Moto-cross

Flashback.

As a child, I dance on the pop music of my father’s disco-mobile, I am painted in pink tutu on the door of his van, I run galas in motocross competitions. My father loves the dancer he had painted on his van and I love that my father loves her. But I will never become the pink tutu dancer painted on the C35 and yet, it is thanks to it that I dance as I dance today.— Maud Le PladecMoto-cross is like a net thrown behind you. A look at a past, the one of Maud Le Pladec, as well as French political and musical events since the 1980s. At first, it was a memorial approach, a principle of “going fishing”, collecting what is floating, indistinctly, then filtering and collecting what makes sense. In a second step, to put this life story into perspective so that it becomes a means of reaching out others. The autobiographical dimension of the project becomes self-fiction, the life story slipping into a personal legend.Maud Le Pladec writes this legend with the author Vincent Thomasset. In a Gonzoid1 posture, Vincent Thomasset appropriates the choreographer’s story, taking liberties with the truths. In an ultra-subjective writing style, he expresses himself in the first person with a distorting view of reality. The context in which the story emerges is a fiction to appear more real than the real itself. This fiction makes it possible to bring the spectator into the lair of his consciousness, insofar as it better transcribes the vast subject of human existence.This retrospective approach makes it possible to identify key periods, historical, political and musical figures, emblematic of an era. These do not only structure the project as landmarks over time. In a logic of historical frieze, they dialogue with each other, in two or three voices, and unexpected links are then forged with the constituent elements a personal journey.Between intimate and political, culture and society, reality is reinvented in front of spectators, according to the associations and shifts in memory.In Moto-Cross, Maud Le Pladec will dialogue with the philosopher Miguel Abensour, among others, she will wonder about France in the 1980s and the disenchantment of political youth, she will quote the psychoanalyst Sabina Spielrein, mix emblematic pieces from the French Touch, use the decadent lyrics of the French boogie and she will experiment with the urban dances of that period, waacking2, locking, etc. In the form of a pop and committed project, a dance-fiction, a film for ears.

1. 1  Gonzo journalism is both an investigative method and a style of journalistic writing that does not claim objectivity, the journa- list being one of the protagonists of his report and writing it in the first person. The term “gonzo” was first used in 1970 to describe an article by Hunter S. Thompson, who later popularized this style.
2. 2  Waacking is an African-Ame- rican form of street dance from gay clubs in the United States. Appeared in the 1970s in Los Angeles, inspired by funk and disco music, it is a dance that aims to be an imitation of sensual and feminine dance performed by men. Locking is a type of funk dance invented in the early 1970s and linked to hip-hop culture.