2025TIFA 賓杜．登貝雷《流_G.R.O.O.V.E.》

Bintou Dembélé: G.R.O.O.V.E.

基本資料

TIFA，一場繁花盛開的藝術饗宴

每年 TIFA，兩廳院會將我們認為必須一看的作品、值得關注的藝術家，端上 TIFA 這個「看世界也看臺灣」的平臺。

疫後的2025，國內外藝術家們無不在蹲低後高高躍起，放大膽量挑戰框架與限制，以手法觀點各異卻無比的堅定回應世界。我們邀請了來自11國、18檔，共118場精彩演出輪番登場，展現這個平臺多元而包容的獨特風景，也邀請所有觀眾，一起經歷想像與視角出格的經典翻轉、穿梭時代風格的顛覆之作，不僅要挑戰極限演繹冒險精神，更要以沉浸科技探問人間生死；多位期待已久的樂壇大師亦將閃耀登臺，帶來不可錯過的樂章。

而演出之外，TIFA 也有一系列周邊活動，提供節目之外多種接觸藝術的管道與方法。或許能這樣比喻，TIFA 像是一座繁花盛開的花園，歡迎所有人入園，用自己喜歡的態度與視角，找到屬於自己參與藝術的方法。

請與我們一同走入這場繁花盛開的饗宴！

創作概念

「流，是來自一段背景、一種聲響環境和特有氛圍的脈動。

它是一種不知如何產生的節奏，需要在那瞬間被捕捉並凝結。

有人從內心感受它，有人將它轉化為視覺，還有人純粹沉浸其中享受它。

而我，則讓它成為我的居所，一個難以用言語解釋的歸屬。

這是一種純粹的自我中心，是專屬於我們自己的時刻。它彰顯出節奏的力量，隨著時間流動逐漸散播並與他人分享。

我們在此相聚，用一個眼神、一個動作，甚至一個停頓，共同來慶祝這份連結。每個人，都擁有屬於自己的流。」

——賓杜．登貝雷，2022年1月

《流 _G.R.O.O.V.E.》這場移動式演出，凝聚了賓杜．登貝雷（Bintou Dembélé）二十年的藝術實踐，應運而生。根據每個受邀演出場地量身打造的「音樂會模式」（En Mode Concert）與「巴洛克模式」（En Mode Baroque），集結了她為歌劇《異邦戀曲》（Les Indes galantes）編排的舞蹈片段、帶有邊緣文化抗爭視角的短片放映，以及多元形式的表演。Benjamin Nesme 的燈光設計，將街頭的光影氛圍帶入劇院空間。在 Sandra Nkaké 的歌聲引領下，觀眾隨著 Charles Amblard 的吉他與鋼棒吉他演奏穿梭移動，追隨登貝雷與她身邊的街舞舞者。這些藝術家們透過演出轉化了整個空間，並邀請觀眾共同參與，成為這場歡慶盛會的一部分。

演出架構

這場遊走式演出，觀眾將分成三組，自劇院的三處空間分別開啟這趟旅程：隨工作人員引導，以不同的順序欣賞歌手吟唱的「音樂會模式」（En Mode Concert）、影像短片的「放映模式」（En Mode Projection)，以及舞臺現場的「表演模式」（En Mode Performance）。經歷以上三種模式後，三組觀眾將匯聚進入戲劇院觀眾席，觀看流亡奴隸文化的 Marronnage 模式（En Mode Marronnage）及巴洛克模式（En Mode Baroque），最後邀請所有人一起接管戲劇院舞臺，開啟眾人共舞的舞池模式（En Mode Dance Floor）。

「放映模式」影像短片介紹

《這不是一場表演》（Ceci n'est pas une performance）由專長 Urban Dance 的編舞家兼研究者 Ana Pi 執導。這部影片以快速且充滿緊迫感的方式，呈現從不同國家和地區收集的檔案影像。影片將街頭舞蹈的根源重新定位，放置於暴力和種族主義的脈絡下來理解。

《泰魯庫圖：喧鬧的街道》（Teru Kuthu, La Rue Qui Frappe）由助理藝術指導 Féroz Sahoulamide 執導。這部影片透過訪談和紀錄影像，介紹了少為人知的印度舞蹈，名為「達潘庫圖」（Daapan Kuthu）或「泰魯庫圖」（Teru Kuthu），若直接翻譯為中文，意思是「敲擊之路」。

《地／層》（s/t/r/a/t/e/s）由編舞家賓杜．登貝雷執導，影片在法國梅斯（Mertz）地區的多個地點拍攝，包括舊工廠、廢棄的軍事堡壘、梅斯大教堂和龐畢度中心梅斯分館。梅斯位於法國與德國、盧森堡邊境交界，是歷史上許多移民的聚集地。影片以舞蹈喚醒這些移民和尋求庇護者遷徙、穿越過的幽靈空間。影片中，部分《流 _G.R.O.O.V.E.》的舞者佔領了這些空曠、廢棄、荒涼的空間，每個人用自己的舞蹈方式共同編織出多層次的敘事。

編舞家訪談

2023年5月訪於首演後

《流 _G.R.O.O.V.E.》是為里爾歌劇院創作的一部作品，且創作時便計劃未來可移植到其他場地演出。請問這個計畫是如何誕生的？

《流 _G.R.O.O.V.E.》是我在2019年參與 Jean-Philippe Rameau 歌劇《異邦戀曲》製作的延伸創作。當時，我為巴黎歌劇院的這場演出編排舞蹈，由 Leonardo García Alarcón 指揮、Clément Cogitore 導演。

排練期間，我受邀參加鍍金門宮移民博物館的「歐洲博物館之夜」活動，當時博物館正展出《巴黎—倫敦：1962 至 1989 年的音樂遷徙》，該展覽從移民流動的角度重新探討巴黎與倫敦三十年的音樂歷史。我透過沉浸式表演，引領觀眾穿越 1990 年至今的抗爭文化，包括電子音樂、嘻哈與狂派舞（K.R.U.M.P.）。這些文化與我的創作密切相關，而這次演出更讓我對這種形式的表演產生了濃厚興趣。

在這場表演中，我試圖為觀眾創造更廣闊的藝術體驗，表演不單純僅是舞蹈上的編排，同時還結合了環狀隊形與循環舞蹈的動態、多聲部的韻律，以及極簡且重複的音樂形式。因此，我選擇運用影像媒介，特別是邀請不同導演，在這座致力於移民歷史的博物館中進行短片創作。這些影像作品探討街頭文化的政治與抗爭起源，即便這些文化如今常被視為商業娛樂的一部分。

2020 年初，在巴黎巴士底歌劇院的演出結束後，我又受邀為龐畢度中心梅斯分館的展覽《歌劇世界：一場關於總體藝術的追尋》創作閉幕表演。這次機會讓我能在非傳統劇場配置的情境下，與觀眾展開新的互動。《流 _G.R.O.O.V.E.》在里爾歌劇院的呈現，成為這條探索之路上的重要里程碑。透過不同場地的邀約，我們得以持續調整進化這部作品，且根據每個場地的特性進行創新改編。

這次的製作中包含了什麼內容？

這是一場為時三小時的遊走式表演，邀請觀眾與藝術家和技術人員一起探索劇院的每一個角落，包括後臺、舞臺和通常不對外開放的區域。燈光設計 Benjamin Nesme 徹底改造了整座建築，他將城市監控光照的概念引入劇院，重新定義觀眾的視覺經驗。我希望打破觀眾的既有認知，鼓勵他們採用全新的視角，在這個如同通過儀式的環境中重新思考並塑造自我。

在表演的最開始，觀眾被分為三組，分別進入三個不同的藝術模式中。第一個空間是個結合舞蹈、聲音和音樂的儀式場域，其中有獨舞者所表演當地族群的舞蹈，歌手溫柔的嗓音，以及吉他手極簡且重複的音樂。在這段「音樂會模式」中，他們的表演向黑人文化與美洲原住民文化致敬，這也是從流亡奴隸文化 Marronnage 中衍生而來的第一種聯盟形式。Nina Simone 的幽魂彷彿就在我們身邊，她曾夢想成為古典音樂的鋼琴演奏家，並在自己的音樂中自在地融入巴哈等巴洛克音樂的韻律。

第二組觀眾在舞臺區參與「表演模式」，透 過 表 演 與 敘 事 的 方 法， 目 睹 流 亡 奴 隸 Marronnage 文化與街頭文化之間的矛盾與抗爭張力。第三組觀眾則透過「放映模式」來觀賞一系列藝術短片，這些作品出自關注邊緣與全球南方文化的藝術家之手。

隨後， 所有人匯聚一堂， 在「Marronnage 模式」與「巴洛克模式」之間，重新詮釋並充滿顛覆感的《異邦戀曲》編舞片段作為高潮，迴響於劇院的建築之中。這裡我借助了導演 Alarcón 對這齣歌劇的改編，因為他對音樂的詮釋與我的創作脈動一致。Amblard 重新演繹了《異邦戀曲》中〈寧靜森林〉這一樂章，他的手法讓人聯想到 Jimi Hendrix 在胡士托音樂節（Woodstock Music & Art Fair）上對美國國歌的顛覆演奏。

我覺得將這兩個要素作為對應相當有趣，一方面是 Hendrix 1969 年為了譴責 50 萬美國士兵參與越戰的背景，另一邊是 Amblard 吉他失真的音效，在演奏同時也擊碎了 18 世紀為殖民正當化而普遍流傳的「野蠻人」形象。最後，表演在「舞池模式」中結束，邀請所有人一同參與並分享彼此的感受，以舞蹈歡慶這場旅程的終點。

您認為透過創作您想捍衛的理念是什麼？

我的創作中始終抱持這個超越種族議題的理念——我們每個人都是社會中的行動者，都擁有影響和改變的力量。我將矛盾與張力做為出發點，將其解放並轉化為正能量的流動，像一個逐漸展開的螺旋，釋放出全新的可能性。這種方式創造契機，讓人能重新定義自我。

多年以來，我特別著迷於流亡奴隸文化「Marronnage」，以及與它相關的思維與舞蹈 形 式。Marronnage 源 於 殖 民 時 期 奴隸的自我解放，他們逃離壓迫者，發展出新的社群與嶄新的社會形態。因此在《流 _ G.R.O.O.V.E.》創作中，也存在一種玩弄、擦撞 Marronnage 與巴洛克風格的渴望。

我喜歡狂派舞（K.R.U.M.P.）表演中的 hype 以及時尚舞風（Voguing）表演中的 dip，雖然在舞蹈中它們來自截然不同的文化，但卻可以在關鍵時刻完美融合，例如當一群人圍成圓圈，或是讓單一舞者站到中心，以「靈魂列車」（Soul Train）的方式感受圍繞著他／她的鼓勵、認可和能量支持。這是一個集體的自我慶祝，不論逆境或困難，都一起分享與歡慶。

《流 _G.R.O.O.V.E.》這個標題是如何產生的？

「Groove」這個字意指一種節奏與韻律的標記，深受全球南方文化、黑人文化與流行文化的影響。它是一種溝通交流的方式，是一種從內心湧現的律動，在集體生成中逐漸感染其他人，最終達成連結。《流 _ G.R.O.O.V.E.》是我四十多年從街頭到劇院創作經驗的結晶，其中包含許多夜店與音樂會的熏陶。我在這表演中允許自己召喚一種屬於儀式的神聖性，這是一場對自我與他人的讚頌，也是一場在群體中尋找自我、培育嶄新想像力的慶典。

編舞家介紹：賓杜．登貝雷

作為法國嘻哈文化的代表人物，賓杜．登貝雷以她獨特的生命經驗，揭示並詮釋這種來自邊緣的反叛文化。自1985年起，她投身舞蹈，深入探索地下文化，包括街頭文化、夜店生活和早期街舞挑戰賽。

這些從邊緣開闢出的崎嶇小徑催生出新的美學潮流，並逐漸產生影響力。2002 年，賓杜．登貝雷創立了街頭現實舞團（Rualité），開啟了她的藝術方法論探索。她的首部個人作品《我的公寓很多故事》（Mon appart'en dit long）揭 起 她 研 究「Marronnage」 舞蹈的序幕。隨後的作品如《Z.H.》、《S/T/R/ A/T/E/S - Quartet》、《啟蒙者症候群》（Le syndrome del'initié.e）、《通過儀式Ⅱ獨舞 2》（Rite de passage Ⅱ Solo 2）、《 流 _ G.R.O.O.V.E.》，融合了環狀隊形與循環舞蹈、極簡與重複的音樂形式，以及人聲的多聲部表現，並深入探索都會的邊緣地帶、儀式性記憶與身體記憶。

登貝雷也常藉由跨界合作來拓展自己的藝術發想，例如與攝影師 Denis Darzacq 合作的攝影系列《墜落》（La Chute），為詩人 Grand Corps Malade 的音樂 MV《羅密歐狂戀茱麗葉》（Roméo kiffe Juliette）編舞，還有參與導演 Yolande Zauberman 於2021年《凱撒獎》揭曉影片的製作。

2016年，與作家 Dénètem Touam Bona 的相遇，啟發她將流亡奴隸文化的 Marronnage 理念融入藝術創作中。2017年，登貝雷受造型藝術家 Clément Cogitore 邀請，為短片《異邦戀曲》編舞。這部改編自 Jean-Philippe Rameau 歌劇的短片，在巴黎歌劇院的「第三舞臺」（3e scène）線上播映平臺迅速走紅，隨後更受巴黎國立歌劇院委託，與導演 Cogitore 一同創作完整歌劇版本，並於巴士底歌劇院上演。

登貝雷的創作特色在於將創作與研究緊密結合，她致力於將流亡奴隸的 Marronnage 思想及其舞蹈實踐融入舞蹈史研究，並與學術界廣泛合作。她的作品曾在許多重要場合作為焦點展出，如鍍金門宮的歐洲博物館之夜、熱納維利耶國家戲劇中心（T2G-CDN）、龐畢度中心以及凱布朗利博物館。此外，她是龐畢度中心梅斯分館十週年慶祝活動中受邀的十位國際藝術家之一。

2020年至2022年間，梅迪奇工坊聯合主任的 Cathy Bouvard 邀請登貝雷擔任駐館藝術家，並參與該機構 2025 年度計畫的構思與討論。2021 年，她先後在羅馬的梅迪西別墅（Villa Médicis）和芝加哥的阿爾貝蒂娜別墅（Villa Albertine）進行駐地創作，為芝加哥駐地活動揭開序幕。

2022 年，她榮獲法國劇作家與作曲家協會（SACD）頒發的編舞大獎。

演出單位介紹

街頭現實舞團

街頭現實舞團（Rualité）的名稱融合法文「Rue」（街道）與「Réalité」（現實）兩個詞彙而成，2002 年由賓杜．登貝雷創立，至今由她親自領導。舞團設立於法國塞納— 聖丹尼省，以藝術與文化節目製作為核心，融合研究、創作、傳播與傳承多重使命於一體。

小事製作 Les Petites Choses Production

小事製作是一個由各類型創作者共同組成的表演藝術合作社，自2014年創團起，致力於當代藝文體驗教育的再造與價值創造，透過開放的參與式藝術實踐，持續在非典型文化／展演空間中實驗，與公民社會一起打造更永續的藝術支持網絡。2023年獲設計雜誌《La Vie》兩年一度設計獎「2023 台灣創意力100」選為「年度十大風格創意團隊」，2024年獲邀至巴黎文化奧運臺灣館與夏佑國家劇院「夏佑體驗—臺灣焦點」（Chaillot Expérience–Taïwan）演出。

演出製作群

概念、編舞暨表演：賓杜．登貝雷 Bintou Dembélé

助理藝術指導：Féroz Sahoulamide

舞團：街頭現實舞團、小事製作

使用曲目：

1. Jean-Philippe Rameau,

Les Indes galantes

, Orchestre Cappella Mediterranea, Namur Chamber Choir, conducted by Leonardo Garcia Alarcón

2. David Lang,

I lie, The Little Match Girl Passion

, Ars Nova Copenhagen, conducted by Paul Hillier

3. Kronos Quartet,

Pieces of Africa: Ekitundu Ekisooka I, Ekitundu Ekisooka II, White Man Sleeps, Wawshishijay

現場音樂創作與表演：Charles Amblard

歌手：Sandra Nkaké

燈光設計：Benjamin Nesme

燈光技術：Emmanuel Gary

服裝：Anaïs Durand Munyankindi

技術統籌：Stéphane Holveque

聲音技術：Jérémy Hoarau

製作經理：Nina Quitté

行政管理：Anne-Laure Feron

製作單位：Rualité, Festival de Marseille

共同製作：

Opéra de Lille, Ateliers Médicis (Clichy-sous-Bois et Montfermeil), ExtraPôle Provence-Alpes-Côte d'Azur*, Ville de Lille, Maison Folie Moulins (Lille), Ville de Champignysur- Marne With the support of Spedidam for the 77th Festival d'Avignon Performances in partnership with France Médias Monde With the kind permission of France Musique to use extracts from the recording of Les Indes galantes made in October 2019 at the Opéra national de Paris.

* Production platform supported by the Région Sud Provence-Alpes-Côte d'Azur, bringing together the Festival d'Avignon, the Festival de Marseille, the Théâtre national de Nice, the Théâtre national de Marseille La Criée, Les Théâtres, Anthéa, Châteauvallon-Liberté Scène nationale (Ollioules) and the Friche la Belle de Mai (Marseille).

國家兩廳院製作團隊

製作統籌：陳巧欣、羅心彤、吳昀璇

行銷統籌：謝澤旻

翻譯接待：劉姿蘭、邱芳吟

舞者統籌：小事製作

舞者：丘必信、初培榕、沈樂、林素蓮、張雅媛、張祐嘉、陳詣芩、陳薏如、楊乃璇、張堅豪、蕭裕璋、 謝宛靜

舞團經理：陳歆寧

排練側拍：黃裕閔

技術統籌：廖敏慈

場館舞臺監督：洪伊柔、吳子嫻、謝佩珊

場館舞臺監督助理：林珈含、許雅晴

舞臺技術指導：李伯涵

舞臺技術執行：徐鴻誠、林沛豪、 林哲煒、洪晧原、陸冠伶、謝棋然

執行燈光設計：李意舜

燈光技術指導：賴秉宏、葛禎

燈光編程：李佩璇、卓駿鵬

燈光技術執行：朱家德、王光中、 侯凱傑、方琬婷、 賴莉婷、余婉臻

音響技術統籌：黃尉育（現象聲音有限公司）

音響工程師（A1）：樂和中、温承翰、陳天奇

音響技術人員（A2）：張虔綸

服裝統籌：張凱豐

服裝管理：張嘉瑋、莊佩雯、羅宇燦

場館助理：張尚澤、潘佩吟、吳浩辰、陳俐君、簡秉祺、曾稚芸

影像短片字幕翻譯及製作：遠東譯像

《存在於姿態之中》詩作翻譯：劉姿蘭

特別感謝：法國在台協會、IP DANCE SKOOL、 吳孟軒、Coffee 老師、Sharron Ninja、大可老師、小陸老師、學耀老師

持本場館當日節目票觀眾，請至廳內折抵機辦理停車優惠

點擊

連結

填寫節目問卷。

完成後，成為兩廳院官方 LINE 帳號好友再送 LINE POINTS（僅限手機點擊操作）

友善環境：國家兩廳院印刷品皆選擇使用大豆油墨物料。

演出中孩童陪伴服務：國家兩廳院在演出期間提供4-8歲孩童陪伴服務，詳細資訊請見

兩廳院官網

。

TIFA, A Flourishing Arts Banquet!

For each TIFA, we look forward to presenting works we believe are must-sees and artists we think deserve more attention via this platform that reflects both the world and Taiwan.

After the pandemic, artists from Taiwan and around the world are in a crouched position, preparing to take a leap. With unwavering attitudes, they respond to the world by challenging boundaries and limitations via their artistic skills and perspective. A total of 118 outstanding performances by 18 performing artists and art groups from 11 countries demonstrate this platform's unique landscapes of diversity and inclusivity. Together, we will experience classic reversals of imagination, extraordinary perspective, and subversive works that cross eras and styles. We will journey through adventures that challenge limitations, explore life and death through immersive technology, and witness long-awaited performances by renowned maestros.

Last but not least, a series of peripheral events have been planned for TIFA, with the expectation of countless possibilities for the public to experience the arts. Perhaps, TIFA can be likened to a garden with flowers in bloom, into which you are welcome to enter and search for your own way to participate in the arts based on your preferred attitude and perspective.

Please join us for this flourishing arts banquet!

Gesture of Intention

“Groove begins with a context, a soundscape, an ambiance,

A rhythm that sets in unannounced,

an instant to seize, to suspend.

Some experience it from the inside, others visualize it or are simply into it.

I live it, I can’t explain it.

Pure selfishness, a moment that belongs to us and sets the tempo, but that leads to sharing after a while.

We are together, we celebrate each other with a glance, a gesture, or a syncope.

To each their own groove.”

--Bintou Dembélé, January 2022

G.R.O.O.V.E.

is a deambulatory experience irrigated by the artistic approach led by Bintou Dembélé for over twenty years. Choreographic excerpts from the Opera- Ballet Les Indes Galantes, projections of short films on cultures of dissent from the margins, performances in concert form and in baroque form take over the space. The lighting design by Benjamin Nesme recreates street lighting in the opera. Guided by the voice of Sandra Nkaké, the public is invited to give itself over to Charles Amblard's guitar and lapsteel, and to follow the street dancers to Bintou's side. Together, they take over and redirect the space, to invite you to join them and celebrate each other.



Interview with Bintou Dembélé

Interview with Bintou Dembélé, 26th May 2023

G.R.O.O.V.E.

was created for the Opera of Lille with the idea that it could be adapted to other venues. Where did the idea for this project come from?

G.R.O.O.V.E.

is the continuation of the work I began in 2019 with Jean-Philippe Rameau's opera Les Indes Galantes. I created the choreography for a production put on by the National Opera of Paris, conducted by Leonardo García Alarcón and directed by Clément Cogitore.

The rehearsal period coincided with an invitation I received from the Palais de la Porte Dorée for the European Night of Museums when

Paris-Londres. Music Migrations from 1962 to 1989

was on exhibit at the Musée d’histoire de l'immigration. This exhibition reexamined three decades of musical history in Paris and London through the prism of migration flows. I was interested in extending this immersive path through musical cultures of dissent from 1990 to today, including Electro, Hip-Hop and K.R.U.M.P., which were part of my performative work.

I wanted the public to discover my artistic universe in the broadest sense, not only my choreographic work but also my engagement with circular and cyclical dance, polyphonic rhythms, and minimalist and repetitive music. And so, I covered the museum's walls dedicated to the history of immigration with video, especially short films from different directors who drew on the political origins of street culture, which was still largely considered only entertainment, to highlight its power as a form of cultural dissent.

At the beginning of 2020, having just finished the last performances at the Opera Bastille, I was invited to close the exhibition Opéra Monde; la quête d'un art total at the Pompidou Center in Metz. Once again, I wanted the public to experience my work in a way that expanded the space normally imposed by a theater.

G.R.O.O.V.E.

, performed for the first time at the Opera of Lille, was the next step in this logic. Invitations from different places have allowed us to engage in a long-term process of adapting the performance to the specific configuration of each space.

How would you describe your new piece?

It's a "wandering," 3-hour performance that invites the public to fill up all the spaces in the opera: the backstage and wings, the stage itself, areas where public access is not permitted next to the artists and the technicians. The building is transformed by the light designer Benjamin Nesme who brings lighting, originally designed to monitor the streets, into the opera. I want to disrupt the public's normative references to encourage people to adopt a new viewpoint, to think about and reinvent their role in this environment unfolding into a rite of passage. At first, the public is split into three groups to walk through distinct artistic universes in three different spaces. There is a ritual space of dance/voice/music, where Cintia Golitin performs the Tupi Guarani dance(The Taipei performance will feature another solo dancer telling their own story.)accompanied by Célia Kameni's smooth voice (The Taipei performance will be presented by Sandra Nkaké.) and Charles Amblard's repetitive and minimalistic music. They perform together in concert mode in homage to Black and Native American Cultures, the first alliances forged through marronnage. Nina Simone is in the wings, a fantom who first dreamed of becoming a classical concert pianist and who subsequently tinted her own music with baroque colors reminiscent of Bach.

Stories about tensions that led to marronnage and to street culture are performed on the stage. A series of short films directed by artists working through and for the creative force of popular cultures from the margins and the global souths are projected in a third sequence. Finally, in a spirit between marronnage and the baroque, we all gather to make the architecture quake through choreographic sequences that upend and deregulate the opera

Les Indes Galantes

(The Amorous Indies). I use the adaptation by Leonardo García Alarcon that lends itself to this handling, matching the pulse that gives rhythm to my work. Charles Amblard draws inspiration from Jimi Hendrix's rendition of

The Star-Spangled Banner

performed at Woodstock in his reinterpretation of

Peaceful Forests

. I think it's interesting to connect Jimi Hendrix, who, in 1969, was denouncing the involvement of 500,000 American soldiers in the Vietnam War, with Charles’ guitar distortion aimed to torpedo the figure of the "savage," which was popularized in the eighteenth century to legitimate colonial conquest. At the end, the stage becomes a dance floor where the initiated are invited to take their place, show off and celebrate one another.

What are you defending today through your creations?

Beyond addressing the racial question, my work has always been driven by the idea that we are all actors in society, and that we all have agency. I draw energy out of tensions, unknotting and transforming them into a flux of positive energy, like a spiral that unfurls to release something new. This movement makes reinvention possible. Over the last few years, I have been interested in marronnage, imagining what maroon dance and thought would look like. Marronnage is self-liberation for the slaveholders during the colonial period. By freeing themselves from their oppressors, these formally enslaved people formed new communities and invented new societies. In

G.R.O.O.V.E.

, there is also the desire to play with the way marronnage and baroque can bump up against each other. I like the idea of hype in K.R.U.M.P. performances and dips in Voguing, two diametrically opposed cultures that come together when the participants make a circle or a soul train, when a dancer steps into the center being encouraged, acknowledged and carried by the energy of others. We celebrate together, toward and against everything.

Yes, and why the title

G.R.O.O.V.E.

?

Groove is a way of marking the rhythm, the tempo in movement. It has a lot to do with Southern cultures, Black cultures, popular cultures. It's a way to communicate and to come together. A vibration is born inside and little by little contaminates others until it becomes collective. This contamination is what

G.R.O.O.V.E.

proposes, through my experience of forty-some-odd years moving between the street and the stage, through clubbing and concerts. I gave myself permission to summon the sacred in a ritual, a celebration of the self and others, of the self in the midst of others, under the omen of irrigating a new imaginary.

Choreographer: Bintou Dembélé

The artist Bintou Dembélé began dancing in 1985, digging into the underground grooves of street culture, clubbing, and the first dance challenges. As one of the major figures of Hip-Hop in France, Bintou Dembélé illuminates and follows a unique artistic line that emerges from the culture of dissent emanating from the margins.

One of the defining features of Bintou Dembélé's work is the way it draws together artistic creation and academic research. She has set out to embody this culture, forged off the beaten path, to bring forth a new esthetic that is gaining in influence. In 2002, she created the company Rualité to develop her artistic approach. Her first solo

Mon appart' en dit long

(My apart' speaks volumes) launched Maroon Dance. Her next pieces --

Z.H.

,

S/T/R/A/T/E/S-Quartet

,

The Syndrome of the Initiated, Rite of passage || Solo2, G.R.O.O.V.E.

-- summon dance, music, voice, and visual arts to explore peripheries, and ritual and bodily memories. In parallel, she has expanded her artistic practice through collaborations with artists from other disciplines, including the photographer Denis Darzacq (

Série La Chute

), the poet Grands Corps Malade (the

Roméo kiffe Juliette

music video), and the filmmaker Yolande Zauberman (the music video for

Révélations Césars 2021

). In 2016, she met writer Dénètem Touam Bona who encouraged her to extend the notion of marronnage into the arts. In 2017, the visual artist Clément Cogitore called on Bintou Dembélé to choreograph the short film

Les Indes Galantes

by Jean-Philippe Rameau, which went viral on the National Opera's digital platform 3e Scène. To mark its 350th anniversary, l'Opéra National de Paris (National Opera of Paris) commissioned the duo to reimagine the entirety of Rameau's opera-ballet that would be performed on the Opéra Bastille's stage.

Bintou Dembélé's work has been featured at the Palace of the Porte Dorée (during the European Night of Museums), the T2G-CDN (Théâtre de Gennevilliers—National Dramatic Center), the Centre Prompidou (as part of

Les mondes de series

), and the Museum of Quai Branly. She is one of the ten international artists chosen to participate in the ten-year anniversary of the Centre Pompidou-Metz.

From 2020 to 2022, Cathy Bouvard, co-director of the Ateliers Médicis (Clichy- sous-bois), invited her to be an associated artist and to join the directors in mapping the evolution of the Center’s project leading up to 2025. In 2021, she was selected for a writing residence at the Villa Medici in Rome. She was also the inaugural artist at the Villa Albertine in Chicago.

In 2022, she received the Prize for Choreography from the Society of Dramatic Authors and Composers (SACD—Société des Auteurs et Compositeurs Dramatiques).



Performance Team

Rualité

Bintou Dembélé founded the Company Rualité, a word that combines "street" (rue) and "reality" (réalité), in 2002. Based in Seine Saint-Denis, Rualité engages in artistic and cultural projects that spiral research, creation, diffusion, and transmission together.

Les Petites Choses Production

Les Petites Choses Production is a contemporary performing arts co-operative of diverse creators, strives to create inspirational performances and community engagement activities.

They were invited to perform at the Taiwan Pavilion of Paris Cultural Olympiad and

Chaillot Expérience #2 Taïwan

held at Théâtre National de Chaillot.

Credits

Conception, Choreography and Acting: Bintou Dembélé

Assistant Artistic: Féroz Sahoulamide

Dance Group: Rualité, Les Petites Choses Production

Recorded Music:

1. Jean-Philippe Rameau,

Les Indes galantes

, Orchestre Cappella Mediterranea, Namur Chamber Choir, conducted by Leonardo Garcia Alarcón

2. David Lang,

I lie,The Little Match Girl Passion

, Ars Nova Copenhagen, conducted by Paul Hillier

3. Kronos Quartet,

Pieces of Africa: Ekitundu Ekisooka I, EkitunduEkisooka II, White Man Sleeps, Wawshishijay

Musical Creation and Performance: Charles Amblard

Voice: Sandra Nkaké

Lighting Designer: Benjamin Nesme

Lighting Technician: Emmanuel Gary

Costumes: Anaïs Durand Munyankindi

General Manager: Stéphane Holveque

Sound Technician: Jérémy Hoarau

Production Manager: Nina Quitté

Administration: Anne-Laure Feron

Production: Rualité, Festival de Marseille

Coproduction:

Opéra de Lille, Ateliers Médicis (Clichy-sous-Bois et Montfermeil), ExtraPôle Provence-Alpes-Côte d'Azur*, Ville de Lille, Maison Folie Moulins (Lille), Ville de Champignysur- Marne With the support of Spedidam for the 77th Festival d'Avignon Performances in partnership with France Médias Monde With the kind permission of France Musique to use extracts from the recording of Les Indes galantes made in October 2019 at the Opéra national de Paris.

* Production platform supported by the Région Sud Provence-Alpes-Côte d'Azur, bringing together the Festival d'Avignon, the Festival de Marseille, the Théâtre national de Nice, the Théâtre national de Marseille La Criée, Les Théâtres, Anthéa, Châteauvallon-Liberté Scène nationale (Ollioules) and the Friche la Belle de Mai (Marseille).

NTCH Production Team

Production Coordinator: Chen Chiao-hsin, Lo Hsin-tung, Annie Wu

Marketing Project Manager: Hsieh Che-min

Interpreter: Liu Tzu-lan, Nolwenn Chiu

Dancer Coordinator: Les Petites Choses Production

Dancer: Chiu Pi-hsin, Chu Pei-rung, Shen Le (Happyboy) , Lin Su-lien, Chang Ya-yuan, Chang Yu-chia (Diao), Chen Yi-chin, Chen Yi-ju, Yang Nai-hsuan (Sunny), Chang Chien-hao, Hsiao Yu-chang (YaoBai), Hsieh Wan-ching (BabyJing)

LPCP Company Manager: Chen Hsin-ning

Rehearsal Photographer: Huang Yu-min

Technical Coordinator |廖敏慈 Min-Tzu Knife Liao

Venue Stage Manager: Hung Yi-rou, Wu Tzu-hsien, Stella Hsieh

Venue Stage Manager Assistant : Lin Jia-han, Hsu Ya-ching

Head of Stage: Lee Po-han

Stage Crew: Hsu Hung-cheng, Lin Pei-hao, Lin Che-wei, Hong Hao-yuan, Lu Kuan-ling, Hsieh Jin-ran

Executive Lighting Designer: Lee I-shun

Head of Lighting: Ping-Hung Simon Lai, Adrian Ko

Light Programmer: Lee Pei-hsuan, Cho Chun-peng

Lighting Crew: Chu Chia-te, Wang Kuang-chung, Zachary Hou, Fang Wan-ting, Lai Li-ting, Yu Wan-chen

Head of Sound: Huang Wei-yu (Phenomenon Sound Co.,Ltd)

Sound Engineer: Yueh Ho-chung, Wen Cheng-han, Chen Tian-qi

Sound Technician: Chang Chien-lun

Costume Coordinator: Kai-Feng (Ian) Chang

Dresser: Chia-Wei chang, Jhuang Pei-wun, Lo Yu-tsan

Venue Assistant: Chang Shang-tse, Pan Pei-yin, Wu Hao-chen, Chen Li-jyun, Chien Ping-chi, Tseng Chin-yun

Subtitles for the short films: Far East Transvideo

Translation of

Sois dans le Geste

: Liu Tzu-lan

Special Thanks: Bureau Français de Taipei, IP DANCE SKOOL, Coffee 老師、Sharron Ninja

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Online Questionnaire

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