Mès Lesne. The cry of the horn

Exposition Paris

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It's with dance, this physique language, that Mès Lesne frees his spirit. Inspired by flamenco and urban dance, he has developed a singular fashion, with powerful power and an unidentifiable id, which he brings to its peak in his first choreographic film “Cor.” Rencontre.

Who are you?

I'm a dancer and choreographer. At the age of 10, I began dancing with hip-hop courses with choreographer Michel Onomo. He took me underneath his wing and educated me, together with other overseas dancers who got here to offer courses. Once I was 15, I used to be capable of be a part of his dance company. I was capable of travel throughout Europe and achieve in maturity, as a result of I was very younger in comparison with Michel and his dancers.

I started to open myself to totally different types of dance, notably flamenco, modern, and all of the dances that would inspire me, contact me. All these gestures allowed me to make a mixture to integrate them in my dance. I all the time needed to have my fashion, my id. For me, it started with all kinds of influences and then creating a “strange and bizarre” dance. I like this idea of questioning the movements. What is he dancing? What is he doing? I really needed to have my mark, to have individuals ask: if I cover my face, do they recognize me?

 

Are you able to tell us about your brief film “Cor”?

The challenge was born somewhat over 9 months in the past. I used to be watching a rugby video and the pictures have been loopy! The match was happening within the rain, and with the gamers’ movements, the sector had turn into a muddy pitch. I immediately imagined capturing the movements of those gamers, specializing in their bodies, their faces, their expressions. I needed to recreate this example with dancers. While creating the state of affairs of the movie, the thought got here up of a pack, of a misplaced youth however one that seeks freedom, just like the rugby gamers.

 

What does the title “Cor” symbolize?

At first, we needed to name the undertaking “Corps.” However the term was too broad and we really needed to collect in the title this facet of pack, of widespread body. The word “horn” was shortly chosen. It’s the musical instrument used for searching, to remind us of the pack of canine. I favored the double which means of this time period.

 

The characters are marked with blue symbols on their our bodies and faces. What do they characterize?

I needed the movie to have an id. That these dancers, these our bodies, these “unhooked jumps” be identifiable by a logo. So I worked with a good friend, Enfant Précoce, who immediately understood what was needed. He got here up with these drawings, childlike and straightforward to reproduce, which make an enduring impression with their blue shade. Affixed to totally different elements of the bodies of the six dancers, they symbolize their own “unhooked jumps.” 

 

Who did you create it with?

Issues followed in a natural and fluid approach. La Belle Facon instantly supported the challenge by producing it. I then contacted two director pals, the SimonaGun, with whom we shortly agreed on the capturing location. Lanzarote. The volcanic landscapes, the dark land, immediately made me consider the rugby recreation. For the music, I met the composer Pablo Bozzi via a good friend. As soon as we met, we started working on the music. We have been in a café in Paris, headphones on. I gave him the tempo; he found the sound. The thought was actually to recreate the breath, the cry of the dancers, and to provide rhythm to the movement of the bodies.

For the costume, I needed to place the body in front. So I wanted one thing raw and simple. Jeans being probably the most fascinating, we collaborated with the model ACNE, which was a real help.

 

We discover your signature bounce the “unhooked bounce.”
How was this movement born?

This leap was born in a dance corridor. I really like aerial actions, and that’s what I develop in my dance. I needed to create a leap and visualize it in sluggish movement. I needed the physique to be “unhooked,” whether or not it's the top, the arms, the chest, the legs. I needed damaged gestures, just like the pictogram of the pedestrians on the lights. A good friend of mine filmed me in sluggish movement jumping, and that’s once I began to develop this motion.

 

Is “Cor” the beginning of extra choreographic movies?

Yes, I want to make others, longer, extra advanced. I see the movie as a option to accompany my dance and blend the arts and all its varieties. We are already working on a film, more intimate, which focuses on my dance. I will probably be current as a dancer in a duet with one other one that works in a unique inventive discipline.

 

The brief film might be seen on www.nowness.com

Louise Conesa

L’article  Mès Lesne. The cry of the horn est apparu en premier sur Galerie Joseph.

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