Departures and Arrivals



Bibi Ha Bibi
2016/10/15 › 2016/10/15
Aloun Marchal , Henrique Furtado Vieira
CDC Toulouse

Our starting point was a vocal and textual work related to Inuit singing and throat singing in general. Traditionally, Inuit singing is a game where two women face each other exchanging rhythmic vocal patterns until one of them bursts out laughing. The desire to develop a project around this singing was born in the abbey of Royaumont, during a workshop with Marie-Pascale Dubé and Philippe Le Goff in the research and creation program Prototype II. We were immediately fascinated by the physical and emotional commitment, and by the vocal and theatrical potential of this singing.

Subsequently, we asked the visual artist and Canadian Inuit singer Marie-Pascale Dubé, who lives and works in Paris, to guide us throughout this process, providing us access to Inuit traditional songs. Being of Inuit descent and having spent time in the Canadian Arctic (where she made a documentary about the life, culture and songs of the Inuit people), her presence contributes greatly to the enrichment of our project.

In our project, we do not intend to reproduce Inuit singing as practiced in the Canadian Arctic, instead we aim to create a musical and choreographic performance. The Polish composer Jerzy Bielski will be accompanying us in the vocal creation of the piece, taking Inuit singing and other throat singing styles (khöömei singing, kargyraa, hard rock singing…) as raw material.

Our own practice and interpretation of Inuit songs led us to explore the face to face, the proximity of bodies, the performativity in duration, the hyper ventilation and breathing… Neighboring situations such as the act of war, sports practices and possession trances captured our attention. In this sense, we want to address the chant like a mantra and engage the body having as reference some sports (free fight), theatrical (wrestling) and ritual (Les Maîtres Fous by Jean Rouch) practices.

On one hand, we imagine this performance as a warrior act at the center of an arena, like a gladiator fight. The ferocity of this fighting was often apparent, the gladiators tried above all to deliver a quality show to an informed public, and not to kill. In this sense, we establish a parallel with wrestling which has changed considerably in the last twenty years and now combines sport and spectacle. Thus, we plan a work period with a professional wrestler.

On the other hand, we aspire to a folk form, with its orality, its harshness, its festive and ritual side. We would like to stage a moment of community by putting the audience in a circle around the performers. We plan to play this performance in situ and on stage, in different kinds of spaces. We imagine it on village squares, on sports fields, in city halls, in parish rooms, in gyms, in cemeteries, etc. Thus there will be two versions of the show: one version for the theatre, with a light and scenography creation, and one version adaptable to different spaces.

Finally, this male duo, which necessarily involves virility, also evokes coupling. It is becoming a cathartic duel, sometimes archaic, in which the sexual and the violent appear alternately. That is why we are attracted to some couple dances and urban dances such as funk (Brazilian and Angolan), a frantic and virulent coupling dance, like a sort of Kamasutra in movement. We also want the exhaustion to emerge so that a certain sweetness pops up, offering these male bodies some empathy, some “homosociality”.

« Friendship is a beautiful thing. The night I'm talking about, we had dinner at Palermo and then in the moonless dark we went to Pieve del Pino, we saw a huge amount of fireflies, which formed fiery groves in the bush groves, and we envied them because they loved each other, because they were looking for each other in their takeoffs of love and in their enlightenment, whereas we were dry and nothing but males in an artificial vagrancy. I then thought of how friendship is beautiful, and of twenty years old boys meeting and laughing with their innocent male voices, not caring about the world around them, pursuing their lives, filling the night with their cries. Their manhood is potential. Everything in them turns into laughter, into peals of laughter. Their virile ardor only appears as clear and overwhelming when they seem to become again innocent children, because in their body is still present their total and joyful youth. » Pier Paolo Pasolini, Letters 1940-1954.

The physical work will feed on a visual research. We will experiment different costumes, objects and substanc-es in their visual and sonic dimensions, in their relation to the skin and the mouth, with the help of the visual artist and scenographer Camille Rosa.

As it stands, Bibi Ha Bibi tends to become a contemporary ritual combining multiple forms of modern sacred, from sports fighting to traditional Inuit singing, through kabuki theater role-playing, battle hymns such as New Zealand haka and coupling dances. We will explore all these elements with Céline Cartillier. Céline will share with us thematic content, dramaturgical hypothesis, she will provide us reflection material: different kinds of texts (theory, fiction), images, audio files, anything that might be worth watching or listening. She will accompa-ny the project in the arrangement of all its dramaturgical elements.



Creation and interpretation Aloun Marchal and Henrique Furtado Vieira | scenography and costumes Camille Rosa | musical support Jerzy Bielski | light creation Carlos Ramos | dramaturgical support Céline Cartillier | transmission of Inuit songs Marie-Pascale Dubé | production and administration Aline Berthou


This project is part of Soirée Panorama, an event of CDC toulouse supported by [DNA]Departures and Arrivals Network, co-financed by Creative Europe program off the European Commission.