This project came into being in Japan, or to be more precise in the summer of 2009 on the slopes of a mountain near Kyoto. The heat of the summer, the intensity of the skies and the continual rustling sounds in the undergrowth surrounded its development. I had just met Romain Kronenberg, an artist and musician, during an artists' residency in the town of Kujoyama. [full text]

I would like there to be a feeling of duration, crossing through periods of time, feeling the passages, the flow of the materials of time such as pulsations, waves, mixed particles of sound, bodies, lights. Those sensations that follow us and which establish, conceal themselves, over-layering and erasing motifs, sliding through different levels to detect the more subtle presences [full text]

A piece built as a set of Matryoshka dolls. A world conjugated in the plural form, according to those who inhabit it. On stage, four dancers reveal their own world, coloured with the memory carried by their bodies. In a language that is their own, with serpentine hands, faceless figures and a receiving body, they recount small parts of their being, of their story. Inevitably dissimilar, from one individual to the other, yet also common. For beyond the differences, a map is drawn of a shared territory [full text]

A stage as an individual (play) area. That of a tribe willing to exchange. That of dancers, acrobats and musicians seeking a route that will link their continents. Crossing frontiers, the Djembe invites itself into the swinging melodies of the violin, the Mozambican rhythms rub up against the Japanese electronic music, contemporary dance defies African dance [full text]

Between two things, a threshold, as a meeting place
Between two things drawing closer together and confront each other.
I imagine a sheet of paper on this threshold
Paper in the form of a human body
[full text]

Haruki Murakami’s Chroniques de l’oiseau à ressort, a right of passage novel, leads its characters to carry on a metaphysic quest in the determined space of their daily environment. Thus dreams, reminiscences/recollections and reality overlap and superpose. [full text]

When dreams replay past events, when they break them up, transform them into images, and determine their meaning, I have the idea that the past, like the future, will forever remain a mystery. The fact that we have experienced something certainly does not mean that we have understood the significance of it. That is why I am no less anxious about the past than the future. [full text]

Since the beginning, Kubilai Khan Investigations dreams of the group, of a plural identity, a space without poetic or ethnic borders. The stage is conceived as the place for exchanges and meetings, where you can find together dance, acrobatics, music… In order to keep inventing games, weaves, the principle
[full text]

You need eyes riveted open, ears that are ready for a "mix" of tones and a mind that is on the alert, to be able to follow TANIN NO KAO. The key to "breathing" in this score for 6 parts is time: time to tame the action and the movement, interference between artistic disciplines, time to freeze the trajectory of gesture and image [full text]

Creating a spectacle is, for me, like travelling into an unknown territory. In the case of Huit sur 8 the journey is made by two people. Each traveller knows how important it is to choose the right companion, a good one, one with whom discoveries can be shared, who can help you from time to time, to talk with, to be silent with, to be together with and then also to leave [full text]

Since the beginning, our meetings ressembled an artistic trading : the stage became a place for transactions leading to interrelationships between our different practices. On the stage, the arts of circus, dance, music and new technologies mingle together. What agreements, what disagreements will these opportunities for crossbreeding and for exchanging produce ? This framework, which is the basis of a “vibrant life ” [full text]

[full text]