攝影師：C. Rausch／N. Jirasatit
法國 | 康巴
皮歇‧克朗淳Pichet Klunchun和歐里‧坎臣拉 Olé Khamchanla，兩個世界、兩種傳統，以及對於亞洲舞蹈和現代性的共同經驗。透過探索、協商和質疑各自的起源，他們再次省視動作語彙、反複性、轉化、再詮釋及傳統性等各項元素，進而獨自、成雙、相對而又齊奏地跳舞。
What makes tradition ? A necessarily ancestral practise or just any practice, maybe younger, but which irrigates a culture, builts it and constitutes it ? Is the tradition necessarily a society concern, thus collective, or could it be individual ? Can it belong to the history of each, as well to the History ? Is the same way as Khon makes tradition for Pichet Klunchun, hip hop from urban cultures, makes tradition for Olé Khamchanla, both negotiating with tradition and contemporanity.
A meeting as a cycle created together, like a negotiation, intransigent and innovative : tradition, modernization, innovation, one day in turn, will become tradition. Every traditional art form that is passed today was, prior to exist, contemporary at a time in history.
How negotiate with our origins and tradition with which we cannot divorce for create a new dance ? How the negotiation animate this dancers in a personnal research of a compromise and succeed to bring them together ? From traditional to contemporary, what corporeality transforms the original, what hybrid movement codes, what writing tells a new story?
Pichet Klunchun and Olé Khamchanla, two worlds, two traditions, a common experience of Asia, its dances and modernization. They explore, negotiate and question their origins, which today makes them dance alone, in pairs, in contrast, and in unison. Raw material, moving matter, repeated, transformed, reinterpreted, traditionality will only revisited.
Originally from Laos, Olé Khamchanla discovers hip-hop dance in 1990, then forms different dances (contemporary, capoeira ...). Little by little, he finds his style, a way of dancing that is his own and that allows him to assert himself on the dance scene.
In the company A'CORPS (1997-2011), he co-signs several shows that pose his creative brand and the singularity of his dance.
In 2006 he went to Laos and Thailand to learn traditional dances and create his first solo Kham .... A return to the sources by which he enriches and refines his choreographic language. Raw materials and a rich vocabulary at once specific but universal, which allow him to question the human being, its origins, its inspirations, its course, its interactions with the other.
In 2011, he created his own company, KHAM, and in parallel with international cooperation projects between Asia and Europe that continue to fuel his research.