Now this performance has been sold out every night. I'd bought my ticket last week, and unwittingly left it home. They were about to close the door for the show. When you buy tickets and you use your OFF membership, they write the name of the play on your card, which was the case for "Pas de quartier". I went to the ticket booth and explained, and the not so helpful teller said she couldn't let me in without a ticket, it was a matter of insurance.
A man came up behind me and asked what was the problem. Jennifer had explained to another gentleman at the door what had happened. He in turn was telling this man. I said, "I have to see this show!" I said, trying to contain my hysteria at the possibility of not getting in. "I'm American. I'm leaving tomorrow. Please!" And then, I began to cry! Really, I was that upset.
The man took a left over ticket from the desk and gave it to me. He told the ladies (who were sneering, "OMG, I think she's going to cry," because they could see the tears welling up in my eyes), "Well, now you have 3 tickets left" and gave me a ticket! I thanked him. Ran inside, found Jennifer, and from the moment the lights were out, I knew that I had been correct. This would be a great show.
Choreographer Abibo Kebe, Jennifer, Director Eric Checco, moi
Monsieur Kebe et Jennifer
Ray-J, the human beat box et moi
One fantastic dancer...man...
I'm at the moment gushing with excitement. This was a great performance. I know, those of you who know me are wondering when am I not gushing with excitement. I was fortunate. I loved and learned from ALL of the shows that I attended. This one was a wonderful way to end my Avignon experience.
"Pas de quartier" can mean two things-- #1. a step/stroll/walk around the block (neighborhood) or #2. not from the neighborhood.
un pas= step
pas = part of the expression for negation "ne...pas". Colloquially, the "ne" may be dropped.
After the show, I had the opportunity to speak to Eric Checco, the man whose vision produced "Pas de quartier".
SZ: How did this come about?
EC: In 2005, I was asked by the producers of Alvin Ailey's dance troupe to come up with a hip hop production. I didn't want this to be simply the stereotypical hip hop filmed on the streets with dancers wearing baseball caps backwards. I wanted it to mean something. At about that time, there was unrest in the suburbs. It was really sad. The youth, many of whom were second generation children of immigrants who were born in France, felt as if they weren't being heard by their nation. I wanted to begin the story from the perspective of the grandparents who came to France and fought in French wars for France. Their grandparents fought for a France that they wanted to love.
SZ: Your tale is chronological beginning during WW1, but it seems to be ruptured by the baroque piece in the center of it. What were you trying to do there?
EC: Baroque music was music that was marginalized in its period in relation to what we know as classical music. Hip Hop music today is also marginalized in France in relation to pop music. I wanted to relate these two styles.
This presentation was different from all the shows I've seen. At the end of each segment, the audience would show their appreciation for the dancers' skill by clapping. There was cheering when the dancing or acrobatics were exceptional. One of the dancers was able to flip off of the wall by running on the wall and flipping over.
Dancers could "dance" not on two hands but on one!
The staging begins with twin brothers dancing together resembling hieroglyphic movements in their dance. It is during the time of recruitment in Africa to help fight in the Great War (WWI). The next scene which was my personal favorite and the reason I was attracted to this program-- the dance of the Senegalese sharpshooters. There is a lot I would like to learn about these men. They wear red fez (hats) and one carries a French flag. Their movement in formation reminds me of the sculpture of the soldiers at Iwo Jima complete with flag. It is magnificent, and sets the story which moves through the decades of musical influences from Jazz to Bebop to Disco and Hip Hop.
Banania, a cereal company used the image of a Senegalese soldier to sell their product. My friend, Marc, a retired pharmacist, a Frenchman, explained to me that these men were heroes. He felt that Banania was trying to promote their strength and courage. "I mean," he said, "They came from far away to fight far away from home, and for we French who were undersiege, they were celebrated." Senegal at the time was a French colony. I'd like to research more about them. Marc and I had this conversation because I wanted to understand why Banania moved from the old image to the new, a grotesque, cartoon character which does not speak to the bravery of which Marc spoke.
Here is the older, smiling image of the earlier can. Next to it is a box of spices from the caribbean.
Reminds me of the brand of rice and the pancake syrup we have in the states. Curious. If you do google images "Banania" you'll see the new, bright yellow boxes with the newer image. Interesting.
There is a regular Hip Hop theme which links all the segments. Another major segment with the dancers is the arrival of various immigrants to France, and the immigration officer who doesn't know what to do with the number of people arriving. There are smiles on the newcomers' faces and expressions of wonderment.
Although the story is told mainly through dance, we are offered poetic expressions through rap, soulful singing in both French and English, and a remarkable performance by Ray-J whose beat box is impeccable. The way he was able to get various sounds out of his throat was awe inspiring.
The message was basically, "Don't reject us France. Our soul is French, if not French of blood. France, the color of the rainbow."
This is a lovely vision, and inclusive one. The dancers were Black, White, and all hues in between. Attention! (That's French for be careful.) There are voices that aren't represented here. There are still angry voices, frustrated voices. "Pas de quartier" also speaks of "pardon", forgiveness --these children are prepared to forgive if their nation is prepared to see them and hear them.
For me, this was a vision that Genet might have hoped for in the end of the play, "Les Nègres". His play ends with an unanswered questions: "What needs to happen to end the horrible, violent ritual? When and how will the marginalized also be able to exercise power over themselves and their future. What will the new life look like, where the individual is mistress/master of her or his own fate? "
Once all (French) people are accepted regardless of the color of their skin or origin, what kind of world will they create?
The performance Jennifer and I saw was smaller than the usual. Normally, the baroque music is played by a live orchestra complete with a "contre tenor" and a "claveciniste", a piano like instrument that provides the characteristic sound in baroque music.
More on "Pas de quartier"? www.pasdequartier.com
No comments:
Post a Comment