(LA)HORDE collaborates with communities of individuals on the margins of the mainstream, and part of their art is also the practice of practical solidarity. They have worked with groups of seventy-year-olds, blind performers, smokers,
juveniles… Contrary to any form of hierarchy and cultural appropriation, they work at eye level with the performers. (…) At the centre of their work is the body. (LA)HORDE creates works from their encounters with various online communities
and thus also investigates what has happened to dance since the advent of the Internet. This is a theme that (LA)HORDE is very passionate about and so they define their work as work on “post-Internet dance”.

Several dances, grouped under the term “post-internet,” will be revived on stage, particularly those from the Hardstyle movement, including Hard-Dances such as Tekstyle, Shuffle, Hakken, and especially Jumpstyle.

Jumpstyle is highly intense and physical for dancers, with a typical sequence lasting about 25 seconds. Jumpers exhaust their energy to complete their freestyle, resulting in a frenzied leg dance—a powerful yet stationary expression of release, often tied to an underlying frustration. At the end of a solo, the jumper is left breathless but calm, exuding a sense of defiance and confidence.

Jumpstyle is a dance discovered online and first practiced in private spaces like bedrooms. Jumpers film their sequences and post them online, sharing their passion and progress with the community. The journey often follows a pattern: starting with videos filmed in bedrooms, moving to living rooms, and then transitioning to public spaces. In public, videos are first shot in streets and gradually shift to larger, more scenic locations.

The practice evolves naturally on social media through videos, which the community engages with by commenting and responding with new videos. Associations form, creating groups within the community that compete in virtual battles. These virtual battles sometimes lead to real ones, during Jumpstyle meetings organized in various European capitals.

TO DA BONE – PERFORMATIVE VERSION
Conception et mise en scène (LA)HORDE – Marine Brutti, Jonathan Debrouwer, Arthur Harel

Assistante artistique des chorégraphes, répétitrice et régie son Céline Signoret
Composition sonore Aamourocean
Adaptation sonore et DJ Lucien Krampf
Costumes Lily Sato

Distribution Magali Casters, Pierpaolo Consentino, Quentin Gars Hinkels, Pawel Nowicki, Bartłomiej Paruzewski, Edgar Scassa, Andrii Shkapoid

Coach Natacha Nezri
Coordination de la tournée en Inde Céline Signoret

Production (LA)HORDE
Création de la version plateau le 31 mai 2017 au Festival TransAmérique de Montréal
Entrée au répertoire du BNM le 29 janvier 2020

Coproduction Charleroi danse, Théâtre de la Ville de Paris, MAC – Maison des Arts de Créteil, le manège – scène nationale de Reims, Teatro Municipal do Porto, POLE- SUD – CDC Strasbourg, La Gaîté Lyrique, Fondation BNP Paribas, DICRéAM - Dispositif pour la création artistique multimédia et numérique, Spedidam, Institut français – Convention Ville de Paris
Soutien Mairie de Paris, SACD – Société des Auteurs et Compositeurs Dramatiques, Cité internationale des Arts, Liberté Living-Lab, CCN2 – Centre chorégraphique national de Grenoble, DGCA – Direction générale de la création artistique
Résidences Charleroi danse, MAC – Maison des Arts de Créteil, Teatro Municipal do Porto, le manège – scène nationale de Reims, CCN2 – Centre chorégraphique national de Grenoble.

Through the Pancha series, MDT addresses social issues such as mental health, domestic violence, and patriarchy. In 2018, MDT established the Diverse Abilities Dance Collective (DADC), which empowers artists with disabilities through dance. Supported by SG Enable and the Singapore International Foundation, MDT and DADC produced three editions of SEEDs, a dance film promoting inclusive arts practice in Singapore (2021–2023).

In 2022, MDT launched Moving Stillness, a virtual reality project addressing ocean pollution, which was featured at the Climate Change Conference in Kolkata, India, in 2023. Through diverse artistic projects and international collaborations, MDT enriches lives, advocates for inclusion, and advances the arts for all, sustaining a vital role in Singapore’s arts scene. (www.mayadancetheatre.org)

Recent performances integrate Bharathanatyam (Indian Classical Dance), Street dance, and Western-Asian Contemporary styles. By blending the dancers’ diverse training backgrounds, UTB creates work that appeals to wide audiences and seamlessly fuses Singapore’s cultural traditions through dance.

What began as a grassroots initiative fostering collaboration among artists has evolved into workshops, performances, and participation in international dance festivals. UTB also serves as a cultural ambassador for Singapore, reshaping local perceptions of traditional dance forms and inspiring appreciation for cultural diversity among dancers and audiences.

UTB’s vision extends beyond captivating performances to fostering unity and oneness among Singapore’s dance practitioners.

With an Asian aesthetic body and rich cultural dynamism coupled with contemporary expressions, Random Chapters embodies emotions and experiences that connect people across backgrounds and beyond forms.

Since its premiere in 2013, the production has toured Indonesia, Thailand, the USA, London, Laos, and Malaysia. This new iteration notably includes an inclusive performance, embracing a diverse range of dancers to amplify its universal message of shared humanity, enabling a co-shared space to celebrate presence and inclusion.

Random Chapters is presented by Maya Dance Theatre and Under the Bridge Collective from Singapore with artistic direction by Kavitha Krishnan.

Sapphire has been performing with a new idiom for the last 32 years across the world. Some countries visited are Malaysia, Spain, Israel, Czech Republic, UK, Singapore, Australia, Austria, Germany, Thailand, Italy, Bangladesh, Canada, Kazakhstan, Indonesia, Sri Lanka, Poland, USA and India.

Sapphire’s work approaches issues of gender, art, relationships, society, polity, consumerism and HIV through a global perspective, South Asian sensitivity and an experimental body stylistic.

The Sapphire movement technique imbibes from ancient Indian body history to relevant Western breathing techniques to modern contact, improvisatory and tuning solo and group work methods. The very curious and organic idiom that evolves from this presents itself in the proscenium, as site-specific explorations, improvisations, installations, multimedia presentations, in the fields of contemporary dance, theatre, television, film and fashion.

The essence of KITAREBA lies in factual narratives, expressing the stories of millions who lost their identity in the journey through life, death, and territorial shifts. Ethnic partitions have caused more harm than fostering political balance. The production appeals for a perspective that transcends borders, paying tribute to love, belonging, and the struggle to find a voice and a home.

Using the indigenous dialect of Bengalis settled in North Eastern states and collaborating with folk musicians from the region, KITAREBA creates a narrative that extends to contemporary migration experiences. It reflects on the universal story of displacement, resilience, and hope.

Through dance, multimedia, and spoken words or poetry, KITAREBA celebrates stories of hope and conviction, emphasizing that while borders may divide, they cannot erase the shared bond of humanity and love for one’s homeland.

This exhibition – Shape without Form, Shade without Colour – highlights over 40 seminal works of art ranging from the 19th century to current times. A body of work which, we hope, will provoke questions and try to restore a semblance of sanity and solace.

The title is derived from The Hollow Men, one of the most celebrated poems of the 20th century by T.S. Eliot, describing a desolate and barren world inhabited by hapless and defeated people.

We invite viewers to spend time with this rare body of work, to feel the shape without form and introspect about the shade without colour.

This exhibition – Shape without Form, Shade without Colour – highlights over 40 seminal works of art ranging from the 19th century to current times. A body of work which, we hope, will provoke questions and try to restore a semblance of sanity and solace.

 The title is derived from The Hollow Men, one of the most celebrated poems of the 20th century by T.S. Eliot, describing a desolate and barren world inhabited by hapless and defeated people.

We have invited young performing artists to view and spend time with this rare body of work, to feel the shape without form and introspect about the shade without colour and express/interpret through their form of performative arts.

Now based in Washington, D.C., Jishna works as a vaccine development scientist while actively pursuing her love for dance. Her dedication to balancing a demanding profession with her artistic passion exemplifies her commitment to both fields.