ARCHIVES 2014 / Tapis rouge

Used by ancient clergy and today's stars, the carpet is red, the path holy. The red carpet insulates the powerful from the ground. Is it because that ground is vile, tainted, or much too banal? Or are we to understand that it is the visitor or his entourage who refuse this contact? In Red Carpet, Nadia Beugré talks about the above and the below. Below is Africa. Humans exploited just so that the riches of the land can be extracted, with the blessing of local governments. Bodies twisted and broken so that their land can be made attractive to new infrastructures. What is the cost of this hospitality? The choreographer questions the concept of unconditional hospitality defined by Derrida and argues that hospitality should come with its own rules and duties... in order to prevent all those destructive collusions that have existed for too long.

Nadia Beugré explored the traditional dances of Ivory Coast and created the Tché Tché company with Béatrice Kombé in 1997. After training at Germaine Acogny's École des Sables and with Ex.e.r.ce, she devoted herself to interpreting and choreography. Her plays are much like her, fierce enough to overcome any obstacle.

Sébastien Martel, guitarist with many artists like M or Salif Keita, likes to revisit all kinds of music, from Cuban folklore to rockabilly. He also composes for himself and for others, and founded the band Las Ondas Marteles with his brother Nicolas Martel and Sarah Murcia. Improvisation plays an important part in his concerts.

VDC, avril 2014

© photo Christophe Raynaud de Lage