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The (La) Horde collective: "Through dance, we want to highlight the awakening of a generation"


Sharing a fiery energy, Marine Brutti, Jonathan Debrouwer and Arthur Harel, the trio of artists from (La)Horde, at the head of the Ballet de Marseille, are revolutionizing dance codes and hybridizing genres. They confide in one voice.

When you attend a show by (La)Horde, you are dazzled by the keen sense of the staging, by the flashes of moving bodies and by immersive aesthetics that capture the spirit of the times.

This multidisciplinary collective, made up of Parisian visual artists and choreographers Marine Brutti, Jonathan Debrouwer and Arthur Harel, has been at the head of the Ballet national de Marseille since 2019. A variable-geometry formation, (La)Horde reveals dance as an intimate language, imbued quest for identity, claiming and fulfillment accessible to all.

In the form of performances, their creations travel to the stages of the most prestigious theatres, immersing themselves in all styles of dance.

In full preparation for a tour in the United States and their next creation,

(1), the founders of (La)Horde recount their journey and express themselves in heterophony, through a single voice, emblematic of their understanding.

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Birth of a collective

“We met when we were 20, at university.

We were three versatile authors, simultaneously choreographers, directors, videographers and visual artists.

We went to see the same shows, movies, exhibits, and read the same books.

In 2013, we created (La)Horde, whose name, easy to remember, symbolizes the importance that our generation places on the sense of the group.

The main driver was the desire to fade behind a collective.

There is something expandable in the horde, which reflects the fact that we also welcome other artists depending on the project.

And obviously, there is a wild and animal side, which goes with our approach.

We believe in the democratization of art, in the modernization of its codes and we wanted to create bridges between disciplines.


“We are inspired by choreographers like Pina Bausch.

She wasn't so much interested in how bodies move, but what sets them in motion.

Like her, we want to pierce the why of the human movement.

For (La)Horde, dance is the expression of demands, of social and political issues.

The intimate revolts of youth are at the heart of our work.

Through dance, we want to highlight the awakening of a generation which, today, is extremely aware of environmental issues.

For example, the main message of the show

Room With a View

(with the Ballet de Marseille) was the ecological emergency.

We also work with committed directors, like Spike Jonze, who is both the

and Kanye West music videos.

With him, we signed a short film, entitled


on the freedom of the body in the closed spaces of the city.


For (La)Horde, dance is the expression of demands, of social and political issues.

The intimate revolts of youth are at the heart of our work.

(The horde

Variable geometry

“When taking over the management of the Ballet national de Marseille, we asked ourselves how to imagine the evolution of this institution founded by Roland Petit in 1972. How to reinvent modes of expression in the digital age and offer more inclusive creations within an institutional framework?

The first step consisted in freeing oneself from the idea of ​​a company tirelessly composed of the same number of dancers.

With (La) Horde, we can be three, we can be five hundred, we can even be more”.

Performative exhibition

“In our work, we make it a point of honor to meet people before meeting dancers.

Their technique counts, but it is not everything.

What attracts us is the experience that shines through in everyone's movement.

The idea is to immerse the dancer and the spectator in a series of tableaux vivants.

This is what we wanted to do through a creation like

We Should Have Never Walked on the Moon


This piece, inspired by the musical, mobilized around fifty performers, including dancers from the Ballet de Marseille, but also stuntmen, DJs and “jumpers” from all over the world.

We have invested in large spaces, such as the National Theater of Chaillot.

The performances took place simultaneously on all floors.

The public wandered freely in the space.

We ask the viewer to choose their own path, to find their rhythm, their time.

We are in an era where thousands of images parade on our screens.

Prioritizing the information, taking the time to welcome or reject and create privileged moments is necessary”.

In video, “In body” the trailer

No age and gender barriers

“For us, differences create common sense.

From our first shows, we wanted to reverse the codes of age and gender.

In our piece


for example, we had twenty-eight amateurs aged between 18 and 75 dance.

It was interesting to see these generations and poorly represented bodies together, as well as to question our relationship to beauty.

We have no desire to follow the physical norms imposed by society.

But we are also careful not to fall into an inverted aestheticization, which is just as questionable”.

Jumpstyle and voguing

“Our universe borrows as much from pop culture as from Michel Foucault.

We are interested in a plurality of choreographic aesthetics, and we have staged the phenomenon of raves as much as folk dances in Georgia.

We love creating explosive weddings.

Our dancers merge the aesthetics of contemporary ballet with that of urban dances like voguing, which was born in New York in gay and African-American clubs.

Or jumpstyle, a frenetic dance that emerged in Belgium in the late 1990s to hardcore techno music.

Among our creations,

Room With a View,

conceived with the musician Rone, is undoubtedly the one that most mixes these types of dance.

The show depicts an apocalypse, an economic, societal and ecological collapse.

And expresses how much current generations are trying to exorcise these fears through dance and music.

Our universe borrows as much from pop culture as from Michel Foucault

(The horde

The post-internet dance

“The work of (La) Horde also consists of exploring viral content on the Internet.

The Web has given birth to a myriad of new forms of choreographic styles.

The success of jumpstyle, for example, is closely linked to the Internet, as is that of sturdy, a dance that appeared on TikTok, based on acrobatics and sliding on the ground.

The dancer remains within the frame of a fixed camera, the movements are transmitted online: the “post-Internet” dance was born.

It is a term that fits our vision, as it depicts the way the body engages today in real and virtual spaces, in 3D and 2D.

These new spaces of expression have led many people to film themselves dancing at home, and to share these images.

This gesture allows us to have access to dances of sub-genres,


We have integrated them into our shows.

For us, the Internet is an extension of reality”.

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The Age of Content

“It's our next creation, and we've been working on it for two years with the dancers of the Ballet national de Marseille, who are of sixteen different nationalities.

The first will take place at the Biennale de la danse in Lyon, and then we will land in Paris, at the Théâtre du Châtelet.

The Age of Content

is an exploration of the language of the metaverse, which we face.

This show projects the body into virtuality, on social networks, video games.

It is also nourished by the musical, which has never been so viral in the United States as in moments of crisis, during which, paradoxically, people were dancing.

Today, we are living in a time of global change and we see a lot of young people passionate about dance.

Dance has never been so powerful.

We have the intimate conviction that we can find solutions through the body”.

(1) "

The Age of Content

", from October 5 to 8, at the Théâtre du Châtelet, in co-production with the Théâtre de la Ville, in Paris.

Source: lefigaro

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