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Les corps étrangers
Kader Attou se questionne sur “la condition humaine” et sa danse, à partir d’un vocabulaire très riche, nous montre une humanité dansante où le rapport à l’autre s’installe tantôt dans la fragilité, tantôt dans le conflit, tantôt dans la poésie.
What partly makes up the identity of the Accrorap company is Kader Attou’s ability to make “foreign bodies” (corps étrangers in French) dialogue. In Accrorap’s career there are a certain number of encounters that have produced meaning and that have allowed us to progress towards more understanding, tolerance and humanism. In order to further this ability to create dialogue, the aim today is to bring together artists from different cultures and with whom (for the most part) the company has already worked. Dialogue between cultures is today a necessity in a global world where a dominant culture tends to impose its standards and where monopoly on thought has taken up root. The aim is, while respecting each individual’s identity, to find “meeting points”, possibilities for dialogue and sharing to construct with dance a harmonious space able to question the future. However, this ideal harmony can be disrupted by “foreign bodies”, scourges of modern life (terrorism, fundamentalisms, conflicts, diseases, etc.) or simple grains of sand that prevent life from unfolding peacefully. It is in this to and fro between harmony and disruption that Kader Attou speaks of the “human condition”.
The musical production just like the set design are associated with a 15th century work: Le jugement dernier (Beaune altarpiece, often called The Last Judgement in English) by Rogier van der Weyden, an altarpiece found in the Hospices de Beaune.
