Project Description

This Dancerie: The Paris Project
A collaboration project by Tony Whitfield, Sebastiano d'Ayala Valva, Klaus Fruchtnis, Thierry Micouin, Nils Nusens, Patricio Sarmiento and Andrew Alden


This Dancerie is a multi-event, multi-site, multi-media work that explores the ways in which gay men have created public expressions of desire despite mainstream prohibitions of manifestations of those aspects of their lives in the context of Paris as a complex historical cultural arena for this exploration.

The pretext of This Dancerie is urbanization as a prerequisite for homosexual subculture and the understanding that despite the absence of “gay ghettos, ” gay men developed and carried on forbidden lives in public it cities around the world. This Dancerie focuses on Paris as a cross-road of queer life in which, although, technically, homosexuality was legal since 1791, decency was legislated and under surveillance.

This Dancerie will create a series of foci on Paris as a site of refuge for queer men and the environments they historically frequented. Particular attention will be placed on developing narratives that include a range of differing intersections of class, race, creeds, ethnicities and gender the collaborators will develop a movement based-work for male groupings drawing upon culturally specific traditions. The role immigration plays in these narratives will also be underscored.

This Dancerie is a multi-event, multimedia collaborative work under the artistic direction of Tony Whitfield. This project will be a collaboration between Whitfield, as Executive Producer and Artistic Director, Thierry Micouin as Director of Choreography, media artist Klaus Fruchtnis as Technical Director, fashion designer Patricio Sarmiento, filmmaker Sebastiano d’Ayala Valva and composer/musician Nils Nussen, all from France and composer/ musician Andrew Alden, and filmmakers Joe Lumbroso and Dyana Winkler, from the United States. Eight to ten sites across the City where same sex desire has created a shifting landscape of criminalized activity, class-complicated entanglements, immigrant freedom, forbidden commerce, transgressive beauty and encoded seduction will be the context for short filmed dance/movement based narratives since 1870. Each three to five minute films will begin with a cruising ritual and be filmed in those spaces. For several evenings the films will be presented in situ as projected images activated by passersby movement. Ideally these installations would be debuted as part of Paris’ La Nuit Blanche in 2017.

These films would then be brought together into a single space to produce an additional evening long performance or “dance party” that would be digitally randomized and improvisationally scored for classical ensemble and world pop musicians. Ideally the space would be situated in a cultural center and include a live performance component that involved local gay residents. Various forms of social media will be employed to augment and reveal aspects of the project's narrative content during the culminating dance party and its scatter site installations.

Several aspects of this project should move it beyond the context of performance based works that explore cultural identity and history. They include: the site specific nature of the public installation that will seek to revive unknown queer histories in ways that immerse the audience in the projected work; the creation of apps that will allow the participant to access deeper know of the history behind the narrative they have stumbled into as well as information about the artwork itself and other components of the work at other sites across Paris as well as multifaceted entries into the "dance party."

It is anticipated that audiences for This Dancerie will include: post modern dance, experimental music, expanded cinema, public art and contemporary performing arts audiences. In addition general public members who are attending events associated with Paris' La Nuit Blanche 2017 and local commmunities adjacent to the various sites in which This Danceries' short constituent works will be situated.This project will seek to engage LGBTQI populations including scholars, artists, performers and youth. Social media, print and electronic media associated with La Nuit Blanche and the venue that will host the culminating event will be drawn upon in addition to apps established specifically for This Dancerie.

The primary goal is to reveal the queer past and present of Paris as an urban geography that has been multifaceted, ethnically, economically, and culturally diverse while also revealing those aspects of queer life that defy normalization, concealment behind closed doors challenge notions of "decency" are tied to desire and find expression despite histories of policing and surveillance. In addition this work will seek to engage collaborative, improvisational and interactive structures and technologies to create social points of entry and discussion among various queer communities across Paris and beyond as a means of expanding current discussions about same sex desire.


Thursday, July 24, 2014

Salim (Simon) Halali, potential narrative thread for 1960's Latin Quarter story



Salim Halali

From Wikipedia, the free encyclopedia
Salim Halali
Salim Halali.jpg
Background information
Birth nameSimon Halali
BornJuly 30, 1920
Annaba, (Bône), French Algeria
DiedJune 25, 2005 (aged 84)
AntibesAlpes-MaritimesFrance
GenresMiddle of the road (music),Algerian musicTunisian music,Moroccan musicFlamenco,Chanson
OccupationsSinger
InstrumentsDarbouka
Salim Halali or Salim Hilali (real name Simon Halali,[1] July 30, 1920 – June 25, 2005) was an Algerian singer, performer of Andalusian classical music and Algerian music.

Biography[edit]

Salim Halali was born in AnnabaAlgeria; his father is of Turkish origin and his mother is of Judeo-Berber origin.[2] Hallali's grandfather was named Jacob, who married Baia (Berthe) Brami and had four son and two daughters. The eldest son Mushi (1850-1918) and wife Zeira Taieb moved to Ain Beida, a town in eastern Algeria. He had several children, and one of the sons, Fraji, married Chalbia Bakis, and moved to Annaba, then Souk Ahras (Algeria). They had seven sons and three daughters; among the sons was Salim Hallali.[citation needed]
In 1937, Salim Hallali arrived in France and became successful in Parisian flamenco clubs. His meeting in Paris with theAlgiers music hall artist Mohamed el Kamel (real name Mohammed Hamel) was decisive. Mohammed el Kamel wrote Salim Halali's first songs, such as Andaloussia (I love a girl Andalusia), SevillaneTaaliArdjaâ lebladekBine el barah el youm wa (Between yesterday and today), Mounira (the name of one of his sisters), Nadira, ouchq El Saheb, and El qelb chahik. In later years, Mohand Iguerbouchène composed fifty other songs. In 1938, he toured Europe and his flamencorecords in Arabic became successful in North Africa. Among his other successes are Al ain Zarga (The Blue Eyes),Mahenni zine (The beauty disturbed me), Habibti samra (my beloved brown) and Allala illali.
During the German occupation, the founder and first rector of the Great Mosque of Paris Si Kaddour Benghabrit managed to hide Salim's Jewish roots by providing a false Muslim certification, and etching the name of his late father in an unmarked grave Muslim cemetery Bobigny (Seine-Saint-Denis). Si Kaddour Benghabrit was born in Sidi Bel Abbes (Algeria) in 1868. He was an intellectual and non doctor faith. He had several books to his credit and was also into music as an oud player and violinist. He invited Salim Halali to perform at the Moorish café of the Mosque, where Salim performed alongside great artists like Ali Sriti and Ibrahim Salah. After the war, he returned to success and even earned the admiration of the Egyptian Umm Kulthum. Salim Halali was considered a pop singer and not of Arab-Andalusian music since he had no formal training in this area.
In 1947, he created a Middle Eastern Paris cabaret Folies Ismailia in a hotel that belonged to Ferdinand de Lesseps and located in the prestigious Avenue Montaigne. In 1948, he created a second cabaret,The Serail, on Rue du Colisee.
In 1949, he moved to Morocco and bought an old cafe in Maarif, the cosmopolitan quarter of Casablanca, and transformed it into a prestigious cabaret, Le Coq d'Or . The tavern was frequented by wealthy families of the country and visiting dignitaries. The Coq d' Or was destroyed in a fire, after which Salim returned to France inCannes, during the early 1960s.
Salim Halali was known for his love of lavish parties at his villa, where an elephant wandered the gardens. Musically, he witnessed a turning point in his career when he released a 33 rpm in French and performed at the Pleyel in Paris at the beginning of 1970. Despite being successful, Salim Halali decided to retire. In the years that followed, he gave concerts in Paris, Montreal and Casablanca. In 1993, after having sold his magnificent Villa St Charles (St Charles Street in Cannes), he decided to end his days in a retirement home in Vallauris in complete anonymity. His days became very routine, spending the mornings in his room, being attended by the staff in the afternoon, dining early and then going to bed. Salim died in the hospital in Antibes (Alpes-MaritimesFrance) on 25 June 2005. According to his last wishes, his ashes were scattered in the garden of remembrance of Nice crematorium.

Cinema[edit]

Salim Halali is one of the main characters in the film Free Men, directed by Ismaël Ferroukhi, released in 2011. He is played by Mahmoud Shalaby.

Sources[edit]

References[edit]

  1. Jump up^ Emile Zrihan rend hommage à Salim Halali in L'Arche, Numéros 573-576, F.S.J.U., 2006, p. 134
  2. Jump up^ VH magazine (2010). "Salim Halali: Le roi des nuits Csablancaises". p. 66. Retrieved 2013-03-27.

External links[edit]


  • MONDAY, JULY 04, 2005


    Great Algerian-Moroccan-Jewish singer dies

    Moroccan pop music lost one of its greatest stars last week when Salim Halali, 80, passed away in relative obscurity in Cannes.

    Salim Halali (who was born in Algeria) belonged to the same generation as that other Jewish pop star, Sami al-Maghribi. Much of his life was spent at the 'Coq D'or' in Casablanca , a famous oriental music hall in the old Medina popular with visitors, where he nurtured a whole school of pop stars such as Hajja Hamdaouya, Omar Tantaoui and Latifa Amal.

    In 1940 Salim Halali escaped deportation from his home in Paris to the Nazi concentration camps by order of the King of Morocco. The rector of the Paris Mosque, Kaddour Benghrabit, delivered him a certificate of conversion to Islam.

    An energetic, dynamic and charming man, Halali was able to strike up a personal rapport with his audience, like Manitas de Plata. A Canadian journalist once noted that although his songs were nearly all Arab, they had a touch of the modernism which gave rise to flamenco.Read article (in French) in full.

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