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A website for UT2J students in Project Management for the Performing Arts

Tag: Dance

The Symbolism of Dance in Collective Sports

3 June 2024 /

By Mila Noyer, Charlotte Bourguignon et Anna Bouillot

Have you ever noticed that some football players make a dance to celebrate their goal? Have you ever noticed the silence during Haka before starting a game of rugby? These dances are not insignificant. They have a specific meaning and an important place in sport, both for the country and for the international image.

In this article, we decided to understand the symbolism and the representation of dance in sport, particularly in football, rugby and during the Olympic Games. We decided to focus our topic on this question: to what extent does dance in collective sports represent cultural and political issues at an international level?

First of all we will talk about the cultural and political symbols and second we will study dance as a celebration.

The cultural and political symbol

The Cultural and Historical dimension of Haka

Haka is a dance executed by the All Blacks rugby players of the New Zealand team. It has always amazed us and aroused our curiosity before rugby matches. This dance is really known all over the world, almost more than the rugby rules themselves. At first, this impressive dance seems to show the strength and the power of the All Blacks and probably to disturb the opponent players. Except for the three islands Fiji, Samoa and Tonga located next to New Zealand, the All Blacks are the only ones to dance before beginning a game. It’s thus specific to their country.

What does this specific dance represent?

Actually, Haka expresses the strength and the courage of the players, but it also has a spiritual dimension. Indeed, the players call upon the God of war to help them win the battle. In reality, this dance constitutes an important part of the history and traditions of the indigenous people of New Zealand: the Māori. It’s really common to do this dance during important events like weddings, funerals or welcoming ceremonies to uphold Māori traditions and to symbolize the unity of their people.

Originally, Haka is a war dance used during colonial wars against the British Empire in the 19th century. It was inspired by the story of a Maori leader, Te Rauparaha, who had been captured by his enemies but who managed to escape. As he was prosecuted, he repeated “Ka mate, Ka mate” and after escaping “Ka ora, Ka ora” which means “I may die, I may die” and “I see the sun, I’m alive”. He created the dance introduced into rugby in 1905. Today, it is connected to national identity and cultural pride.

Two Hakas are used in rugby: the “Ka mate” which is the most famous in the world and the “Kapa o Pango”, the most aggressive form of Haka which was written for and about the All Blacks by Derek Lardelli in 2005. This artist promotes the Māori culture. He maintains a strong commitment to the culture, language, and customs of his ancestors, always keeping connections with his land. We can highlight the artistic dimension because Derek Lardelli created a choreography for an audience. However, “Kapa o Pango” has been criticized because of the aggressive and violent gesture, specifically in the end, when the players mimic a throat slitting gesture. In consequence, it has been forbidden and today All Blacks only do the “Ka Mate”. It’s still interesting to listen to the Māori signification of this gesture. In a Youtube video, All Blacks players explain another meaning, that is more introspective and therapeutic:

“It means the breath of life. The section here, bringing it across the body is energizing the vital organs ­– the heart, the lungs, all those things that need to be functioning well for a game. So that means getting their energy back into the system before they start their game.”

Beyond the spiritual and the social aspect, the Haka is a real show: the players have a large audience composed of the opposing team, the spectators in the stadium and the television spectators. Everybody is excited about the magic moment which gives them the chills, they pay particular attention and respect during that quiet time.

Thus, the Haka born in the context of the Māori history and culture reflects a national identity for the All Blacks and has become a real show for the rest of the world.

The Political Dimension: the Example of the Olympic Games 

Organizing the Olympic Games is an opportunity for the countries to show their power to other nations. The opening ceremony of the Olympics plays an important role in “soft power.” Soft power is the ability for a country to influence others with their opinions, culture, etc. It’s a way of attracting and convincing without the use of force.

Thereby, the opening ceremony of the Olympics is crucial. For the hosting country, the international visibility offered by this moment allows the sharing of its culture, history, and values. Openings are often astonishing and spectacular because it’s the first thing seen by other countries.

So, the opening scene of the Olympic Games sheds light on a particular culture, especially on art and dance.

To achieve this, many countries have asked for the help of famous artists, in particular dance choreographers. The first choreographer to create an opening ceremony was Philippe Decouflé in 1992 in Albertville. Decouflé is a contemporary dancer and choreographer. He revolutionized the history of Olympic openings by creating a monumental show, with circus, theater and, most importantly, dance. Decouflé wanted to place art and dance at the center of the ceremony.

https://www.radiofrance.fr/franceinter/en-images-il-y-a-30-ans-a-albertville-philippe-decoufle-revolutionnait-la-ceremonie-d-ouverture-des-jo-6643408

According to the scenographer of Albertville games, Jean Rabasse, dance and sport are connected: “We wanted to say: Look, gestures in sports have a meaning and they’re very close to dance”.[1] For example, one of the acts in the opening presented hundreds of skiers deconstructing the skiing motion in order to create a dance choreography. 

After Decouflé, other countries were inspired by Albertville for their openings: Dimitri Papaioannou in Athens, Akram Khan in London, and even “Swan Lake” in Sochi. The idea now is to create a total artistic performance to show the culture and open-mindedness of the country to other nations.

Olympic Games 2014, Sotchi  (https://images.app.goo.gl/pm27C2BwZpUeH1yE6)

For these choreographers, dance and sports are interconnected. Akram Khan said, “In both, we desire to test the limits of what we are capable of. In sports, human endurance; in art, human imagination.”[2]

Dance as a celebration

The importance of celebration in football

To show the importance of dances in celebrations, we are going to take the example of football. Winning a game in sports is more than an individual victory. It is a collective achievement. For instance, scoring during the World Cup is more than just one player scoring – it is a country, a nation, a generation.  Footballers have the power to draw attention to their country in front of thousands of viewers. It is a perfect moment to make an impression on others. It can create an identity, a kind of brand signature.
           With the development of media and especially social media, some critics argue that dance-based goal celebration started during the 2010 World Cup with the South African team as they scored the opening goal while hosting the World Cup. That does not mean it was the very first time it happened, as there had been rhythmical celebrations prior to this one, such as Roger Milla’s celebration in the 1990 World Cup or even Papa Bouba Diop’s celebration in 2002. Still, Siphiwe Tshabalala’s goal for South Africa and the team’s synchronized dance remains an important event of football history.

Three football players dancing after winning the game

Nowadays, a lot of football players celebrate by dancing. For instance, Raphinha, a Brazilian player, made the following statement to a journalist during the last World Cup : “To tell you the truth, we’ve already come up with ten dances. They aren’t specific to one player. The first dance is for the first goal, the second dance for the second goal, there’s also for the third… we have dances up to the tenth goal. After ten? We will have to innovate and come up with something else. When the time comes, we will think of something”. In this quote we can see the dimension of these celebrations: they are something players reflect on and prepare for, especially when it comes to Brazilian players, as dancing and celebrating is a part of their culture.

Even though it is very popular, these celebrations are not consensual. Some people enjoy them, learn them and reproduce them. Others criticize them as they struggle to see the legitimacy of elaborating dances to celebrate. Some go as far as considering it humiliating. Roy Keane for instance, an extremely famous ex-footballer, criticized Brazilians for their comment on coming up with many dances when the team was eliminated from the World Cup. Some players have been heavily criticized for celebrating in this way and still most of them, if not all of them, keep doing it.

We can see that dance-based celebrations take a different dimension when they happen during an international competition. Still, there are a lot of players who celebrate when they play for their team in another country: Griezmann, Neymar, Pogba, Vinicius, Lingard, Paqueta… they have all done it. Whether it is in Spain, France or England, they convey their happiness after scoring through their dances and more often than not, their teams follow.

We can see that the celebration takes a different dimension according to the level of the competition. The celebrations of the World Cup have more importance than those of a small championship like the French Cup for example.

Dance-Based Celebrations and Marketing

Celebrations bring a lot of visibility to football players. And with social media, this phenomenon is amplified. Videos are massively being shared, so player celebrations become more and more famous. The advertisement industry has been quick to understand that footballers can symbolize victory and strength – like the ad for Puma starring Antoine Griezmann to put to the fore their new deodorant.

With this ad we can understand that ads use footballers for the brand’s image. Celebrations are very important because they define footballers and help them distinguish themselves.

Conclusion

The examples of the haka in rugby games, the opening ceremony of the Olympic games and the dance-based celebrations in football show that dance in collective sport can have political and cultural meanings. It contributes to highlighting a country, a team, a culture, or a person. The Discofoot event which was created by the CCN (Centre Chorégraphique National) in 2018 in the Lorraine region is a great example of an interesting and humorous association between dance and sport.

Sources:

https://www.mirror.co.uk/sport/rugby-union/new-zealand-haka-world-cup-30601658

https://www.independent.co.uk/sport/rugby/rugby-union/new-zealand-haka-all-blacks-rugby-world-cup-b2409214.html

https://en.wikipedia.org/wiki/Haka_in_sports

https://www.leparisien.fr/sports/football/football-celebrer-un-but-c-est-toute-une-histoire-20-04-2019-8057091.php

https://www.rtl.fr/sport/football/coupe-du-monde-2022-dix-danses-preparees-par-le-bresil-pour-celebrer-leurs-buts-7900213011

https://www.premiere.fr/Cinema/Akram-Khan-la-caution-choregraphique-des-JO-londoniens

[1] https://www.premiere.fr/Cinema/Akram-Khan-la-caution-choregraphique-des-JO-londoniens

[2] https://www.francetvinfo.fr/culture/spectacles/il-y-a-30-ans-le-choregraphe-philippe-decoufle-sublimait-la-ceremonie-d-ouverture-des-jo-d-albertville_4938141.html

When Hip Hop Meets Opera

3 June 2024 / 
Collectif petites vies...

Hip hop and opera are two worlds governed by different codes. We could easily play the game of differences: they were not born at the same time nor in the same conditions, they do not have the same targets, nor the same claims.

Whereas in hip hop there is a whole dimension of opposition, a claim to freedom and a very committed message, in opera there is above all a claim to aesthetics and virtuosity.

And yet, despite these differences, they have ONE thing in common, which lies in the definitions. Indeed, these words are portmanteau words that mean several things.

When we talk about Hip Hop we talk about a culture, a musical genre and also a style of dance.

When we talk about opera, we talk about a kind of musical show, a place and, incidentally, a type of French cake.

Apart from that, everything seems to oppose them, and yet in many cases we find that the so-called opposites attract, as is the case with several cultural events.

Among these is the Hip Hop Symphonique concert that takes place every year in Paris at Radio France headquarters in which rappers perform their titles accompanied by a philharmonic orchestra.

Then there is also the show “Les Indes Galantes” by Clément Cogitore: an opera ballet from 1735 adapted with Hip Hop dancers.

It is a subject that mixes personal convictions and professional aspirations. We already had vague knowledge on the subject and it was this what made us want to go deeper into it. We grew up in the Hip-Hop world, we followed its evolutions and today we wonder about its future.

For my part, to talk about these two worlds is to talk about the whole relationship of my art practice “at home” and “at school”.

Indeed, when I was younger I was part of a neighborhood house that gave us the opportunity to do hip hop, in my neighborhood we all listened to hip hop and the shows we had the opportunity to attend and participate in were hip hop battles. And then, at school, I was given all the prospect of indoor performance, where I was able to go to the theatre, see philharmonie concerts play, and also see the Opera.

For me, these two worlds also represent personal culture and the culture instilled by the school.

Today, and even more so as part of our bachelor’s degree, we have the opportunity to work on current topics in art, and it is an opportunity to highlight things that we hear less about and that are important to us.

It’s a way to bring home culture to school.

The idea for this topic came while we were discussing the topics we wanted to research. We started from what drove us personally… The topic came up quite quickly after the announcement of the blog exercise.

For a few days I had been listening on repeat to the interpretation of an artist who participated in the Symphonic Hip Hop.

Jane Avril – A Dancer between Madness and Innovation?

15 February 2024 /

By Emmanuel, Mikal & Marion

Poster by Henri de Toulouse-Lautrec (1899) showing Jane Avril

The cabaret was a place that brought together different social classes, which do not usually mix. It was also a place of refuge, a safe place for people who were excluded from society. The cabaret allowed different people, who went through trauma or who were discriminated against by society, to have a place of refuge but also a place which allowed them to find recognition and make a breakthrough as well as giving them the opportunity to create links with other people who came to the cabaret.

Indeed, cabaret offered a voice to marginalized artists and performers, who did not find a place in traditional artistic circuits and who were able to express themselves more freely in an alternative framework. This has also helped to diversify the art scene.

Artists have used cabaret to address social and political issues, which created a sense of solidarity and belonging.

Some cabarets have helped deconstruct stereotypes by offering representations of sexuality, gender identity and other aspects of day-to-day life. These spaces played an educational role by exposing the public to diverse perspectives and promoting the understanding of others.

It was during the Belle Époque that the cabaret experienced its biggest growth. The expression “Belle Époque”, which spread throughout the twentieth century, reflects a somewhat distorted and embellished perception which is nevertheless based on a certain number of realities: the political stability, the rapid economic growth oriented towards modernity, the improvement of the quality of life of French citizens, which was accompanied by a  reduction of poverty and the development of leisure and sporting activities.

During this period, French society was very hierarchical, but people began to realize that they belonged to a single nation and, therefore, that different social classes could coexist.

Artists began to deviate from realism to give birth to abstract art, art nouveau which was an avant-garde style. Social dance practices at balls or in cabarets brought people together, regardless of their social class.

One of the great cabaret personalities of this period was Jane Avril, who defended personal development and healing psychological trauma through dancing. She was one of the most famous dancers of the Moulin Rouge, she was also the ambassador of the French cancan to European capitals. She was revolutionary in the modern dance scene.

We think that through her personal story, it is easier to understand the importance of cabaret, its history, and the different ideas it defends. This will help us understand the importance of cabaret as a place of refuge and expression for people who are discriminated against. So: what is the legacy of Jane Avril? 

Jane Avril’s childhood and her beginning 

Jane Avril, whose real name was Jeanne Louise Beaudon, was born on June 9, 1868 and died on January 17, 1943. Jane was raised by her abusive mother. At the age of 13, she was committed to a psychiatric hospital called the Salpêtrière, for “ovarian hysteria”. At that time, the internment of women could easily be carried out at the request of fathers, husbands or even brothers for generally futile reasons such as refusal of marital duty, a refusal to do housework or even for reading novels.

In the case of Jane Avril, we understand through the various studies that have been carried out that she suffered from epilepsy.

It was therefore during her internment at the Salpêtrière that she discovered her passion for dance, more precisely during the Bal des Folles, which was an event where everyone in Paris was invited to a big ball in the company of the various hospitalized women. It was a sort of “human zoo”, in fact those women were exhibited for public therapy or hypnosis sessions. This event was an attraction for outsiders, it was also eagerly awaited for by women who were interned since it allowed them to briefly break away from the routine of their confinement.

It is during one of those events that Jane had a seizure, she started dancing like a “crazy woman”.

She saw dance as a soothing remedy. In fact, she grappled with the psychological challenges resulting from the mistreatment she endured through the medium of dance.

 Her success in the world of cabaret

Weakened by her trauma, illness, and various hospital stays, Jane attempted to end her life by throwing herself into the Seine. After her suicide attempt, she was taken in by the keeper of a Parisian brothel. She discovered the Parisian nightlife, where women were half dancers and half prostitutes. It was at the Bal Bullier that her career as a dancer began. She discovered she had a gift for dance, and was noticed for her style, her seductive movements and her outstanding personality.

In 1889, she met Charles Zilder, the founder of the Moulin Rouge. He decided to hire her in his cabaret. From the very beginning of her career, Jane set herself apart through her distinctive style by performing solo, and by crafting her own choreographies and costumes. She wore exclusively red underwear, whereas at the time dancers wore white underwear. 

She went on to become an emblematic figure of the French cancan. This new style of dance was introduced to cabarets by Joseph Oller. The ambition of the co-founder of Le Moulin Rouge was to create an entertainment venue with a new way of dancing in which the dancers lift their legs to reveal their underwear. Jane once again stood out for her style, with no vulgarity and more modesty. This was a point that she asserted herself, insisting that she was not a prostitute but a dancer.

She was also an emblematic figure in the works of Henri de Toulouse-Lautrec, a Montmartre artist who befriended Jane. He produced a large series of posters of Jane dancing. 

Mainly known for her roles at the Moulin Rouge, she also made her mark on other Parisian stages such as the Décadents, the Divan Japonais, and the Folies Bergère. She was known as Melinite, the name of an explosive, referring to her exaltation for dancing. She represented the embodiment of dance. On stage, she transmitted great energy and grace and was seen as an acrobatic dancer.

Jane Avril, a Lasting Influence

Artistic Legacy 

Jane Avril has left a lasting artistic legacy, thanks in large part to the pictorial representations by artist Toulouse-Lautrec, who took her as one of his muses.

Toulouse-Lautrec’s iconic works highlight Jane Avril’s magnetic presence on stage and her contribution to the art of the French cancan. Her unique style and charisma are vividly captured in these paintings, making her an icon of the era. A notable aspect of Jane Avril’s legacy is her role in the evolution of the French cancan. With her energy and presence on stage, she left a lasting impression with her solos. Her innovative approach opened new possibilities for dancers to express themselves individually and showcase their unique talents. In fact, it is thanks to her that we have the tradition of solo dancers wearing red stockings. Originally a demand on her part, it has now become a customary attire for all solo dancers in the French cancan.

Artistic Innovation

The collaboration between Jane Avril and Toulouse-Lautrec also contributed to the emergence of Art Nouveau, an artistic movement characterized by its inventiveness, organic motifs inspired by nature, and bold use of colors. The striking images of Jane Avril dancing, immortalized by Toulouse-Lautrec, served as inspiration for many Art Nouveau artists to create posters and illustrations that captured the energy and vitality of dance. Toulouse-Lautrec’s poster depicting Jane Avril dancing with an expression of joy and vivacity has become one of the most iconic images of Art Nouveau. This poster, with its fluid lines, vibrant colors, and floral motifs, perfectly embodies the aesthetics of this artistic movement.

Contemporary Influence 

Jane Avril has directly and indirectly influenced contemporary dance as an inspiring model. The fundamental values of contemporary dance include the liberation of the body, creativity, and expressiveness, all of which Jane Avril embodied in her own dance. For example, contemporary choreographer Marie Chouinard drew inspiration from Jane Avril to create choreographies that explore freedom of movement and bodily expression. In her performances, Chouinard uses expressive gestures and postures, while playing with the stage space in a similar way to Jane Avril. Similarly, Belgian choreographer Sidi Larbi Cherkaoui draws inspiration from Jane Avril’s innovative approach to create pieces that blend tradition and modernity, integrating elements of historical dance into a contemporary context.

Social legacy

19th-century society forbade women the slightest desire of ambition and freedom, and Jane Avril’s journey goes against this assertion. She broke the rules and had an impact on changing the vision of the role of women in society especially in cabaret. She made it clear she was not a prostitute but just a dancer. At a time when women conformed to what society expected of them, Jane was provocative and created a new representation of women. She refused to conform to the expectations and the traditional conventions of the cabaret dance. By dancing alone she showed that a woman can be autonomous, expressive, and creative, inspiring many women to break away from the roles they had been assigned for years.

The complicated childhood of Jane Avril led her to discover dance and cabaret. A place in which social norms are often set aside. It also allowed her to find a place to assert herself and confront her mental health. During her career, she set herself apart from the rest for her style and made an impact on the artistic and social aspects, leaving behind a strong and lasting legacy that remains a benchmark still to this day.

RB Dance Company

2 December 2022 /

By Manon Moreau

With talented dancers coming from various schools and renowned structures such as Mourad Merzouki’s Kafig Company, the Broadway Dance Center in New York or the Choreia School in Paris, this recent company will delight you and dazzle an audience both novice and initiated to dance shows. Romain Rachline Borgeaud, the producer, choreographer and artistic director of the company, mixes different styles of dance, from modern jazz to tap dancing with accuracy and passion.

After being trained by Alvin Ailey, he performed in many emblematic musicals in New York, such as A Chorus Line or Hair, while always trying to mix influences in dance. Then he returned to Paris where he became a choreographer in Disneyland, and in 2018 he founded the RB Dance Company, in which he was able to showcase his own stage writing.

Stories is the company’s first show, which combines tradition and modernity, mixing genres and giving a new impetus to tap dancing.

The show tells the story of Icarus, a young actor whose films are very successful and who secretly suffers from the oppressive influence of his director. After an argument with him, the young man finds himself trapped into the film that links him to the filmmaker.

In turn, the 10 artists on stage interpret the characters of the plot and follow the destiny of the protagonist. The different scenes of this musical contain contrasting universes that come to life in a constantly moving scenography designed by Federica Mugnai and subtly revealed by light designer Alex Hardellet.

At the crossroads between the 1940s and present days, the aesthetics of the show and the costumes created by Margaux Ponsard and Janie Loriault combine tradition and modernity in line with the company’s work.

Elegance, energy and audacity mix perfectly on stage bringing to life a captivating show that remains a spectacular experience.

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