The 27th edition of Suresnes Cités Danse will take place at the Théâtre Jean Vilar until February 3 with seven creations, twenty-eight performances, sixteen shows (1). This event, dedicated to hip-hop, orchestrated by Olivier Meyer, has continued to expand its audience, at a time when a third national choreographic center (Rennes), of the nineteen present in France, is dedicated to the discipline , with the appointment of a collective at its head, in this month of January.
Two creations opening. Chantal Loïal, born in Pointe-à-Pitre (Guadeloupe), at the head of the company Difé Kako, proposes Circle equal half circle squared (our photo), confrontation between traditional social dances, so-called contredanses (quadrille of Guadeloupe, high- size of Martinique, baker of Guyana), and hip-hop. The choreographer noticed by José Montalvo in Suresnes years ago as an interpreter joined him later. Twelve dancers of all ages, from Martinique, Guadeloupe, Guyana, Africa or France, some instrumentalists, invest the stage; dressed in white, tennis on the feet, pieces of cloth madras sewn on their coat, here or there, in a ciphered language which creolizes them.
Different types of dance intervene around two forms common to hip-hop and contredanse: the circle and the square. Brought by the colonists in the eighteenth century, the contredanses, first practiced by the bourgeoisie and then adopted by slaves and the working class, are thus put in friction, for example with krump (rage of gestures executed very quickly) where the bodies frenzy. Four couples of dancers and traditional dancers, women in Antillean headdress (three ends: "my heart is taken, married", four ends: "there is room for who wants it") invite themselves on the boards , far from silhouettes encapsulated with broken movements. Live music hybridizes sounds, hits the ages, while Creole fills the mouths with stuttered memories. Men and women mimic the sound of the wind or that of the hen who cackles. These teeming sounds are rooted in complex dances that pound the muscles. A Métis movement speaks when the storyteller gives life to stray voices. Scraps of projected archives compile fragments of an intangible heritage that Chantal Loïal applies to resurrect.
Change of tone with the creation of Josette Baïz, who presents the Final. Eight dancers (three women, five men), each with a number glued to their garment, play to compete at an audition. Athletes of high level, facing an imaginary jury (the public?) They give free rein to their talent, solo or in groups.
The approach, an ironic strand, gives all the leisure to the spectators to apprehend side by side the figures of the hip-hop (popping, clappers, break, smurf …) via trained bodies. The movements breathe at ease. We have time to locate one or the other. He is a whole in muscles, cap, adept krump, which stiffens his body, arms and face stretched by the effort. A frail young woman in red tennis disarticulates from the feet, in inspired jolts: a mix between the trance and the cooking of the popcorn.