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This year, the dance programme is carried by six partners and offers several ways in.<\/p>\n
11 companies present 17 shows in 23 performances, and the festival offers 40 events in all<\/strong>: premieres and works in progress, battles, jams, workshops, masterclasses, talks, as well as rap, music, graffiti and cinema.<\/p>\n The invited choreographers approach their work as much through aesthetic research as through social questions.<\/strong><\/p>\n Some draw on the dance traditions of the Creole and Caribbean world: Mwendwa Marchand<\/strong> (Out\/Side<\/strong><\/em>, in Tarbes and Montpellier) with dancehall distilled into pure undulation and energy, or Danielo Belcher<\/strong>, who uses Haitian compas as research material (Reyalite n\u2019<\/strong><\/em>, with Alma Douki<\/strong>, in Montpellier). Abode<\/strong><\/em> (Montpellier) by Moses Olayinka Akintunde<\/strong> and Danielo Belcher<\/strong> centres on lived realities and identity crossroads, in an encounter between two dancers from Nigeria and Haiti.<\/p>\n Others start from technique to transcend it: Virgile Dagneaux<\/strong> previews his all-female trio M\u00e9t\u00e9ore(s)<\/strong><\/em> in Montpellier, and observes his body, its fragilities and the passing of time in his trilogy Plier<\/strong><\/em> (Bess\u00e8ges) and D\u00e9plier\/Peuplier<\/strong><\/em> (Montpellier). Fran\u00e7ois Lamargot<\/strong> presents his work in progress Quetzalcoatl<\/strong><\/em>, inspired by Aztec mythology, in Tarbes, and shares his journey in the danced lecture Ma Bo\u00eete \u00e0 Mouvements<\/strong><\/em> (outdoors, in Foix), preceded by a glimpse of Bouziane Bouteldja<\/strong>\u2019s path and his new piece R\u00e9v\u00e9rence<\/strong><\/em>.<\/p>\n In a world in upheaval, Sandrine Lescourant<\/strong> (Blossom<\/strong><\/em> in Foix, RAW<\/strong><\/em> in Castelnau-le-Lez) and Bouziane Bouteldja<\/strong> (Des danses et des luttes<\/strong><\/em>, in Montpellier), both well known to HYPE OCC audiences, create spaces of freedom, conviviality, brotherhood and sisterhood, and invite the audience to join the party. In Montpellier, Sandrine Lescourant<\/strong> joins her longtime companion Virgile Dagneaux<\/strong> in Peuplier<\/strong><\/em>: for the first time, the two artists will share the stage, in an encounter whose form no one yet knows.<\/p>\n The encounter is also one between art forms. Krumper Germain Zambi<\/strong> returns to Montpellier and Tarbes with double bassist Florentin Ginot<\/strong> for Intimacy<\/strong><\/em>, a dialogue between popular music of the Renaissance, hurdy-gurdy included, and krump, a visceral form of expression born in the ghettos of Los Angeles five hundred years later. Pierre Rigal<\/strong> brings together a classical pianist and a b-boy in a zany lecture-performance, Pianip-Pianop<\/strong><\/em> (Saverdun and Foix).<\/p>\n Youth is part of every struggle, and rightly so: in Montpellier, three dance artists in training at CNDC Angers<\/strong>, echoing BOOST<\/strong>, the new training programme developed by Agora, CID, and the showcase of the Wontanara<\/strong>, 17- to 19-year-olds trained in Afro-urban dance by Siaka Coulibaly<\/strong> (#JeSuis programme, run by camin aktion). Their future, like that of many artists, depends on the goodwill of the prefecture: an issue we will address in the talk La danse paralys\u00e9e par le droit de s\u00e9jour<\/strong><\/em> (Dance held back by residence rights). In Perpignan, the company Allez Hop<\/strong> presents an end-of-residency showing, a moment of sharing and trust around a process in progress.<\/p>\n And again in Montpellier, the talk Mobilisons-nous ! Le mouvement est vital<\/strong><\/em> (Let\u2019s mobilise! Movement is vital) invites us to explore the body in motion and in interaction, to question what dance can change in our societies.<\/p>\n