When conventional language falls short, the body, inhabited by the senses, becomes a vehicle for stories and dialog-building between the protagonists. Finding a middle ground through movement is among the objectives central to Johanna Faye’s creative gesture. The resulting conversation stems from the choreographer’s multiple sources of inspiration, where the importance of the relationship to the dance floor, rooted in her practice as a b-girl, is coupled with verticality and a sensory approach to contemporary dance.
Johanna Faye strives to rehabilitate this non-verbal language as a need to draw our attention back to our instinctive sense of self. Starting with Iskio, her first choreographic attempt written and performed as a duo with Saïdo Lehlouh, Johanna explores a one-on-one relationship, where otherness becomes a foothold for the individual. Moving from a duo to a group, the two members of the Black Sheep dance company take it to the next level in Fact, a piece for seven performers in which both the human and material environments prompt the dancers to reshape their mutual interactions in motion.
Lastly, Johanna Faye finds a narrative balance to her inaugural independant piece in the magic number represented by the trio. Meaning literally “far within” or “away from” in Portuguese, Afastado em traces the intertwining paths of three female dancers, each representing a divergent practice: flamenco, krumping, and contemporary dance. In a decelerating tug-of-war, the piece figures an introspective insight into the characters through an external gesture, such as the act of contemplative breathing in tandem.