(photo credit: Olivier H.)
The Biannual Dance Festival in Cannes is a week-long event which enjoys an extra
touch of glamour in the wake of the Cannes film festival. The current edition
was directed by Frederic Flamand, the highly regarded choreographer and artistic
director of the national ballet company of Marseilles.
iconic piece Titanic was one of the more ambitious projects, and the central
attraction of this edition.
The other two focal points, main anchors of
the program, were the French premiere of Marie Chouinard’s 24 Preludes by
Chopin, and Henri Michaux: Movements.
The first, fragmented structurally,
was an incredibly beautiful reverberation of the music, yet offered ingenious
and strong movement syntax to match. The second, based on ink drawings of French
poet H. Michaux, was quite intricate, as Chouinard insisted on presenting all 64
drawings of his book, or so it seemed.
It took 12 musicians, mostly
drummers, to play Steve Reich Drumming. Percussion group Ictus played the
incredibly difficult piece live on stage for the Rosas dance company run by
Teresa De Keersmaeker, one of contemporary dance luminaries.
mesmerizing Drumming with its demanding precision and hypnotic excitation, met
the experienced, limber dancers of Rosas, a clash of two artistic spheres, which
met yet didn’t combust.
Among the couple of dozen other dance events, we
spotted the almost inevitable Israeli connection. Watching Black Pulp by Martin
Harriague, I was struck by the sensation of watching familiar material, which
brought to mind some Gaga, familiar gestures with a touch of Batsheva and Sharon
Eyal. In short, Israeli flair. Harriague, it turned out, is currently dancing
with KCDC, the Kibbutz company, and two out his four of his dancers – Shai
Partosh (ex-KCDC) and Amir Rappaport – are Israelis who met each other in
Sharon Fridman’s piece brought him a rare standing ovation, from
an audience taken by the vitality, virtuosity and freshness of his duet Al Manos
dos Caras. Sharon, who is based in Madrid, was invited for the first time to
work with an Israeli company, an offer every Israeli artist abroad aspires to