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SAKÎNA   Danse / Installation

Sérénité. Quiétude.

Dans la forme brève de ce solo, la danseuse Alexia Martin installe un espace de lenteur, habité par un mouvement contemplatif, hypnotique. ​

En recyclant les affiches de ses anciennes créations, elle bâtit sa demeure symbolique, où le passé nourrit l’instant présent.​

La danse évoque des moments, des êtres qui portent « la sérénité des passages* »: la marche, le sommeil, le visage d’un amour unique. Un sourire dans le silence. Un voile de lumière et de paix.

Danse, Recherche plastique : Alexia Martin

(*traduction / interprétation poétique du mot Sakîna par Assia Djebar, entretien avec Mireille Calle-Gruber)

Une performance minimaliste

 Autour de la danse de tournoiement et de ses sensations, Sakîna va au coeur d’intentions et de matières simples, essentielles à l’humain. L’eau, la vie. Le tissus, la protection. Parcourant un chemin d’initiation, de deuil, de renaissance.

Voiler, dévoiler : entre corps et matière

Le processus de création de Sakîna et de Whirling Inside relie le corps dansant et le tracé graphique : Alexia danse, répétant un balancement du buste et des bras inspirés par le Zar Egyptien et les Dhikr soufis. Des formes apparaissent sur des anciennes affiches de créations passées, recyclage matériel et symbolique. Les mouvements donnent lieu au déplacement aléatoires des oeuvres qui  recouvrent le sol, autour d’elle : glissement, envol. 

Le corps est dissimulé et révélé par le tissus, le costume est marqué lui aussi par une écriture automatique de signes et de poésie. Écrire, pour moi, c'est d'abord recréer, dans la langue que j'habite, le mouvement irrépressible du corps au dehors (Assia Djebar, citée par Pierre Michon)

Le voile que je porte

Ce sont tes mains qui l’ont tissé

D’une soie invisible

Au monde visible

Je respire sa couleur

Mon voile est si fin

Que souvent je l’oublie

J’inspire sa présence

Je le déplace 

Je le déploie et je m’envole

Alexia Martin ( Around Us, poème de Sakîna)

 

Pour qu’advienne la sérénité, accepter son être dans l’instant, imprimer sa propre perception des choses, du monde, sa fragilité.

Vernissage de l'exposition BEYOND THE VEIL / Galerie MEMOIRE DE L'AVENIR, Paris

Calm. Quiet.

In the short version of this solo dance performance, the dancer Alexia Martin’s contemplative and mesmerizing movements fill the space with slowness.

By reusing posters of her former pieces, she builds her symbolic estate, where the past fosters the present. She evokes and invokes. She strives for healing through her circular movements.

The dance hints at moments, beings representing “the calm of crossings*” she is looking for: walking, sleeping, the face of a unique love. A smile in the silence. A veil of light and peace.

(*translation/poetic interpretation of the word sakîna by Assia Djebar, interviewed by Mireille Calle-Gruber)

 

“Sakîna” is an Arabic word filled with meaning, that can be translated by inner peace, quiet, calm, serenity, rest. It also describes an interior state characterized by a profound harmony, absolute tranquility, a feeling of inner security.

The sakîna is a universal ideal,the purpose of human inner quests in many different cultures and since times immemorial. In Greek presocratic philosophy, the sakîna is called ataraxia, coming form the Greek word ataraksis, meaning the absence of trouble. Ataraxia describes an absolute stillness of the soul, considered in epicurianisme and stoicism as happiness. The sakîna is an ecumenical ideal that the three monotheism have in common, as the Arabic word shares the same root that the Hebrew word shkîna and Aramaic (Jesus’ language) shkhïntâ. (Ahmed Eleuch)

A minimalist performance

Designed in connection with the installation Whirling Inside (painting and photo about dance, whirling, and the  sensations they imply), Sakîna explores simple intentions and materials that are essential to humans. Water, life. Cloth, protection. It follows a path of initiation, mourning, rebirth.

 

Veiling, unveiling: between body and matter

The creative process behind Sakîna and Whirling Inside connects the dancing body to the graphical line: Alexia dances, swinging her upper body over and over, just as in the Egyptian Zar and like the Sufi Dhikr. Shapes arise on posters of former pieces, the recycling is both material and symbolic. The movements create a random trajectory for the works on the ground around the dancer, they glide on and above the floor.

The body is hidden and revealed by the cloth, the costume itself is covered with signs and poetry, created through automatic writing.

According to me, writing is essentially creating, in the language I live in, the irrepressible movement of the outer body. (Assia Djebar, quoted by Pierre Michon)

 

The veil I wear

Was woven by your hands

With an invisible silk

I breath its color

My veil is so thin

That often I forget it

I inspire its presence

I move it

I unfold it and fly

Alexia Martin (Around Us, poem from Sakîna)

 

For quiet to come, one need to accept themselves in the present, imprint their own perception of things, of the world, of its frailness.