In collaboration with dancer and choreographer Boris Charmatz, for two days only around 90 dancers and choreographers took over the gallery spaces and the iconic Turbine Hall as part of BMW Tate Live: If Tate Modern was Musée de la danse?
Watch some of the performances recorded live on the day
If Tate Modern was Musée de la danse? – Turbine Hall Events
Two days, 90 dancers, 100s of you and one giant disco ball. Video highlights from If Tate Modern was Musée de la danse? held on 15 and 16 May 2015
Musée de la danse: Public warm-up with Boris Charmatz
For two days only, in collaboration with dancer and choreographer Boris Charmatz, around 90 dancers and choreographers took over the gallery spaces and the iconic Turbine Hall at Tate Modern.
Levée des conflits - visitors version
Comprising 25 movements, each gesture is passed on from body to body, with one movement excluded at all times. In this version visitors were invited to learn part of the piece and perform it live. Levée des conflits was first performed in 2010.
Levée des conflits (extended)
Levée des conflits was first performed in 2010. For this extended version, the work is performed continuously over several hours by 24 dancers. Comprising 25 movements, each movement is passed on from body to body, excluding one gesture at all time. Visitors leart part of the piece with Boris Charmatz and the 24 dancers and performed it live
Levée des conflits - solos
Levée des conflits was first performed in 2010
manger challenges the role of the mouth and eating in choreography and dance.
For this performance in the Turbine Hall, Charmatz presents a dispersed version to address the scale of the site while still offering an intimate experience of the work.
Boris Charmatz first choreographed and performed this work with Dimitri Chamblas in 1993. Rows of seats create a closed space, delimitating the movements of the two dancers and abolishing the distance between the audience and them
Three years after his performance of Flip Book at Tate Modern in the Tanks, Charmatz presents a new version with London-based amateurs
Drawing on Merce Cunningham: Fifty Years (Aperture, 1997) by dance archivist David Vaughan, which charts in pictures Cunningham’s choreography over 50 years, Roman Photo invites a number of dancers, including former members of the company and amateur practitioners, to learn and perform Vaughan’s images as sped-up versions of Cunningham’s language.