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Since the creation of Compagnie 7273 (2003), Laurence Yadi and Nicolas Cantillon have developed a dance style that invites the body to continuously and endlessly unravel. Their research is inspired by the specific Arabic music system of Maqâm.
Each maqâm describes a “tonal-spatial factor” or a set of musical notes and the relationship between them. It allows the musician to play in-between the notes and gives him the opportunity to express himself.
Named Multi styles FuittFuitt by the choreographers themselves, the transfer of this technique into the body ables the movements to weave into each other in a wavy, spiraled and hypnotic dance.
Through their career, Laurence Yadi and Nicolas Cantillon created about 20 pieces: from silent ones to dansed-concerts, from duets to group pieces, all of which they toured internationally (Africa, Asia, United-states, Europe, Middle-East, North Africa and Russia).
The choreographers regularly give sessions of workshops in Switzerland and abroad. They are also invited to teach the Multi styles Fuittfuitt to young dancers in professionnal training.
In 2014, they published a book, diary for some or guide on the practice of the Multi styles Fuittfuitt for others, the ways to approach it are endless.
Laurence Yadi and Nicolas Cantillon won several awards: the Swiss Prize for Dance and Choreography, and the Fondation Liechti for the Arts’.
The choreographers regularly offer workshop sessions in Switzerland and abroad. They are also invited to teach the Multi styles Fuittfuitt to young dancers in professional training schools.
In 2014, they published a book – a diary for some, or guide on the practice of the Multi styles Fuittfuitt for others. Laurence Yadi and Nicolas Cantillon have won several awards, notably the Swiss Prize for Dance and Choreography and the Fondation Liechti for the Arts.
Sur l’île de Darsheen
Performance for 1 dancer and 3 musicians | Creation 2020 | Duration 50’
For the past ten years, Laurence Yadi and Nicolas Cantillon, choreographers of Company 7273, have been working on a dance that could be composed like music can.
This music is linked to their several travels around the world. Each trip was an opportunity to meet musicians. These encounters participated in the development of their own dance style, the Multi Styles FuittFuitt.
L’île de Darsheen is an intercultural place where we meet to share a knowledge which will become a poetic object. Experimentation will be the basis of this experience that will invite and allow the audience to create their own island of imagination.
Musicians Sir Richard Bishop, Simphiwe Tshabalala and Maurice Louca will join Nicolas Cantillon on stage.
“Today” PERFORMANCE & FUITTFUITT WORKSHOP
Solo | Creation 2017 | Duration 35’
Dancer Laurence Yadi will present a 40-minute solo dance performance. By exploring musical representation in body movement, and turning the body into a melodic song, Yadi transcribes for audiences a world of emotions kept secret.
This dance is a battle in its own way.
TODAY will be touring Kolkata, Kathmandu and Delhi. Duration: 40 mins.
FUITTFUITT can be danced by everyone, and the workshop will be offered in Kolkata, Kathmandu and Gurugram.
Tarab
Performance for 10 dancers | Creation 2013 | Duration 55’
A gigantic spinal column blows like grass in the wind, fanning the dancers across the stage. We gaze upon the heart of Tarab, this ductile calligraphy, alive and spreading in the background, now unfolding into two continuous, rhythmic lines of lingering, magnetic agitation.
What follows is an uninterrupted choreographic phrase in continual metamorphosis. It avoids accented beats, favoring the transitions between fluid patterns and forms with a certain mysterious quality. In the wake of the sextet Nil (Swiss Dance and Choreography Award 2011) and its effervescent undulation of flowing bodies, Tarab unveils ten dancers in striking combinations.
It calls to mind the DNA of our shared humanity as much as the cultural jigsaw puzzle unfurling in the hybrid choreographic grammar of Laurence Yadi and Nicolas Cantillon.
The Oriental-inspired dance with undulating pelvic movements encountered in this piece engages a delicate balancing act with the classic groove across the dance floor, marvelously slowed down and out of sync.
The choreographers combine hip movements found in the soul dancing of B-Series, funk, R&B and rock, with lines of liquid, graphic arms. Unbound hands move in a continuous cascade of fluttering fingers, an element which the former masters of tap-dancing and acrobatic dance, the Nicholas Brothers, turned to their choreographic advantage.
This is reminiscent of Henri Michaux’s asemic writing, those fleeting figures of evanescent beauty, peculiar and distorted. In the multiple layers of changing positions, of bodies spinning and coiling slowly upon themselves as if following the drift of a languid flamenco, the piece avoids dramatizing movement.
It traces without pause a continuous line of anatomical curves. This hypnotic and limpid line, at once fleshy and ethereal, generates a flow whose source emanates from the young dancers. Transmission is the silt of the work undertaken.
We watch these bodies moving again and again in a state at times volatile and diffuse, forming a shifting semi-circle of community which envelopes the soloist, depicting a landscape, an emotion and other often inexpressible sensations.
In this respect, Tarab is perhaps the most accurate fulfillment of the vow formulated as far back as Climax (2006)—an orderly progression without rhythmic changes moving towards an always deferred orgasmic plateau. In other words, the infinite renewal of the question of what dance should consist of.
The piece gives the audience the liberty to contemplate and to question; we find in these endless spiral movements a nourishment both appeasing and staggering. True to the festive side of soufi-groovy, Tarab bathes in an atmosphere of vibrating strings which resound in echoes, brought to us by the prodigious jazz and world music guitarist Jacques Mantica.
This enveloping sound matrix is sustained by the meandering, muffled tread of layers of bass. We are at the source of “tarab”, a musical emotion evoking an instrumental and expressive chant, like an evocative poem, or a palette of feelings gravitating from a deep interiority to an intense exaltation, a reflection of life in the streets of Cairo.
Hence this distant recollection of the melodic and traditional form of quarter tone called maqam which stresses the tie between two movements. Tarab approaches the realm of trance with the disarming innocence of an adolescent, reaping wholeheartedly the states that it attempts to render simultaneously—rapture and melancholy, concentration and letting go.
The choreography takes a musical turn, tuned to the fluctuating strata of low, deep strings which create an echo chamber for the solitude of a gently undulating strand of algae, carried along by the languid twists and turns of its course. This moment of deepening twilight confirms the appeal of Tarab for the intermediary, for that which lies between, and resonates like a promise held by awakened senses, the enticing savor of an encounter to be continued.
Studios for rehearsals , Residencies of creation Compagnie 7273 received a residence of research at Cairo-Egypt Pro Helvetia and a provision of studios from the ADC – Association for Contemporary Dance and CND – National Centre for Dance, France.
Workshop FuittFuitt
The transfer of this technique to the body is at the origin of Laurence Yadi and Nicolas Cantillon’s choreographic research since 2003. It is what they call the Multi styles FuittFuitt.
Each maqam describes “tonal-spatial factor” or set of musical notes and the relationships between them. It allows the musician to play in-between the notes and gives him the opportunity to express himself. To find an original way of playing the Maqam requests both rigor and imagination.
https://prohelvetia.in/en/compagnie-7273/
https://cie7273.com/en/project/workshop-fuittfuitt/
https://prohelvetia.org.eg/en/event/fuittfuitt-advances-in-egypt/
FuittFuitt advances in Egypt
April 18, 2018 till April 18, 2019
This April, Swiss dance company 7273 is starting a long term program, in Egypt, in collaboration with Cairo Contemporary Dance Center (CCDC), contributing to the professional development of 30 young dancers and the development of practice in contemporary dance by dancers and choreographers.
The program was developed by company 7273 and CCDC especially for the full-time dance school students to ensure coherence and relevance to the professional training they attend at CCDC. It will last for two years including workshops and public performances.
“Multi Styles FuittFuitt” is a dance that requires of the interpreter a constant, permanent, and deep internal reflection. Forms are brought to the surface that become the foundation of the dance. FuittFuitt is about unfolding an endless movement that is drawn by ornaments and created with a dedication to precision, ultimately leading the dancer to forget the limitations of the body, thus leading them to experience the intoxicating joy that comes with a release from consciousness.
Their in-depth research into music of the region lead Laurence Yadi and Nicolas Cantillon to discover for themselves the regional-specific system of “mâqam,” where quarter tones are played using a general music system with special applications. The dancers have since developed a freedom through movement that corresponds with the way in which the mâqam gives the interpreter space to express their personality and find their own originality. The execution of the maqâms requires rigor and fantasy and the transfer of this musical technique to the body is at the core of Yadi’s and Cantillon’s Multi Styles FuittFuitt.
Beyrouth1995
Creation – 2014 Duration 60′
It is 1995, Laurence Yadi and Nicolas Cantillon are in Beirut, Lebanon.
There begins a story that will lead them to a world of creation tainted by the unique atmosphere of what they consider being their first true meeting. The same year, Mohamed Matar (Arabic buzuq master) dies prematurely in Beirut, aged 56. Laurence and Nicolas never met Mohamed Matar but he will play a central role in this creation. Beirut 1995 is an attempt to reenact the moment of birth of their multi-styles FUITTFUITT under the guise of a fairy tale
Time out of Time: 