Backstage with Saïdo Lehlouh

Philipp Schaus: Hello Saïdo! Témoin is a piece with 20 dancers on stage. The piece is touring with two teams, referred to as Team Fire and Team Water. Could you elaborate on the characteristics of each team and how they were formed? Also, which team will be performing in Düsseldorf?

Saïdo Lehlouh: Interestingly, the team dynamics do not necessarily match the characteristics attributed to the elements we have named them after. Both teams exhibit a diverse range of energies and qualities, with some dancers being more grounded and others being more floating in their styles. The group consists of a variety of personalities and characteristics. Each performance is unique, as the energy of the dancers varies within and between teams. Team Fire tends to feature more breakers and dancers with whom I've collaborated closely in the past, such as those from projects like Apaches and Wildcat. There's a strong sense of connection and shared history among them, stemming from battles and mutual experiences. On the other hand, Team Water comprises dancers from varied backgrounds, ranging from electro and krump dancers to those with theatrical, cinematic, or literary interests. Despite this diversity, personal movement vocabulary and life experiences, they possess a cohesive aesthetic. Some have started to expand their artistic pratcice into acting, directing, or writing. All of which enriches the team and their multifaceted talents and becomes part of the work. Team Water will be the team performing in Düsseldorf.

PS: Témoin includes dance cultures rooted in contexts like hip hop, waacking, and krump, which are rooted outside of conventional stage settings. These cultures have rich, multi-layered histories. How do you approach incorporating these cultures into a stage performance?

SL: I have always experienced street and club styles like hip hop, as transcending boundaries, and infusing spaces with their spirit. Their evolution from underground origins to broader influence fascinates me. These cultures thrive in diverse settings, reflecting social dynamics and human experiences. Transfering these onto stages poses both an opportunity and a challenge. For the audiences it's an invitation to connect with these cultures, fostering understanding and recognition of their relevance. But I do not see my pieces as showcasing a culture or aesthetic; I think they are processing and representing shared human experiences. Through my work, I want to give the audiences the opportunity to experience the performance on an emotional level and to understand that it reflects the dancers' lives. That it portrays an ecosystem and mirrors our collective journey.

PS: You began your career as a dancer in Paris, engaging in battles and jam sessions before delving into choreography, bringing hip hop culture to bourgeois stage settings. Could you share more about these beginnings and developments and what they mean to you?

SL: Initially, I immersed myself in the dance community because I was so fascinated with hip hop culture. It was not much later that I started to work as a performer, collaborating with renowned choreographers like Storm from Germany and Wang Ramirez. I discovered my interest in exploring choreographic ideas during the work with my crew, Bad Trip Crew, around 2011-2012. When we started to work in theatre venues I started to love to choreograph and direct. I was observing the dancers and created links and connections between them. I was looking for ways to make them show their self and their different facets. In the rehearsal spaces other then in battles, jams or street shows there was time to explore different movements and relations between dancers more intensely. The extended rehearsal time provided deeper insights into each dancer's uniqueness. It`s this context where I came to experience movement, as a language through which we communicate and understand one another. This approach to listen to each other and each others movements permeates my work with various groups. It`s my way of fostering dynamics that reflect our societal complexities, encompassing conflicts, fragilities, but also mutual support. Moving from the streets to theaters, I've of course encountered audiences unfamiliar with these cultures. As a choreographer I see my role in fostering understanding and appreciation for these cultures, enriching the dialogue between artists and audiences. In Témoin, with its ensemble of 40 dancers, my aim is to empower dancers to express themselves authentically. It's a gradual process, but one that's yielding connections and understanding.

PS: Témoin translates to "witness" in English (Zeug*in in Deutsch). Can you elaborate on the role of witnessing in the performance?

SL: Absolutely, the concept of witnessing is central to Témoin. Everyone involved, from the dancers to the audience and the venue itself, embodies the role of a witness. Onstage, the 20 performers each bring a unique perspective to what they observe, reflecting on themselves as both observers and the observed. With each performance, they strive to convey their experiences and to express themselves through movement. To me, being a witness today means acknowledging our place in the world, our exposure to information, and the rhythms of our lives. It involves recognizing our personal backgrounds and the burdens we carry, and transforming them into an art form that is truly authentic in the moment. And to show this process of transformation on stage. In the context of the performance, being a witness means actively engaging with what is being presented, interpreting the intentions of other performers, and serving as a mirror for the audience. Each performer has the responsibility of guiding the audience's perspective, translating the unfolding narrative through their actions on stage. It's a dynamic interplay where performers and audience members co-create meaning together.

PS: You often mention that you are working with self-taught dancers, who developed their skills and practices outside of traditional institutional settings, drawing from their cultural backgrounds and communities. Considering this, what does it mean to work professionally as a dancer in contemporary dance from your perspective?

SL: It's essential to note that these dancers have learned their movement vocabulary and styles in very different ways. Some grew up within movement-rich cultural environments. Regardless of their individual paths, they all undergo a journey of development, growth and personalization. They immerse themselves in various dance forms like waacking, krump, breaking, hip hop, freestyle, house dance, and electro, attending classes, and practicing extensively to develop their unique language of movement. For me, the term "self-taught" doesn't adequately capture the depth and individuality of their artistic practices. Their dance transcends labels; it's a contemporary expression that continually evolves. Each dancer's style is personal and distinct. It's like a language they've cultivated over time, drawing from their experiences and cultural influences. As they evolve, their dance evolves with them. In the professional field of contemporary dance, it's about recognizing the richness and diversity of artistic expression. These dancers contribute to the cultural and artistic landscape, offering unique perspectives on society and identity. It's crucial that such voices find a place within these spaces. Their presence is valuable and necessary for the continued evolution and relevance of contemporary dance.

PS: You've mentioned Bad Trip Crew, which is part of your journey within hip hop culture. Can you tell us how you became involved with hip hop and from whom you have learnt from?

SL: I had an unconventional start with hip hop in 2001. Initially, I delved into acrobatics, spending days jumping and climbing with a friend who practiced parkour. This sparked my interest in movement and I have been really growing up as a kind of stuntman. I definitely broke a bone or two during that time. My mum very worried about me at the time. Once I accompanied a group of friends to their breaking practice which really fascinated me. Afterwards I started doing choreo in front of a mirror with learning hype, locking, popping also to impress peers at school. Yet, gradually, breaking became my mainstay. Breaking provided a sense of community, friendship and also mentorship, as older dancers guided my progress. One pivotal moment was encountering the company Wanted Posse at a festival. Seeing their show ignited my fascination with hip hop's broader scope. Until then I was not aware that hip hop was this whole culture from the US. I thought it is something we celebrate on out practice ground in Paris. We then started to trade DVDs, studied battles, and emulated moves from the US and Germany. I used every opportunity I could get to immerse myself in the culture, practicing non stop at school, in supermarkets, and at home. My parents, initially oblivious to my commitment, gradually recognized what all of this means to me. While their concern grew, they eventually acknowledged the profound impact hip hop had on my life.

PS: How do you envision the future of urban dance cultures in a stage context?

SL: I hope we can move beyond labeling dance forms as "urban" and recognize them as integral parts of the broader dance culture. The focus should shift toward individual artistic vision and expression, transcending stylistic categorizations. I think that the essence of art lies in connecting people to their inner poetry. Despite challenges like the normalization nationalism or war. We have to foster mutal understanding and collaboration, with less ego, especially amid current debates about cultural policy and the role of institutions. Also I think the future should be shaped by those living it, so particularly the younger generation. Young dancers who are deeply immersed in hip hop culture, deserve a seat at the table for deciding about its future.

The interview was conducted by Philipp Schaus, dramaturge at tanzhaus nrw.