#lahorde

[mxdwn]

Angèle Collaborates With Justice on New Song “What You Want” With Music Video Directed by (LA)HORDE

https://music.mxdwn.com/2026/03/01/news/angele-collaborates-with-justice-on-new-song-what-you-want-with-music-video-directed-by-lahorde/

[aimihayashi]

(LA) HOLDE & Rone with Ballet national de Marseille : “Room with A View”

"Dance Reflections by Van Cleef & Arpels," a dance festival that tours cities around the world every year, will be held in Kyoto, Japan, this autumn. One of the programs this year is Room with a View by the Ballet National de Marseille and it will be performing in Japan for the first time. Finally! My heart was beating wildly when I heard the news as I recalled my first encounter with this work in 2022. I can still vividly remember my feelings at that time and how deeply I was moved by the experience.

Room with a View is a work performed by the Ballet National de Marseille, produced in collaboration with the collective artistic unit and company director (LA)HORDE, along with French artist Rone. It premiered in 2020; however, the performance tour was canceled due to the pandemic. Two years later, it was performed again at the Théâtre du Châtelet in Paris.

As soon as I stepped into the lobby of the theater, a heavy bass beat echoing from somewhere called out to me. As I opened the door to the auditorium, I was overwhelmed by the sound pressure I had never experienced in a theatre before. It was created by Rone on the stage, who was already playing his DJ set before the show started. Even the chandelier on the ceiling of the historical theater was blinking along the beat, giving the audience a sense that space was beginning to transform, into something unreal, something that didn't yet exist.

The work unfolded in a scenography of huge rocks, looking like a dusty quarry or a dilapidated ruin. The dystopian set design created strong contrast with the youthful dancers in street-style costumes. Their rave resonated with the live music produced by Rone. It was very physical, physically represented in front of the audience. It was especially embodied by the iconic lift move where the dancer's limbs were grabbed by the other dancers and thrown into the air, and the group dance where they beat their bodies until their skin got all red and swollen. Through the sound from the bodies in motion, they expressed their own existence, which was alive on the stage in that moment. The sand grains falling from the ceiling of the stage were also an important element, emphasizing the conceptual landscape. The performance suggested a moment where the past and future become indistinct and characterized by a powerful and momentary brilliance of life.

2020, when this work was created, was, needless to say, an unforgettable year for everyone. Our life changed, routine changed, and the ways we interact changed. But what about our sensibilities? Are we still capable of perceiving the subtleties of the world and projecting their emotions into our own hearts?

Room with a View rang a warning bell, wrapped in a stylish and aesthetic presentation. Its raw, irreversible, and intensely real expression cut through our dulled sensibilities like a sharp knife. And when you realized that you could still feel that beautiful pain from the performance, it suddenly transformed into an unexpected joy—one that lingers long after the show.

It excites me to see how this performance will be received in Japan this time.

Watched at Théâtre du Châtelet, Paris on 18th September 2022 Performance Detail on https://www.dancereflections-vancleefarpels.com/ja/gongyan/room-with-a-view

[rjzimmerman]

I know nothing about dance. (Other than the son of the founder of the Giordano Dance Chicago was one of my partners at my law firm before I retired.) Posting this feels strange, because I never thought of a dance performance connected to climate change. As I watched this short video of the longer performance, I was kind of pulled into it. The performance is called, "Room With A View," with the composer Rone. The dance collective is called (La)Horde, based in France. Here's a description of what you're seeing from a New York Times story about the collective:

“Room With a View” is one such collaboration. Created with the French electronic composer and artist Rone, it transports 18 dancers to an onstage marble quarry. There is struggle and catharsis as violence seeps in and out of the movement — urgent, stark and all consuming. Internal rhythms gradually lead bodies to shudder and sway in even-growing unison to Rone’s gripping score. Rone, performing live, is onstage with the dancers, who ultimately find a sense of peace. It’s a wild ride.

The look of “Room” is powerful, too. Along with Salomé Poloudenny’s costumes, the set has much in common with the company’s headquarters, which (La)Horde referred to as “a concrete bunker.” The structure reflected how they felt as young artists — the directors of the second largest dance institution in France — entering a fortress of sorts where they remade the ballet company on their terms: Bringing together a group of diverse dancers, all of the same rank, to focus on exploring humanistic topics.

For “Room,” they wanted to explore ideas around climate change, but struggled with nuance: “How do we talk about the world without being preachers or giving too many lessons or being into a form of accusation or guilt?” the group said. “Or even in kind of a performative activism?”

(La)Horde began to focus on the notion of collapse, which they said, “is sometimes for the worst, like when we’re talking about ecology, about human rights, about the killing of women.” But what if bad things collapsed too? “Like the fall of patriarchy or police brutality.”

In other words, what if the chaos of collapsing structures could create openings? In “Room,” relationships get blurry; there are states of submission and power, but as it progresses, dynamics change. Club dancing shifts into scenes featuring the performers paired up — their bodies tangled and twisted in rage and despair — which eventually leads into emphatic, unison choreography. (La)Horde said they owed much to Rone, or Erwan Castex, for helping to guide the work’s development. He felt strongly, they said, that “Room” end not on a sad note, but with the possibility for hope.

Here's the "official" music video for the piece:

[juliettethedragon]

#yeah ! #1strun ✅ #runninggirls #lahorde #horsdeprix #teamhumourpourri #gangdepuresmeufs #wearethechampions #happylife Merci @anais_saly pour la tof (à Chezelles, Bourgogne, France) https://www.instagram.com/p/CNzjYadAklY/?igshid=xfr5udq37y70

[juliettethedragon]

Inauguration du CABARET SAUVAGE pour un #halloween #2019 #diasdelosmuertos pour l’équipe de #lahorde avec @liavinova et @andrey_das #merci #dreamteam (à Cabaret Sauvage) https://www.instagram.com/p/B_xGLJoqrQE/?igshid=134kw00r8m1px

[miezemia]

@la.horde #kampnagel #sommerfestival #lahorde #art #performanceart #stretchlimousine #morgenistabgesagt @kampnagel_hamburg (hier: Kampnagel - Internationales Zentrum für schönere Künste) https://www.instagram.com/p/B1T2KAjIgd-/?igshid=choxitigqt6m

[londonpicturescapital]

Christine and the Queens dancers perform at the launch of FranceDance UK - Images | Picture Capital

Photocall: Christine and the Queens dancers perform at the launch of FranceDance UK by FranceDance UK by (LA)HORDE - Choreography by Marine Brutti with casts  Kevin 'MRCOVIN' MARTINELLI (Green), Edgar 'Edx' Scassa (Orange) and Mathieu douay 'magiix (multicolor) on 10 July 2019, Institut français, London, UK. @LAHORDE_, on stage, @QueensChristine, #FranceDanceUK, @ifru_london, @EmanuelGatDance, #EmanuelGatDance

[gspotla]

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Night. #Repost @astrozombie1992 with @get_repost ・・・ The Horde (2009) Dir. Benjamin Rocher & Yannick Dahan #horror #horrormovies #thehorde #lahorde #zombie https://www.instagram.com/p/BqCE4ZlDq7B/?utm_source=ig_tumblr_share&igshid=3xb6jadpl6hj