ARTIST SPOTLIGHT 04: CHARLOTTE COLMANT
Get to know Charlotte Colmant, choreographer and dancer, and 4 of 12 presented artists during our upcoming performance series, Volume VI, Issue I. from March 11 to 13, 2016. As an artist who is interested creating visual landscapes with bodies for her audience to be immersed in, Charlotte also looks to dance films to find expression in movement. Learn more about Charlotte on our Artist Spotlight and see her work in Program 02: Design Vs. Narrative + Program 03: Distorting The Frame.
Three words that Describe your Choreography
Internal, neutral, repetition.
Originally from Paris, France, Charlotte Colmant graduated from Paris-Sorbonne University; she then continued her dance studies at the Martha Graham School in New York City. Charlotte has worked with contemporary artist Linda Tegg, MIT theater director Caleb Hammond, LEIMAY, and Sidra Bell Dance New York. Her choreography has been presented at Hollows Art Space, TSA Gallery, Brooklyn Fireproof and the Kraine Theater. As a filmmaker, Charlotte screened several works at Video Dance Festival - BODY in FOCUS in Braga, Portugal.
About Charlotte's Creative Process
As both an artist and a person, experimentation is a core value in my life. Finding dancers who align with this idea can lead to work that exceeds my expectations as a maker. The work that I currently make is strikingly visual, as I create landscapes with bodies, and sometimes collaborate with visual designers to immerse audience into another world.
Before creating content during a rehearsal, I lead my dancers into a semiconscious state by using visual prompts to erase physical and mental emotions. This then moves to a combination of Graham technique and Butoh, as well as other ways of experimenting with movement, as I try to catch, extract, and assemble the histories of my dancers' bodies, to then turn into expression. I find that there is a serendipitous union between the Graham technique and Butoh that I really enjoy: the physicality of Graham paired with the fluidity and slower pacing of Butoh can lead to deeper paths of exploration and connectivity within the body.
Do you work in other mediums other than dance or performance? If so, how did you get into it?
I enjoy creating dance films. In my first year at the Graham School, I choreographed a piece for the student concert and later decided to adapt it into a dance video. Not knowing a video editor, I then decided to teach myself how to edit these snippets of movement on my computer. I felt like I was re-choreographing the piece, as editing is essentially the same thing: reassembling fragments of film, to then splice together, delete, and so on. Since then, I have edited several dance videos, and have also been working with different filmmakers as collaborators.
What influenced the concept or work that you are presenting at the CURRENT SESSIONS?
"What I look in any relationship is the contact of the nonverbal level of intuition and feeling, that is, telepathic contact." -William S. Burroughs
This level of intuition reminds me of a feeling I get when I dance. Bodies work telepathically and this work explores body intuition and the feeling of surrounding bodies.
Name three artists that you admire, and tell us why.
Maya Deren, an experimental filmmaker, as her avant garde aesthetic has always inspired me. Pina Bausch, a choreographer, for the way she knew how to lead her dancers into a trance-like state. And Ryoji Ikeda, a visual artist, as he works on the essential characteristics of sound itself associated with projected visuals that are designed with a mathematical aesthetic precision in mind.