in a touching and masterful documentary, the young generation seizes the heritage of Pina Bausch

Malou Airaudo, former dancer of Pina Bausch, inserts a cassette ofIphigenia in Tauride in a VCR. At 71 years old at the time of the film, she immerses herself in the archives of the Tanztheater Wuppertal, Pina’s company with whom she worked from 1973. Malou wants to perpetuate the work of the choreographer. She continues to teach dance around the world and practice it.

This scene opens the documentary Dancing Pina, in theaters since April 12. A film that follows two projects to bring Pina’s repertoire to life Bausch. THE documentary is centered around the transmission of Pina Bausch’s former dancers who participated in the creation of her pieces in the 1970s. “I was fascinated by the dialogue between the memories of the older generation and the interpretation of today’s dancers, who seek personal artistic expression in a very constrained setting”, continues Florian Heinzen-Ziob.

The film confronts two ways of approaching Pina’s works whether one is experienced or not. The spectator meets classical dancers in the production ofIphigenia in Tauride at the Semper Opera in Dresden, as well as dancers from all over Africa. They traveled to Ecole des Sables in Senegal to learn THE Rite of Spring.

Directed by Florian Heinzen-Ziob who signs his third film, Dancing Pina evokes the fundamental and characteristic letting go of Pina Bausch’s shows. “I realized that Pina Bausch’s archives were not a mausoleum, but the epicenter of a permanent process so that Pina’s heritage would be transmitted from generation to generation, pass from body to body and thus be preserved throughout the world. beyond his deathhe explains in his note of intent.

Learn to dance like to walk

Throughout the documentary, the dancers feel like they are starting from scratch. “I have to learn to digest this new vocabulary. It’s like I’m dancing and learning to walk for the first time.” says Sangeun Lee who plays the role of Iphigenia in the show. She has been a dancer with the Semperoper Opera Ballet since 2010. Dancing Pina Bausch is a major challenge for her: “In general, we do everything to erase the slightest imperfection. With Pina I don’t need that, I have to be myself. I don’t have to be in control of my body, looking for the perfect move: I have to let go.” she continues.

The director brilliantly and discreetly shows Sangeun’s doubts, curled up and pensive in a corner of the rehearsal room. The camera comes as close as possible to the movements of the dancers who touch the ground with the tips of their hands. We quickly understand that Pina Bausch’s dance is intense and that you have to give yourself up completely to restore it.

” I feel it’s boring: you don’t have to make sure it’s not“, chants Malou Airodeau to Sangeun. For her, you need emotion in every movement: ” It is neither classic nor contemporary. We are looking for who we are as human beings. As an artist. Who are you ? What can you tell with your experience and your technique? You can’t imitate, you have to be true to yourself“, she explains facing the camera.

Pina in Senegal, the slap

At the École des Sables in Senegal, dancers from all over Africa tackle The Rite of Spring with passion and fascination. The rehearsal stage is an open stage on the wild nature. Josephine Ann Endicott, former soloist in Pina Bausch’s Théâtre de la Danse directs the rehearsals. ” Don’t be afraid, I’m only here to help you” said the former Pina dancer to the young Cape Verdean Luciény Kaabral with a closed face.

The dancers face different doubts than their German counterparts. Gloria Ugwarelojo Biachi left her son or Nigeria to join École des Sables. Marginalized, Gloria had to face stereotypes around dance in Africa. Her mother was afraid that dancing would prevent her from having children. Sometimes treated as prostitutes, African dancers have to fight against prejudices such as having sex to succeed or the impossibility of getting married.

The contrast is dazzling in the changes of shots between the plateau close to nature in Senegal and the immense Semper Opera House in Dresden, which seems grotesque with its gilding, crystal chandeliers and moldings. This place is far from the raw, direct and unadorned dance of Pina. The ping-pong between the two scenes reveals, despite the differences, a common search for authenticity and fidelity to Pina Bausch’s repertoire.

Outstanding Final Scene

The final scene in Senegal is masterful. Deprived of a show because of the Covid-19 pandemic, the dancers find themselves on a beach to perform The Rite of Spring at sunset. We rake the sand to delimit a scene. The setting is sublime thanks to the degraded sky which contrasts with the ocher-colored sand. The framing recreates the conditions of a performance scene. With this unusual place to perform, the dancers give the Rite of Spring unstoppable accuracy. The connection with nature allowed by the setting is powerful, touching and authentic.

Each dancer concretely apprehends nature by leaving his mark in the sand. Hard work pays off and this eclectic troupe manages to turn an unfortunate situation to their advantage. Better, these dancers manage to sublimate the choreography of Pina Bausch which has already convinced. A suspended moment not to be missed.