Arise is a project of openness, exposure and encounters. Christian and François Ben Aïm chose to work with new artistic collaborators, artists whose work they have been following for many years.
For the music, Piers Faccini, who creates restrained, captivating music by blending guitar and vocals, piano, organ, strings or wind instruments. Tinged with a radiant tone that has a shadowy side, it finds an echo in sacredness and clemency. His voice is his favourite instrument, and accompanies the piece with colour and simplicity.
For the dance, Brigel Gjoka, (National Opera of the Rhine, Nederland Dans Theater, Forsythe Company). Four artists and authors are therefore on stage, including Christian and François Ben Aïm. The performance can be adapted to include guest artists, dancers or musicians depending on the occasion, to create a dialogue with the specific characteristics of each individual performance space.
Arise is an invitation to stand up, transform, shine and radiate. The issues raised in the piece like the introspection, the spirituality, the loneliness and elevation are by essence timeless classics, universal and ageless philosophical questions. While this project was born in the heart of a chapel, it was made to be adapted and to circulate, to be subsequently performed in specific venues, sacred or atypical, steeped in history, be they imbued with a soul or empty and abandoned, provided they encourage a thoughtful reflection on the space and the notion of elevation. This is a timeless moment, a break, a “back into life” that allow to take the road differently. This poetic performance, this universal tale, reveals what is most alive in each of us, a new vision of the world, a new way to look destiny but a classic question of human being, an existential reconsideration that is an intrinsic value of human life.
Just as some monuments contain relics, we ask, where is the sacred within us? Dance is our catalyst and our filter in this quest, allowing the body to attain a dimension that is normally hidden. The piece also features choreographic moments, experiences and situations of presence that constitute myriad attempts to uncover the essence of what we are, that sacred part of our humanity. It seeks to bring forth and reveal this buried vein of pure metal.
If an invitation to contemplation imposes itself, the piece wishes above all to experience the opposite movement: that of openness, associated with a feeling of freedom and heightened senses, a turning outwards, a radiation that borders on the search for transparency.
The music, played live, is considered the essential counterpoint to the physical and emotional charge of the venue, in that it relates to the present moment and tones down grandiloquence. However it also includes a vocal element, created in connection with what the voice calls forth from its interior vibration, from which the music finds embodiment. It is also about giving space to speech, which belongs to humanity.
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