For their first piece, “Four Three”, a duo formed as part of the wider Conversation(s) project, Andrège BIDIAMAMBU and Seren KANO (AS compagnie) have decided to explore together their thoughts and approach to their ‘Locking’ dance practice, stepping outside its usual context of training sessions and battles…

They take ownership of and experiment with the elements that, for them, constitute the essence of “Locking”: groove, technique, rhythms… and turn them into their means of communication, much like a language, inviting the audience to witness one of these many conversations.

Short format (All-terrain) 20 mins

CREATION 2024

Long format (stage) 40–45 mins

CREATION 2025

Support:

 

- Aide à la création Ville de Rennes

- DRAC – aide au projet

- Accompagnement à la mobilité Spectacle Vivant en Bretagne pour « La Danse en Fabrique » organisée par Musiques et danse en Loire Atlantique en partenariat avec la Ville de Nantes

- Les Compagnies 29.27 et Chute Libre (Nantes)

- L’association La Base D et 9.0 fabrique Urbaine (Nantes)

- Le CCNRB (dispositif Aide à la résidence artistique – Ville de Rennes / coproduction et programmation de la première du spectacle)

Dossier artistique à consulter -ici-

He began dancing in 2008 in Rennes.

He was particularly drawn to funk dance styles, and specifically to Locking.

In 2010, he joined the Rennes-based collective ‘La tête dans les baskets’, with whom he continued his training and developed both technical skill and an open-minded approach.

In 2015, he performed in the regional choreographic production “Overflow”, presented by the companies Amala Dianor, Chute libre and S’poart.

Following this project, he became a professional dancer for several companies, including: “Cie Gabriel UM”, “Cie Inside out”, “Cie Chute libre”, “Cie Marielle Desjardins”… and for various projects (videos, performances, etc.).

Today, enriched by these diverse experiences, he is developing a style of movement influenced by his expertise in the various dance techniques he has explored, whilst reconnecting with the martial arts practices that have always inspired him.

He performs urban and contemporary dance.He was born and raised in Japan (1993).From the age of six, he immersed himself in the practice of kendo for ten years.At the same time, he took up dance, drawn to James Brown’s funk music; he learnt locking and made his debut as a professional dancer at the age of 18 with the USJ (Universal Studios Japan in Osaka) company.He took part in numerous dance battles and pursued his dream by travelling to Europe (Germany, Sweden, the Czech Republic, Croatia, France, etc.).After moving to France, his interest in contemporary dance grew.In the years 2021–2022, he joined the first-year students at the National Centre for Contemporary Dance in Angers, where he was able to deepen his knowledge of contemporary dance.He now lives in Rennes, where he teaches Funk dance, and trains and exchanges ideas about dance, always with great enthusiasm.

THERAPEUTIC AND RESILIENT DANCEFLOOR

“It is by imbuing everyday objects with new meanings that we can create new healing rituals.” Anna Halprin, *Introduction to Movement Ritual I*, Wesleyan University Press, 1995, p. 37

LE BAL DES ARDENTES is a therapeutic and resilient dancefloor born out of previous collaborations between artist Johanna Rocard and DJ Amandine Braud. After three years of collecting uplifting music tracks for the BRAVES project—a dancefloor for times of crisis—they now present a hybrid format, where dances combine with somatic practices, vernacular dances and the empowering power of music, offering a space and time for collective and alternative healing.

In the tradition of cathartic dancers, fellow performers and amateurs lead the way, guiding participants through a timeless, celebratory ritual. A selection of costumes and armour is provided, and behind the horned caps, beaded masks, fringed coats, false bottoms and hoods, the figures of charivaris, popular trances, upheavals and revolts emerge.

It is the return of the creatures of the margins who once again set the dance floors ablaze as a collective act of healing.

WRITTEN BY: JOHANNA ROCARD AND AMANDINE BRAUD

CHOREOGRAPHY AND STAGING: JOHANNA ROCARD

DJ SET: AMANDINE BRAUD

IMAGES: ESTELLE CHAIGNE

IN THE MAKING

 

‘It is said that it all began with a woman from the neighbourhood, Frau Troffea, who one morning got up and threw her child over a bridge. She began to dance and could not stop, followed by other women. It is said that from then on, the dance took hold of young and old alike. They danced day and night, until they collapsed from exhaustion. Stands were erected in the horse market square and in the grain market square, and people were hired to dance with them to the sound of drums and fifes.”

David Specklin, engineer-architect, Strasbourg, 1518

 

LA GRANDE FOLIE / THE GRAT MADNESS is a 15-minute performance piece, a physical encounter between a dancer, Nina Berclaz, and a costume, a spinning cape.

Accompanied by the memory of Frau Troffea, the great madness of Strasbourg and figures of women said to be mad, the performance is a tribute to the possessed, the restless, those who disturb, those who take action and overturn the established order. Amidst the swirls of fabric, the shadows appear of the French cancan’s girls of joy, of whirling dervishes, of Eguns dancers, and of all those on the margins who surround themselves with a circular adornment to better connect with others, dead or alive. Dances of

the earth, madness and the sacred are once again intertwined. And when the veil is lifted, the spider woman returns, caught between vengeance and collective catharsis.

Amandine Braud’s soundscape, blending ritual chanting with techno beats, sets the rhythm for this floor dance, bringing to life this ode to madness and the power of the circle.

WRITTEN BY: JOHANNA ROCARD

CHOREOGRAPHY AND STAGING: JOHANNA ROCARD

CHOREOGRAPHIC CONSULTANT: NINA BERCLAZ

PERFORMER: NINA BERCLAZ

SOUND: AMANDINE BRAUD

PHOTOGRAPHY: VALENTIN LE CRON / CATHERINA FRANCI/

LAURE LEDOUX

PLANNED FOR 2025 as a one-hour choreographed piece.

JOHANNA ROCARD – ARTIST, AUTHOR AND CHOREOGRAPHER

After training in dance and obtaining a degree in social sciences, Johanna Rocard completed her studies with a Master’s degree in visual arts at the University of Rennes II. Alongside her academic studies, she worked in various sectors, some more lucrative than others, ranging from carpet saleswoman to motocross presenter and cook.

A member and co-founder of La Collective, she is particularly interested in rituals and the concept of group spirit. These diverse experiences and interdisciplinary knowledge now enable the artist, author and choreographer to develop a multifaceted practice structured around non-hierarchical action research into the concept of the collective, and more specifically into the gestures and rituals of warding off misfortune that bind human groups together in times of crisis.

In addition to her personal practice, Johanna Rocard currently works with: the 3615 Dakota collective, the Trois points de Suspensions company (art in public spaces), the Florianne Fachini company (culinary theatre), the Unicode company (cabaret), and the Joli Collectif / Enora Boelle (children’s theatre)

https://www.instagram.com/johanna_rocard/

ESTELLE CHAIGNE – ASSOCIATE ARTIST, ARTIST AND PHOTOGRAPHER

Estelle Chaigne is a photographer and artist, affiliated with Ateliers du Vent.

She explores a range of photographic techniques, using everything from 19th-century view cameras and magnesium flashes to temporary tattoos and digital video.

Her practice takes the form of installations, videos and performances that engage with the act of photography and the photographic medium, and its capacity to reveal the invisible and the latent. Her work on signs, vernacular practices and inhabited bodies leads her to explore the connection between romanticism and nature, witchcraft and landscape, rituals and peasant practices.

https://linktr.ee/estellechaigne 

AMANDINE BRAUD – ASSOCIATE ARTIST & DJ

Amandine Braud is a DJ. She grew up in a jazz club in Paris, landed a job at the Opera, undertook a crash course in improvised music with the free punk band Electrique Pussies, spent ten years listening to the vibrations of experimental and noise music stages before hitting the nightclubs of Douala in Cameroon. Enough to keep her dancing day and night.

She nurtures her love of polyphonic narratives and community practices as a cultural mediator at La Criée, a contemporary art centre in Rennes. From time to time, she creates props for stage designs aimed at young audiences.

In 2019, Jordan PHILIPPE decided to launch a solo project, EVERY DAY IN JUNE. The use of modern compositional techniques (sound processing such as warping*, micro-sampling**, and the use of audio effects) is skillfully combined with a rich melodic and harmonic knowledge. The project reflects both the musician’s optimism and maturity.

The result is a natural and spontaneous electroacoustic blend in which pop, electronica, rock, hip-hop, folktronica, ambient, and soul-funk collide without hierarchy, all with great sensitivity, musical intelligence, and a clear lyrical sensibility. The result is a new and intriguing sound within the current electronic music scene, firmly rooted in its time yet rich with influences.

In late 2023, Jordan PHILIPPE met Alex BOULIC, a videographer and set designer, and they began working together on EVERY DAY IN JUNE: a journey into the imagination of a musician, both on stage and on screen, and an invitation to discover his world, a balance between analog and digital, between gentle nostalgia and rhythmic reality, between dazzling light and comforting shadow.

*Warping: Ableton’s Warping feature allows you to stretch audio files like elastic bands to manipulate their tempo and pitch independently. This makes it possible to change the pitch of one song to match another without altering the tempo, or to slow down or speed up an audio track without changing the pitch. This initial function can be repurposed for creative ends by distorting the sound and working it like a sculptor works with clay.

** Micro-sampling: The sampling technique, which involves using a previously recorded sound source (music, natural sounds, or sounds from human activities, etc.) and integrating it into another musical context, can also be used creatively. A sound is sampled into small fragments that become independent of each other, and their subsequent rearrangement creates a new sound.

Live Cinema Concept

Live cinema is a hybrid of film concert and live audiovisual performance. It consists of the real-time projection and manipulation of a film whose soundtrack is performed live on stage by a musical artist.

His orchestration professor at the conservatory already said of him: “His success is all the more remarkable given his atypical career path, characterized by his openness to different musical approaches” (Anthony Girard, composer and professor of orchestration at the Paris Regional Conservatory).

After earning a degree in Musicology from the University of Rennes, Jordan Philippe studied jazz composition and harmony with Pierre Bertrand, Emil Spanyi, and Benjamin Moussay, then classical orchestration with Alain Louvier and Anthony Girard at the Paris Regional Conservatory, where he received a gold medal in both jazz and orchestration. He also honed his skills on the saxophone and practiced jazz and improvisation with André Villéger. He has participated in numerous workshops and masterclasses with Dave Liebman, Archie Shepp, Bob Mintzer, Kenny Werner, Jerry Bergonzi, Julien Lourau, Perico Sambeat, Gaël Horellou, and others.

He has been active on the French music scene for over fifteen years, as an arranger for a show by Benjamin Moussay, as a saxophonist with Alain Vankenhove for his project « Influence » (for 16 dancers and 12 musicians), and with Ze Big Band and their project based on the compositions of the great American saxophonist Ricky Ford. He also regularly performs in small ensembles (trio, quartet, etc.).

He has pursued numerous musical projects and collaborations, culminating in the creation of his first large jazz orchestra in Paris in 2009: the Quinzetet Orchestra (fifteen instrumentalists selected from among the most promising young musicians on the Parisian jazz scene). Its premiere, centered on the theme of water, took place in February 2010 at the Maurice Ravel Auditorium of the 13th arrondissement conservatory.

He has also initiated ambitious and diverse projects (creating Out Of Nola, Dynamic Blockbuster, and the big band La Machine Ronde), with which he has recorded several albums and performed hundreds of concerts, and has progressively integrated computer music into his compositions.

He has also collaborated, as a saxophonist, flautist, and arranger, with numerous artists from diverse backgrounds, including Pierre Bertrand (Paris Jazz Big Band), Mahmoud Ahmed (Ethiopian singer) and the Badume’s Band, Bikini Machine, Le Swing Society, Dam”-Fonk, and Percubaba. In 2019, Jordan Philippe launched his solo project, Every Day In June, where the use of modern compositional techniques (sound processing such as warping, micro-sampling, and the use of audio effects) is skillfully combined with a rich melodic and harmonic knowledge that demonstrates both the artist’s optimism and maturity.

The result is a natural and spontaneous electroacoustic blend in which pop, electronica, rock, hip-hop, folktronica, ambient, and soul-funk collide without hierarchy, all with great sensitivity, musical intelligence, and a clear lyrical sensibility. A new and intriguing sound in today’s electrosphere, rooted in its time but rich in influences, and above all a guarantee of undeniable truth and musical strength.

A versatile filmmaker, Alexandre Boulic explores the world of image and imagination through his documentaries, reports, and art videos. Passionate about live performance, he also designs sets for contemporary dance productions, concerts, and shows for young audiences. From his first creation in 1998 at Le Quartz in Brest with « Maman, Regarde » to his latest at the CCN in Le Havre with « Clarté, » his multimedia designs are imbued with elegance and poetry.

In parallel, he directs high-end advertising films for prestigious clients in both the public and private sectors, collaborating with agencies such as Big Success, Léon Travel, Qivateva, and Les Others Studio.

Currently the Audiovisual Studies Coordinator at Rennes Ynov Campus, he is dedicated to passing on his experience to future generations while continuing to experiment with cross-disciplinary forms of audiovisual expression.

Martin Feuvrais – claviers, basse
Benoît Rutten – batterie, percussions
Niko Chatalain – piano, guitare
Erwan Salmon – saxophones, machines