DANCE/PERFORMANCE — The apparition of the blue. Ancient languages as Japanese, Greek, and Hebrew didn't have a word to define this colour. Some historians tell us that such absence comes from the fact of blue's rarity in nature. Others say this linguistic distraction points to the fact that those societies weren't sufficiently developed to master, produce and process – or even just see – this colour.
But the colour survived, it became a symbol, a temporality: mainly for those societies where it was made invisible. Blue had a significant presence in ancient Egypt, or in the Tupi-Guaraní civilization in South America.
In many languages from which the colour blue was previously missing, the word created to define it emerged from the word for black. In the field of dance, the colour black is present – in fact it's the only colour, somehow.
What gestures would emerge if this same etymological process were applied to a choreographic construction? A blue dance emerging from those dances considered black; sacred, traditional and popular forms, like contemporary manifestations connected to Black populations in Africa and their Diasporas.
NOIRBLUE opens space up to fiction and an Atlantic navigation of certain peripheral bodies. This exercise interrogates presence, absence, speech and time to produce an extemporary dance aligned to two specific colours: the blackness of the skin and the ultramarine pigment blue.
Dedicated to international activist movements #JovemNegroVivo and #BlackLivesMatter, as well as those who preceded them, demanding freedom, dignity and health for Black people worldwide
Choreography, dramaturgy, performance: Ana Pi
Soundtrack: Jideh High Elements
Light: Jean-Marc Ségalen
Production: Ana Pi & Météores, Plateforme chorégraphique
Co-productie & partners: Théâtre de Vanves, Centre National de la Danse, Das Plateau aux Ulis - Espace culturel Boris Vian, ROSA ass. 1901, Festival Circular - Vila do Conde