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anne collod

2xparade costumes 2  © Jérôme Delatour .jpeg




GENERAL KEYWORDS: Anna Halprin’s three levels of awareness (physical, emotional, visual or representational), Archive, Cultural appropriation, Cunningham technique,

Duration, Feldenkrais, Fluidity, Improvisation, Interpretation, Musicality, Labanotation,

Recreation, Reinterpretation, Repertoire, Repetition, Rhythmicality, Scores, Somatic practices, Task-oriented movement, Trace, Transmission, Translation, Yoga Iyengar

CHOREOGRAPHIC WORKS & PROJECTS: D’un faune (...éclats); Moving alternatives,

Parades & changes, replays; Parades & changes, replay in expansion; The Afternoon of a Faune

PEOPLE: Brown, Trisha; Dalcroze, Emile Jaques; Debussy, Claude; Denis, Ruth St.; Faust, Frey; Goodman, Nelson; Halprin, Anna; Hultman, Irene; Launay, Isabelle; Nijinsky, Vaslav;

Petronio, Steven; Quatuor Albrecht Knust; Shawn, Ted; Shivalingappa, Shantala; Wigman, Mary

PLACES: Centre National de la Danse - Pantin, Lyon, New York, San Francisco


CITATION: ​Interview with Anne Collod, Federica Fratagnoli, online (07/10/2021). Project “Mnemedance”, Collection Mnemedance (#Mnemedance10) URL:<>, (accessed dd/mm/yyyy). 


general info


Paris-based contemporary dancer and choreographer ANNE COLLOD is interviewed about her relationship to body memory and her specific use of notation tools in the process of re-creation and re-interpretation of choreographic works. She also discusses her experience with the Quatuor Albrecht Knust that explores the re-creation of major works from the beginning of the 20th century, such as Nijinsky’s Afternoon of the Faune. Originally trained in Labanotation, the encounter with the American choreographer Anna Halprin marked an important step in her career because she was introduced to the notion of “score” and task-oriented movement as support for performance making. Retracing the link between memory and dance notation, she reveals the importance of oblivion in the process of re-actualisation of the past and puts under discussion the authority of the archive as acquired knowledge. Delving deeper into her own creations, and in particular Moving alternatives (2019), the second part of the interview summarises the notion of cultural appropriation and the importance of making marginalised histories being heard.



interview questions




What do you recall from your first experience in dance?  



What dance techniques have you studied and how have they been accumulated in your body? 



How do you access your body memory? 



What is the role of context in the construction of your body memory?  



What kind of memories do you think are hidden in a choreographic score? 



For you, what is the relationship between oblivion and creation?



What kind of authority has the archive in your opinion? 



Do you differentiate dance history from the memory of dance?  



How do you articulate in your creations Euro-American dance history with extra European dance history? 



Could you speak about the role of notation in your work?



During your creations, how do you relate to the memory of the dancers' cultural heritage and training experience?   



What is your relationship with memory conservation: have you organised an archive of your creative process?  



How did the experience with Moving Alternatives change your point of view of the archive?



Could you elaborate further on the notion of “trace”? 



How do you imagine the possible continuation of the memory of your work?

JH Demander DA tous supports_1470049 2.jpeg




ANNE COLLOD is a French contemporary dancer and choreographer. Initially graduated in biology and environmental sciences, she danced for various choreographers and started her own work focused on the topics of reinterpretation of major dance works from the past, and on the utopias of the collective. In her projects, she links performance, research and teaching. At the beginning of the 2000s, she makes a decisive encounter with American choreographer Anna Halprin and starts a long-term collaboration with her. She received a Bessie Award in 2009 for her reinterpretation of Halprin’s Parades & Changes (1965) and is the recipient of the French Villa Medicis Hors Les Murs Programm for her project Danses Macabres. She recently created Moving Alternatives, a critical reinterpretation of works of American choreographers Ruth Saint-Denis and Ted Shawn. She teaches in various contexts and is certified in Feldenkrais technique.

FEDERICA FRATAGNOLI is a dance practitioner and Associate Professor in Dance at Université Côte d'Azur. She is a member of CTEL (Centre transdisciplinaire d’épistémologie de la littérature et des arts vivants), and associate member of Musidanse at Université Paris 8. Trained in several practices, she looks at body training as a source of knowledge production, generating new observation protocols and tools to investigate dance gestures. Combining movement analysis and elicitation interview methods, she works on the circulation of body knowledge and the description of the “pre-reflective” aspects of lived experience. She is a member of the aCD. With Mahalia Lassibille, she co-edited Danser Contemporain. Gestes croisés d’Afrique et d’Asie du Sud (Deuxième Epoque, 2018).

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