#6 — june 24 | CN D Magazine

There Are Still Too Few Female Choreographers in Ballet. Why?

◆ article ▶︎ 7 minutes
Pop, Electro, Olympic: A Haute Culture Parade

◆ article + portfolio ▶︎ 5 minutes
Dance Spaces: Ramdam, a Center for the Arts

◆ video ▶︎ 9 minutes
Preparing “Arthletes” to Break at the Olympic Games

◆ article ▶︎ 5 minutes
Dakar, Brussels and Then Paris: Drumming, Supersized

◆ article ▶︎ 6 minutes
The Olympic Ceremonies: Are the Dances Visionary or Ideological?

◆ article ▶︎ 5 minutes
Dancing With Death, to Bring It Back to Life?

◆ article ▶︎ 4 minutes
Contemporary African Dance is Breaking through the Western “Gaze”

◆ article ▶︎ 4 minutes
The Lasting Impressions of Café Müller

◆ article ▶︎ 5 minutes
From the Vault: How contact improvisation took root in France

◆ portfolio ▶︎ 3 minutes
Four Years After Brexit, British Dance Is Turning over a New Leaf

◆ article ▶︎ 5 minutes

Magazine published by the CN D Centre national de la danse
With the support of Dance Reflections by Van Cleef and Arpels

Director Catherine Tsekenis
Managing director Domitille Desforges
Editorial director Léa Poiré
Editorial consultant Laura Cappelle and Gilles Jacinto
Coordinator Lise Kiner Wolff assisted by Justine Ballay
Executive production La Belle Orange

Writers & creatives – issue #6
Christophe Berlet / Hélène Caillet / Marisa Caitlin Hayes / Isabelle Calabre / Laura Cappelle / Mary Corrigall / Claire Delcroix / Alexandre Humbert / Aïnhoa Jean-Calmettes / Katie Kheriji-Watts / Belinda Mathieu / Léa Poiré / Juliette Riandey / Zineb Soulaimani

Identity Casier/Fieuws
Website Tentwelve

Translation Adeline Chevrier-Bosseau
Editing in english Katie Kheriji-Watts
Proofreading Katie Kheriji-Watts, Marianne Lagueunière

There Are Still Too Few Female Choreographers in Ballet. Why?

Pop, Electro, Olympic: A Haute Culture Parade

Dance Spaces: Ramdam, a Center for the Arts

Preparing “Arthletes” to Break at the Olympic Games

Dakar, Brussels and Then Paris: Drumming, Supersized

The Olympic Ceremonies: Are the Dances Visionary or Ideological?

Dancing With Death, to Bring It Back to Life?

Contemporary African Dance Is Breaking through the Western ‘Gaze’

The Lasting Impressions of Café Müller

From the Vault: How contact improvisation took root in France

Four Years After Brexit, British Dance Is Turning over a New Leaf

In France, Waacking Shines on the Biggest Stages

Dance Spaces: La Chaufferie

Composing Dance: Nach

A Japanese Village Where Dancing and Farming Bodies Met

Dance Institutions and Race: Moving From Words to Action

Call Me May B: Audiences Remember Maguy Marin’s Masterpiece

Fault Lines on the Coastline: Merce Cunningham’s Beach Birds for Camera

Beyond Carmen and Toreros: Queering Flamenco

Jérôme Bel, Albeit With No Jérôme Bel

Contemporary African Dance, an Economy Spanning Two Continents

Behind the Craft: Myriam Gourfink

From the Vault: Hiking, Painting, and Dancing Around the Hills of Auvergne

Defining Mental Health for Dancers

United in Loss: The Dance Sisters of Paradox-Sal Crew

On the Ice, Skaters Are Slowly Gliding Towards New Moves

In Caen Amour, Trajal Harrell Takes the Audience Backstage

Hair Rollers, Sponges and a Runaway Smile: Lucinda Childs’ Carnation

Ballets And Opera Houses (2): Who Holds the Purse Strings?

Gisèle Vienne: “Violence Is a Structural Language and a Culture”

Behind the Craft: Aina Alegre

Prophétique (on est déjà né·es): Transgender Performers Speak Their Truth

Dancing with Philip Glass: Chanon Judson & Leonardo Sandoval

Roof Piece by Trisha Brown. Looking Out Into the Distance

Loïe Fuller, A Subversive Pioneer

Relative Calm: Lucinda Childs’ Mathematical Equation

Forty years of Pina Bausch’s Tanztheater Wuppertal on Screen

Philip Glass Keeps Inspiring Choreographers. Here’s Why

Dance Places: La Maison de la danse de Lyon

From Brazil to France and Back Again: Two Ballerinas’ Transatlantic Journey

As the Relationship to Work Changes, Where Does Dance Stand?

Krump, the Explosive Dance Sweeping Across Global Stages

Dance Places: L'échangeur - CDCN Hauts-de-France

Behind the Craft: Boris Charmatz

Dance and Choreography in Gymnastics: A Tricky Balance

Ever the Pioneers, Never Legitimate: Women in Dance

For Exiled Ukrainian Dancers, a New Life in France

Contemporary Circus: Great Ambitions vs. A Fragile Economic Model

Ballet And Opera Houses (1): A Tricky Pas de Deux Isabelle Calabre

Composing Dance: Chloé Moglia

Immersive for Whom? A Writer and Two Artists Discuss

Marie Taglioni: Muse or Agent to Her Father?

Extreme Bodies: The Photographer’s Perspective

Supporting the Career Transitions of Dancers

Jean-Claude Gallotta, Alfresco: Un chant presque éteint

From the Vault: “New” Circus – in 1929

Euripides Laskaridis Transmuted Artistic Misery Into Creative Success

Teaching Dance in Rural Areas, a Strong Yet Precarious Commitment

How HIV/AIDS Still Haunts the Dance World

An Entire Night With Tatiana Julien & Anna Gaïotti

Choreographing Against AIDS: Élisabeth Lebovici

“Studying Here Opens a Lot of Doors”: Behind the Scenes at P.A.R.T.S.

Behind the Craft: Maud Le Pladec

Remembering Raimund Hoghe

Some Companies Are Actively Improving Dancers’ Health. Here’s How

Probing Modernity Through Butoh: Akaji Maro

Dance Places: La Briqueterie

Gaga, Gutsy, Grounded: Bobbi Jene Smith Lands at the Paris Opera

From the Vault: A “Liturgical Dance” on the Cusp of War

For Two Brazilian Students, French Dance Retains Its Aura

When the Big (And Small) Screen Inspires Dance

Composing Dance: François Chaignaud

Building Up French Dance: Françoise Dupuy

Pam Tanowitz’s Choreographic Career Is Blooming – Later in Life

Behind the scenes of Navy Blue with Oona Doherty

Composing Dance, Baroque : le sens du mot aujourd’hui, Béatrice Massin

Dance Places: Ballet national de Marseille

Too Many Dance Creations in France? A Controversial State Audit Says So.

Listening to Laurence Louppe

Via Katlehong: South African History, Gone Global