I feel like I've discovered a treasure.
The research had started with the solo "Repercussions". And then, extending this quest, there was the encounter with Butoh, the encounter with the sensations I felt while listening to my body, the sounds it could produce and how it could interact with those of the outside. There was a need to be connected more than ever to the music, and to enter into a dialogue with performers on the stage who would enjoy it with me. So I decided to write a Concerto for Shoes.
Object of the residency: Sound research (foot treatment) and choreographic and musical creation
This concerto in 37 ½ presents a hybrid piece loaded with stories, structured in three parts and all punctuated by flamenco zapateados. Here the choice of the Concerto is justified by its triptych form: a sonata (fast and intimate movement), a lied (slow and sung) and a rondo (fast), and also by the imagination it evokes in everyone.
Flamenco art is our playground, our starting point. By the technique of phasing, we wedge, shift, and readjust the rhythm of our instruments to arrive at the unison. We believe then in a mistake, we play with the public and sublimate these moments of balance.
Inspired by both the minimal music of the 70s, the rhythmic patterns of flamenco (siguiriya, solea, buleria ...), this concerto highlights a new form of sound expression.
This musical approach engages the entire body in a gesture far removed from a superficial aestheticism. Connected to the sounds, to the body, to others, I have the impression of having discovered a treasure.
Ana Pérez
choreographer and performer
Ana Pérez put on her first flamenco shoes at the age of 3.
Daughter of choreographer Patrick Servius and Maria Pérez, flamenco dancer and director of the Solea center, Ana grew up under the influence of these two models.
After training with Josette Baïz's Granada group, she studied with the greatest flamenco masters such as Pilar Ortega, Adela Campallo and Andrés Marin in Seville, the cradle of this traditional art, where she lived for eight years.
She soon joined the most prestigious tablaos in Spain, the Andalusian ballet of Cristina Hoyos and the flamenco vivo company of Luis de la Carrasca with whom she travels the world.
In 2017, Ana returned to her hometown of Marseille and created her own company.
She then began a research project with the creation of the solo "Repercussions" which led her to explore a more contemporary approach to her dance.
In 2020, after the first confinement, she created the solo "Carrito" commissioned by Michel Kelemenis as part of the 8m3 program. She is a performer in Patricia Guerrero's company and collaborates on various musical projects with the pianist Amandine Habib, the saxophonist Raphaël Imbert, David Greilsammer's Geneva Camerata, etc.
Today she continues her experimentations by going always further in the field of the possible ones that her so singular gesture proposes to her. Her sense of rhythm and the delicate sound of her feet also make her a virtuoso musician.
José Sanchez
guitarist and composer
José Sanchez is one of the few artists today to have two parallel musical careers, one as a flamenco guitarist and the other as a baroque theorbo virtuoso. José Sanchez is an eclectic and atypical musician who never ceases to surprise his audience.
Strongly influenced by his original culture, flamenco, he multiplies encounters and explores surprising fusions between different artistic universes, from baroque music to contemporary music and electro, through jazz, minimalist and repetitive music. His career takes him to perform throughout Europe and Asia. He wrote the music and participated in the show "Questcequetudeviens? by Aurélien Bory, which was nominated for the Laurence Olivier Awards. With this project, he will give more than one hundred and fifty performances. He has been collaborating for many years with dancer and choreographer Stéphanie Fuster, with orchestras such as the Geneva Camerata, the Toulouse Chamber Orchestra and conductor and violinist Gilles Colliard for projects combining classical music, baroque and flamenco.
Matthieu Pernaud
musician
Pianist passionate about synthesizers, Matthieu Pernaud is a protean and hyperactive musician of the Marseilles music scene.
When he is not in the studio producing soundtracks for dance shows (Compagnie Aygaghma) or circus shows (Compagnie Lazuz, Stockholm Circus School), he is at the controls of the synthesizers for the Instrumentarium project of the Collectif Arbuste, and develops interactive and light installations (Quadrant). He also accompanies on keyboards, machines and percussions other musical projects such as the group Isaya or Temenik Electric. For several years, his personal work has been oriented towards acousmatic music, spatialization and sound experimentation.
Ana Pérez
choreography and interpretation
José Sanchez
guitar and musical composition
Matthieu Pernaud
electronic music
Héléna Payan
creation and lighting control
Lambert Sylvain
sound engineer
Patricia Guerrero
external view
Caroline Perdrix
artistic direction
Barta studio
costumes