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takween

Beirut Contemporary Dance School


“ Where do we want to take our bodies? Whether it is dance or not. And when I say our bodies, I mean our presence.� Omar Rajeh Artistic Director, Maqamat Dance Theatre


The full-time, intensive training program was offered for over a period of three months, from August 3rd to November 1st of 2009, at Maqamat Studio in Beirut, Lebanon. Ten out of sixty-six applicants participated in the program given by both local and international artists and choreographers.

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‫رﻛّ ﺰ ﺑﺮﻧﺎﻣﺞ »ﺗﻜﻮﻳﻦ ‪ «٢٠٠٩‬ﺑﺸﻜﻞ أﺳﺎﺳﻲ ﻋﻠﻰ ﻣﻨﺢ اﻟﺮاﻗﺼﻴﻦ اﻟﺼﺎﻋﺪﻳﻦ اﻟﻤﺤﻠ ّﻴﻴﻦ واﻗﻠﻴﻤ ّﻴﻴﻦ‬ ‫إﻣﻜﺎﻧﻴﺔ اﻟﺤﺼﻮل ﻋﻠﻰ ﺗﺪرﻳﺐ ﻣﺤﺘﺮف ﻋﻠﻰ اﻟﺮﻗﺺ اﻟﻤﻌﺎﺻﺮ‪.‬‬ ‫ا‪3‬ول ﻣﻦ‬ ‫اﻣﺘﺪ ﺑﺮﻧﺎﻣﺞ اﻟﺘﺪرﻳﺐ اﻟﻤﻜ ّﺜﻒ ﻋﻠﻰ ﻓﺘﺮة ﺛﻼﺛﺔ أﺷﻬﺮ‪ ،‬ﻣﻦ اﻟﺜﺎﻟﺚ ﻣﻦ آب‪ /‬أﻏﺴﻄﺲ إﻟﻰ ّ‬ ‫ّ‬ ‫ﺗﺸﺮﻳﻦ اﻟﺜﺎﻧﻲ‪ /‬ﻧﻮﻓﻤﺒﺮ ‪ ،٢٠٠٩‬ﻓﻲ ﺳﺘﻮدﻳﻮ »ﻣﻘﺎﻣﺎت« ﻓﻲ اﻟﻌﺎﺻﻤﺔ اﻟﻠﺒﻨﺎﻧﻴﺔ ﺑﻴﺮوت‪.‬‬ ‫ّ‬ ‫ﻣﺮﺷ ًﺤﺎ‪ ،‬وﻗﺪ ﺧﻀﻌﻮا ﻟﻠﺘﺪرﻳﺐ ﺗﺤﺖ إﺷﺮاف ﻓﻨّﺎﻧﻴﻦ‬ ‫ﺷﺎرك ﻓﻲ اﻟﺒﺮﻧﺎﻣﺞ ﻋﺸﺮة أﺷﺨﺎص ﻣﻦ أﺻﻞ ‪٦٦‬‬ ‫وﻣﺼﻤﻤﻲ رﻗﺺ ﻣﺤﻠ ّﻴﻴﻦ وﻋﺎﻟﻤﻴﻴﻦ‪.‬‬ ‫ّ‬


in collaboration with Masahat Dance Network, Centre Choreographic de Montpellier, Dansgroep Amsterdam– Krisztina De Chatel, Koreografisk Center Archauz, Cie Gilles Jobin and Henrietta Horn. Takween 2009 was supported and funded by the Goethe Institute, The Danish Centre for Culture and Development (DCCD), and the Norwegian Embassy in Beirut.

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‫أﻧﺸﺄت ”ﻣﻘﺎﻣﺎت“‬ ‫ﺑﺮﻧﺎﻣﺞ ”ﺗﻜﻮﻳﻦ ‪“٢٠٠٩‬‬

‫و ّ‬ ‫ﻣﻮﻧﺒﻮﻟﻴﻴﻪ ﻟﺘﺼﻤﻴﻢ‬ ‫ﻢ‬ ‫وﻣﺮﻛﺰﺰ ﻮ ﻮ‬ ‫ﻟﻠﺮﻗﺺ«‪ ،‬و ﺮ‬ ‫ون ﻣﻊ »ﺷﺒﻜﺔ ﻣﺴﺎﺣﺎت ﺮ ﺺ‬ ‫وﻧﻈﻤﺘﻪ ﺑﺎﻟﺘﻌﺎون‬ ‫اﻟﺮﻗﺺ‪ ،‬وﻓﺮﻗﺔ رﻗﺺ أﻣﺴﺘﺮدام – ﻛﺮﻳﺰﺗﻴﻨﺎ دو ﺷﺎﺗﻴﻞ‪ ،‬وﻣﺮﻛﺰ أرﺷﺎوز ﻟﺘﺼﻤﻴﻢ‬ ‫اﻟﺮﻗﺺ‪ ،‬وﻣﺆﺳﺴﺔ ﺟﻴﻞ ﺟﻮﺑﺎن وﻫﻨﺮﻳﻴﺘﺎ ﻫﻮرن‪.‬‬ ‫وﻗﺎم ﻣﻌﻬﺪ ﻏﻮﺗﻴﻪ واﻟﻤﺮﻛﺰ اﻟﺪاﻧﻤﺎرﻛﻲ ﻟﻠﺜﻘﺎﻓﺔ واﻟﺘﻨﻤﻴﺔ واﻟﺴﻔﺎرة اﻟﻨﺮوﻳﺠﻴﺔ ﻓﻲ‬ ‫ﺑﻴﺮوت ﺑﺪﻋﻢ ﻣﺸﺮوع »ﺗﻜﻮﻳﻦ ‪ «٢٠٠٩‬وﺗﻤﻮﻳﻠﻪ‪.‬‬


The Contemporary Dance Scene

While the dance milieu in Lebanon and the Arab region has shown significant development in recent years, it still faces many challenges. Many factors play a role in hindering the progress of dance, primarily a lack of professional training, career opportunities and exposure to new contemporary ideas and movements. Dance training and education are fundamental to the development of dance. Despite many efforts, regular training in contemporary dance is a rarity in most Arab countries. The works of emerging local choreographers and dancers seem very basic in comparison to international artistic production, primarily due to a lack of continuous engagement and familiarity with contemporary ideas and artistic developments occurring globally. Dancers and choreographers in Lebanon and the region need to work on developing their basic skills and abilities as professional performers and choreographers. Though young dancers and choreographers from Lebanon and the region are eager to pursue dance as a profession, they regularly confront limitations in finding such prospects and look abroad for educational and professional opportunity. As a consequence, many end up outside the region, mostly in Europe, which tends to negatively impact the development of a regional contemporary dance scene. Without a well thought out and established educational program, the dance milieu in Lebanon and the region cannot develop into a creative profession nor an appreciated artistic form that allows dance to play a significant role in the cultural landscape of Lebanon and the Arab region. Professional dance training and residencies respond to a need for continuous training for many choreographers and dancers, and also acts as a springboard for the development of dance culture. Establishing a professional training school in contemporary dance aims at introducing regional dancers and performers to current thoughts and concepts in performance, while also providing them with the necessary tools needed to develop their creative abilities. The broader, long-term objective of Takween is to consolidate the role of contemporary dance in Lebanon and the Arab region, encouraging local artistic collaboration and exchange within the Arab world as well as internationally. Such a project could help foster the dance and performing arts sectors within the Arab world and allow for dance to play a constructive role in debates on artistic, philosophic and policy issues. Maqamat believes that a professional school will allow for new artistic innovations in dance, within a regionally specific social and cultural context, and will introduce different perceptions of and approaches towards movement and ‘the body.’ The educational program could work positively towards the development and long-term sustainability of a regional contemporary dance scene, allowing for more balanced and interactive cultural cooperation and exchange.

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‫اﻟﻤﺸﻬﺪ اﻟﻌﺎم ﻟﻠﺮﻗﺺ اﻟﻤﻌﺎﺻﺮ‬ ‫اﻟﻬﺎﻣﺔ اﻟﺘﻲ ﻋﺮﻓﺘﻬﺎ‬ ‫اﻟﺘﻄﻮرات‬ ‫ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ‬ ‫ّ‬ ‫ّ‬ ‫أوﺳﺎط اﻟﺮﻗﺺ ﻓﻲ ﻟﺒﻨﺎن واﻟﻤﻨﻄﻘﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫أن ﻋﺮاﻗﻴﻞ‬ ‫ﺧﻼل اﻟﺴﻨﻮات اﻟﻘﻠﻴﻠﺔ اﻟﻤﺎﺿﻴﺔ‪ ،‬إﻻّ ّ‬ ‫ﻋﺪﻳﺪة ﻣﺎ ﺗﺰال ﺗﻮاﺟﻬﻬﺎ‪ .‬ﻓﻌﻮاﻣﻞ ﻛﺜﻴﺮة ﺗﻠﻌﺐ‬ ‫أوﻟﻬﺎ ﻧﻘﺺ ﻓﻲ‬ ‫دو ًرا ﻓﻲ ﻟﺠﻢ‬ ‫ﺗﻄﻮر اﻟﺮﻗﺺ‪ّ ،‬‬ ‫ّ‬ ‫وﺷﺢ ﻓﻲ ﻓﺮص اﻟﻌﻤﻞ‪،‬‬ ‫اﻟﺘﺪرﻳﺐ اﻟﻤﺤﺘﺮف‪،‬‬ ‫ّ‬ ‫وﻏﻴﺎب ا‪S‬ﻧﻔﺘﺎح ﻋﻠﻰ أﻓﻜﺎر وﺗﻴﺎرات ﺟﺪﻳﺪة‬ ‫ﻣﻌﺎﺻﺮة‪.‬‬

‫وﻣﺼﻤﻤﻲ‬ ‫أن اﻟﺮاﻗﺼﻴﻦ‬ ‫وﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ ّ‬ ‫ّ‬ ‫اﻟﺮﻗﺺ اﻟﻠﺒﻨﺎﻧ ّﻴﻴﻦ وﻓﻲ اﻟﻤﻨﻄﻘﺔ ﻣﻦ اﻟﺸﺒﺎب‬ ‫ﺗﻮاﻗﻮن ﻻﺣﺘﺮاف اﻟﺮﻗﺺ‪ ،‬إﻻّ أﻧّﻬﻢ ﻳﺼﻄﺪﻣﻮن‬ ‫ّ‬ ‫ﻳﺘﻮﺟﻬﻮن‬ ‫ﺑﺎﺳﺘﻤﺮار ﺑﺂﻓﺎق ﻣﺴﺪودة وﻏﺎﻟ ًﺒﺎ ﻣﺎ‬ ‫ّ‬ ‫إﻟﻰ اﻟﺨﺎرج ﺑﺤ ًﺜﺎ ﻋﻦ ﻓﺮص ﻟﻠﺘﻌ ّﻠﻢ واﻟﻌﻤﻞ‪.‬‬ ‫وﻧﺘﻴﺠﺔ ﻟﻬﺬا اﻟﻮاﻗﻊ‪ ،‬ﻳﺒﻘﻰ ﻋﺪد ﻛﺒﻴﺮ ﻣﻨﻬﻢ‬ ‫ﺧﺎرج اﻟﻤﻨﻄﻘﺔ‪ ،‬ﻻ ﺳ ّﻴﻤﺎ ﻓﻲ أوروﺑﺎ‪ ،‬ﻣﺎ ﻳﺆ ّﺛﺮ ﺳﻠ ًﺒﺎ‬ ‫ﺗﻄﻮر اﻟﺴﺎﺣﺔ ا‪S‬ﻗﻠﻴﻤﻴﺔ ﻟﻠﺮﻗﺺ اﻟﻤﻌﺎﺻﺮ‪.‬‬ ‫ﻋﻠﻰ‬ ‫ّ‬

‫ﻳﻜﻤﻦ اﻟﻬﺪف ا_ﻛﺒﺮ واﻟﻄﻮﻳﻞ ا_ﻣﺪ ﻟـ«ﺗﻜﻮﻳﻦ«‬ ‫ﻓﻲ ﺗﻌﺰﻳﺰ دور اﻟﺮﻗﺺ اﻟﻤﻌﺎﺻﺮ ﻓﻲ ﻟﺒﻨﺎن وﻓﻲ‬ ‫اﻟﻤﻨﻄﻘﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬ﺑﺘﺸﺠﻴﻊ اﻟﺘﻌﺎون واﻟﺘﺒﺎدل‬ ‫ﺣﺪ ﺳﻮاء‪ .‬وﻳﻤﻜﻦ‬ ‫اﻟﻔﻨﻲ ﻋﺮﺑ ًﻴﺎ وﻋﺎﻟﻤ ًﻴﺎ ﻋﻠﻰ ّ‬ ‫زﺧﻤﺎ ﻟﻠﺮﻗﺺ داﺧﻞ‬ ‫ﻟﻬﺬا اﻟﻤﺸﺮوع أن ُﻳﻌﻄﻲ ً‬ ‫اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ واﻟﺴﻤﺎح ﻟﻠﺮﻗﺺ ﺑﻠﻌﺐ دور‬ ‫ﺑﻨّﺎء ﻓﻲ اﻟﻤﻨﺎﻗﺸﺎت ﺣﻮل اﻟﻤﺴﺎﺋﻞ اﻟﻔﻨﻴﺔ‬ ‫واﻟﻔﻠﺴﻔﻴﺔ واﻟﻤﻨﻬﺠ ّﻴﺔ‪.‬‬

‫ّ‬ ‫ﻳﺸﻜﻞ اﻟﺘﻌﻠﻴﻢ واﻟﺘﺪرﻳﺐ ﻋﻠﻰ اﻟﺮﻗﺺ ﻋﺎﻣﻠﻴﻦ‬ ‫ﻟﺘﻄﻮر اﻟﺮﻗﺺ‪ .‬وﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ‬ ‫أﺳﺎﺳﻴﻴﻦ‬ ‫ّ‬ ‫ﺟﻬﻮد ﺣﺜﻴﺜﺔ ُﺑﺬﻟﺖ‪ ،‬ﻻ ﻳﺰال اﻟﺘﺪرﻳﺐ اﻟﻤﺘﻮاﺻﻞ‬ ‫ٍ‬ ‫ﻓﻲ ﻣﻀﻤﺎر اﻟﺮﻗﺺ اﻟﻤﻌﺎﺻﺮ أﻣ ًﺮا ﻧﺎد ًرا ﻓﻲ‬ ‫ﻣﻌﻈﻢ اﻟﺒﻠﺪان اﻟﻌﺮﺑﻴﺔ‪.‬‬

‫وﻓﻲ ﻏﻴﺎب ﺑﺮﻧﺎﻣﺞ ﺗﻌﻠﻴﻤﻲ واﺿﺢ اﻟﻤﻌﺎﻟﻢ‪ ،‬ﻻ‬ ‫ﻳﺆدي‬ ‫ﻳﻤﻜﻦ ﻟﻠﺮﻗﺺ ﻓﻲ ﻟﺒﻨﺎن واﻟﻤﻨﻄﻘﺔ أن ّ‬ ‫ﻣﺆات‬ ‫إﻟﻰ ﻣﻬﻨﺔ ﺧﻼﻗﺔ أو إﻟﻰ إرﺳﺎء ﻧﻤﻮذج ﻓﻨّﻲ‬ ‫ٍ‬ ‫ﻳﺴﻤﺢ ﻟﻠﺮﻗﺺ ﺑﺎﻻﺿﻄﻼع ﺑﺪور ﻣﺤﻮري ﻋﻠﻰ‬ ‫اﻟﺴﺎﺣﺔ اﻟﺜﻘﺎﻓﻴﺔ ﻓﻲ ﻟﺒﻨﺎن وﻓﻲ اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ‪.‬‬ ‫ﻳﻠ ّﺒﻲ اﻟﺘﺪرﻳﺐ ﻋﻠﻰ اﻟﺮﻗﺺ اﻟﻤﺤﺘﺮف اﻟﺤﺎﺟﺔ‬ ‫ﻣﺼﻤﻤﻲ‬ ‫ﻟﺘﺪرﻳﺐ ﻣﺴﺘﻤﺮ ﻟﻌﺪد ﻛﺒﻴﺮ ﻣﻦ‬ ‫ّ‬ ‫اﻟﺮﻗﺺ واﻟﺮاﻗﺼﻴﻦ‪ ،‬ﻣﺎ ُﻳ ّ‬ ‫ﺸﻜﻞ ﻧﻘﻄﺔ ا‪S‬ﻧﻄﻼق‬ ‫ﻟﺘﻄﻮر ﺛﻘﺎﻓﺔ اﻟﺮﻗﺺ‪ .‬وﻳﻬﺪف ﺗﺄﺳﻴﺲ ﻣﺪرﺳﺔ‬ ‫ّ‬ ‫اﺣﺘﺮاﻓﻴﺔ ﻓﻲ اﻟﺮﻗﺺ اﻟﻤﻌﺎﺻﺮ إﻟﻰ ﺗﻌﺮﻳﻒ‬ ‫اﻟﺮاﻗﺼﻴﻦ واﻟﻤﻤ ّﺜﻠﻴﻦ ﻓﻲ اﻟﻤﻨﻄﻘﺔ إﻟﻰ ا_ﻓﻜﺎر‬ ‫ﺗﺰودﻫﻢ‬ ‫واﻟﻤﻔﺎﻫﻴﻢ اﻟﺤﺎﻟﻴﺔ ﻓﻲ اﻟﺮﻗﺺ‪ ،‬ﻛﻤﺎ ّ‬ ‫أﻳﻀﺎ ﺑﺎ_دوات اﻟﻼزﻣﺔ ﻟﺘﻨﻤﻴﺔ ﻗﺪرﺗﻬﻢ ﻋﻠﻰ‬ ‫ً‬ ‫ا‪S‬ﺑﺪاع‪.‬‬

‫أن اﺳﺘﺤﺪاث ﻣﺪرﺳﺔ ﻣﺤﺘﺮﻓﺔ‬ ‫ﺗﺆﻣﻦ »ﻣﻘﺎﻣﺎت« ّ‬ ‫ﺳﻴﺴﻤﺢ ﺑﺈﺑﺪاع ﻓﻨﻲ ﺟﺪﻳﺪ ﻓﻲ اﻟﺮﻗﺺ‪ ،‬ﻓﻲ‬ ‫إﻃﺎر ﺛﻘﺎﻓﻲ واﺟﺘﻤﺎﻋﻲ ﻟﻪ ﺧﺼﻮﺻ ّﻴﺘﻪ ﻋﻠﻰ‬ ‫وﺳﻴﺪﺧﻞ ﻣﻔﺎﻫﻴﻢ ﺟﺪﻳﺪة‬ ‫اﻟﺼﻌﻴﺪ ا‪S‬ﻗﻠﻴﻤﻲ‪،‬‬ ‫ُ‬ ‫وﻣﻘﺎرﺑﺎت ﺧ ّ‬ ‫ﻼﻗﺔ ﻟﻠﺤﺮﻛﺔ و«اﻟﺠﺴﺪ«‪ .‬ﻳﻤﻜﻦ‬ ‫ﺪﻣﺎ‬ ‫ﻟﻠﺒﺮﻧﺎﻣﺞ اﻟﺘﻌﻠﻴﻤﻲ أن ﻳﺪﻓﻊ ﺑﺎ_ﻣﻮر ﻗـُ ً‬ ‫ﻧﺤﻮ ﺗﻄﻮﻳﺮ ﺳﺎﺣﺔ إﻗﻠﻴﻤﻴﺔ ﻟﻠﺮﻗﺺ اﻟﻤﻌﺎﺻﺮ‬ ‫واﺳﺘﻤﺮارﻫﺎ ﻋﻠﻰ اﻟﻤﺪى اﻟﻄﻮﻳﻞ‪ ،‬ﻣﺎ ﻳﺴﻤﺢ‬ ‫ﺑﺘﻌﺎون وﺗﺒﺎدل ﺛﻘﺎﻓﻲ أﻛﺜﺮ ﺗﻔﺎﻋ ً‬ ‫ﻼ وﺗﻮازﻧًﺎ‪.‬‬

‫ﻣﺼﻤﻤﻲ اﻟﺮﻗﺺ واﻟﺮاﻗﺼﻴﻦ‬ ‫ﺗﻈﻬﺮ أﻋﻤﺎل‬ ‫ّ‬ ‫اﻟﻤﺤﻠ ّﻴﻴﻦ اﻟﺼﺎﻋﺪﻳﻦ ﺑﺪاﺋ ّﻴﺔ ﺑﺎﻟﻤﻘﺎرﻧﺔ ﻣﻊ ا‪S‬ﻧﺘﺎج‬ ‫اﻟﻔﻨّﻲ اﻟﻌﺎﻟﻤﻲ‪ .‬وﻳﻌﻮد ذﻟﻚ ﺑﺸﻜﻞ رﺋﻴﺴﻲ إﻟﻰ‬ ‫ﻏﻴﺎب ﻓﻲ ا‪S‬ﻟﺘﺰام اﻟﻤﺘﻮاﺻﻞ وا‪S‬ﻟﻤﺎم ﺑﺎ_ﻓﻜﺎر‬ ‫واﻟﺘﻄﻮرات اﻟﺘﻲ ﺗﺸﻬﺪﻫﺎ اﻟﺴﺎﺣﺔ‬ ‫اﻟﻤﻌﺎﺻﺮة‬ ‫ّ‬ ‫وﻣﺼﻤﻤﻮ‬ ‫اﻟﻔﻨ ّﻴﺔ اﻟﻌﺎﻟﻤ ّﻴﺔ‪ .‬ﻳﺤﺘﺎج اﻟﺮاﻗﺼﻮن‬ ‫ّ‬ ‫اﻟﺮﻗﺺ ﻓﻲ ﻟﺒﻨﺎن واﻟﻤﻨﻄﻘﺔ إﻟﻰ اﻟﻌﻤﻞ‬ ‫ﻋﻠﻰ ﺗﻄﻮﻳﺮ ﻗﺪراﺗﻬﻢ وﻣﻬﺎراﺗﻬﻢ ا_ﺳﺎﺳﻴﺔ‬ ‫وﻣﺼﻤﻤﻲ رﻗﺺ ﻣﺤﺘﺮﻓﻴﻦ‪.‬‬ ‫ﻛﺮاﻗﺼﻴﻦ‬ ‫ّ‬


One of the most important p achievements of Takween 2009 was the ability y to introduce the students to wellknown,, established local and

p. 8 .9


‫ﻣﻦ أﻫﻢ ا‪S‬ﻧﺠﺎزات اﻟﺘﻲ ﺣﻘﻘﺘﻬﺎ »ﺗﻜﻮﻳﻦ ‪«٢٠٠٩‬‬ ‫ﻫﻮ ﺗﻌﺮﻳﻒ اﻟﻄﻠﺒﺔ ﻋﻠﻰ ﻓﻨّﺎﻧﻴﻦ ذاﺋﻌﻲ اﻟﺼﻴﺖ‬ ‫ﻋﻠﻰ اﻟﺴﺎﺣﺘﻴﻦ اﻟﻤﺤﻠﻴﺔ واﻟﻌﺎﻟﻤ ّﻴﺔ‪ ،‬ﻣﻊ ﺧﺒﺮة‬ ‫ﻣﻬﻨ ّﻴﺔ ﻣﻤ ّﻴﺰة‪.‬‬

‫‪Movement and Theoretical Themes‬‬ ‫اﻟﺘﻴﺎرات واﻟﻨﻈﺮﻳﺎت‬ ‫ﺗﺴﻌﻰ »ﻣﻘﺎﻣﺎت« إﻟﻰ ﺗﻘﺪﻳﻢ ﻣﺠﻤﻮﻋﺔ ﻛﺒﻴﺮة‬ ‫ﻣﻦ ﺗﻴﺎرات اﻟﺮﻗﺺ وﻧﻈﺮﻳﺎﺗﻪ وﺗﻘﻨ ّﻴﺎﺗﻪ‬

‫ﻣﺼﻤﻤﻮ اﻟﺮﻗﺺ واﻟﻔﻨّﺎﻧﻮن‬ ‫ّ‬ ‫ﻣﺎﺗﻴﻠﺪ ﻣﻮﻧﻴﻴﻪ‬ ‫ﺟﻴﻞ ﺟﻮﺑﺎن‬ ‫ﻫﻨﺮﻳﻴﺘﺎ ﻫﻮرن‬ ‫ﺧﺮﻣﺎن ﺟﻮرﻳﻐﻲ‬ ‫إن‪-‬ﺟﻮﻧﻎ ﺟﻮن‬ ‫ﻣﺎﺳﻴﻤﻮ ﻣﻮﻟﻴﻨﺎري‬ ‫ﻳﻨﺲ ﺑﻴ ّﺮﻏﺎرد‬ ‫اﻟﻤﺪب‬ ‫رﺿﻮان‬ ‫ّ‬ ‫ﻋﻤﺮ راﺟﺢ‬ ‫ﺳﺎﺑﻴﻨﺎ ﺳﺘﻮﻛﺮ‬ ‫ﺳﺎرة ﻛﺮﻳﺴﺘﻮﻓﺮﺳﻦ‬ ‫ﻫﻴﻠﻠﻲ ﺳﻴﻠﺠﻬﻮﻟﻢ‬ ‫ﻟﻮدي ﻛﺮدوس‬ ‫ﻣﻴﺎ ﺣﺒﻴﺲ‬ ‫ﻋﺎﻳﺪة ﺻﺒﺮا‬ ‫ﻓﺮاﻧﺴﻮاز ﺗﺎرﺗﺎﻧﻔﻴﻞ‬ ‫ﺗﻮدور ﺗﻮدوروف‬ ‫ﻳﺎﺳﻴﻦ ﺳﺒﺘﻲ‬ ‫ﺳﻴﻤﻮن ﻻروش‬ ‫أﻟﻜﺴﻨﺪر ﺑﻮﻟﻴﻜﻴﻔﺘﺶ‬ ‫ﻧﻮرا ﻣﺮاد‬ ‫ﺑﻮل إﻳﺒﻲ‬ ‫ﻏﺴﺎن ﺳﻠﻬﺐ‬ ‫وﻟﻴﺪ ﺻﺎدق‬

‫‪Contemporary Release Technique‬‬ ‫ﺗﻘﻨ ّﻴﺔ اﻟﺮﻗﺺ اﻟﻤﻌﺎﺻﺮ‬ ‫‪Physical Theatre‬‬ ‫اﻟﻤﺴﺮح اﻟﺤﺮﻛﻲ‬ ‫‪Contact Improvisation‬‬ ‫ا‪S‬رﺗﺠﺎل‬ ‫‪Composition and Choreography‬‬ ‫اﻟﺘﺄﻟﻴﻒ وﺗﺼﻤﻴﻢ اﻟﺮﻗﺺ‬ ‫‪Improvisation skills‬‬ ‫ﻣﻬﺎرات اﻻرﺗﺠﺎل‬ ‫‪Dance and Technology‬‬ ‫اﻟﺮﻗﺺ واﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ‬ ‫‪Movement Analysis‬‬ ‫ﻧﻘﺪ وﺗﺤﻠﻴﻞ اﻟﺤﺮﻛﺔ‬ ‫‪Dance Theories and Concepts‬‬ ‫ﻧﻈﺮﻳﺎت اﻟﺮﻗﺺ وﻣﻔﺎﻫﻴﻤﻪ‬ ‫‪Performance Making‬‬ ‫‪Video Dance‬‬

‫‪Choreographers and Artists‬‬ ‫‪Mathilde Monnier‬‬ ‫‪Gilles Jobin‬‬ ‫‪Henrietta Horn‬‬ ‫‪German Jauregui‬‬ ‫‪In-jung Jun‬‬ ‫‪Massimo Molinari‬‬ ‫‪Jens Bjerregaard‬‬ ‫‪Radhouane El Meddeb‬‬ ‫‪Omar Rajeh‬‬ ‫‪Sabina Stüker‬‬ ‫‪Sara Christophersen‬‬ ‫‪Helle Siljeholm‬‬ ‫‪Lodie Kardouss‬‬ ‫‪Mia Habis‬‬ ‫‪Aida Sabra‬‬ ‫‪Françoise Tartinville‬‬ ‫‪Todor Todoroff‬‬ ‫‪Yacine Sebti‬‬ ‫‪Simon Laroche‬‬ ‫‪Alexandre Paulikevitch‬‬ ‫‪Noura Murad‬‬ ‫‪Paul Ibey‬‬ ‫‪Ghassan Salhab‬‬ ‫‪Walid Sadek‬‬


p. 10 .11


Physical ‫ﻋﻤﻠﻲ وﻧﻈﺮي‬ and Theoretical The foundation of a contemporary dance scene in the Arab region is necessary to the growth of constructive exchange and collaboration between artists, dancers and performers. Moreover, it seems that in order for a work of art to succeed and undergo an actual process of development, a dialogue need be established between the work of art and the social and cultural situation from which it emerges.

physical abilities and body technique for future work. The second is more theoretical, developing conceptual and artistic thinking, and engaging students in contemporary thought and emerging trends in the international dance scene.

The Takween 2009 program consisted of regular physical classes given alongside courses in both choreographic composition and conceptual thinking. Visual artists, cultural critics, For this reason, the filmmakers, architects Takween program was and researchers such as designed to focus on two different training tracts. The Walid Sadek (visual artist/ first is of a practical nature, art critic), Ghassan Salhab assisting students to build (film-maker), Nadim Karam ‫ ﺻﻔﻮف ﺗﺪرﻳﺐ ﻋﻤﻠﻲ‬٢٠٠٩ ‫ﺗﻀﻤﻦ ﺑﺮﻧﺎﻣﺞ ﺗﻜﻮﻳﻦ‬ ّ َ ‫ﺗ‬ ‫ُﻌﻄﻰ ﺑﺎﻟﺘﻮازي ﻣﻊ دروس ﻓﻲ ﺗﺼﻤﻴﻢ اﻟﺮﻗﺺ‬ ‫ ﻓﻨﺎﻧﻮن وﻧﻘﺎد وﻣﺨﺮﺟﻮن‬.‫وﻓﻲ اﻟﺘﻔﻜﻴﺮ اﻟﻨﻈﺮي‬ ‫وﻣﻬﻨﺪﺳﻮن ﻣﻌﻤﺎرﻳﻮن وﺑﺎﺣﺜﻮن ﻣﺜﻞ وﻟﻴﺪ‬ (‫ ﻧﺎﻗﺪ( وﻏﺴﺎن ﺳﻠﻬﺐ )ﻣﺨﺮج‬/‫ﺻﺎدق )ﻓﻨﺎن‬ ‫وﻧﺪﻳﻢ ﻛﺮم )ﻣﻬﻨﺪس ﻣﻌﻤﺎري( وﺑﻴﺎر أﺑﻲ‬ ‫ اﻟﻤﺴﺆول ﻋﻦ اﻟﺼﻔﺤﺔ اﻟﺜﻘﺎﻓﻴﺔ‬/‫ﺻﻌﺐ )ﻧﺎﻗﺪ‬ ‫ﺗﻤﺖ دﻋﻮﺗﻬﻢ‬ ّ ،‫ﻓﻲ ﺟﺮﻳﺪة ا_ﺧﺒﺎر( وﻏﻴﺮﻫﻢ‬ ‫ﻟﺘﻘﺪﻳﻢ أﻋﻤﺎﻟﻬﻢ واﻟﺒﺤﺚ ﻓﻲ ﻣﺴﺎﺋﻞ ﻓﻲ اﻟﻔﻜﺮ‬ .‫اﻟﻤﻌﺎﺻﺮ‬ ‫وﺳﺎﻋﺪت اﻟﻤﺪرﺳﺔ ﻋﻠﻰ ﺗﺴﻠﻴﻂ اﻟﻀﻮء ﻋﻠﻰ‬ ‫ﻣﺴﺎﺋﻞ أﺳﺎﺳﻴﺔ ﻓﻲ ﻣﺎ ﻳﺘﻌ ّﻠﻖ ﺑﺎﻟﺨﻴﺎرات اﻟﻔﻨ ّﻴﺔ‬ .‫ﺟﺘﻤﺎﻋﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ‬S‫وﻋﻼﻗﺘﻬﺎ ﺑﺎﻟﻤﺴﺎﺋﻞ ا‬ ‫وﻗﺪ اﻛﺘﺴﺐ اﻟﺮاﻗﺼﻮن وﻋ ًﻴﺎ أوﺳﻊ وأﺷﻤﻞ‬ ‫ﻟﻤﻬﻨﺘﻬﻢ وﻓﻬﻤﻮا ﻓﻲ ﻧﻬﺎﻳﺔ اﻟﻤﻄﺎف أﻫﻤ ّﻴﺔ‬ ‫اﻟﺠﺴﺪ ودوره ووﺟﻮده اﻟﻘﻮي ﻓﻲ اﻟﺤﻴﺎة اﻟﻴﻮﻣﻴﺔ‬ .‫ﺟﺘﻤﺎﻋﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ‬S‫ا‬

(architect) and Pierre Abi Saab (cultural critic/editor of Al-Akhbar newspaper’s cultural page), to name a few, were invited to present their work and discuss issues in contemporary thought. The school helped shed light on fundamental issues of artistic choice in relationship to social and cultural issues. The dancers gained a broader, more comprehensive awareness of their profession and ultimately realized the importance of the body and the strong presence and role that it plays in daily social and cultural life. ‫إن إﻧﺸﺎء ﻣﺸﻬﺪ اﻟﺮﻗﺺ اﻟﻤﻌﺎﺻﺮ ﻓﻲ اﻟﻤﻨﻄﻘﺔ‬ ّ ‫اﻟﻌﺮﺑﻴﺔ ﺿﺮوري ﻟﻨﻤﻮ اﻟﺘﺒﺎدل واﻟﺘﻌﺎون اﻟﺒﻨﺎء‬ ،‫ﺿﺎﻓﺔ إﻟﻰ ذﻟﻚ‬S‫ﺑﻴﻦ اﻟﻔﻨّﺎﻧﻴﻦ واﻟﺮاﻗﺼﻴﻦ ﺑﺎ‬ ‫ﻳﺒﺪو أﻧّﻪ وﻣﻦ أﺟﻞ ﻧﺠﺎح ﻋﻤﻞ ﻓﻨﻲ واﻟﺪﺧﻮل‬ ‫ﺑﺪ ﻣﻦ إرﺳﺎء ﺣﻮار ﺑﻴﻦ اﻟﻌﻤﻞ‬ ّ ‫ ﻻ‬،‫ﻓﻲ آﻟﻴﺔ ﺗﻄﻮﻳﺮ‬ ‫ﺟﺘﻤﺎﻋﻲ واﻟﺜﻘﺎﻓﻲ اﻟﺬي ﻳﻨﺸﺄ‬S‫اﻟﻔﻨﻲ واﻟﻮﺿﻊ ا‬ .‫ﻣﻨﻪ‬ ‫ﺻﻤﻢ ﺑﺮﻧﺎﻣﺞ ﺗﻜﻮﻳﻦ ﻟﻠﺘﺮﻛﻴﺰ ﻋﻠﻰ‬ ّ ‫ ﻓﻘﺪ‬،‫ﻟﺬا‬ ‫ا_ول‬ ّ ‫ اﻟﻤﺴﺎر‬.‫ﻣﺴﺎرﻳﻦ ﻣﺨﺘﻠﻔﻴﻦ ﻓﻲ اﻟﺘﺪرﻳﺐ‬ ‫ ﻳﻜﻤﻦ ﻓﻲ ﻣﺴﺎﻋﺪة اﻟﻄﻠﺒﺔ ﻋﻠﻰ‬،‫ﻋﻤﻠﻲ‬ ‫ﺑﻨﺎء ﻗﺪراﺗﻬﻢ اﻟﺠﺴﺪﻳﺔ وﺻﻘﻞ ﺗﻘﻨ ّﻴﺔ ﺣﺮﻛﺔ‬ ‫ واﻟﻤﺴﺎر اﻟﺜﺎﻧﻲ‬.‫ﻋﻤﺎل اﻟﻤﺴﺘﻘﺒﻠﻴﺔ‬v‫اﻟﺠﺴﺪ ﻟ‬ ‫ ﻳﺪﻓﻊ ﺑﺎﺗﺠﺎه ﺗﻄﻮﻳﺮ اﻟﺘﻔﻜﻴﺮ ﻓﻲ اﻟﻔﻦ‬،‫ﻧﻈﺮي‬ ‫ وﻳﺤﺚ اﻟﻄﻠﺒﺔ ﻋﻠﻰ اﻟﻔﻜﺮ‬،‫واﻟﻤﻔﺎﻫﻴﻢ اﻟﻤﺨﺘﻠﻔﺔ‬ ‫اﻟﻤﻌﺎﺻﺮ وا_ﻧﻤﺎط اﻟﻨﺎﺷﺌﺔ ﻓﻲ ﻣﺨﺘﻠﻒ أوﺳﺎط‬ .‫اﻟﺮﻗﺺ اﻟﻌﺎﻟﻤ ّﻴﺔ‬


Four international choreographers were invited to Beirut to participate in a two-week residency at the end of Takween. Each choreographer worked with a group of students, focusing on specific choreographic directions. Maqamat invited Mazen Maarouf, journalist and cultural critic at An-Nahar Newspaper, to attend the rehearsals, interview the artists and research their working methodologies and artistic concepts.

The extensive coverage of the residencies resulted in an analytical text on each artist’s view of the body and movement in relation to space, content and function Reflections on three choreographers follow in the following pages.

p. 12 .13


‫ﺗﻤﺖ‬ ‫ﻗﺒﻞ اﺧﺘﺘﺎم ﺑﺮﻧﺎﻣﺞ "ﺗﻜﻮﻳﻦ" اﻟﺘﺪرﻳﺒﻲ‪ّ ،‬‬ ‫دﻋﻮة أرﺑﻌﺔ ﻣﻦ اﻟﻜﻮرﻳﻐﺮاف اﻟﻌﺎﻟﻤﻴﻴﻦ ﻟﻗﺎﻣﺔ‬ ‫ﻓﻲ ﺑﻴﺮوت واﻟﻌﻤﻞ ﻣﻊ اﻟﺮاﻗﺼﻴﻦ ﻋﻠﻰ ﻣﺪى‬ ‫أﺳﺒﻮﻋﻴﻦ‪ .‬ﻋﻤﻞ ﻛﻞ ﻛﻮرﻳﻐﺮاف ﻣﻊ ﻣﺠﻤﻮﻋﺔ‬ ‫ﻣﻦ اﻟﺮاﻗﺼﻴﻦ‪ ،‬ورﻛّ ﺰ ّ‬ ‫ﻛﻞ ﻣﻨﻬﻢ ﻋﻠﻰ اﺗﺠﺎﻫﺎت‬ ‫ﻛﻮرﻳﻐﺮاﻓﻴﺔ‬ ‫ﻣﺤﺪدة‪ .‬ﻗﺎم "ﻣﺴﺮح ﻣﻘﺎﻣﺎت‬ ‫ّ‬ ‫ﻟﻠﺮﻗﺺ" ﺑﺪﻋﻮة ﻣﺎزن ﻣﻌﺮوف‪ ،‬وﻫﻮ ﺻﺤﺎﻓﻲ‬ ‫وﻧﺎﻗﺪ ﻟﻠﻤﺴﺮح واﻟﺮﻗﺺ اﻟﻤﻌﺎﺻﺮ ﻓﻲ ﺟﺮﻳﺪة‬ ‫اﻟﻨﻬﺎر‪ ،‬ﻟﺤﻀﻮر اﻟﺘﺪرﻳﺒﺎت‪ ،‬ﻣﺤﺎورة اﻟﻔﻨﺎﻧﻴﻦ‪،‬‬ ‫وﻣﺮاﻗﺒﺔ ﻃﺮق ﻋﻤﻠﻬﻢ وﻣﻘﺎرﺑﺘﻬﻢ ﻟﻠﻤﻔﺎﻫﻴﻢ‬ ‫اﻟﻔﻨﻴﺔ‪.‬‬ ‫وأﻋﺪ‬ ‫راﻓﻖ ﻣﺎزن اﻟﻔﻨﺎﻧﻴﻦ ﻃﻮال ﻓﺘﺮة اﻟﺘﺪرﻳﺐ‪،‬‬ ‫ّ‬ ‫ﺗﻘﺮﻳﺮاَ ﺗﺤﻠﻴﻠﻴƒ ﺣﻮل رؤﻳﺘﻬﻢ ﻟﻤﻀﻤﻮن وﻓﻀﺎء‬ ‫ووﻇﻴﻔﺔ اﻟﺠﺴﺪ واﻟﺤﺮﻛﺔ‪.‬‬


‫ﻳﺎﻧﺲ ﺟﻴﺮﻳﻐﺎرد‬ ‫ﻳﺮﺗﻜﺰ ﻋﻤﻞ ﻳﺎﻧﺲ ﻋﻠﻰ ﻣﺒﺪأ اﻟﺠﺴﺪ ﺑﺎﻋﺘﺒﺎره‪،‬‬ ‫ﻛﺘﻠﺔ ﻣﻌﻘﺪة اﻟﺘﻜﻮﻳﻦ‪ ،‬ﻟﻐﺔ ﻗﺎﺋﻤﺔ ﺑﺬاﺗﻬﺎ‪،‬‬ ‫وﻋﺎﻟﻤﺎ ﻓﻴﺰﻳﻮﻟﻮﺟﻴﺎ ﻟﻢ ﻳﺘﻢ اﻛﺘﺸﺎﻓﻪ ﺑﺸﻜﻞ‬ ‫ﻧﻬﺎﺋﻲ ﻓﻲ اﻟﺮﻗﺺ اﻟﻤﻌﺎﺻﺮ‪ .‬ﻫﺬا اﻟﺠﺴﺪ‪،‬‬ ‫ﻟﻦ ﻳﻜﻮن ﻣﺴﺮﺣﺎ ﺧﺎرﺟﻴﺎ ﻟﻠﻨﻮازع واﻟﻤﺸﺎﻋﺮ‬ ‫اﻟﺪاﺧﻠﻴﺔ‪ ،‬وﻟﻦ ﻳﻜﻮن ﻛﺬﻟﻚ ﺗﻌﺒﻴﺮا ﻋﻦ‬ ‫ﺑﺴﻴﻜﻮﻟﻮﺟﻴﺎ اﻻﻧﺴﺎن‪ .‬ﻋﻨﺪ ﻳﻨﺲ‪ ،‬ﺳﻴﻜﻮن‬ ‫اﻟﻌﻜﺲ ﻫﻮ اﻟﺼﺤﻴﺢ‪ .‬ﺗﻨﻄﻠﻖ اﻟﺤﺮﻛﺔ‪ ،‬ﻣﻦ ﻛﻮن‬ ‫اﻟﺠﺴﺪ ﻗﺎدرا ﻋﻠﻰ إﺗﻤﺎم ﻫﺬه اﻟﺤﺮﻛﺔ‪ .‬ﻫﻨﺎ‪،‬‬ ‫ﻳﻈﻬﺮ اﻟﻜﻮرﻳﻮﻏﺮاﻓﻲ اﻟﺪﻧﻤﺎرﻛﻲ‪ ،‬وﻛﺄﻧﻪ ﻳﻌﺰل‬ ‫اﻻﻧﺴﺎن ﻋﻦ داﺧﻠﻪ‪ ،‬ﻋﻦ ﻣﺸﺎﻋﺮه وأﺣﺎﺳﻴﺴﻪ‪.‬‬ ‫وﻳﻜﺘﻔﻲ ﻓﻘﻂ‪ ،‬ﺑﻌﺮض ﻗﺪرة ﻫﺬا اﻟﺠﺴﺪ‪ ،‬ﻋﻠﻰ‬ ‫ﺗﺄﻟﻴﻒ ﻟﻐﺔ ﺑﺤﺪ ذاﺗﻬﺎ‪ .‬إن ﻫﺬه اﻟﺮؤﻳﺎ ﻟﻤﺎدﻳﺔ‬ ‫اﻟﺠﺴﺪ‪ ،‬ﻻ ﺗﻘﻠﻞ ﻣﻦ أﻫﻤﻴﺔ أﻋﻤﺎل ﻳﺎﻧﺲ‪ ،‬ﺑﻞ‬ ‫ﺗﺮﻓﻌﻬﺎ إﻟﻰ ﻣﺴﺘﻮى آﺧﺮ‪ ،‬ﻻ ﻧﺘﻮﻗﻌﻪ‪.‬‬ ‫ﻧﻜﺘﺸﻒ ﺟﻤﺎﻟﻴﺎت أﺧﺮى ﻓﻲ ﻫﺬا اﻟﺠﺴﺪ‪ ،‬ﻣﻦ‬ ‫ﺧﻼل ﺗﺄﻟﻴﻒ اﻟﺤﺮﻛﺎت اﻟﺮاﻗﺼﺔ‪ ،‬اﻟﺪﻳﻨﺎﻣﻴﻜﻴﺔ‪،‬‬ ‫اﻟﺘﻲ ﻻ ﺗﺘﻘﺎﻃﻊ ﺑﺘﺎﺗﺎ ﻣﻊ اﻟﻤﺴﺮح ﺑﻮﺻﻔﻪ‬ ‫ا_ﺳﺎس‪ .‬وﺑﺤﺴﺐ ﻳﺎﻧﺲ ﻧﻔﺴﻪ‪ ،‬ﻓﺈن ﻟﻦ ﺗﻌﻮد‬ ‫ﻫﻨﺎك ﺿﺮورة ﻟﺘﻮﻇﻴﻒ اﻟﺠﺴﺪ ﻟﻠﺘﻌﺒﻴﺮ ﻋﻦ‬ ‫ﻧﺼﻮص ﺷﻴﻜﺴﺒﻴﺮ‪ ،‬ﻣﺜﻼ‪» .‬ﺷﻴﻜﺴﺒﻴﺮ ﻛﺘﺐ‬ ‫ﺗﺮاﺟﻴﺪﻳﺎﺗﻪ ﺑﺎﻟﻜﻠﻤﺎت‪ ،‬اﻣﺎ أﻧﺎ ﻓﻴﻤﻜﻨﻨﻲ أن‬ ‫أﻛﺘﺐ ﻗﺼﺼﻪ وﻳﻮﻣﻴﺎﺗﻪ ﻣﻌﺘﻤﺪا ﻋﻠﻰ اﻟﻜﻠﻤﺎت‬ ‫اﻟﺠﺴﻤﺎﻧﻴﺔ«‪ .‬ﻳﻤﺜﻞ ﻋﻤﻠﻪ ﻧﻮﻋﺎ ﻣﻦ اﻟﻤﻔﺎﺟﺎة‪،‬‬ ‫وﻗﺪ ﻻ ﻧﺘﻔﻖ ﻣﻌﻪ ﺑﺪاﻳﺔ‪ ،‬إﻻ أﻧﻨﺎ ﻧﻜﺘﺸﻒ ﻻﺣﻘﺎ‪،‬‬ ‫ﺑﺄن ﻫﻨﺎك ﺑﻌﺪا إﺿﺎﻓﻴﺎ ﻟﻬﺬا اﻟﺠﺴﺪ وﻫﻮ‬ ‫ﻗﺪرﺗﻪ ﻋﻠﻰ ﺟﺬﺑﻨﺎ ﺑﺎﻟﻄﺎﻗﺔ اﻟﻤﻨﺒﻌﺜﺔ ﻋﻦ ﻛﻞ‬ ‫ﺣﺮﻛﺔ‪ ،‬داﺧﻞ اﻟﻨﺺ اﻟﻜﻮرﻳﻮﻏﺮاﻓﻲ‪_ .‬ن ﻫﺬا‬ ‫اﻟﺠﺴﺪ‪ ،‬ﻣﺴﺆول ﻋﻦ اﺣﺘﻼل اﻟﻤﻜﺎن‪ .‬ﻓﻲ ﻋﻤﻠﻪ‪،‬‬ ‫ﺗﺘﻤﺪد أﻃﺮاف اﻟﺠﺴﺪ وأﻋﻀﺎؤه إﻟﻰ اﻗﺼﻰ ﺣﺪ‬ ‫ﻣﻤﻜﻦ‪ ،‬وﺗﻨﻘﺒﺾ وﺗﺘﻘﻠﺺ‪ ،‬ﻓﻲ ﻣﺨﺘﻠﻒ اﻟﺰواﻳﺎ‬ ‫واﻻﻧﺤﻨﺎءات واﻻﺗﺠﺎﻫﺎت‪ .‬ا_ﺻﺎﺑﻊ‪ ،‬وا_ذرع‪ ،‬اﻟﺮﻗﺒﺔ‬ ‫واﻟﻔﺨﺬ‪ ،‬واﻟﺴﺎﻗﺎن‪ ،‬ﻻﻧﻪ اﻟﺠﺴﺪ اﻟﺬي ﻳﺤﺘﻞ‬ ‫اﻟﻔﺮاغ‪ ،‬وﻫﻮ اﻟﻤﺎدة اﻟﺘﻲ ﺗﻤ‪ v‬اﻟﻤﺪن واﻟﺸﻮارع‬ ‫واﻟﺤﻴﺎة‪ .‬ﻳﻌﺮف ﻳﺎﻧﺲ ﺑﺄن ﻫﺬا اﻟﺠﺴﺪ ﻧﺴﺘﺨﺪﻣﻪ‬ ‫ﻳﻮﻣﻴﺎ‪ ،‬دون أن ﻧﻨﺘﺒﻪ‪ .‬ﻧﺴﺘﺨﺪﻣﻪ ﻓﻲ ردات‬ ‫اﻟﻔﻌﻞ اﻟﺒﻴﻮ ﻓﻴﺰﻳﺎﺋﻴﺔ‪ ،‬وﻓﻲ اﻟﺘﻌﺒﻴﺮ واﻟﺘﻮاﺻﻞ‬ ‫ﻣﻊ ا‰ﺧﺮ‪ .‬وﻫﻮ ﻳﺸﻜﻞ ﻟﻐﺔ ﺣﺮﻛﻴﺔ‪ ،‬وراﻗﺼﺔ‪،‬‬ ‫إﻧﻪ ﻋﺎﻟﻢ ﺟﺎﻫﺰ‪ ،‬وﻋﻠﻰ اﻟﻜﻮرﻳﻮﻏﺮاف أن ﻳﻜﻮن‬ ‫ﻗﺎدرا ﻋﻠﻰ اﺑﺘﻜﺎر ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﺤﺮﻛﺎت اﻟﺘﻲ‬ ‫ﻳﻜﻮن ﻫﻨﺎك ﻫﺎرﻣﻮﻧﻲ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ‪ .‬دﻳﻨﺎﻣﻴﻜﻴﺎت‬ ‫وﺑﺎﻟﺘﺎﻟﻲ‪ ،‬ﻓﺈﻧﻪ ﻏﻴﺮ ﺑﺪاﺋﻲ‪ ،‬وﻫﻮ ﻏﻴﺮ ﻣﺮﺗﺒﻂ‬ ‫ﺑﺎﻟﻨﻔﺲ‪ .‬اﻟﺮاﻗﺺ ﻳﺠﺐ ﺑﺪوره ان ﻳﻌﺮف اﻣﻜﺎﻧﻴﺎت‬ ‫ﻫﺬا اﻟﺠﺴﺪ‪ ،‬وﺗﻘﻨﻴﺎت اﺳﺘﺨﺪاﻣﻪ‪ .‬اﻟﺮاﻗﺺ‪ ،‬ﻋﻠﻴﻪ‬ ‫ان ﻳﻜﻮن ﻣﺘﺼﺎﻟﺤﺎ إﻟﻰ ﺣﺪ ﺑﻌﻴﺪ ﻣﻊ ﺟﺴﺪه‪،‬‬ ‫ﻓﻼ ﻳﻤﻜﻦ اﻧﺠﺎز اي ﺣﺮﻛﺔ دون أن ﻳﺤﺲ اﻟﺮاﻗﺺ‪،‬‬ ‫ﺑﺄﻧﻪ ﻣﻜﺸﻮف اﻣﺎم ﻧﻔﺴﻪ واﻣﺎم ا‰ﺧﺮﻳﻦ‪ .‬اﻧﻄﻼﻗﺎ‬ ‫ﻣﻦ ﻫﺬا اﻻﻋﺘﺒﺎر‪ ،‬ﻳﻜﻮن اﻟﺮاﻗﺺ ﺣﺮا‪ ،‬ﻳﻌﻠﻦ‬ ‫ﺟﺴﺪه اﻣﺎم ا‰ﺧﺮﻳﻦ‪ ،‬ﻟﻴﺲ ﺑﺎﻟﻤﻌﻨﻰ ا‪S‬ﻳﺮوﺗﻴﻜﻲ‪،‬‬ ‫ﺑﻞ ﺑﻤﻌﻨﻰ أن ﻫﺬا اﻟﺮاﻗﺺ‪ ،‬ﺳﻴﺤﺘﺎج إﻟﻰ أن‬ ‫ﻳﺰﻳﻞ اﻟﺤﻮاﺟﺰ اﻟﺘﻲ ﻗﺪ ﺗﻌﻄﻞ اﺳﺘﺨﺪاﻣﻪ ﻟﻬﺬا‬ ‫اﻟﺠﺴﺪ ﺑﺸﻜﻞ ﻃﺒﻴﻌﻲ‪.‬‬ ‫اﻟﺠﺴﺪ واﺿﺤﺎ وأﻧﻴﻘﺎ وﺧﺎﻟﻴﺎ ﻣﻦ أﻳﺔ ﺷﻮاﺋﺐ‬ ‫ﻧﻔﺴﻴﺔ‪ ،‬ﻓﺎﻻﺣﺴﺎس ﻟﻦ ﻳﺘﺪﺧﻞ ﻓﻲ اﻟﺤﺮﻛﺔ‪،‬‬ ‫ﺳﻴﺘﻢ اﺳﺘﺒﻌﺎده ﻣﺆﻗﺘﺎ ﻋﻦ اﻟﻌﻤﻞ‪ ،‬وﻫﻮ ﺑﺪل‬ ‫ﻣﻦ أن ﻳﻜﻮن اﻟﻤﺤﻔﺰ ﻟﺘﺄﻟﻴﻒ اﻟﻌﻤﻞ اﻟﺮاﻗﺺ‪،‬‬

‫ﺳﻴﻜﻮن ﻧﺘﺎﺟﺎ ﺑﺤﺪ ذاﺗﻪ‪_ .‬ن اﻟﺤﺮﻛﺔ‪ ،‬اﻟﻤﺘﻮاﺻﻠﺔ‬ ‫واﻟﻤﺘﻔﺎوﺗﺔ اﻟﺴﺮﻋﺔ‪ ،‬ﻟﻜﻦ ﻏﻴﺮ اﻟﻤﺘﻮﻗﻔﺔ‪ ،‬واﻟﺘﻲ‬ ‫ﻫﻲ ﻟﻐﺔ ﻳﺎﻧﺲ‪ ،‬ﺳﻴﺘﻠﻘﻔﻬﺎ اﻟﺠﻤﻬﻮر‪ ،‬ﻛﻞ‬ ‫ﺑﺤﺴﺐ إﺣﺴﺎﺳﻪ ﺑﻬﺬه اﻟﺤﺮﻛﺔ‪ ،‬ا_ﻣﺮ اﻟﺬي‬ ‫ﺳﻴﺘﻮﻟﺪ ﻋﻨﻪ‪ ،‬ﺗﻔﺎﻋﻼ ﻧﻔﺴﻴﺎ ﺧﺎﺻﺎ ﺑﻜﻞ ﻣﺘﻔﺮج‬ ‫ﻋﻠﻰ ﺣﺪة‪ .‬وﻟﻨﺘﺬﻛﺮ ﻫﻨﺎ‪ ،‬اﻧﻪ ﻓﻲ ﻣﻘﺎﺑﻞ ﻫﺬا‬ ‫اﻟﻜﻢ اﻟﺤﺮﻛﻲ اﻟﻬﺎﺋﻞ اﻟﺬي ﻳﻘﺪﻣﻪ ﻳﺎﻧﺲ‪ ،‬ﻓﺈن‬ ‫ﻫﻨﺎك ﺟﻤﻬﻮرا ﺟﺎﻟﺴﺎ ﻻ ﻳﺘﺤﺮك ﻋﻦ ﻛﺮﺳﻴﻪ‪.‬‬ ‫ﻫﻜﺬا ﻳﻘﻮد ﻳﺎﻧﺲ اﻟﺠﺴﺪ إﻟﻰ ﺑﻨﺎء ﻋﻼﻗﺔ ﻣﻊ‬ ‫ا‰ﺧﺮ‪ ،‬اﻟﺬي ﻳﺘﻠﻘﻒ اﻟﻌﻤﻞ اﻟﻔﻴﺰﻳﻮﻟﻮﻳﺠﻲ وﻣﻦ‬ ‫ﺛﻢ ﻳﻌﻜﺴﻪ ﺑﺎ‪S‬ﺣﺴﺎس إﻟﻰ اﻟﺪاﺧﻞ‪ .‬ﺗﻨﺠﺢ‬ ‫رؤﻳﺎ ﻳﺎﻧﺲ ﺣﻮل اﻟﺠﺴﺪ‪ ،‬اﻟﺬي ﻳﻜﻮن ﻣﺠﻤﻮﻋﺔ‬ ‫ﻣﻦ اﻟﺠﻤﻞ اﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴﺔ اﻟﺘﻲ ﺗﻌﻤﻞ ﺑﻘﻮاﻧﻴﻦ‬ ‫اﻟﻔﻴﺰﻳﺎء‪ ،‬واﻟﺪﻳﻨﺎﻣﻴﻜﻴﺎ )اﻟﺪوران‪ ،‬اﻟﺰﺣﻒ‪ ،‬ﺗﻐﻴﺮ‬ ‫ﺳﺮﻋﺔ اﻟﺠﺴﺪ ﺑﺘﻐﻴﺮ ﻣﻘﺪار اﻣﺘﺪاد اﻟﺬراﻋﻴﻦ‬ ‫او اﻧﻘﺒﺎﺿﻬﻤﺎ ﺣﻮل اﻟﺠﺴﻢ‪ ،‬إرﺗﻔﺎع اﻟﺠﺴﺪ ﻋﻦ‬ ‫ا_رض واﺧﺘﻼف ﻣﺴﺘﻮﻳﺎت اﻟﻔﻀﺎء(‪.‬‬ ‫اﻟﺠﺴﺪ ﻗﺎدر ﻋﻠﻰ اﻟﺘﻌﺒﻴﺮ ﺑﻜﻞ وﺿﻮح‪ ،‬ﻫﻮ ﻟﻌﺒﺔ‬ ‫اﻻﺗﺠﺎﻫﺎت‪ ،‬ﻳﺘﻌﺮض إﻟﻰ ﻣﻜﺎﺷﻔﺔ ذاﺗﻴﺔ‪ ،‬ﻧﻮع ﻣﻦ‬ ‫إﺗ ّﺒﺎع ذاﺗﻪ ﻟﻤﻌﺮﻓﺘﻬﺎ أﻛﺜﺮ‪ .‬ﻛﻴﻨﻮﻧﺔ اﻟﺠﺴﺪ‪ .‬وﻫﻮ‬ ‫ﻣﻀﺒﻮط وﺗﺤﺖ اﻟﺴﻴﻄﺮة اﻟﺘﺎﻣﺔ‪ .‬إﻧﻪ واﺿﺢ إذن‪،‬‬ ‫_ﻧﻪ اوﻻ ﻣﺤﻜﻮم ﺑﻘﻮاﻧﻴﻦ ﺛﺎﺑﺘﺔ‪ ،‬و_ﻧﻪ ﺛﺎﻧﻴﺎ ﻏﻴﺮ‬ ‫ﻣﻌﻨﻲ ﺑﺎﻟﺒﺴﻴﻜﻮﻟﻮﺟﻴﺎ‪ .‬ﻓﻌﻠﻰ اﻟﺮﻏﻢ ﻣﻦ اﻧﻪ‬ ‫اﻧﻌﻜﺎس ﻟﻠﺮوح‪ ،‬وﻣﺮآة ﻟﻪ‪ ،‬إﻻ أﻧﻪ ﻳﺒﻘﻰ ﻣﺤﻤﻴﺎ ﻣﻦ‬ ‫اﻣﻜﺎﻧﻴﺔ اﺳﺘﺨﺪاﻣﻪ ﻛﺄداة ﻟﺘﺮﺟﻤﺔ اﻟﻨﻔﺲ ﻣﻦ‬ ‫ﺧﻼل اﻟﻔﻌﻞ‪ .‬ﻟﻜﻨﻪ ﻳﺨﻀﻊ ﻟﻤﻨﻈﻮﻣﺔ اﻟﻔﻌﻞ وردة‬ ‫اﻟﻔﻌﻞ‪ ،‬ﻣﻦ دون أن ﻳﻜﻮن ﻟﻬﺬا أي اﻋﺘﺒﺎر ذﻫﻨﻲ‪.‬‬ ‫ﻟﻜﻦ ﻳﺠﺐ ﺗﺤﻴﻴﺪ ﺗﺪﺧﻞ اﻟﺬﻫﻦ ﺑﺎﻟﺤﺮﻛﺔ‪ .‬ﻓﻬﺬا‬ ‫اﻟﺠﺴﺪ ﺑﺤﺎﺟﺔ إﻟﻰ اﻟﺠﺴﺪ ا‰ﺧﺮ ﻟﻴﺘﻔﺎﻋﻞ ﻣﻌﻪ‪،‬‬ ‫ﻛﺄن ﻧﺮى ﻓﻲ اﻟﻄﺮﻳﻖ رﺟﻼ ﻳﻜﺎد ﻳﻘﻊ‪ ،‬ﻓﻨﺘﻔﺎﻋﻞ‬ ‫ﻣﻊ ا_ﻣﺮ وﻛﺄﻧﻨﺎ ﻧﺮﻳﺪ اﻧﻘﺎذه‪» .‬ﻟﻴﺲ ﻫﻨﺎك ﺳﺒﺐ‬ ‫ﻳﺪﻓﻌﻨﻲ ﻟﻠﻘﻴﺎم ﺑﻬﺬه اﻟﺤﺮﻛﺔ أو ﺗﻠﻚ‪ ،‬أو‬ ‫ﻟﻠﺘﻌﺪﻳﻞ ﻓﻴﻬﺎ« ﻳﻘﻮل ﻳﺎﻧﺲ‪ .‬إن اﻟﻨﻈﺎم ا_ﺳﺎس‬ ‫ﻟﻠﺤﺮﻛﺔ ﻳﻨﺒﻊ ﻣﻦ اﻟﺠﺴﺪ ﻧﻔﺴﻪ‪ ،‬ﻛﻔﻀﺎء ﺧﺎرﺟﻲ‬ ‫ﻗﺎدر ﻋﻠﻰ ﺗﺸﻜﻴﻞ اﻟﺤﻜﺎﻳﺔ‪ .‬ﻫﻨﺎك ﻫﺎرﻣﻮﻧﻲ‬ ‫ﻣﻮﺟﻮد وﻣﺴﺘﻌﺪ ﻟﻠﻈﻬﻮر ﻓﻲ أي ﻟﺤﻈﺔ‪ .‬ﻟﻜﻦ‬ ‫ﻫﺬا اﻟﺠﺴﺪ‪ ،‬ﻣﺸﺤﻮﻧﺎ ﺑﺎﻟﻄﺎﻗﺔ اﻟﺘﻲ ﻳﻜﻮن‬ ‫ﻣﺼﺪرﻫﺎ اﻟﺘﺮﻛﻴﺰ ﻓﻲ ﻫﺬا اﻟﺠﺴﺪ‪ .‬ﻫﺬه اﻟﻄﺎﻗﺔ‬ ‫ﺳﺘﻜﻮن إﻳﺠﺎﺑﻴﺔ ﺑﻤﻘﺪار ﻣﻌﺮﻓﺔ اﻻﻧﺴﺎن )ﻛﻞ‬ ‫راﻗﺺ( ﺑﺠﺴﺪه‪ .‬ﻳﻜﻮن إذن‪ ،‬ﺗﻮﻧﺎت ﻣﺨﺘﻠﻔﺔ ﻟﻬﺬا‬ ‫اﻟﺠﺴﺪ‪.‬‬ ‫ﻟﻜﻦ ﻫﺬا اﻟﺠﺴﺪ‪ ،‬ﻳﻨﻀﻮي ﻓﻲ ﻟﻐﺔ ﻏﺮﻳﺒﺔ‬ ‫وﺧﺎﺻﺔ‪ ،‬ﺣﻴﺚ ﻳﺘﻢ ﺗﺄﻟﻴﻒ ﺣﻮارات ﺑﻴﻨﻪ وﺑﻴﻦ‬ ‫ﺟﺴﺪ آﺧﺮ‪ ،‬وﻳﻌﺘﻤﺪ أﺣﺪﻫﻤﺎ ﻋﻠﻰ ا‰ﺧﺮ‪ ،‬ﻳﻘﺒﻠﻪ‬ ‫أو ﻳﺮﻓﻀﻪ‪ ،‬وﺑﺎﻟﺘﺎﻟﻲ ﻓﺈﻧﻪ اﺑﺘﻜﺎر ﻟﻌﺎﻟﻢ آﺧﺮ‪ ،‬ﻏﻨﻲ‬ ‫ﺑﺎﻟﺘﻔﺎﺻﻴﻞ واﻟﺼﻮر اﻟﺘﻲ ﻟﻬﺎ أﺑﻌﺎد أﺧﺮى‪ ،‬ﺣﺴﻴﺔ‬ ‫ﻓﻘﻂ‪ .‬إن اﻟﺘﻔﺎﻋﻞ ﻣﺎ ﺑﻴﻦ أرﺑﻌﺔ أﺟﺴﺎد‪ ،‬ﻳﺸﺒﻪ‬ ‫ﺳﻠﺴﻠﺔ ﻃﻮﻳﻠﺔ‪ ،‬ﺗﻌﺘﻤﺪ ﺣﻠﻘﺎﺗﻬﺎ ﻋﻠﻰ ﺑﻌﻀﻬﺎ‬ ‫اﻟﺒﻌﺾ ﻟﺘﺒﻘﻰ‪ ،‬او ان وﺟﻮد ﺣﻠﻘﺔ ﻫﻮ ﺿﺮوري‪،‬‬ ‫ﻛﺴﺒﺐ أو ﺷﺮط ﻟﻮﺟﻮد ا_ﺧﺮى‪ .‬ﻳﺎﻧﺲ ﻳﻌﺘﺒﺮ أن‬ ‫اﻟﺠﺴﺪ ﻓﻠﺴﻔﺔ ﻗﺎﺋﻤﺔ ﺑﺤﺪ ذاﺗﻬﺎ‪ ،‬وﻫﻲ أﻋﻠﻰ‬ ‫ﺷﺄﻧﺎ وﻣﻨﻄﻘﻴﺔ ﻣﻦ أي ﻓﻠﺴﻔﺔ أﺧﺮى وذﻟﻚ‬ ‫_ﻧﻬﺎ ﺗﻘﺪم ﻣﺎدة ﻣﺤﺴﻮﺳﺔ وﻣﺮﺋﻴﺔ ﻣﻦ ﺧﻼل‬ ‫ﻟﻌﺒﺘﻲ اﻟﺴﻜﻮن واﻟﺤﺮﻛﺔ‪ .‬ﻓﻮﻓﻘﺎ ﻟﻴﺎﻧﺲ‪ ،‬أﻧﻪ‬ ‫ﺑﻌﺪ اﻧﺘﻬﺎء اﻟﺘﻤﺮﻳﻦ‪» ،‬ﻻ ﺑﺪ وأن ﻳﺸﻌﺮ اﻟﺮاﻗﺺ‬ ‫ﺑﺸﻲء ﻣﻦ اﻟﻔﺮح«‪ .‬اﻟﺤﺮﻛﺔ إذن ﺗﺒﻌﺚ ﻋﻠﻰ‬ ‫ﺗﺤﻔﻴﺰ اﻟﺸﻌﻮر واﻻﺣﺴﺎﺳﺎت‪.‬‬ ‫‪p. 14 .15‬‬


Jens Bjerregaard Jens’ work is based on the principle that the body is a complex entity—a language in itself, a physiological world—yet to be ultimately explored through choreography. This body is neither an external stage for conflict or inner feelings, nor is it an expression of human psychology. Movement starts from the body’s ability to complete a gesture. The Danish choreographer seems to isolate the individual from their internality, from their feelings and emotions, as he is occupied with showing the corporal capacity to create language. This material approach to the body does not undermine the importance of Jens’ work but rather raises it to another, unexpected level. In this body, another aesthetics is discovered through the creation of dynamic dance movements, without intersecting with the theater that remains the foundation. According to Jens, it is not necessary to use the body to express Shakespeare’s texts. Shakespeare wrote his tragedies in words while “I can write his stories and journals in corporal ‘words’.” At first sight, Jen’s work is shocking. We might even disagree with it. Then we discover the presence of an additional dimension to the body: its power to captivate us by the energy inherent in the movement, within the choreographic text. This body is responsible for occupying space. In Jens’ work, the extremities and organs of the body are stretched to their maximum, and then shrunk and contracted into different angles, inclinations and directions; fingers, arms, neck, thighs and legs—it is the body that occupies the void, that is the material that fills the cities, the streets and life. Jens knows that we use this body daily, without noticing. We use it in our biophysical reactions and in our expression and communications with the one another. It constitutes a motive and dancing language. It is a ready-

Koreografisk Center Archauz made world, and the choreographer must be able to innovate a cluster of movements that is harmonically linked. Dynamics and therefore this body is not primitive nor connected to the psyche. The dancer must know the capacities of the body and the techniques of using it. The dancer should be reconciled to his own body to a large extent for he cannot accomplish any movement without feeling that he is revealed to himself and to others. Based on this consideration, the dancer is free and exposes his body to the others, not in an erotic sense but in the sense of removing all barriers blocking him from using his body in a normal form. The body is clear, elegant and devoid of any psychic blemishes, for emotions will not interfere in the movement, they will be temporarily avoided in the work. Instead of catalyzing the production of the dance work, emotions will become the conclusion. This is because the movement is continuous, with different speeds but unceasing, for this is Jens’s language, and it will be experienced by an audience, each according to his own perception of the movement, giving rise to personal psychic reactions specific for each spectator. Let us remember here that facing this massive flow of movement presented by Jens, there is an audience sitting still on its chair. This is how Jens drives the body to build a relationship with the Other who is receiving the physiological act and reflecting it inwards through emotions. Jens’ perspective on the body succeeds, through a series of physiological phrases functioning according to the rules of physics and dynamics (spinning, crawling, change in the speed of the body accordingly with the expansion and contraction of the arms around the body, and the varying levels of space). The body is capable of clear expressions. It is the game of directions and is subject to self-

reflection or a sort of self-exploration for further self-understanding. Secondly, it is not interested in psychology. Despite this, the body is a reflection of the soul, and its mirror. It rather remains shielded from the possibility of being employed as a tool for translating the psyche through action. Yet, the body obeys to the rule of actions and reactions, without any mental consideration. However, one must sideline the intervention of the mind in movement. For this body needs the other body for interaction, as if we see a man on the road about to fall, so we interact as if we want to save him. “There is no justification for performing this or that movement, or to modify,” says Jens. The main system of movement comes from the body itself, line an external space that is capable of forming the story. There is existing harmony ready to appear at any moment. But this body is charged with energy whose source is the concentration in the body. This energy will be positive proportional to the knowledge the human (every dancer) possesses of his body. There is then different tones for this body. However, this body discloses and alien and special language, where dialogues are invented between it and another body, and where one depends on the other, accepts it or rejects it, and therefore it is an invention of another world, rich in details and images of different perspectives, only sensual. The interaction among four bodies, resembles a long chain, the rings depend on each other to remain, or the existence of a chain is necessary, as a reason or as a cause for another chain. Jens considers the body a philosophy per se- and it is more elevated and more logical than any other philosophy because it presents a tangible and visual material through the play of stillness and movement. For according to Jens, after rehearsals are over “the dancer must feel a little happiness.” Movement then stimulates feeling and emotions.


‫ رﺿﻮان‬Radhouane ‫اﻟﻤﺪب‬ ّ Al Meddeb

Compagnie de Soi

His work is a captivating combination between theater and dance. He has an individual vision, he depends on summarizing theater and dance through expression with movement. There is no specific definition for dance, since the body exists to express, and to add and not the opposite. Therefore, the secret that pushes him to this, is the emotional room that exists in the dancer. Radhwan’s work seems to begin from this inherent space within us, which we seek through movement, to explore. With him, the dancer cannot be far from any detail of movement. Every movement signifies a meaning and a certain depth. The nature of the movement is succicinct and concise. The body does not necessarily have to expand or shrink and neither does it have to dance in the conventional manner. It is present on stage to move and it is surrounded by a special sanctity. Radhwan does not start out from a social event as a basis, for there is an existing space. Radhwan Al Meddeb’s work depends on evoking characters from daily life and revealing them on stage. Because he has a theatrical background, he does not exclude the features of this theater from the presence on stage. However, he does not exaggerate this, for there is no need for talking

p. 16 .17


or acting. Likewise he does not consider dance as a main component in his work, which makes movement a main factor that surpasses the theories of dance and theater. For him, movement is wider than any definition and can make the spectator feel that there is neither dance nor theater, but rather a special language, which touches the sentiment of each one of us. This work, which was presented during Takween, has a autobiographical perspective, for it deals with society’s rejection of a girl practicing contemporary dance (but not sex for example). The identity of the being is here defined, and also his direction in work. We cannot ignore the presence of an invisible line of theatrical drama in his work. His movement is unevenly paced but is generally slow, expressive, charged with pride, and a feminine aesthetic, as well as eroticism at the same time (use of high-heeled women’s shoes and dresses exposing areas of the body). And the movement is slow (movement of the eyes, arms, shoulders, the walk…), it allows Radhouane to occupy the space that is composed by the dance act. Through it, he seeks to discover the feminine side in a woman, a creature incomprehensible to men. She is a woman whose gender identity as a female is defined prior to her identity as a human. She is confident and elegant in her emotions, but she is surrounded by a tough social authority represented by the family and by patriarchy. A dialogue about femininity, as a common denominator, unifies two women with different facial and body features, but they share that feature. This is a general feature here, the woman thinks of her body and dips every movement with tenderness. This is why through his work, Radhouane brings back the woman to her primal being; she is not a dancer, she is not an actress, but firstly a woman. There is a controlled body language.We sense that Radhouane digs his fingers smoothly, confidently and calmly into the inner world of the woman, then quickly withdraws his hands, as if to spread in our faces roses descending slowly in the air. The silence and slow movement as well as the erotic contemplation of the body take their temporal duration. We feel that time is slow, which secures the arrival of that flow from the woman’s inner world towards us. This results in the expansion of the feeling, and its condencsation, and then consequently involve the spectator in it. The spectator receives in his turn these continuous and joyful doses of feeling. There is a celebration of the woman, of her existence. There is a personal celebration of Radhouane before external conditions intervene, to hem the woman in, to undermine her and summarize her in the house, and with tradition. From here, the event takes place, an event that follows, and this is tardy with the work. The dancer stands face t face with the freedom of his emotions and not his freedom in the physiological or mechanical sense. Thus, Radhouane presented us with a female character, in the framework of his own unique method. And this applies to all his creations.

‫ ﻳﻌﺘﻤﺪ‬،‫ ﻟﻪ رؤﻳﺎ ﺧﺎﺻﺔ‬.‫ﻋﻤﻠﻪ ﻫﻮ ﻣﺰﻳﺞ آﺳﺮ ﻣﺎ ﺑﻴﻦ اﻟﻤﺴﺮح واﻟﺮﻗﺺ‬ ‫ ﻻ ﻳﻌﻮد‬.‫ ﻣﻦ ﺧﻼل اﻟﺘﻌﺒﻴﺮ ﺑﺎﻟﺤﺮﻛﺔ‬،‫ﻓﻴﻬﺎ ﻋﻠﻰ اﺧﺘﺰال اﻟﻤﺴﺮح واﻟﺮﻗﺺ‬ ‫ وﻟﻴﻀﻴﻒ وﻟﻴﺲ‬،‫ ﻓﺎﻟﺠﺴﺪ ﻣﻮﺟﻮد ﻟﻴﻌﺒﺮ‬،‫ﻫﻨﺎك ﺗﻌﺮﻳﻒ ﻣﻌﻴﻦ ﻟﻠﺮﻗﺺ‬ ‫ ﻫﻮ ﻣﺴﺎﺣﺔ اﻻﺣﺴﺎس‬،‫ ﻓﺈن اﻟﺴﺮ اﻟﺬي ﻳﺪﻓﻌﻪ إﻟﻰ ذﻟﻚ‬،‫ وﺑﺎﻟﺘﺎﻟﻲ‬.‫اﻟﻌﻜﺲ‬ ‫ ﻳﺒﺪأ ﻣﻦ ﻫﺬه‬،‫ ﻣﻦ ﻫﻨﺎ ﻳﺘﺒﻴﻦ أن ﻋﻤﻞ رﺿﻮان‬.‫اﻟﻤﻮﺟﻮدة ﻟﺪى اﻟﺮاﻗﺺ‬ .‫اﻟﻤﺴﺎﺣﺔ اﻟﻤﺘﺄﺻﻠﺔ ﻓﻴﻨﺎ واﻟﺘﻲ ﻧﺴﻌﻰ ﻣﻦ ﺧﻼل اﻟﺤﺮﻛﺔ إﻟﻰ اﻛﺘﺸﺎﻓﻬﺎ‬ ‫ ﻓﻜﻞ ﺣﺮﻛﺔ‬،‫ﻻ ﻳﻤﻜﻦ ﻟﻠﺮاﻗﺺ ﻣﻌﻪ أن ﻳﻜﻮن ﺑﻌﻴﺪا ﻋﻦ أي ﺗﻔﺼﻴﻞ ﺣﺮﻛﻲ‬ ‫ وﻫﻲ ﺑﻄﺒﻴﻌﺘﻬﺎ ﺣﺮﻛﺎت‬.‫ وﻣﻌﻨﻰ وﻣﺴﺘﻮى ﻣﻌﻴﻦ ﻣﻦ اﻟﻌﻤﻖ‬،‫ﻟﻬﺎ دﻻﻟﺔ‬ ،‫ ﻟﻴﺲ ﻋﻠﻰ اﻟﺠﺴﺪ أن ﻳﺘﻤﺪد أو ﻳﺘﻘﻠﺺ ﺑﺎﻟﻀﺮورة‬.‫ وﻣﺨﺘﺰﻟﺔ‬،‫ﻣﻘﺘﻀﺒﺔ‬ ‫ إﻧﻪ ﻣﻮﺟﻮد ﻋﻠﻰ‬.‫وﻟﻴﺲ ﻋﻠﻴﻪ ﻛﺬﻟﻚ أن ﻳﺮﻗﺺ ﺑﺎﻟﺸﻜﻞ اﻟﻤﺘﻌﺎرف ﻋﻠﻴﻪ‬ .‫ وﻫﻮ ﻣﺤﺎط ﺑﻘﺪﺳﻴﺔ ﺧﺎﺻﺔ‬،‫اﻟﺨﺸﺒﺔ ﻟﻴﺘﺤﺮك‬ ،‫ ﻓﻬﻨﺎك ﻣﺴﺎﺣﺔ ﻣﻮﺟﻮدة‬،‫ ﻛﺮﻛﻴﺰة‬،‫ﻻ ﻳﺒﺪأ رﺿﻮان ﻣﻦ ﺣﺪث اﺟﺘﻤﺎﻋﻲ‬ ‫ﻳﺮﺗﻜﺰ ﻋﻤﻞ رﺿﻮان اﻟﻤﺆدب ﻋﻠﻰ إﺳﺘﺤﻀﺎر ﺷﺨﺼﻴﺎت ﻣﻦ اﻟﺤﻴﺎة اﻟﻴﻮﻣﻴﺔ‬ ‫ ﻓﻬﻮ ﻻ‬،‫ و_ن ﻟﻪ ﺧﻠﻔﻴﺔ ﻣﺴﺮﺣﻴﺔ‬.‫وإﻇﻬﺎرﻫﻢ ﻋﻠﻰ ﺧﺸﺒﺔ اﻟﻤﺴﺮح‬ ‫ ﻟﻜﻨﻪ ﻻ ﻳﺒﺎﻟﻎ‬.‫ﻳﺴﺘﺒﻌﺪ ﻣﻼﻣﺢ ﻫﺬا اﻟﻤﺴﺮح ﻣﻦ ﺣﻀﻮره ﻋﻠﻰ اﻟﺨﺸﺒﺔ‬ ‫ ﻛﻤﺎ إﻧﻪ ﻻ ﻳﺄﺗﻲ‬.‫ أو اﻟﺘﻤﺜﻴﻞ‬،‫ ﻓﻠﻴﺲ ﻫﻨﺎك ﺣﺎﺟﺔ إﻟﻰ اﻟﻜﻼم‬،‫ﻓﻲ ﻫﺬا اﻻﻣﺮ‬ ‫ ﻫﻲ‬،‫ وﻫﺬا ﻣﺎ ﻳﺠﻌﻞ اﻟﺤﺮﻛﺔ‬،‫ﻋﻠﻰ اﻋﺘﺒﺎر اﻟﺮﻗﺺ ﻣﻜﻮﻧﺎ أﺳﺎﺳﻴﺎ ﻓﻲ ﻋﻤﻠﻪ‬ .‫اﻟﻌﺎﻣﻞ ا_ﺳﺎس اﻟﺬي ﻳﺘﺠﺎوز ﻧﻈﺮﻳﺎت وﻣﻔﺎﻫﻴﻢ اﻟﺮﻗﺺ واﻟﻤﺴﺮح ﻛﺬﻟﻚ‬ ‫ وﺑﺎﻟﺘﺎﻟﻲ ﻗﺪ ﻳﺸﻌﺮ اﻟﻤﺘﻔﺮج ﺑﺎن‬،‫ﻓﺎﻟﺤﺮﻛﺔ ﻫﻲ اوﺳﻊ ﻣﻦ أي ﺗﻌﺮﻳﻒ ﻋﻨﺪه‬ ‫ ﺗﻼﻣﺲ‬،‫ ﺑﻞ ﻫﻨﺎك ﻟﻐﺔ ﺧﺎﺻﺔ‬،‫ وﻟﻴﺲ ﻫﻨﺎك ﻣﺴﺮح‬،‫ﻟﻴﺲ ﻫﻨﺎك رﻗﺺ‬ ،«‫ وﻟﻬﺬا اﻟﻌﻤﻞ اﻟﺬي ﻗﺪم ﺿﻤﻦ ﻧﺸﺎﻃﺎت »ﺗﻜﻮﻳﻦ‬.‫وﺟﺪان ﻛﻞ واﺣﺪ ﻣﻨﺎ‬ ‫ إذ ﻳﺘﺤﺪث ﻋﻦ رﻓﺾ اﻟﻤﺠﺘﻤﻊ ﻟﻔﻜﺮة أن ﻓﺘﺎة ﺗﻤﺎرس‬،‫ﺑﻌﺪ ﺷﺨﺼﻲ ﺑﺎﻣﺘﻴﺎز‬ ٌ ‫ وﻛﺬﻟﻚ‬،‫ ﻓﻬﻮﻳﺔ اﻟﻜﺎﺋﻦ ﻫﻨﺎ ﻣﺤﺪدة‬.(‫اﻟﺮﻗﺺ اﻟﺤﺪﻳﺚ )وﻟﻴﺲ اﻟﺠﻨﺲ ﻣﺜﻼ‬ ‫ وﻻ ﻳﻤﻜﻦ ان ﻧﺘﺠﺎﻫﻞ أن ﻫﻨﺎك ﺧﻴﻄﺎ ﺧﻔﻴﺎ ﻣﻦ اﻟﺪراﻣﺎ‬.‫اﺗﺠﺎﻫﻪ ﻓﻲ اﻟﻌﻤﻞ‬ .‫ ﺣﺎﺿﺮا ﻓﻲ ﻋﻤﻠﻪ‬،‫اﻟﻤﺴﺮﺣﻴﺔ‬ ‫ ﻣﺸﺤﻮﻧﺔ‬،‫ ﺗﻌﺒﻴﺮﻳﺔ‬،‫ﺟﻤﺎل‬S‫ ﻟﻜﻨﻬﺎ ﺑﻄﻴﺌﺔ ﺑﺎ‬،‫ﻳﻘﺎع‬S‫اﻟﺤﺮﻛﺔ ﻋﻨﺪه ﻣﺘﻔﺎوﺗﺔ ا‬ ‫ وإﻳﺮوﺗﻴﻜﻴﺔ ﻓﻲ اﻟﻮﻗﺖ ذاﺗﻪ )إﺳﺘﻌﻤﺎل‬،‫ﺑﺎﻟﻜﺒﺮﻳﺎء وﺑﺠﻤﺎﻟﻴﺎت ا_ﻧﻮﺛﺔ‬ .(‫ وﻓﺴﺎﺗﻴﻦ ﺗﻜﺸﻒ ﻣﺴﺎﺣﺎت اﻟﺠﺴﺪ‬،‫ا_ﺣﺬﻳﺔ اﻟﻨﺴﺎﺋﻴﺔ ﺑﻜﻌﻮب ﻋﺎﻟﻴﺔ‬ ‫( ﺗﺆﻣﻦ ﻟﺮﺿﻮان‬.. ،‫ اﻟﻤﺸﻲ‬،‫ ا_ﻛﺘﺎف‬،‫ ا_ذرع‬،‫واﻟﺤﺮﻛﺔ اﻟﺒﻄﻴﺌﺔ )ﺣﺮﻛﺔ اﻟﻌﻴﻦ‬ ‫ ﻣﻦ ﺧﻼﻟﻬﺎ ﻳﺴﻌﻰ ﻻﻛﺘﺸﺎف‬.‫ اﻟﺬي ﻳﻜﻮﻧﻪ اﻟﻌﻤﻞ اﻟﺮاﻗﺺ‬،‫اﺣﺘﻼل اﻟﻔﻀﺎء‬ ،‫ وﻫﻲ اﻣﺮأة‬.‫ﻣﺴﺎﺣﺔ ا_ﻧﻮﺛﺔ ﻓﻲ اﻟﻤﺮأة اﻟﺘﻲ ﻫﻲ ﻛﺎﺋﻦ ﻻ ﻳﻔﻬﻤﻪ اﻟﺮﺟﻞ‬ .‫ﺗﺘﺤﺪد ﻫﻮﻳﺘﻬﺎ اﻟﺠﻨﺪرﻳﺔ ﺑﺄﻧﻬﺎ أﻧﺜﻰ ﻗﺒﻞ أن ﺗﻜﻮن ﻫﻮﻳﺔ اﻧﺴﺎﻧﻴﺔ ﻋﺎﻣﺔ‬ ،‫ ﻟﻜﻨﻬﺎ ﻣﺤﺎﻃﺔ ﺑﺴﻠﻄﺔ إﺟﺘﻤﺎﻋﻴﺔ ﻗﺎﺳﻴﺔ‬،‫ﺗﺘﺤﻠﻰ ﺑﺎﻟﺜﻘﺔ وأﻧﺎﻗﺔ اﻟﻤﺸﺎﻋﺮ‬ ،‫ ﻛﻘﺎﺳﻢ ﻣﺸﺘﺮك‬،‫ ﻫﻨﺎك ﺣﻮار ﻓﻲ ا_ﻧﻮﺛﺔ‬.‫ﺗﺘﻤﺜﻞ ﺑﺎﻟﻌﺎﺋﻠﺔ واﻟﺬﻛﻮرﻳﺔ‬ ‫ ﻟﻜﻨﻬﻤﺎ‬،‫ﺗﺘﻮﺣﺪ ﺣﻮﻟﻪ اﻣﺮأﺗﺎن ﻣﺨﺘﻠﻔﺘﺎن ﻓﻲ ﺗﻔﺎﺻﻴﻞ اﻟﻮﺟﻪ واﻟﺠﺴﻢ‬ ‫ ﺗﻔﻜﺮ اﻟﻤﺮأة ﻓﻲ ﺟﺴﺪﻫﺎ‬،‫ وﻫﻲ ﻣﻴﺰة ﻋﺎﻣﺔ ﻫﻨﺎ‬.‫ﺗﺘﻘﺎﺳﻤﺎن ﻫﺬه اﻟﻤﻴﺰة‬ ‫ ﻟﻬﺬا ﻓﺈن رﺿﻮان ﻳﻌﻴﺪ اﻟﺮاﻗﺼﺔ ﻓﻲ اﻟﻌﻤﻞ‬.‫وﺗﻐﻤﺲ ﻛﻞ ﺣﺮﻛﺔ ﺑﺎﻟﺮﻗﺔ‬ ‫ ﻫﻨﺎك‬.‫ ﺑﻞ إﻣﺮاة أوﻻ‬،‫ وﻻ ﻣﻤﺜﻠﺔ‬،‫ ﻓﻬﻲ ﻟﻴﺴﺖ راﻗﺼﺔ‬،‫إﻟﻰ ﻛﻴﻨﻮﻧﺘﻬﺎ اﻻوﻟﻰ‬ ،‫ ﻧﺸﻌﺮ وﻛﺄن رﺿﻮان ﻳﻐﺮس أﺻﺎﺑﻌﻪ ﺑﻜﻞ ﺳﻼﺳﺔ‬.‫ﻟﻐﺔ ﺟﺴﺪ ﻣﻀﺒﻮﻃﺔ‬ ‫ ﺛﻢ ﻳﺨﺮج ﻳﺪﻳﻪ ﺑﺴﺮﻋﺔ ﻛﻤﻦ‬،‫ داﺧﻞ ﻋﺎﻟﻢ اﻟﻤﺮأة اﻟﺪاﺧﻠﻲ‬،‫وﻫﺪوء وﺛﻘﺔ‬ .‫ﻳﻔﻠﺶ ﻓﻲ وﺟﻮﻫﻨﺎ وردا ﻳﻨﺰل ﺑﻄﻴﺌﺎ ﻓﻲ اﻟﻬﻮاء‬ ‫ ﻳﺄﺧﺬ ﻣﺪاه‬،‫ﻳﺮوﺗﻴﻜﻲ ﻟﻠﺠﺴﻢ‬S‫ واﻟﺤﺮﻛﺔ اﻟﺒﻄﻴﺌﺔ واﻟﺘﺄﻣﻞ ا‬،‫اﻟﺼﻤﺖ‬ ‫ ﻣﺎ ﻳﺆﻣﻦ وﺻﻮل ذﻟﻚ اﻟﺪﻓﻖ ﻣﻦ ﻋﺎﻟﻢ‬،‫ ﻧﺸﻌﺮ ﺑﺄن اﻟﺰﻣﻦ ﺑﻄﻲء‬.‫اﻟﺰﻣﻨﻲ‬ ‫ وﻣﻦ‬،‫ وﺗﻜﺜﻴﻔﻪ‬،‫ ﻳﺆدي ﻫﺬا إﻟﻰ اﻣﺘﺪاد اﻻﺣﺴﺎس‬.‫ إﻟﻴﻨﺎ‬،‫اﻟﻤﺮأة اﻟﺪاﺧﻠﻲ‬ ‫ ﻓﺎﻟﻤﺘﻔﺮج ﻳﺘﻠﻘﻰ ﺑﺪوره ﻫﺬه اﻟﺠﺮﻋﺎت اﻟﻤﺘﻮاﺻﻠﺔ‬.‫ﺛﻢ إﺷﺮاك اﻟﻤﺘﻔﺮج ﻓﻴﻪ‬ ‫ اﺣﺘﻔﺎء ﺷﺨﺼﻲ‬.‫ ﺑﻮﺟﻮدﻫﺎ‬،‫ ﻫﻨﺎك اﺣﺘﻔﺎء ﺑﺎﻟﻤﺮأة‬.‫ ﻣﻦ اﻻﺣﺴﺎس‬،‫واﻟﻤﺮﺣﺔ‬ ‫ وﺗﺤﺠﻴﻤﻬﺎ‬،‫ ﻟﺘﻄﻮﻳﻖ اﻟﻤﺮأة‬،‫ ﻗﺒﻞ أن ﺗﺘﺪﺧﻞ ﻋﻮاﻣﻞ ﺧﺎرﺟﻴﺔ‬،‫ﺑﺮﺿﻮان‬ ‫ ﺣﺪﺛﺎ ﻻﺣﻘﺎ‬،‫ ﻳﻜﻮن اﻟﺤﺪث‬،‫ ﻣﻦ ﻫﻨﺎ‬.‫ واﻟﺘﻘﺎﻟﻴﺪ‬،‫واﺧﺘﺰاﻟﻬﺎ ﻓﻲ اﻟﻤﻨﺰل‬ .‫وﻣﺘﺄﺧﺮا ﻓﻲ اﻟﻌﻤﻞ‬ ‫اﻟﺮاﻗﺺ ﻳﻘﻒ وﺟﻬﺎ ﻟﻮﺟﻪ اﻣﺎم ﺣﺮﻳﺔ أﺣﺎﺳﻴﺴﻪ وﻟﻴﺲ ﺣﺮﻳﺘﻪ ﺑﺎﻟﻤﻌﻨﻰ‬ ‫ ﻓﺈن رﺿﻮان ﻗﺪم ﻟﻨﺎ ﺷﺨﺼﻴﺔ‬،‫ ﺑﺎﻟﺘﺎﻟﻲ‬.‫ واﻟﻤﻴﻜﺎﻧﻴﻜﻲ‬،‫اﻟﻔﻴﺰﻳﻮﻟﻮﺟﻲ‬ ‫ وﻫﻮ ﻳﻨﻄﺒﻖ ﻋﻠﻰ أﻋﻤﺎﻟﻪ‬.‫ إﻻ أﻧﻬﺎ ﻣﻘﺪﻣﺔ ﻓﻲ إﻃﺎر ﻣﻨﻬﺞ ﺧﺎص ﺑﻪ‬،‫أﻧﺜﻮﻳﺔ‬ .‫ﻛﺎﻓﺔ‬


Massimo Molinari Dansgroep Amsterdam

The three elements that Massimo’s work was based on were memory, memory, sensation, and the body itself. In his work there is no preference for one element over the other. For him, there is a constant exchange between two worlds or two spaces; namely the psychological space and the physiological space. And this exchange can only take place through memory. It is the main engine that when it moves it generates in us a psychological condition. The interaction of the body with the outside world is direct, according to the condition, and not according to memory. However, Massimo goes through the psychological state to memory, to the image that prompted his choreographic creation. Memory is the storage for the moments of our lives; and it is, therefore, the first container in which our society throws its trash as well as its valuables. The tools which Massimo uses included short black outfits, naked and exposed bodies with faces covered with stockings, randomly. For the holes in the tights did not match the place of the eyes, nose and mouth. Consequently, Massimo introduced a new level in his work allowing him to play on scenes. The facial features of some dancers seemed all alike, where he intended to ignore the identity form of humans. All humans are equal in suffering through creating it and passing it on to others. Consequently, there is a constant struggle which humans take turns in. It is the struggle between the image of the human and that of the monster lurking within him and ready to attack his victim anytime. Ad the victim is an other human. Although this seems like a general idea, Massimo doesn’t use it as a pre-packaged philosophy (the lab monster that finally rebels and destroys everything), but he reaches it through his daily observations. It is evident that the work is personal and comes from the struggle for control rather than survival. It is an individual struggle in the daily social sense. For within the human being, a constant war between the monster and the human is taking place. Yet, before all this, there is a constants attempts of the man to control the woman physiologically. Based on the above, Massimo asks questions about the emotional identity of a woman as well as the identity of love. What is love and what is hate? Are they so intimately adjacent? Are they close to that degree? When does love turn into hate, and why do beautiful relationships turn into

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personal and painful wars that quickly become a common and recurring condition in society? When does all this silliness stop? Is love concerned with traditions? What are the forms of expressing this love? Does love remain in the end? Massimo does not ignore such questions. This is where the mind comes in as a source of logic, and merges into the wide world of choreography. His presence in general is manifested through the questions uttered live in the performance: “Who is she? / You really don’t know who she is?” etc. However, these questions tackle the existence of the human and the space since they indicate a struggle fought by humans to stay in a place or leave it: to remain under the authority of the first place or leave for another place in search of love or dreams or both. These questions follow the human being, surround him and crawl around him like automatic self-driven animals for a certain purpose only. By conveying this image, Massimo wants to tell us that these questions are neither clean nor refined because they are originally stained with the very reason for their existence. This is added to the erotic aspect in the work, and that is cruelly manifested in the work, to reflect for us man’s exploitation of woman as an instrument for pleasure; as if she is the only site available for him to exercise his power and authority. However, beauty is also present in life, in its dynamism and in its people seeking their goals. This is apparent, first, through the synchronized ensemble movement performed by all the dancers. This is also apparent in the last scene, where the dancers try to walk and slightly touch each other. They limp, but they keep walking. It is the ugliness that is broken in the end, for the sake of love, the ultimate language of living. As for Massimo’s intervention, at the end of the performance, to carry the bodies of the dancers and fix them on stage signifies that the work is personal, and that its meaning is personal, Massimo defines his personal position, and wants to say that life and choreography, they are not separated, for both of them is tied up with movement, with detail and with a psychological dimension. In fact, although this performance was the result of only two weeks of work- a very short period indeed- it contained different internal and external atmospheres allowing the body to move in space, to expand its existence, regardless of its physiological and psychological state. This is what made this “personal piece”, a personal performance for each one of us, touching us personally and influencing our existence, provoking us to get upset or sad, to smile or choke. The piece as a whole is dark and gloomy. However, the body movement shielded it from being depressed and closed.


‫ﻣﺎﺳﻴﻤﻮ ﻣﻮﻟﻴﻨﺎري‬ ‫اﻟﻌﻨﺎﺻﺮ اﻟﺜﻼﺛﺔ اﻟﺘﻲ ارﺗﻜﺰ ﻋﻠﻴﻬﺎ ﻋﻤﻞ ﻣﺎﺳﻴﻤﻮ ﻛﺎﻧﺖ اﻟﺬاﻛﺮة‪ ،‬وا‪S‬ﺣﺴﺎس‬ ‫واﻟﺠﺴﺪ ﻧﻔﺴﻪ‪ .‬ﻟﻴﺲ ﻓﻲ ﻋﻤﻠﻪ ﺗﻔﻀﻴﻞ _ﺣﺪ ﻫﺬه اﻟﻌﻨﺎﺻﺮ ﻋﻠﻰ ا‰ﺧﺮ‪.‬‬ ‫ﻓﻬﻨﺎك ﺗﺒﺎدل داﺋﻢ ﻋﻨﺪه ﻣﺎ ﺑﻴﻦ ﻋﺎﻟﻤﻴﻦ‪ ،‬او أﺳﻤﻴﻬﻤﺎ ﻣﺴﺎﺣﺘﻴﻦ ﻫﻤﺎ‪:‬‬ ‫اﻟﻤﺴﺎﺣﺔ اﻟﻨﻔﺴﻴﺔ واﻟﻤﺴﺎﺣﺔ اﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴﺔ‪ .‬وﻫﺬا اﻟﺘﺒﺎدل ﻻ ﻳﺘﻢ إﻻ ﻣﺮورا‬ ‫ﺑﺎﻟﺬاﻛﺮة‪ .‬اﻟﺘﻲ ﻫﻲ اﻟﻤﻮﺗﻮر ا_ول‪ ،‬اﻟﺬي ﻋﻨﺪﻣﺎ ﻳﺘﺤﺮك ﻓﺈﻧﻪ ﻳﻮﻟﺪ ﻓﻴﻨﺎ ﺣﺎﻟﺔ‬ ‫ﻧﻔﺴﻴﺔ‪ ،‬أﻣﺎ ﺗﻔﺎﻋﻞ اﻟﺠﺴﺪ ﻣﻊ اﻟﺨﺎرج ﻓﻴﻜﻮن ﻣﺒﺎﺷﺮة ﺑﺤﺴﺐ ﻫﺬه اﻟﺤﺎﻟﺔ‪،‬‬ ‫وﻟﻴﺲ اﻟﺬاﻛﺮة‪ .‬ﻟﻜﻦ ﻣﺎﺳﻴﻤﻮ ﻳﺬﻫﺐ ﻋﺒﺮ اﻟﺤﺎﻟﺔ اﻟﺒﺴﻴﻜﻮﻟﻮﺟﻴﺔ إﻟﻰ‬ ‫اﻟﺬاﻛﺮة‪ ،‬إﻟﻰ اﻟﺼﻮرة اﻟﺘﻲ دﻓﻌﺘﻪ _ن ﻳﺒﻨﻲ ﻋﻤﻠﻪ اﻟﻜﻮرﻳﻮﻏﺮاﻓﻲ‪ .‬ﻓﺎﻟﺬاﻛﺮة‬ ‫ﻫﻲ ﻣﺨﺰن ﻟﻠﺤﻈﺎت ﺣﻴﺎﺗﻨﺎ‪ ،‬وﻫﻲ ﺑﺬﻟﻚ اﻟﻤﺴﺘﻮﻋﺐ ا_ول اﻟﺬي ﻳﺮﻣﻲ ﺑﻪ‬ ‫اﻟﻤﺠﺘﻤﻊ اﻟﻤﺤﻴﻂ ﺑﻨﺎ‪ ،‬ﻧﻔﺎﻳﺎﺗﻪ وأﺷﻴﺎءه اﻟﺜﻤﻴﻨﺔ ﻋﻠﻰ اﻟﺴﻮاء‪.‬‬ ‫ا_دوات اﻟﺘﻲ اﺳﺘﺨﺪﻣﻬﺎ ﻣﺎﺳﻴﻤﻮ‪ ،‬ﻛﺎﻧﺖ اﻟﻠﺒﺎس ا_ﺳﻮد اﻟﻘﺼﻴﺮ‪ ،‬وأﺟﺴﺎد‬ ‫اﻟﻌﺎرﻳﺔ واﻟﻤﻜﺸﻮﻓﺔ‪ ،‬واﻟﻤﻐﻄﺎة وﺟﻮﻫﻬﺎ ﺑﺎﻟﻜﻠﺴﺎت اﻟﻨﺴﺎﺋﻴﺔ‪ ،‬ﺑﺸﻜﻞ‬ ‫ﻋﺸﻮاﺋﻲ‪ ،‬إذ إن اﻟﺜﻘﻮب اﻟﺘﻲ أﺣﺪﺛﻬﺎ ﻓﻲ اﻟﻜﻠﺴﺎت‪ ،‬ﻟﻢ ﺗﻜﻦ ﺗﺘﻨﺎﺳﺐ‬ ‫ﻣﻊ ﻣﻮﻗﻊ اﻟﻌﻴﻦ وا_ﻧﻒ واﻟﻔﻢ‪ ،‬وﺑﺬﻟﻚ‪ ،‬ﻓﺈﻧﻪ أﺿﺎف ﻣﺴﺘﻮى ﺟﺪﻳﺪا ﻟﻠﻌﻤﻞ‬ ‫ﻳﺴﺘﻄﻴﻊ اﻟﻠﻌﺐ ﻣﻦ ﺧﻼﻟﻪ ﻣﻊ اﻟﻤﺸﺎﻫﺪ‪ .‬إذ أن ﻣﻼﻣﺢ اﻟﻮﺟﻪ‪ ،‬ﻋﻨﺪ ﺑﻌﺾ‬ ‫اﻟﺮاﻗﺼﻴﻦ ﺑﺪت ﻛﻠﻬﺎ ﺷﺒﻴﻬﺔ ﺑﺒﻌﻀﻬﺎ اﻟﺒﻌﺾ‪ ،‬وﻫﻮ ﺑﺬﻟﻚ ﻋﻤﺪ إﻟﻰ‬ ‫ﺗﺠﺎﻫﻞ اﻟﻬﻮﻳﺔ اﻟﺸﻜﻠﻴﺔ ﻟﻠﺒﺸﺮ‪ .‬إن اﻟﺒﺸﺮ ﺟﻤﻴﻌﻬﻢ ﻣﺘﺴﺎوون ﻓﻲ‬ ‫اﻟﻤﻌﺎﻧﺎة ﻋﺒﺮ اﺑﺘﻜﺎرﻫﺎ وﺗﻤﺮﻳﺮﻫﺎ ﻟﻶﺧﺮﻳﻦ‪ .‬وﺑﺎﻟﺘﺎﻟﻲ‪ ،‬ﻓﺈن ﻫﻨﺎك ﺻﺮاﻋﺎ داﺋﻤﺎ‬ ‫ﻳﺘﻨﺎوب ﻋﻠﻴﻪ ﻛﻞ اﻟﺒﺸﺮ ﻋﻠﻰ اﻟﺴﻮاء‪ ،‬وﻫﻮ ﺻﺮاع ﻣﺎ ﺑﻴﻦ ﺻﻮرة ا‪S‬ﻧﺴﺎن‬ ‫وﺻﻮرة اﻟﻮﺣﺶ اﻟﻤﺨﺘﺒﺊ ﻓﻴﻪ واﻟﺠﺎﻫﺰ ﻟﻼﻧﻘﻀﺎض ﻋﻠﻰ ﺿﺤﻴﺘﻪ‪ .‬واﻟﻀﺤﻴﺔ‬ ‫ﻫﻲ إﻧﺴﺎن آﺧﺮ‪ .‬وﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ أن ﻫﺬه اﻟﻔﻜﺮة ﺗﺒﺪو ﻋﺎﻣﺔ‪ ،‬إﻻ أن‬ ‫ﻣﺎﺳﻴﻤﻮ ﻻ ﻳﻨﻄﻠﻖ ﻣﻨﻬﺎ ﻛﻔﻠﺴﻔﺔ ﺟﺎﻫﺰة )وﺣﺶ اﻟﻤﺨﺘﺒﺮ اﻟﺬي ﻳﺘﻤﺮد ﻓﻲ‬ ‫اﻟﻨﻬﺎﻳﺔ وﻳﺤﻄﻢ ﻛﻞ ﺷﻲء(‪ ،‬ﺑﻞ ﻫﻮ ﻳﺼﻞ إﻟﻴﻬﺎ ﻣﻦ ﻣﺸﺎﻫﺪاﺗﻪ اﻟﻴﻮﻣﻴﺔ‪.‬‬ ‫ﻓﺎﻟﻮاﺿﺢ أن اﻟﻌﻤﻞ ﺷﺨﺼﻲ‪ ،‬وﻫﻮ ﻣﻨﻄﻠﻖ ﻣﻦ ﻓﻜﺮة اﻟﺼﺮاع ﻟﻴﺲ ﻣﻦ‬ ‫أﺟﻞ اﻟﺒﻘﺎء ﺑﻞ ﻣﻦ أﺟﻞ اﻟﺴﻴﻄﺮة‪ .‬وﻫﻮ ﺻﺮاع ﻓﺮدي‪ ،‬ﺑﺎﻟﻤﻌﻨﻰ اﻻﺟﺘﻤﺎﻋﻲ‬ ‫اﻟﻴﻮﻣﻲ‪ .‬إذ إن ﻓﻲ داﺧﻞ اﻟﻜﺎﺋﻦ اﻟﺒﺸﺮي‪ ،‬ﻫﻨﺎك ﺻﺮاع ﻟﺴﻴﻄﺮة اﻟﻮﺣﺶ‬ ‫ﻋﻠﻰ ا‪S‬ﻧﺴﺎن‪ ،‬وﺳﻴﻄﺮة اﻻﻧﺴﺎن ﻋﻠﻰ اﻟﻮﺣﺶ‪ ،‬ﻟﻜﻨﻪ ﻗﺒﻞ ذﻟﻚ‪ ،‬ﻓﺈن ﻫﻨﺎك‬ ‫ﻣﺤﺎوﻟﺔ داﺋﻤﺔ وﻣﺘﻜﺮرة ﻟﺴﻴﻄﺮة اﻟﺮﺟﻞ ﻓﻴﺰﻳﻮﻟﻮﺟﻴﺎ ﻋﻠﻰ اﻟﻤﺮأة‪.‬‬ ‫اﻧﻄﻼﻗﺎ ﻣﻦ ﻫﻨﺎ‪ ،‬ﻳﻄﺮح ﻣﺎﺳﻴﻤﻮ ا_ﺳﺌﻠﺔ‪ ،‬اﻟﺘﻲ ﺗﺘﻤﺤﻮر ﺣﻮل اﻟﻬﻮﻳﺔ‬ ‫اﻟﻌﺎﻃﻔﻴﺔ ﻟﻠﻤﺮأة‪ ،‬ﻛﻤﺎ وﻫﻮﻳﺔ اﻟﺤﺐ‪ .‬ﻣﺎ ﻫﻮ اﻟﺤﺐ وﻣﺎ ﻫﻮ اﻟﻜﺮه؟ ﻫﻞ‬ ‫ﻫﻤﺎ ﻣﺘﺠﺎوران إﻟﻰ ﻫﺬه اﻟﺪرﺟﺔ؟ ﻫﻞ ﻫﻤﺎ إﻟﻰ ﻫﺬه اﻟﺪرﺟﺔ ﻗﺮﻳﺒﺎن؟‬ ‫وﻣﺘﻰ ﻳﺘﺤﻮل اﻟﺤﺐ إﻟﻰ ﻛﺮه‪ ،‬وﻟﻤﺎذا ﺗﺘﺤﻮل اﻟﻌﻼﻗﺎت اﻟﺠﻤﻴﻠﺔ إﻟﻰ ﺣﺮوب‬ ‫ﺷﺨﺼﻴﺔ وﻣﺆﻟﻤﺔ‪ ،‬وﺳﺮﻋﺎن ﻣﺎ ﺗﺼﻴﺮ ﺣﺎﻻت ﻋﺎﻣﺔ وﻣﺘﻜﺮرة ﻓﻲ اﻟﻤﺠﺘﻤﻊ؟‬ ‫وﻣﺘﻰ ﻳﺘﻮﻗﻒ ﻛﻞ ﻫﺬا اﻟﺴﺨﻒ؟ وﻫﻞ اﻟﺤﺐ ﻣﻌﻨﻲ ﺑﺎﻟﺘﻘﺎﻟﻴﺪ؟ وﻣﺎ‬ ‫ﻫﻲ أﺷﻜﺎل اﻟﺘﻌﺒﻴﺮ ﻋﻦ ﻫﺬا اﻟﺤﺐ؟ وﻫﻞ ﻳﺒﻘﻰ اﻟﺤﺐ ﻓﻲ اﻟﻨﻬﺎﻳﺔ؟‬ ‫ﻫﺬه ا_ﺳﺌﻠﺔ‪ ،‬وﺳﻮاﻫﺎ‪ ،‬ﻻ ﻳﺘﺠﺎﻫﻠﻬﺎ ﻣﺎﺳﻴﻤﻮ‪ ،‬ﻣﻦ ﻫﻨﺎ ﻳﺘﺪﺧﻞ اﻟﻌﻘﻞ‬ ‫ﻛﻤﺼﺪر ﻟﻠﻤﻨﻄﻖ‪ ،‬وﻳﻨﺪﻣﺞ ﻓﻲ ﻋﺎﻟﻢ اﻟﻜﻮرﻳﻮﻏﺮاف اﻟﻮاﺳﻊ‪ .‬ﻳﻜﻮن ﺣﻀﻮره‬ ‫ﺑﺸﻜﻞ ﻋﺎم ﻣﻦ ﺧﻼل ا_ﺳﺌﻠﺔ اﻟﻤﻨﻄﻮﻗﺔ ﻓﻲ اﻟﻌﻤﻞ »ﻣﻴﻦ ﻫﺎي؟‪/‬ﻋﻦ‬ ‫ﺟﺪ ﻣﺎ ﺑﺘﻌﺮﻓﻲ ﻣﻴﻦ ﻫﺎي؟«‪/‬إﻟﺦ‪ ..‬ﻟﻜﻦ ﻫﺬه ا_ﺳﺌﻠﺔ ﺗﻤﺲ وﺟﻮد ا‪S‬ﻧﺴﺎن‬ ‫واﻟﻤﻜﺎن‪ ،‬إذ ﺗﺸﻴﺮ إﻟﻰ أن ﻫﻨﺎك ﺻﺮاﻋﺎ ﻳﺨﻮﺿﻪ ﻫﺬا ا‪S‬ﻧﺴﺎن ﻣﺎ ﺑﻴﻦ اﻟﺒﻘﺎء‬ ‫ﻓﻲ اﻟﻤﻜﺎن وﻣﻐﺎدرﺗﻪ‪ .‬ﻣﺎ ﺑﻴﻦ اﻟﺒﻘﺎء ﺗﺤﺖ ﺳﻠﻄﺔ اﻟﻤﻜﺎن اﻻول وﻣﻐﺎدرﺗﻪ‬ ‫ﻧﺤﻮ ﻣﻜﺎن آﺧﺮ ﺳﻌﻴﺎ ﻟﻠﺤﺐ أو اﻟﺤﻠﻢ أو ﻛﻼﻫﻤﺎ‪ .‬ﻫﺬه ا_ﺳﺌﻠﺔ ﺗﺮاﻓﻖ‬ ‫ا‪S‬ﻧﺴﺎن‪ ،‬وﻫﻲ ﺗﺪﺑﺪب ﺣﻮﻟﻪ‪ ،‬ﻛﺄﻧﻬﺎ ﺣﻴﻮاﻧﺎت ﺗﻘﻮد ﻧﻔﺴﻬﺎ أوﺗﻮﻣﺎﺗﻴﻜﻴﺎ‪،‬‬ ‫وﻟﻐﺮض ﻣﺤﺪد ﻓﻘﻂ‪ .‬وإذ ﻳﻈﻬﺮﻫﺎ ﻣﺎﺳﻴﻤﻮ ﺑﻬﺬا اﻟﺸﻜﻞ‪ ،‬ﻓﺈﻧﻪ ﻳﻌﻤﺪ إﻟﻰ‬ ‫إﺧﺒﺎرﻧﺎ ﺑﺄن ﻫﺬه ا_ﺳﺌﻠﺔ‪ ،‬ﻫﻲ ﻏﻴﺮ ﻧﻈﻴﻔﺔ‪ ،‬وﻏﻴﺮ راﻗﻴﺔ _ﻧﻬﺎ ﻣﻠﻄﺨﺔ أﺳﺎﺳﺎ‬ ‫ﺑﺎﻟﺴﺒﺐ اﻟﺬي ﺟﻌﻠﻬﺎ ﺗﻮﻟﺪ‪ .‬ﻟﻮ ﻟﻢ ﻳﻜﻦ ﻫﻨﺎك ﺣﺪث اﺟﺘﻤﺎﻋﻲ ﻋﻨﻴﻒ‪ ،‬ﻟﻤﺎ‬ ‫ﻛﺎﻧﺖ ﻫﺬه ا_ﺳﺌﻠﺔ أﺳﺎﺳﺎ‪ .‬ﻫﺬا إﺿﺎﻓﺔ إﻟﻰ اﻟﺠﺎﻧﺐ ا‪S‬ﻳﺮوﺗﻴﻜﻲ ﻓﻲ اﻟﻌﻤﻞ‪،‬‬ ‫واﻟﺬي ﻳﻈﻬﺮ ﺑﺸﻜﻞ ﻗﺎس‪ ،‬ﻟﻴﻌﻜﺲ ﻟﻨﺎ اﺳﺘﻐﻼل اﻟﺮﺟﻞ ﻟﻠﻤﺮأة ﻛﻮﺳﻴﻠﺔ‬ ‫ﻟﻠﻤﺘﻌﺔ‪ ،‬وﻛﺄﻧﻬﺎ اﻟﻤﺴﺎﺣﺔ اﻟﻮﺣﻴﺪة اﻟﻤﺘﺎﺣﺔ ﻟﻠﺮﺟﻞ ﻟﻴﻤﺎرس ﺳﻠﻄﺘﻪ‬ ‫ﻋﻠﻴﻬﺎ‪.‬‬

‫ﻟﻜﻦ اﻟﺠﻤﺎل ﻣﻮﺟﻮد ﻛﺬﻟﻚ‪ ،‬ﻓﻲ اﻟﺤﻴﺎة‪ ،‬ﻓﻲ‬ ‫دﻳﻨﺎﻣﻴﻜﻴﺘﻬﺎ وﺳﻌﻲ ﻧﺎﺳﻬﺎ ﻧﺤﻮ أﻫﺪاﻓﻬﻢ‪.‬‬ ‫ﻳﻈﻬﺮ ﻫﺬا أوﻻ ﻣﻦ ﺧﻼل اﻟﺤﺮﻛﺔ اﻟﺠﻤﺎﻋﻴﺔ‬ ‫اﻟﺘﻲ ﻳﺆدﻳﻬﺎ اﻟﺮاﻗﺼﻮن ﺑﺈﻳﻘﺎع واﺣﺪ وﻣﻨﺘﻈﻢ‪.‬‬ ‫وﻳﻈﻬﺮ أﻳﻀﺎ ﻓﻲ اﻟﻤﺸﻬﺪ ا_ﺧﻴﺮ اﻟﺬي ﻳﺤﺎول‬ ‫ﻓﻴﻪ اﻟﺮاﻗﺼﻮن اﻟﻤﺸﻲ وﻣﻼﻣﺴﺔ ﺑﻌﻀﻬﻢ‬ ‫اﻟﺒﻌﺾ‪ .‬ﻳﻌﺮﺟﻮن‪ ،‬ﻟﻜﻨﻬﻢ ﻳﻮاﺻﻠﻮن اﻟﻤﺸﻲ‪.‬‬ ‫إﻧﻪ اﻟﻘﺒﺢ اﻟﺬي ﻳﻨﻜﺴﺮ ﻓﻲ اﻟﻨﻬﺎﻳﺔ‪ ،‬ﻣﻦ أﺟﻞ‬ ‫اﻟﺤﺐ‪ ،‬اﻟﺬي ﻫﻮ ﻟﻐﺔ ﻧﻬﺎﺋﻴﺔ ﻟﻠﻌﻴﺶ‪ .‬اﻣﺎ‬ ‫ﺗﺪﺧﻞ ﻣﺎﺳﻴﻤﻮ‪ ،‬ﻓﻲ آﺧﺮ اﻟﻌﻤﻞ ﻟﻴﺤﻤﻞ أﺟﺴﺎد‬ ‫اﻟﺮاﻗﺼﻴﻦ وﻳﺜﺒﺖ ﻛﻞ ﻣﻨﻬﻢ ﻋﻠﻰ اﻟﺨﺸﺒﺔ‪،‬‬ ‫ﻓﻴﺸﻜﻞ اﻟﺪﻻﻟﺔ ﻋﻠﻰ أن اﻟﻌﻤﻞ ﺧﺎص‪ ،‬وأن ﻟﻪ‬ ‫ﻣﻌﻨﻰ ﺷﺨﺼﻲ‪ ،‬ﻳﺤﺪد ﻣﺎﺳﻴﻤﻮ ﻣﻮﻗﻔﻪ اﻟﺨﺎص‪،‬‬ ‫ﻳﺮﻳﺪ أن ﻳﻘﻮل ﺑﺄن اﻟﺤﻴﺎة واﻟﻜﻮرﻳﻮﻏﺮاﻓﻴﺎ‪،‬‬ ‫ﻻ ﻓﺎﺻﻞ ﺑﻴﻨﻬﻤﺎ‪ ،‬ﻓﻜﻼﻫﻤﺎ ﻣﺮﺗﺒﻂ ﺑﺎﻟﺤﺮﻛﺔ‬ ‫واﻟﺘﻔﺎﺻﻴﻞ واﻟﺒﻌﺪ اﻟﻨﻔﺴﻲ‪.‬‬ ‫وﻟﻠﺤﻘﻴﻘﺔ‪ ،‬ﻓﺈن اﻟﻌﻤﻞ وﺑﺮﻏﻢ ﻣﻦ اﻧﻪ ﺟﻬﺪ‬ ‫أﺳﺒﻮﻋﻴﻦ ﻓﻘﻂ‪ ،‬وﻫﻲ ﻣﺪة ﺟﺪ ﻗﺼﻴﺮة‪ ،‬إﻻ أن‬ ‫اﺣﺘﻮاءه ﻋﻠﻰ ﻣﻨﺎﺧﺎت داﺧﻠﻴﺔ ﻣﺘﻌﺪدة‪ ،‬وﻣﻨﺎﺧﺎت‬ ‫ﺧﺎرﺟﻴﺔ ﺟﻌﻠﺖ اﻟﺠﺴﺪ ﻳﺘﺤﺮك ﻓﻲ اﻟﻔﻀﺎء‪،‬‬ ‫ﻟﻴﻮﺳﻊ ﻣﻦ وﺟﻮده‪ ،‬ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ ﺣﺎﻟﺘﻪ‬ ‫اﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴﺔ واﻟﻨﻔﺴﻴﺔ‪ ،‬ﺟﻌﻠﺖ ﻣﻦ اﻟﻌﻤﻞ‬ ‫اﻟﺸﺨﺼﻲ‪ ،‬أن ﻳﻜﻮن ﻋﻤﻼ ﺷﺨﺼﻴﺎ ﻟﻜﻞ ﻣﻨﺎ‪،‬‬ ‫ﻳﻤﺲ وﺟﻮدﻧﺎ وﻳﺴﺘﻔﺰﻧﺎ ﻟﻨﻐﻀﺐ أو ﻧﺤﺰن‪ ،‬أو‬ ‫ﻧﻐﺺ او ﻧﺒﺘﺴﻢ‪ .‬إﻧﻪ ﻋﻤﻞ ﺳﻮداوي ﻋﻠﻰ وﺟﻪ‬ ‫اﻟﻌﻤﻮم‪ ،‬إﻻ أن ﺣﺮﻛﺔ اﻟﺠﺴﺪ‪ ،‬ﺣﻤﺘﻪ ﻣﻦ ان ﻳﻜﻮن‬ ‫ﻛﺌﻴﺒﺎ وﻣﻐﻠﻘﺎ‪.‬‬


‫ﺠﻤﻮﻋﺔ ﺗﻜﻮﻳﻦ‬ ‫ﻣﺠ‬ ‫ت‪ ،‬ﺷ ّ‬ ‫ﺷﻜﻞ‬ ‫ﻘﺎﻣﻣﺎﺎت‬ ‫ﻦ ﻣﻘﺎ‬ ‫درة ﻣﻦ‬ ‫ﺑﻤﺒﺎ ر‬ ‫ﺑﻤﺒ‬ ‫ﺘﻪ‪ ،،‬و ﺑﻤ‬ ‫ﺎﻳﺘﻪ‬ ‫ﻰ ﻧﻬﺎﻳﻳ‬ ‫ﻮﻳﻦ ‪ «٢٠٠٩‬ﻋﻠﻰ‬ ‫ﺞ »ﺗﻜﻮﻳﻦ‬ ‫ﻧﺎﻣﺞ‬ ‫ﺑﺮﺮﻧﺎ‬ ‫إﺷﺮاف ﺑﺮ‬ ‫ﻊ إإﺷﺮ‬ ‫ووﻣﻊ‬ ‫ﻴﻦ‬ ‫ﺋﻴﺴﻴﻦ‬ ‫ﻴﻦ ﺑﺑﺬﻟﻚ ﻫﺪﻓﻴﻴﻦ ررﺋﻴﻴ‬ ‫ﺗﻜﻮﻳﻦ«‪ ،‬ﻣﻣﺤﻘّ ﻘﻴﻦ‬ ‫ﻮﻳﻦ‬ ‫»ﻣﺠﻤﻮﻋﺔ ﻮ‬ ‫ن ﺠ ﻮ‬ ‫ﻟﻤﺸﺎرﻛﻮن‬ ‫ر ﻮ‬ ‫ااﻟﻄﻠﺒﺔ اﻟ‬ ‫ﻴﻤﻴﺔ ﻣﺘﻴﻨﺔ ﻟﻠﺘﺒﺎدل وااﻟﺘﺸﺒﻴﻚ‬ ‫ﻮﻳﺮ أﺳﺲ إﻗﻠﻴﻤ‬ ‫ا‪S‬ﺳﺘﻤﺮﺮارارر ّﻳﺔ ووﺗﻄﻮﻳﺮ‬ ‫ﺮووع – ا‪SS‬‬ ‫ﻤﺸﺮو‬ ‫ﻟﻠﻤﺸﺮ‬ ‫ﻟﻠ‬ ‫ﺟﺪﻳﺪة‪.‬‬ ‫ﻋﻴﺔﺔ ﺟ‬ ‫ﺪاﻋﻴ‬ ‫ﻖ إﺑﺪ‬ ‫واﻟﺒﺤﺚ ﻋﻋﻦ أﻓﻓﻖ‬ ‫ﺑﻬﻴﻜﻠﻴﺔ‬ ‫ﺑﻬﻴﻜ‬ ‫وﺗﺘﺤﻠﻰ ﺑﻬ‬ ‫اﻟﻤﻨﻄﻘﺔ‪ .‬وﺗﺘﺤ ّﻠﻰ‬ ‫ﻲ اﻟﻤﻨﻄﻘﺔ‬ ‫ﻋﻬﺎ ﻓﻲ‬ ‫_وﻟﻰ ﻣﻦ ﻧﻮﻋ ﺎ‬ ‫ا_وﻟﻰ‬ ‫ﺗﻜﻮﻳﻦ« ﻫﻲ ا و‬ ‫ﺗﻜﻮﻳﻦ«‬ ‫ﻤﻮﻋﺔ ﻜ‬ ‫»ﻣﺠﻤﻮﻋﺔ‬ ‫ﻣﺠﻤﻮﻋﺔ‬ ‫»ﻣ‬ ‫ﻧﻴﻦ‬ ‫ﻨﺎﻧﻴ‬ ‫ﻋﻠﻰ ﻳﺪ ﻓﻓﻨﺎ‬ ‫ﺖ ﻋﻠ‬ ‫ﻗﺪ ُأﻧﺸﺌﺖ‬ ‫ﻴﻤّﻴﺔ‪ .‬ووﻗﺪ‬ ‫ﻗﻠﻴﻤ‬ ‫ﺎت إ ﻠ‬ ‫ﻣﻤ ّﻴﺰة وﻣﺒﺪﻋﺔ‪ ،‬ﺟﺎءت وﻟﻟﻴﺪة ﺣﺎﺟ ت‬ ‫إ ﻴ‬ ‫ﺾ ووﻣﻊ‬ ‫ﺒﻌﺾ‬ ‫ﻢ اﻟﺒﻌ‬ ‫ﻀﻬﻢ‬ ‫ﺎووﻧ ّﻴﺔ ﻣﻊ ﺑﺑﻌﻀﻬ‬ ‫ﺘﻌﺎو‬ ‫رﻳﻊ اﻟﻟﺘﻌ‬ ‫ﺸﺎرﻳ‬ ‫ﻟﻤﺸﺎ‬ ‫ﻦاﻤ‬ ‫ﻮن ﻋﻠﻰ ﻋﺪد ﻣﻦ‬ ‫ﻴﻴﻦ ﻳﻳﻌﻤﻠﻮن‬ ‫ﻴﻤ ّﻴﻴﻦ‬ ‫إﻗﻠﻴﻤ‬ ‫ﺼ‬ ‫ﻳﺪة‪.‬‬ ‫ة‪.‬‬ ‫ﺠﺪﻳﺪ‬ ‫ل اﻟاﻟﺠﺪ‬ ‫ﻤﺎل‬ ‫_ﻋﻤﺎ‬ ‫ﺮض اا_ﻋ‬ ‫ﻌﺮض‬ ‫ﻤﻨﺼﺔ ﻟﻌ‬ ‫ﻬﺎ ﻛ‬ ‫ﻔﺴﻬﺎ‬ ‫ﺮض ﻧﻔ‬ ‫ﻟﻰ ﻓﻓﺮض‬ ‫ﻧﻴﻦ ﻋﺎﻟﻤﻴﻴﻦ‪ ،‬وﺗﻬﺪف إ ﻰ‬ ‫ﻓﻨﺎ ﻴ‬ ‫ﻛﻤﻨ ّ‬

‫‪p. 20 .21‬‬


The Takween Collective As Takween 2009 drew to a close, Maqamat initiated the participating students to form The Takween Collective, satisfying two major objectives of the project— sustainability and the development of strong regional foundations for exchange, networking and the researching of new creative directions. The Takween Collective is the first of its kind in the region; and is exceptional and innovative in its structure, which emerged out of a response to regional needs. Founded by regional artists working on a number of collaborative projects with each other and outside artists, the collective will act as a platform for the presentation of the created works.


Follow-Up Program Creative Residencies The formation of The Takween Collective was important in that it allowed for the participants of Takween 2009 to transition from intensive dance education and training to professional collaboration and teamwork. Maqamat also established a followup program upon the completion of training period and has since sent dancers to a ten-day residency at Tanzhaus NRW in Dusseldorf, Germany, and a three-week residency at Archauz in Aarhus, Denmark. Additional residency programs will follow in other European and Arab countries. The Takween Collective will also present works-in-progress at The Beirut International Platform of Dance (BIPOD) 2010. An evening will be dedicated to the collective so that they strengthen their professional skills and further develop the group.

p. 22 .23

‫ﺣﻠﻘﺎت اﻟﺘﺪرﻳﺐ‬

‫ﻧﺘﻘﺎل ﻣﻦ اﻟﺘﺪرﻳﺐ‬S‫« ﺑﺎ‬٢٠٠٩ ‫ﺗﻜﻤﻦ أﻫﻤ ّﻴﺔ »ﻣﺠﻤﻮﻋﺔ ﺗﻜﻮﻳﻦ« ﻓﻲ اﻟﺴﻤﺎح ﻟﻠﻤﺸﺎرﻛﻴﻦ ﻓﻲ »ﺗﻜﻮﻳﻦ‬ .‫اﻟﻤﻜ ّﺜﻒ ﻋﻠﻰ اﻟﺮﻗﺺ إﻟﻰ اﻟﺘﻌﺎون اﻟﻤﺤﺘﺮف واﻟﻌﻤﻞ اﻟﺠﻤﺎﻋﻲ‬ ‫ﻟﻤﺪة‬ ّ ‫ﻛﻤﺎ وﺿﻌﺖ »ﻣﻘﺎﻣﺎت« ﺑﺮﻧﺎﻣﺞ ﻣﺘﺎﺑﻌﺔ ﺑﻌﺪ إﻧﺠﺎز ﻓﺘﺮة اﻟﺘﺪرﻳﺐ وأرﺳﻠﺖ ﻣﺬّ اك اﻟﻮﻗﺖ راﻗﺼﻴﻦ‬ ‫ﻟﻤﺪة ﺛﻼﺛﺔ‬ ّ ‫ وآﺧﺮﻳﻦ‬،‫ﻋﺸﺮة أ ّﻳﺎم إﻟﻰ ﻣﺪرﺳﺔ اﻟﺮﻗﺺ ا_ﻟﻤﺎﻧﻴﺔ »ﺗﺎﻧﺰﻫﺎوس أن آر ﻓﻲ« ﻓﻲ دوﺳﻠﺪورف‬ ‫ وﻣﻦ اﻟﻤﻨﺘﻈﺮ إرﺳﺎل دﻓﻌﺎت ﺟﺪﻳﺪة ﻣﻦ‬.‫أﺳﺎﺑﻴﻊ إﻟﻰ ﻣﺪرﺳﺔ »آرﺷﻬﺎوز« اﻟﺪاﻧﻤﺎرﻛﻴﺔ ﻓﻲ آرﻫﻮس‬ .‫اﻟﺮاﻗﺼﻴﻦ إﻟﻰ اﻟﺨﺎرج إﻟﻰ ﺑﻠﺪان أوروﺑﻴﺔ وﻋﺮﺑﻴﺔ أﺧﺮى‬ ‫ﺳﺘﻘﺪم »ﻣﺠﻤﻮﻋﺔ ﺗﻜﻮﻳﻦ« أﻋﻤﺎﻻً إﻟﻰ ﺟﻤﻬﻮر ﻣﻦ اﻟﺒﻠﺪان اﻟﻤﺠﺎورة ﺑﻤﻨﺎﺳﺒﺔ ﻣﻠﺘﻘﻰ ﺑﻴﺮوت‬ ‫ﻛﻤﺎ‬ ّ .‫وﺗﻄﻮر ﻋﻤﻠﻬﺎ‬ ‫وﺳﺘﺨﺼﺺ أﻣﺴﻴﺔ ﻟﻬﺎ ﻛﻲ ﺗﻌﺰّز ﻗﺪراﺗﻬﺎ‬ .٢٠١٠ BIPOD ‫ﻟﻠﺮﻗﺺ اﻟﻤﻌﺎﺻﺮ‬ ّ ّ


The establishment of Takween is one of the most important projects that Maqamat has produced, greatly due to its professional and educational nature, which is greatly needed at this critical moment in dance development in the Arab region. Without dance education and research, a sustainable, progressive and artistically challenging dance scene in this part of the world will remain underdeveloped. Through Takween, Maqamat aims to establish a choreographic centre in Beirut that will facilitate professional training and encourage international collaborations between artists of the Arab world and beyond. Maqamat also hopes to strengthen the independent art sector by establishing local and regional dance within an international context.

‫»ﺗﻜﻮﻳﻦ« ﻣﻦ أﻫﻢ اﻟﻤﺸﺎرﻳﻊ اﻟﺘﻲ أﻧﺘﺠﺘﻬﺎ‬ ‫ﺣﺘﺮاﻓﻴﺔ‬S‫ ﺑﻔﻀﻞ ﻃﺒﻴﻌﺘﻪ ا‬،«‫»ﻣﻘﺎﻣﺎت‬ ‫ وﻫﻮ أﻣﺮ ﻧﺤﻦ‬،‫واﻟﺘﻌﻠﻴﻤﻴﺔ‬ ‫ﺑﺄﻣﺲ اﻟﺤﺎﺟﺔ إﻟﻴﻪ‬ ّ ‫ ﻓﻤﻦ دون‬.‫ﻓﻲ ﻣﻴﺪان اﻟﺮﻗﺺ ﻓﻲ اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ‬ ‫ ﺳﻴﺒﻘﻰ‬،‫أن ﻳﻘﺘﺮن اﻟﺮﻗﺺ ﺑﺎﻟﺘﻌﻠﻴﻢ وا_ﺑﺤﺎث‬ ‫اﻟﺮﻗﺺ ﻓﻲ ﻫﺬه اﻟﻤﻨﻄﻘﺔ دون اﻟﻤﺴﺘﻮى‬ ‫واﻟﺘﻘﺪم‬ ‫ﺳﺘﻤﺮار ّﻳﺔ‬S‫اﻟﻤﻄﻠﻮب وﻳﻔﺘﻘﺪ إﻟﻰ ا‬ ّ .‫واﻟﺘﻄﻮر‬ ّ ‫ إﻟﻰ‬،«‫ ﻣﻦ ﺧﻼل »ﺗﻜﻮﻳﻦ‬،«‫وﺗﺴﻌﻰ »ﻣﻘﺎﻣﺎت‬ ‫إﻧﺸﺎء ﻣﺮﻛﺰ ﻟﻠﺮﻗﺺ ﻓﻲ ﺑﻴﺮوت ﺳﻮف‬ ‫ﻳﺴﻬﻞ‬ ّ ‫ﻋﻤﻠ ّﻴﺔ اﻟﺘﺪرﻳﺐ وﺗﺸﺠﻴﻊ اﻟﺘﻌﺎون اﻟﺪوﻟﻲ ﺑﻴﻦ‬ ‫ ﻛﻤﺎ ﺗﺄﻣﻞ‬.‫اﻟﻔﻨﺎﻧﻴﻦ اﻟﻌﺮب واﻟﻔﻨﺎﻧﻴﻦ اﻟﻌﺎﻟﻤﻴﻴﻦ‬ ‫»ﻣﻘﺎﻣﺎت« ﺑﺘﻌﺰﻳﺰ اﻟﻘﻄﺎع اﻟﻔﻨّﻲ اﻟﻤﺴﺘﻘﻞ ﻣﻦ‬ ‫ﻗﻠﻴﻤﻲ ﻋﻠﻰ‬S‫ﺧﻼل اﻧﻔﺘﺎح اﻟﺮﻗﺺ اﻟﻤﺤ ّﻠﻲ وا‬ .‫اﻟﺮﻗﺺ اﻟﻌﺎﻟﻤﻲ‬


Design Kid in Box www.kidinbox.com kid@kidinbox.com


Maqamat Dance Theatre 2nd floor, Estral Bldg. Hamra Main Street, Beirut Lebanon +961 01 34 38 34 +961 71 6166 33 info@maqamat.org www.maqamat.org


Takween Booklet  

A bilingual (Arabic/English) booklet designed for TAKWEEN (Formation in Arabic), a Contemporary Dance School, organized by Maqamat Dance The...

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