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Emilie Sudre in Anthony Egea’s “Soli 2.” Photo © & courtesy Jean-Jacques Mahé.
By Paul Ben-Itzak
Copyright 2009, 2016 Paul Ben-Itzak
(Originally published May 27, 2009.)
PANTIN (Seine-Saint-Denis), France — Apparently to goose his party’s standing for the June 7 European Parliamentary elections, French president Nicolas Sarkozy just announced he’s going to send a couple hundred more police over here to this department (as French counties are called) on the outskirts of Paris to take back several areas which in his view have been over-run by gangs. I have a better idea: Instead of simply squashing all that youthful energy, how about re-channelling it into constructive, creative activities and ends? I propose sending those young citizens over to the Centre National de la Danse. Even if, when one enters its newish, somewhat cold concrete building on the banks of the Ourcq canal just outside the Paris perimeter, it may seem more like a library or hushed sanctuary than a place where dance students flock to get their technique pushed and dance fans to seek inspiring performances.
Justement, as the French say, it occurs to me that the audience at the CND May 27 for the opening of Anthony Egea’s putatively hip-hop solo “Soli 2” was predominantly white (the youth in Seine-Saint-Denis are predominantly colored, French of North African or other African descent) and, except for the kid two seats over from me who finally stopped squirming when the dancer Emilie Sudre took off her top (tastefully — her back was to us for most of this segment, and more about that beautiful back in a minute), predominantly older. And considering that this was a hip-hop solo and the lady was busting to move, markedly sedate. (Sometimes at the CND, I feel more like I’m in a science laboratory than in what is theoretically in part a national hub of experimentation for an art vivant; no hubbub here, bub!) But what if a bunch of those excitable youth from all over Seine-Saint-Denis were bussed over to the CND?
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