This is a past event.
Following Culturgest's activity suspension, this performance has been postponed. New date to be announced soon.
“You realize that this is some of the purest, most unfussy dancing to jazz music that you have ever seen. Even as it was still unfolding, I wanted to sit through it again, right there, right then”
The Village Voice, New York
The quartet of dancers created by Salva Sanchis and Anne Teresa de Keersmaeker, A Love Supreme, takes its name from John Coltrane’s highly acclaimed and award-winning album.
The collaboration between these two choreographers results from the fascination that they both have for this iconic jazz figure “In this album, we feel a unique accumulation of energies, the core of Coltrane’s creative power, as well as of his quartet, and perhaps of an entire society and epoch.”
In A Love Supreme, Coltrane and his musicians develop a deceptively simple melodic structure in order to allow for unlimited freedom of improvisation. This freedom is almost literally translated into dance, insofar as each of the four dancers “embodies” one of the instruments of Coltrane’s quartet. As in the legendary album, composition and improvisation are intertwined in an indiscernible manner, in an interpretation that reflects the immortal vitality of John Coltrane’s music.
Salva Sanchis, Anne Teresa De Keersmaeker
José Paulo dos Santos, Bilal El Had / Robin Haghi, Jason Respilieux, Thomas Vantuycom
ORIGINAL VERSION CREATED IN 2005 BY
Cynthia Loemij, Moya Michael, Salva Sanchis, Igor Shyshko
A Love Supreme, John Coltrane
Tenor saxophone, vocals: John Coltrane, piano: McCoy Tyner, bass: Jimmy Garrison, drums: Elvin Jones
Acknowledgement, Resolution, Pursuance & Psalm © Coltrane, J., © Jowcol Music, Inc. (Universal Music Publ. N.V.)
REVISED LIGHTING DESIGN
Anne Teresa De Keersmaeker, Luc Schaltin
Rosas, De Munt/La Monnaie (Brussels)
23.02.2017, Kaaitheater (Brussels)
JÉRÔME BEL was born in 1964. He lives in Paris and works worldwide. In his early pieces, he applied structuralist operations to dance in order to single out the primary elements from theatrical spectacle. In offering the stage to non-traditional performers (amateurs, people with physical and mental handicaps, children), he shows a preference for the community of differences over the formatted group, and a desire to dance over choreography, and duly applies the methods of a process of emancipation through art. He has been invited to contemporary art biennials and museums, where he has put on performances and shown films. In 2005, Jérôme Bel received a Bessie Award for the performances of The show must go on given in New York. Three years later, with Pichet Klunchun, he won the Routes Princesse Margriet Award for Cultural Diversity (European Cultural Foundation) for the performance Pichet Klunchun and myself.