Archives for the month of: June, 2012

Working at Cern Dance studio with Susana yesterday. We explored magnetic force and strong force…

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Here some of of the “magnet dudes” I have made using this funny applet about magnets…

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Could this be a movement generator?… It is the  nuclear force

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Yesterday with dancer Susana we went for an off limit visit of some Cern’s infrastructure. I showed her some of the site and the antimatter experiment and Ariane Koeck sent us to visit the Cern’s undergrounds tunnels of electricity and water and we almost got lost and had to run away from radioactive zombies from the sixties that are definitively living there (they lost their office at Cern and could not leave…)

Susana and myself  had a very intersting talk with theoratical phycisist Gavin Salam about dynamics. After we met with inspirational partner Joao Pequenao to do some catchup after his travel to the US. Joao was Jetlagged but full of energy and new ideas and project!

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Création le 4 Decembre 1997, Arsenic – Festival Les Urbaines, Lausanne (Suisse)
48 minutes

Filmé live ADC-Genève 2011
Caméra: Luc Peter

Chorégraphie Gilles Jobin
Musique Franz Treichler and The Young Gods
Lumière Daniel Demont

Danseurs reprise 2011 Louis Clément da Costa, Susana Panadès Diaz, Isabelle Rigat
Assistant chorégraphique reprise Martin Roehrich
Apparition dans le film Franko B, Ana Pons Carrera, Gilles Jobin, Nuria de Ulibarri
Films Gilles Jobin

Régie lumière Marie Predour
Régie son Gilles Jobin

Administration Mélanie Rouquier
Chargé de diffusion Pedro Jiménez Morrás

Danseurs création 1997 Ana Pons Carrera, Gilles Jobin, Nuria de Ulibarri

Coproduction 1997 Théâtre Arsenic Lausanne, Zürcher Theater Spektakel, Zurich, Maison des Arts Thonon-Evian, FAR Festival des Arts Vivants, Nyon
Soutiens Pro Helvetia Fondation Suisse pour la Culture, Loterie Romande, Migros, Corodis, Canton de Vaud, Ville de Lausanne

Production 2011 Cie Gilles Jobin
Avec le soutien de Centre culturel suisse Paris, Loterie Romande, Festival Latitudes Contemporaine

La Cie Gilles Jobin bénéficie d’une convention de soutien conjoint de la Ville de Genève, de la République et Canton de Genève et de Pro Helvetia.
Gilles Jobin est artiste associé à Bonlieu Scène nationale, Annecytag:cern

Shaker Loops de John Adams pour septuor à cordes (1978) et création chorégraphique de Gilles Jobin (2011)

Chorégraphie Gilles Jobin
Danse Susana Panadés Díaz, Isabelle Rigat, Gilles Jobin

Musique Shaker Loops de John Adams (1978) par L’Orchestre de Chambre de Genève (L’OCG)
Direction David Greilsammer
Violon Mélik Kaptan
Violon Simone Roggen
Violon Ariel Bühler
Alto Nathalie Vandebeulque
Violoncelle Pascal Michel
Violoncelle Danila Ivanov
Contrebasse Pierre-François Massy

Lumière Daniel Demont
Stylisme Karine Vintache
Les danseurs sont habillés par Tsumori Chisato

Réalisation, montage étalonnage Sylvain Drécourt
Caméras Sylvain Drécourt et Olivier Taïeb

Une co-production Cie Gilles Jobin – Genève et L’OCG

La Cie Gilles Jobin est soutenue par la Ville de Genève, la République et Canton de Genève et Pro Helvetia Fondation suisse pour la culture

Gilles Jobin est artiste associé à Bonlieu Scène nationale, Annecy

Filmé le 6 novembre 2011 à La Gaîté lyrique, Paris (France)

 

Dance film 26 minutes / choreography THE MOEBIUS STRIP recorded in december 2001 at the Arsenic, Lausanne.
Premiered 8 mai 2001, Théâtre de la Ville Les Abbesses, Paris (France)
Choreography : Gilles Jobin
Dancers : Christine Bombal, Jean-Pierre Bonomo, Vinciane Gombrowicz, Gilles Jobin, Lola Rubio
Music : Franz Treichler
Light design : Daniel Demont

 

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You can listen ot the presentation of my South-South Project during MOVS12

Listen here to the presentation of sud-sud@MOV12

 

Watch Marlon Barrios’s interview of Ariane Koeck, Joao Pequenao and Gilles Jobin on the dance residency @ Cern.

Watch Arianes Koeck’s interview

Watch Joao Pequenao’s interview

Watch Gilles Jobin’s interview

TAGS: CERN

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Choreographers don’t only dance, they also go to profesional encounters. I was this week end in Cadiz and appart from taking part in round tables, I saw some realy nice performances. One of them fabulous, was Israel Galvan, the fantastic flamenco dancer, totally deconstructed style, he is probably the best dancer alive! Cristian Duarte‘s piece “One Hundred Hot choreographers” was nice, made out of one hundred choreographies taken from internet, especially that he cited La Ribot’s work and also mine! Also we saw the nice work of Las Maravillosas form Urugay and Ecuador. I did a presentation of my “south-south” project, a project we have been developing around the idea of sharing resources with out friends form southern countires where contemporary dance is not so devellopped still.

GRAVITY AND STRANGELS by Gilles Jobin

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I am now in one month residency at Cern. What did I make of it? Many things, too many things!…. It is so inspiring, there is so many experiments… But I promised to stay focused…

I gave up on the idea of the Metaphors to concentrate on Gravity and Movement Generators. As I was collecting metaphors, I realized that the ideas in the metaphors were sometimes so powerful in themselves that I was totally distracted by the anecdote and was totally loosing the flow… If it would be interesting, maybe more as an outreach program or a commission work, to recreate physics experiments with real bodies, experiments might become easier to understand. So Cern outreach, physics dpt at universities, here I am! But for now, I must stick on more fundamental  movement research.

ON GRAVITY AND MENTAL IMAGE
I am interested in knowing more about gravity, and in general the question of how our body holds together in space. Having realized that we are traveling through  space together with the planet, that gravity is insignificant as a fundamental force, I would like to know more… But what mostly stroke me was the fact that we “hold together” and that we are “not a pile of matter” on top of each other, on top of the earth… It seems to be pretty basic knowledge, but I realized most of the people I know also think themselves as a “pile of stuff”.

For me, being a dancer the notion of gravity goes deeper as the relation to gravity has been rooted in my dance practice form the start and never put into question. It is a very direct relation from my body to the ground. Stand, fall, roll… In Ballet it is about balance and liberating from gravity, in contemporary dance it is about “feeling the ground”, “be grounded”. I realized that it is much more than that, and that gravity has to do with movement, velocity and energy, attraction, curves, trajectories etc… I was a pretty keen skater in my teens and I love to “curve” when I ski nowadays. I should have known better! But dance does not produce  so much speed, so the effect of gravity is not so important, it is difficult while dancing to feel the “weightless” sensation  you get while ski-craving, or on a skate ramp as you are about to fall back into the vertical. We do not produce so much G-force while dancing… I always somehow made the link with my sport practice, but to feel my body as atoms glued together by the nuclear force is quite amazing, and a new paradigm in how I “feel” my body from now on. Or better said, how I innerly visualize my body, or,  how I internally “consider” my body as an object in space.
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I believe it can be quite essential for contemporary dance to understand  a new way to “feel” our body in movement, an new way to “see” our body in motion, a new way to represent our body. Much of the way we consider our body has to do with the way we think about it: you will look more beautiful if you think yourself as beautiful.  We have this capacity to project inner images of our body to the outside: confidence for instance or the opposite, shyness. We can “feel” and “see” our body from the inside. We have this sense of being able to “see with our back”, or to place our feet under the table in the right place without seeing them, as much as we can type without looking at the keyboard our hands holding into the air or play music even if we are blind. It is all this capacity to position our body into space, the capacity to visualize and sense  our body parts. It is not “feel”, because you don’t really feel your foot under the table, it is more “think” because you think about its position. Sometimes, one can get confused, if the legs are crossed for instance and get a confused image of the position of the limbs. There is neurological explanation for those sensations, but there is  questions when one can still feel its amputee member. I read somewhere that we build up a mental image of ourselves that does not only rely on sensations, we have a capacitiy to feel ourselves in space, (if we have at least one reference, in our case usually the floor)

We can influence those inner images. For instance, in that yoga class when the teacher was talking about the sensation of having a hot bottle of warm olive oil being dripped over my head, I could almost feel that sensation! (that metaphor took me out of my yoga class an made me feel greasy…). As well, in my beginners dance classes, I remember those instructions of “roots growing under your feet”, or as I have put it in during the creation  of my  piece The Moebius Strip, “become the floor, like you become one of Trafalgar’s square stone lions, like you become stone…”. Of course, the atoms of my body did not change into atoms of rocks, but I can project my mind into that idea and therefore “become the idea of being a stone lion”. Which is what really interests me here. Because for me, as a choreographer, it is the situation and the transmission of this idea that is powerful. An idea without meaning, true, but looking at that dancer “becoming the same material as the floor”, I give to the spectator a very intense situation to look at. It is dense and the dancer is not doubting about what he/she is doing. He/she has a power of conviction that sucks  the spectator into his dancer’s brain… It is all about subjectivity, from the inside and for the outside as well! I am always surprised on how spectators pick up on ideas I have put in my pieces, ideas that sometimes even the dancers don’t know about, while spectators after a performance spot it right on! We should never underestimate the power of an idea nor the power of suggestion.
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STRANGELS AT THE CERN LIBRARY
The other day, when we did this performance in the Cern’s library, we were “Strangels”, strange angels, “coming from another dimension to rest inside the library”. That idea of the Strangels is pretextuel. It gives me the license to be in the library and move. Without this pretext, what on earth would be dancers doing in a library while people are studying? Inventing the Strangles authorizes me to create movement and situation. In this case it is a narative that allows me to be abstract: abstract figuration again…  But the “real” idea, was that in a library you can not be intrusive as people are doing serious work. So you must be quiet, and almost become invisible. So, just to have the idea of being invisible makes you invisible!  For some people working in the library on the first day (we did it twice) when the performance was not announced unlike the second day which was announced, we were almost invisible. We were quiet in our moves and made not fast gestures. Therefore the people studying did not loose their concentration. Some did not even see us or very briefly. They might have seen us, but have not realized we spent two hours in the library as we were not intrusive. Their “mental time”, or “mental clock” was set in a different time scale: When you are concentrated to the max, time passes in a different way say than when you do your grocery shopping. Concentration adds density to the sensation of time. By making us “time compatible” with the people in the library, we became invisible, or better said, unnoticeable… In that sense the performance was a success as our main goal was reached. We could “be” , as strange as we are, and still be part of the same “fundamental soup”. In a live performance, spectators and actors get old together. In this particular situation, there was a “décalage” between our realities. In that sense we did not get old together because we did not have the same experience in space an time…

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In my next blog, I will explain what I mean by “Movement Generators”… Stay tuned…

 

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