Trailer of Anne Nguyen (B-girl Anne) in battle.
Anne Nguyen also writes poetry, short prose items and articles on dance (Danser magazine, Repères, cahier de danse). Excerpts from her collection of poems, the Manual of the City Warrior have been published in Graff It ! magazine, on which she was chief editor of the dance section. Several pieces performed by the Company incorporate Anne Nguyen’s texts, recorded or spoken (Square Root, Spirit of the Underground). Anne teaches hip-hop dance using a method based on postures, on the deconstruction of dance moves and on their subsequent deployment within the performance space. Since 2012, she has taught a technical and theoretical workshop on hip-hop dance at the University of Sciences Po Paris, called Hip-hop, a contemporary culture.
Extract of a foreword from the choreographer
“I studied science and am greatly inspired by mathematical and geometric principles when I choreograph dance steps for the performance space. Hip hop dance, like many dance forms, is danced in a circle. It came about through gatherings where dancers would create a circle around their performance. Dancers dance for themselves and for the audience who forms the circle around them. The stage, however, is a square space, in which the audience forms one “side” of the square and which is governed by many conventions. The dancer must adopt a different approach for each space. In order to compose a hip hop dance for the stage, one must ask oneself these basic questions: how to transcribe movement for the square space of the stage without simply transposing the original dance? How to give a successful performance by inhabiting the entire stage space, without being limited by theatrical restrictions when moving from one point to another and creating one’s “set*” in a circular breakdance or forward-facing popping dance*? How to make the dance legible without diluting and de-energising the movements? I try to think about the dance performance on stage in terms of “usefulness”. For whom, towards what goal is one dancing? In order to use the entire stage space for breakdancing, the centrifugal force must be broken and redevelop it into dance steps that transcribe straight lines or arcs of circles to make the movements more legible for the audience. »
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