- CCN-Ballet de Lorraine
- Centre Chorégraphique National
- Practical information
Created on April 13, 2016 on the Place Stanislas (Nancy) for the trophy tour for the UEFA Euro 2016
1 Referee & 3 artistic judges
24 dancers from the CCN Ballet-de-Lorraine: Two teams of 12
The match/performance is played using the basic forms, placement and rules of European football. BUT in order to move and/or travel on the field all are required to dance. Never at rest, a continuous improvisation develops that follows the ball but also pays close attention to artistic merit (the battle) which is also a key element to winning the game.
To determine this artistic merit, a panel of three artistic judges present scores twice during the match, first during the half-time and then a second after the game. These two rounds of scores are added to eventual goals to determine the winner. If, for ex a team has not scored a goal, but they have received higher scores from the judges who have deemed them superior dancers, they win.
Aside from the performative, the game also differs from professional football in its, all are equal stance on gender, cultural and esthetics norms. The indifference to one gender teams only allows for greater possibilities on the field. This match doesn’t have time for the usual hyper masculinity attributed to football – we’re just to busy dancing. When performed and received as it should be, DF shakes, shimmies and twirls us further away from our society’s cumbersome classifications.
START (5 min.)
The match begins with the usual ceremony of a typical football match: announcements, warm-up, handshake, anthem, team photo opt.
FIRST HALF (10 min.)
HALFTIME (5 min.)
Starts with a 2 min. choreographed «stretch» sequence. After, artistic scores, a maximum of 6.0 are awarded to each team from our panel of professional judges. These points are tabulated with eventual goals. The announcement of scores is made.
SECOND HALF (10 min.)
- Tallying of second half scores together with artistic points gets then added to first half points.
- Winning team is announced and trophy given.
The choreographers and dancers Petter Jacobsson and Thomas Caley, started collaborating in the nineteen nineties, choreographing works for Martha@Mother, the Joyce Soho in New York and the opera Staden for the Royal Opera House in Stockholm, a commission for the 1998 Cultural capital of Europe. For the Royal Swedish Opera, Ballet and Orchestra they created two immense Happenings, In nooks and crannies 2000 and 2001. The two different performances, occupied non-traditional performance spaces throughout the entire theatre.In 2005 they started their own company creating works entitled Nightlife, Untitled partner, Flux, No mans land - no lands man and The nearest nearness. In 2002 they received a “Goldmask” for the musical Chess with Björn Ulveus and Benny Andersson (ABBA).
As of 2011, Petter is choreographer and the Artistic Director and Thomas choreographer and the Coordinator of Research for the Centre Chorégraphique National - Ballet de Lorraine, Nancy. For the company they have created Untitled Partner #3, Performing Performing, Relâche, Armide, Discofoot, L’Envers, Record of ancient things, Happening Birthday and For Four Walls.
Their programming for the CCN is organized around questions or themes and each year they invite a wide variety of artists both French and international to play and question within them.Their first programming season 2012, was entitled La saison de La. There they asked why is it Le Ballet but La dance? In response to this question of gender they presented solely female choreographers of diverse backgrounds. The season Tête à tête à têtes was a dialog focused on our modernity and its influences and connections with contemporary artists and spectators. Live! was a celebration of the ephemerality of the performing arts. Together with the continuing seasons, Folk + Danse = (R)évolution, Unknown Pleasures, 50 ans!, Fifty Plus, all have continued to challenge, celebrate and question our current 19/20 season’s subject, the need for all this Useless Beauty. To insure a continued lively and non fixed use of the artform they have also worked with the Musée d’Art Moderne in Paris and Centre Pompidou- Metz and Paris, and an original initiative LAB-BLA-BAL, a series of discussions and open house art experiments.
Born in Stockholm, Petter Jacobsson started his studies in dance at the age of three and was further educated at the Royal Swedish Ballet School, the School of American Ballet under Stanley Williams and he later graduated from the Vaganova Academy in St.Petersburg in 1982. As a principal dancer with the Sadler’s Wells Royal Ballet in London between 1984 to 1993, he toured internationally dancing all of the renowned classical roles as well as appearing as guest artist with numerous international companies. He later moved to New York to begin a freelance career, dancing with Twyla Tharp Dance Company, Merce Cunningham Repertory group, Irene Hultman Dance and later with Deborah Hay. In 1999, Petter was appointed artistic director of the Royal Swedish Ballet in Stockholm.
Thomas Caley started his dance training at Interlochen Arts Academy in Michigan, he continued his education earning a BFA from Purchase College in upstate New York in 1992. After graduating from university, a year was spent experimenting, performing in a multitude of independent projects in New York City. From 1993 until 2000 he was a principle dancer with the Merce Cunningham Dance Company touring throughout the world and participating in the creation of twelve new works. In 2000 he moved to Stockholm to continue his collaboration with Petter Jacobsson and to continue working as a freelance dancer in Europe, in France Thomas has worked with Boris Charmatz on the 50 ans de danse & flip book projects.