Workshops

Discover the different artistic workshops offered by the Mandapa!

 
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Bharata Natyam dance
Indian classical dance of South India

Once danced in temples by the Devadasis (young girls attached to rituals), Bharata Natyam is still practiced there today during religious festivals and festivals, and widely represented in theaters in India and abroad. .

Bharata Natyam has 2 aspects: a technical aspect (known as Nritta) abstract dance composed of rhythms and movements, a narrative aspect (known as Nrittya) where the dance becomes pantomime through facial expressions and body language.

All parts of the body participate in the dance: the feet for the rhythm, the body for the movement, the hands, the face and the eyes for the storytelling and the emotion. Bharata Natyam is a global artistic discipline combining concentration with dance.

The teacher : Vidyà

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Faithful disciple of Srimati MKSaroja from Madras, whose style and tradition she has represented for more than 30 years, Vidya has been teaching at the Mandapa Center since 1987.

Divided between India and France, she pursued a career as a dancer and trained many dancers who also became professional. Among his main choreographic productions “The Prayers of Mother Teresa” presented in Rome, and “Bharata Bach” (creation of Théâtre de la Ville / les Abesses).

Renowned for the rigor of her teaching, she also performs many choreographies for her students and for which the Mandapa is a springboard.

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For more information on timetables and prices, contact the teacher.

 
Kathak dance
Indian classical dance of North India

Stemming from the narrative techniques of the Kathakars, nomadic storytellers with distant origins, Kathak has evolved over time into a style of dance in which the devotional and the profane mingle.

Its heyday saw the flowering of the court arts: those of the Rajas loyal to Hinduism, those of the Mughal emperors celebrating the splendours of Islam, both of them joining together to make Kathak the emblematic style of North India.

Narrative dances illustrating the cult of Vishnu, refined and sensual dances inspired by Persian art, offer the dancer, or the dancer, of Kathak a rich palette of expressions to which is added a technique of rhythmic footsteps and pirouettes akin to Flamenco.

Isabelle Anna - Photo, Avinash Pasricha(

The teacher : Isabelle Anna

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First trained by Sharmila Sharma since 1998, then a grant holder from the French and Indian governments, Isabelle Anna became the disciple of master Jaikishan Maharaj in New Delhi where she obtained in 2006 the Diploma of Higher Studies at the Kathak Kendra Institution, studies completed singing, tabla and yoga.

His 9 years in India were divided between numerous traditional recitals and his own choreographic creations, the fruit of his research on the sources of Kathak.

A rare Westerner labeled by the Indian government, she founded her company, Kaléidans'Scop in 2007 and performs regularly, solo or with Deepak Maharaj and in April 2012 at the Guimet Museum with Anuj Mishra.

Very young, attracted by pedagogy, she teaches Kathak at the French School of New Delhi, and collaborates in educational projects.

Back in Paris, she created her school at the Mandapa Center where she promoted the Kalka-Bindadin Gharana of Lucknow, a tradition of her teacher Pt Jaikishan Maharaj whose visit is scheduled each year.

Course quarters

1st quarter from September 14, 2020 to December 13, 2020

2nd quarter from December 14, 2020 to March 27, 2021

3rd quarter from March 29, 2021 to June 26, 2021

Class schedules

Adults

Monday 5 p.m. Narrative course

Monday 6 p.m. Technical course

Monday 7 p.m. Beginner course (teental 1)

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Tuesday 5 p.m .: Children (from 6 years old)

 

Wednesday 5 p.m. Cours Jhaptal

Wednesday 6 p.m. Technical course

Wednesday 7 p.m. Intermediate course (teental 2)

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Saturday 9:30 am Beginner course (teental 1)

Saturday 10:30 am Narrative lesson

Saturday 11:30 am Technical and teental course 2

Saturday 12:30 p.m. Advanced course (teental 3)

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Monthly internship dates

Saturday: intermediate students

Sunday: beginner students

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Saturday September 26 2:30 p.m. to 5:30 p.m. / Sunday September 27 10 a.m. to 1 p.m.

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Saturday October 17 2:30 p.m. to 5:30 p.m. / Sunday October 18 10 a.m. to 1 p.m.

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Saturday November 14 2:30 p.m. to 5:30 p.m. / Sunday November 15 10 a.m. to 1 p.m.

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Saturday December 12 2:30 p.m. to 5:30 p.m. / Sunday December 13 10 a.m. to 1 p.m.

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Saturday January 9 2:30 p.m. to 5:30 p.m. / Sunday January 10 10 a.m. to 1 p.m.

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Saturday February 6 2:30 p.m. to 5:30 p.m. / Sunday February 7 10 a.m. to 1 p.m.

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Saturday March 6 2:30 p.m. to 5:30 p.m. / Sunday March 7 10 a.m. to 1 p.m.

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Saturday April 10 2:30 p.m. to 5:30 p.m. / Sunday April 11 10 a.m. to 1 p.m.

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Saturday May 8 2:30 p.m. to 5:30 p.m. / Sunday May 9 10 a.m. to 1 p.m.

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Saturday June 5 2:30 p.m. to 5:30 p.m. / Sunday June 6 10 a.m. to 1 p.m.

 
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Arab-Andalusian music

The teacher : Rachid Guerbas

Trained first in Western classical music, Rachid Guerbas is an Algerian conductor of Arab-Andalusian music.

He studied ethnomusicology then spent time in Turkey and Syria to learn Arab-Andalusian art.

Today, he directs the Albaycin ensemble and created the first Arab-Andalusian music ensemble in France, “Nawba”.

As a teacher, he taught at the National School of Music in Bourges and in several European regions and universities.

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Already initiated level - study of the repertoire - songs and various instruments

Date and time of the course : Thursday from 6 p.m. to 8 p.m.

Prices : 185 € / quarter

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Theater

"Actors'Labo"

Director of actors: Jérôme Méla

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After having worked passionately for ten years, from 1990 to 2005 as an actor under the direction of directors such as Antoine Campo, Jean Louis Bauer and Georges Bigot, and in several companies, but also as a Kathakali dancer under the direction of Karunakaran Kalamandalam, I met Stanislavski's improvisational work, which was then passed on to me for 15 years during Blanche Salant. I practiced pedagogy in the Blanche Salant and Paul Weaver International Theater Workshop and became a teacher and artistic director assistant from 2005 to 2019. Our approach to pedagogy has developed in perfect harmony with the latest works of Stanislavski of Analysis Action and is in direct line with the teachings of Maria Knebel.

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Course date and times: Monday 7 p.m. to 10 p.m. and Wednesday from 8 p.m. to 11 p.m.

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Système de Notation du Mouvement de Pierre Conté 

LE SYSTEME : Créé en 1931 par Pierre Conté (danseur, chorégraphe et compositeur de musique), ce Système s’appuie sur les signes du solfège musical pour noter l’infinie variété des mouvements du corps humain. Son étude et sa pratique ne nécessitent pas de connaissance musicale. Les signes utilisés ne se rapportent qu’à des mouvements, gestes et attitudes. 

Seule la valeur rythmique des signes et leur durée temporelle sont prises en compte. 

Le Système Conté offre donc aux danseurs, gymnastes, chorégraphes et explorateurs de la syntaxe corporelle, un outil rigoureux, simple et rationnel dans l’utilisation comme dans la lecture. Il permet de prendre au vol sur une simple feuille de papier (voire, à musique) toute vision d’inspiration chorégraphique, à l’image du compositeur à l’écoute de sa musique intérieure. 

Depuis sa création, le Système Conté a été périodiquement enseigné dans différentes institutions (Sorbonne, Conservatoires, Opéra), également en stages ponctuels, et présenté lors de séminaires dans le cadre du CND. Il est en attente d’un enseignement officialisé. 

Actuellement, seule l’Association Arts et Mouvement est habilitée à attribuer des diplômes dépendant d’un cursus. 

L’enseignant : Manuela Duvivier 

Manuela Duvivier, a d’abord reçu une formation de musicienne (flûte, chant, percussions) qui a développé son goût pour les arts du spectacle. Elle a mis cet acquis en pratique en travaillant dans des Maisons de Retraite et a ensuite suivi, jusqu’au diplôme, une formation d’aide-soignante. Ce n’est que plus tard qu’elle découvre la danse et s’engage dans la pratique de différentes techniques : danse classique, Flamenco, claquettes, danse sportive, dans une orientation pédagogique. Depuis 2019, elle poursuit sa formation, des diplômes à la maîtrise, à partir des Danses de Société et du Système Conté à l’IFDS d’Arras de Jean-Claude Petit. 

Ouverture d’un cours hebdomadaire : à compter du mardi 5 octobre

 
 

Danse Mohini Attam
Danse du Kerala

L’une des huit formes de danses traditionnelles de l’Inde dont le nom se réfère à Mohini, nymphe à l’irrésistible pouvoir enchanteur.

Selon un épisode mythologique, lors du barattage de la mer de lait pour en extraire le nectar d’immortalité, Vishnou aurait pris l’apparence de Mohini pour détourner l’attention des Asuras et donner aux Dévas la victoire.

A l’énoncé de ce subterfuge, Shiva incrédule aurait demandé à Vishnou de réitérer son exploit et aurait succombé, lui aussi, au charme de la nymphe.

De là, peut-être, l’ambivalence de ce style tenu pour la contrepartie féminine du Kathakali auquel il emprunte, en particulier, sa gestuelle. Toutefois, le Mohini Attam s’inscrit parmi les danses de soliste et principalement interprétée par des femmes jusqu’à ces dernières années.

L’enseignant : Thomas Vo Va Tao

Thomas Vo Va Tao a été formé par Kalamandalam Hymavathi et Dr. Neena Prasad.

« Quelques interprètes masculins, portant le costume féminin, interprètent aussi cette danse de l'enchanteresse qui aborde le plus souvent le sentiment amoureux d'un point de vue féminin. D'après ce qu'une de ses condisciples m'a confié, Thomas Vo Van Tao est le premier danseur masculin qui a à son répertoire des pièces qui se placent résolument du point de vue masculin... Il faut vraiment féliciter Thomas Vo Van Tao et son guru Dr. Neena Prasad pour ce travail ».

Joël Riou

Deux ateliers par mois à compter du dim. 19 septembre