Ana Pi
O BANQUETE
© © Samuel Akinruli ©
© © Samuel Akinruli ©
© © Alile Onawale ©
Devised by, Ana Pi
With Mylia Mary, Maria Fernanda Novo, and Ana Pi
Music, Aishá Lourenço
Philosophical advice, Profe. Dre. Maria Fernanda Novo
Costumes, @remexefavelinha | Carla et Mili
In association with CND Centre national de la danse et le Festival d’Automne à Paris.
Production NA MATA LAB (Paris)
Delegated Production Latitudes Prod. – Lille
A coproduction by Estúdio Baile
In association with CND Centre national de la danse (Pantin) ; and Festival d’Automne à Paris
In collaboration with Institut Français de São Paulo
In partnership with Mostra Verbo – Galeria Vermelho (São Paulo), and Fonte Residência (São Paulo)
With thanks to Carolina Mendonça, Louis Logodin, Marcelo Amorim, Marcos Gallon, Maurício Ianês, Nino Cais, Simone Moraes, Telma Baliello, Galeria Vermelho (São Paulo), Centro Cultural São Paulo, and Vicente Alcântara
With support from Fondation d’entreprise Hermès
Partnership with France Culture
In Le Banquet de Platon, men spoke of love. In O Banquete, three black women experience it. Ana Pi invites us to share in a danced performance of infinite tenderness, and a powerful demonstration of sisterliness. Reading through the lines, it is a denunciation of violence in Brazil.
Drawing upon works from its videographic collection, the piece was commissioned by the Associação Cutltural Videobrasil de São Paulo for museum use. Three Brazilian women cook coxinhas, traditional fried croquettes: Ana Pi, a young choreographic and visual artist, her paternal aunt Mylia Mary, a former passista in the samba schools but now salgadeira, a respected cook, and Maria Fernanda Novo, philosopher. Between steps danced to the rhythm of a revisited samba, the welcome sounds of the kitchen, songs and everyday gestures, they exchange smiles and silently converse. In this place of joy and intimacy, love manifests itself in movement and resistance, the different bodies gently connecting and caring for each other at the same time. A twist of the lips in response to a bitter taste in the mouth is met with soothing reassurance. In a world in need, Ana Pi affirms the unwavering strength of the quest for beauty, art and courage.
In the same place
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In Atlas/The Mountain, the Moroccan choreographer Radouan Mriziga transforms his body into a catalyst for energies and traditions from the Atlas Mountains. This solo in the form of a ritual is transcended by polymorphic figures and captivating rhythms.
Latifa Laâbissi, Antonia Baehr Cavaliers impurs In a visual installation by Nadia Lauro
Following on from Consul and Meshie, Latifa Laâbissi and Antonia Baehr bring us a duo in the form of a series of heterogeneous sequences, interlinked by a common thread of the impure, hybridization and collage. They combine their respective vocabularies, such as the relationship with the expressiveness of the face, and the crossing of genres, registers. Over the course of different numbers or acts, Laâbissi and Baehr interweave their respective universes, thereby overturning the various choreographic codes and blurring the frontiers.
Elsa Dorlin Travailler la violence #4
How can we work on violence? How can we put into perspective, stage and retell it? How can we tear it to pieces? The purpose of this two day-long series of encounters, put together by the philosopher Elsa Dorlin, will be to update what critiques of violence teach us and to make an inventory of the various weapons of violence collected.