Nana et Lila



31 August 2001
Hambourg / Allemagne
26 April 2001
Maisons des Arts
Créteil / France
10 March 2001
Le Prisme
Élancourt / France
09 March 2001
Centre Boris Vian
Les Ulis / France
06 March 2001
Le Manège
Maubeuge / France
01 March 2001
Les Colonnes
Blanquefort / France
28 February 2001
Théâre de 4 Saisons
Gradignan / France
27 February 2001
Centre Culturel
Boulogne-Billancourt / France
26 January 2001
Scène Nationale de l'Arc
Le Creusot / France
23 January 2001
Espace Jean Legendre
Compiègne / France

For 8 dancers and 5 musicians
Created in 1993 at the Festival Trans Europe in Berlin, with the support of the Fondation Beaumarchais (SACD).
Timing : 60 mn

Awarded the “Coup de cœur du Off” at the Avignon Festival "off".
The company’s first creation has been presented more 150 times in France and abroad since 1996. Shown at the Universal Exposition of Sevilla in 1993. The critics agreed on finding in the ballet power and bewitchment.

Chroreography : Blanca Li
Music : the Gnawa Halwa of Marrakech ; «Nana del Caballo Grande» by Camarón de la Isla (lyrics : Federico Garcia Lorca) ; «Callejón del Muro» by Paco de Lucia ; «Por los Campitos de Batalla», popular song by Juana la del Cepillo
Scenography : Victor Ramos and Jorge Vasquez
Lights : Richard Bessenay
Costumes : Sybilla

«Two different moods exist in this production. The first, very personal, restrained and hard; the second, where energy explodes and the body is drained. It reflects two different ways of dancing to reach the same paroxysm. It’s this contrast which interests me.». B. L.

NANA is a sensual and cruel reflection about the aesthetics and energy contained in flamenco. Its traditional elements are transposed in the contemporary dance field.
«In Nana, I wanted to convey the essence of flamenco as I practice it, but by using a completely modern language. When I created the choreography Nana, I went through one of the most difficult yet exciting moments in my life. Perhaps that’s the reason why I tried to give peace and structure to this work.»
Blanca Li’s experience of “ Moussems ” (festivals) and “ Lilas ” (ceremonial nights) with the Moroccan Gnawas is at the origin of LILA, the second piece of the show.
«I have been working with the Gnawas for several years now so that they fully grasp the essence of contemporary dance. We have a total understanding of one another.» B.L.