Menu Ali En


© Florian Schmitt

Dance piece for 4 performers 

Concept & Choreography Ali Moini 
Cast (may vary according to the performance) Émi Sri Hartati Combet, Clément Courgeon, Miguel Garcia Llorens, Chandra Grangean, Ali Moini
Instruments, programing Fred Rodrigues 
Sound Design Pouya Ehsaei
Stage setting Ali Moini
Light Stéfane Perraud 
Dramaturgical support Myrto Katsiki
technical direction Samson Milcent 
Production management  Yann Gibert

Production Selon l’Heure 
with the support of Fondation d'entreprise Hermès dans le cadre de son programme New Settings.

with the support of Arcadi Ile-de-France, La Passerelle SN St Brieuc, EMPAC New York, CDCN Toulouse-Occitanie, Charleroi Danse, Le Manège SN Reims, CCN le Havre, Theater Freiburg.
Company in residence in La Passerelle SN St Brieuc, La Briqueterie CDC Val de Marne, Institut Français dans le cadre des résidences Hors les Murs, EMPAC New York, Tanzhaus Dusseldorf 

Force and Pressure...

Surrounding Ali Moini by four other dancers, GAUGEMANCY relocates the essence of his recent creations by confronting his solo researches on movement in restrained conditions (My Paradoxical Knives, Man Anam Ke Rostam Bovad Pahlavan,…) with the field of sound creation and collective effort.

For this new project Moini centres his re­search on the brute physical experience of the notions of 'force' and 'pressure' and ex­tends it to a collective. The title of the work ­Gaugemancy is a neologism that combines the idea of a 'gauge' with that of 'belief sys­tem', bringing together two methods of speculation. From the first, he retains the idea that a force exerted on a body always induces an intuitive evaluation of the action; from the second, the idea that numerous imaginary worlds are incarnated by gestures of pressure, either individually or coilec­tively. ln both instances, the measurement of pressure or force becomes relative data, un­waveringly linked to the bodies that experi­ence it, rather than the product of an abstract and disembodied mathematics.


For this project, Ali Moini has focused on various social activities that involve move­ment (body conditions, breathing patterns, gestures or movements) ail of which consti­tute a form of involuntary choreography.

ln­deed, we can consider sporting rules, the liturgy or professional skills as a means of regulating the body that are comparable to dance techniques, involving a similar level of discipline. Amongst these the choreogra­pher focuses on collective actions that bring into play the balance of power and pres­sure, both physical and psychological, in which the gesture is as important as the re­sult produced. The choreography is there­fore inspired by the techniques of carpet weaving, pasta making or felting (textile production from animal fibres), water divin­ing or wrestling (Zoorkhaneh), Shi'ite ritu­als and Christian ceremonies in order to determine a set of operations referred to as 'grip', 'run', 'turn', 'adjust' or 'eut'. From support to push and shove, they bring into play interactions that invite individuals to react, whether it is to resist the other, to ne­gotiate with them, or to yield to them. ln any case, each constraint is experienced here as an incitement to change, bringing into play adaptability and endurance. On stage the choreographer and the four performers who accompany him vary the speed of execution of their gestures, as well as the duration of the sequences to modu­late the expression of their bodies and to emphasize their physical differences.


More than in any other of his other creations Gaugemancy gives a central place to sound. Most of the activities incorporated by Ali Moini in this piece boast an important musical dimension and sounds that combine with the coordination of the individuals' movements. Whether in situ­ations of adversity or collaboration, the per­formers must pay constant attention to each other and listen to the group in order to en­sure its cohesion. Sometimes in unison, sometimes in poly-phony, together they weave a musical framework which, similar to ail human communities, requires shocks and tensions to create an overall harmony

“Creating this project began with some research on different activities that are not choreographies themselves but contain deep choreographical material.
Soon, I ended up with creating a technique formulated as a series of mathematical combinations in order to conduct a body through different aspects of pressure and volume.
Because it's the pressure that body part makes, the way it is applied, how the body reveals the pressure points and the volume that the body demonstrates, that grabbed my attention during the observation of those activities. 
This technic which deals with the numbers gave us a possibility to discover and amplify precisely the relation between the body and itself, the other entities and the gravity. A dance was born.
We then created a sonorous device, an instrument, which demonstrates and amplify the pressure points while being incorporated to the volume of the body.
The show, took progressively the shape of a typical wrestling training as if the deep DNA of the material was emerging : first part is for preparation, and second part is the practice.”
Ali Moini 7 novembre 2018

Touring 2018
2 October : La Passerelle SN Saint Brieuc
6 November : Le Manège SN Reims
9 + 10 + 11 November : Centre Pompidou, Paris
15 + 16 November : Charleroi Danse, Bruxelles