Research
For more than three decades, Zab Maboungou/Compagnie Danse Nyata-Nyata has traced the trajectories of a revised and corrected contemporaneity. Through his renewed art of rhythms and vibrant space, Zab Maboungou, who assumes the general and artistic direction of the company, founded in 1987, and is its choreographer, creates works with powerful gestures that stage the bodies committed artists of dance and music, both active and meditative, who transform our relationship to time and life. The rigor of the approach in the musical and danced movement, with proven technicality, is inseparable from the strength and freedom that emerge from the works whose poetics rhyme with the philosophical spirit that characterizes the choreographer and author. All the works, choreographed, didactic or literary, musical or visual, represent this unspeakable movement that is body and thought.
With “INCANTATION”, presented in ——at the Kennedy Center, in Washington, and at the Montreal International Festival of New Dance, in—— , the choreographer and performer will be described as a “finely cut diamond” by the New York Times, ushering in a new era in the way we look at art forms from Africa.
Word from the choreographer
This is a challenge posed to the choreographer. This time, infinitely divisible, demands its music, its silences and its noises, its resonance…and our consciousness. From there is born the gesture, called to redefine the space, to regenerate our body and the consciousness that we have of things. It is then that we enter into a relationship. Our responsibility is then measured by the mad excess of our perceptions and debates. So it is.
Dance, and therefore our bodies, are both forces of seduction and destruction.
The rhythms that I compose are so many scenographic universes which represent the beings and the things of which we make ourselves the intermediaries in order to be able to dance, that is to say, to sing our being in the world, to open a space, to breathe, and re-born to life.
The rest is a matter of motive, that is to say of the form that such an enterprise will have to take, in the rigor and vigor that its own time, its rhythm, calls for.
Physicality and musicality constitute an alloy of cutting edge, measure and nuance, energy and transcendence.
As a true instigator of the rhythmic bases of African dances and music in the world, Zab Maboungou proposes to identify the trajectories of the breath by which the transmutation into forms/rhythms of our modes of existence takes place, where space and presences, fluidity and flexibility, physical and rhythmic endurance, constitute modes of spelling of the body and of thought.
“Form is more than plastic; it is a gathering of things.”
“Space does not wait for us; this can therefore only be negotiated. For a time. »