There is the dance we seek, and the dance that finds us.
With Les [In]attendues, [H]ikari Production steps into the heart of the city to offer choreographic interludes where they are least expected. Between two streets, in a public square, or at the turn of a glance, these light and impromptu performances transform public spaces into ephemeral stages. An invitation to suspend time, to rediscover our living spaces, and to let the poetry of movement gently disrupt the everyday.
Hearing the breaths, listening to the silences, feeling, once again, the emotion of sharing…
These short duos, lasting about thirty minutes, are offered throughout the summer of 2022 across the Loire region, in public spaces and with free access for all.
In November 2020, after a vague resumption of cultural activity in France and around the world, life came to a standstill once again for an indefinite period.
According to the WHO, we must learn to live with the virus.
Consequently, we refuse to resign ourselves to seeing theaters desperately closed while subways, trains, and planes remain crowded. We watch shows behind our screens, take dance classes via podcasts, create on Zoom… so many subterfuges that have nothing “live” about them.
Yes, let us learn to live with the virus, let us transpose our talents and skills where we can still do so: in public spaces, behind windows, at a distance, everywhere and, above all, not virtually.
Hearing the breaths, listening to the silences, feeling, once again, the emotion of sharing. Giving the city / its citizens / the public the opportunity to not forget that live performance is first and foremost a shared emotion, one that does not always cross the barrier of a screen.
To not forget why we chose this profession, to not forget the life force, to not forget that live performance is missing from our lives, to not forget ourselves, to not forget us.
These performances are designed for public spaces with free access, whether during lockdowns behind windows (schools, care homes, gymnasiums housing migrants, hospitals, etc.) or during “reopening” periods, in identified locations across the territory.
When it was suggested to Winston Churchill that he cut the arts budget to support the war effort, he simply replied: “Then what are we fighting for?”
While we have found no proof of the veracity of these words, they are nonetheless what drives us. What will all our efforts have been for if, in the end, Live Art disappears in favor of the digital?