JEANNE COLIN

BIO

Jeanne Colin is a french maker and performer artist, based in Brussels where she spent the fore last years to study in P.A.R.T.S (Performative Art Research and Training Studio).

She was part of different collaborative work such as The Chimera Cabaret, a participative and feminist cabaret performed in Brussels at different occasions and in Island for the Reykjavik festival 2013 and Under The Molten Lava Moon, performed in Rosas Performing Studio in 2013. In may 2014 she created her solo Get Out Of The Blue in the frame of the international graduation tour of PARTS.

Through the past years she also danced under the direction of choreographers such as David Hernandez (US) with Unisono performed in 2012 at Dansand Festival in Ostend,  David Zambrano (VN) with Passing Through performed for the opening of the MAS in Antwerp, Robert Stein (DU), Albert Quesada (SP) with Slow Sport in 2014 at Dansand Festival in Ostend and This year she worked with Johanne Saunier (FR) and les ballets confidentiels and the choreographer Daniel Linehan (US) in A Right of Spring .

Maïté Jeannolin is a French dance maker and performer currently working and living in Brussels. She studied in professional dance trainings in France (Junior ballet d’Aquitaine, Bordeaux), later in The Netherlands (Codarts, Rotterdam) and more recently in Belgium (P.A.R.T.S, Brussels).
She has worked with various choreographers (Robert Steijn, Marten Spangberg, Benjamin Vandewalle, Salva Sanchis…) and participated in few collaborative creations such as “Under the Molten Lava Moon” and “Ville Tentaculaire“.
She has begun an extensive collaboration with a camera woman, Charlotte Marchal, with whom she explores the medium of video dance. Their first work has been awarded by IDILL in 2014. (“Paysage, tableau premier“).
She has been recently working with Philippe Saire (Lausanne, Switzerland) on a new production: Utopia Mia, which will be touring from fall 2014. In the meantime, she has been invited as guest teacher in France (Centre de danse Belleville) and Latvia (Latvian Academy of Arts) while organizing for the past 3 years her own workshops in the French Alps.

Maïté Jeannolin est une danseuse et chorégraphe française travaillant actuellement à Bruxelles. Elle a étudié dans des formations pré-professionnelles en France (Junior ballet d’Aquitaine, Bordeaux), puis aux Pays-Bas (Codarts, Rotterdam) et plus récemment en Belgique (P.A.R.T.S, Bruxelles).
Elle a travaillé avec différents chorégraphes (Robert Steijn, Marten Spangberg, Benjamin Vandewalle, Salva Sanchis…) et a pris part à plusieurs créations collaboratives comme “Under the Molten Lava Moon” et “Ville Tentaculaire“.
Elle a également entamé une collaboration avec une caméra woman, Charlotte Marchal avec qui elle explore le médium de la vidéo danse. Leur premier travail a été primé par IDILL en 2014 (“Paysage, tableau premier“).
Elle travaille depuis peu pour Philippe Saire (Lausanne, Suisse) à l’occasion d’une nouvelle production: Utopia Mia, dont la tournée a commencé à l’automne 2014. Parallèlement, elle a été invitée comme intervenante en France (Centre de danse Belleville) et en Lettonie (Latvian Academy of Arts) tout en organisant elle-même ces 3 dernières années des ateliers de danse contemporaine dans les Alpes françaises.

FRAME OF RESEARCH

Can we tell a story in a plurality of registers?  To write something by taking account of the multiplicity of the worlds that inhabits and surrounds us seems to me a fascinating task as much as impossible. The prism of our multiple identities is a space of contradictions, tensions but as well of associations and interactions. The question of what we are and what we are not doesn’t ask to be resolved but rather to be brought about.

The highly developed theories to explain the soul and the body within the course of history are countless andfeed on religion, mysticism, tradition, observation, reflexion and a lot of imagination. It is striking when one follows the flow of the ideas perceived as true and even authoritarian, when we observe their longevity, they death and eventually their rebirth, to sense their subjectivity. It is of course too easy to get this distance with ideas that are now obsolete. I would like to bring certain false ideas back to life and to make them dance for the time of a performance with those that dictate the real world. Because if we caress the idea of a being with plural identities, we find ourselves naturally at the core of the fundamental question of the true and the false.