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Stomp. Chest pop. In the beginning there was krump – which is how Nach kicks off this danced conference, stemming from the desire to share her journey as a self-taught late starter, and her encounter with David La Chappelle’s film Rize, which introduced “Kingdom Radically Uplifted Mighty Praise” to a whole generation in France.
Archive footage – from LA trips to battles in Paris – alternates with an activation through body and words, directly and punchily addressed to the audience. But krump could not go on curbing this artist’s forays and curious gaze on the world. The first, collective chapter ends here.
The rest is written solo, fuelled by travels, roamings and discoveries: kathakali, puppetry, flamenco in Andalucia, and the intense practice of butoh in Japan, during an artistic residency that would transform Nach deeply. This introspective and evolving danced conference hints at the blooming of an artist and the tentative affirmation of her creative stamp. Her experiments with the potential of theatre’s black box are the most recent chapter in this incandescent story of self, which has been touring the world for more than five years.
Anne-Marie Van, known by her stage name Nach
A dance artist with a background in krump, which she discovered in Lyon and Paris in 2008, Nach has been investigating her identity as a dancer and a woman since her first stage works, and steering clear of overly restrictive categories.
Since her first solos “Cellule” (2017) and “Beloved Shadows” (2019), her two danced lectures (“Nulle part est un endroit”, 2020, “Un endroit partout”, 2023) and a group piece (“Elles disent”, 2022), she has been redefining her artistic identity, exposing her corporeity to new aesthetic experiences – butoh, noh theatre, puppetry and classical dance; and to personal and political enquiries – the suffering and invisibility of the Black body, uprootedness and reparation. Since her stay in the United States (at Villa Albertine’s invitation in 2024), she has focused on gesture notation and choreographic scoring as a space of restrictive freedom, in a research undertaking (“Partition de l’être inconnue”) that has taken her to Japan and to American universities. It has yielded varied forms, such as a performance with two musicians from the Ensemble Intercontemporain of the Philharmonie de Paris (“Partition de l’être inconnue n°1”, 2025). Her next piece (2027) will be a duet with Mulunesh, an artist with whom she has a close affinity, and who already featured in “Elles disent”.
choreographer & performer: Nach
technician: Nicolas Barraud
translator: Anna Johannsen
duration: 55 min
recommended age: 8+
notice: a 30-second video featuring a mirror reflection of Nach’s bare chest
Co-financed by the Minister of Culture and National Heritage from the Culture Promotion Fund – a state earmarked fund, as part of the “Dance” programme, implemented by the National Institute of Music and Dance.
Supported by the Institut Français in Paris.
Ceny biletów
30 PLN
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phone: 81 466 61 40
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On other days, e-mail contact:
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Duration:
55 minutes
Miejsce
Main Auditorium
Kontakt
National Choreographic Centre in Lublin
