approach and falls under the question of translatability for me.
Driven by a restlessness, I venture into diversity - the diversity of forms, disciplines and cultures. I try to touch otherness, my otherness and the other's, to live and deal with confusion or even merging. I look for the disorder, the dissonance, the transcendence of my contours in order to touch the other.
Choreography of A Sound Poetry is a philosophy, a manifesto and a practice. It is the starting point that allows the emergence and unfolding of different forms. Each project evolves according to the theme it pursues, its own challenges, its location and its artistic collaborators. A kind of love for being and its mystery, an ode et encore.