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my paradoxical knives

©Christian Lutz


Concept: Ali Moini
Performance: Ali Moini
Duration: 30 min
Production: SELON L'HEURE
Follow-upLoïc Touzé
this piece has been created in the context of Forum Dança's PEPCC program


            Artdanthé, Vanves
            Centre d'Arts de Thiers
            Impulstanz Festival, mumok Vienna 
            SIDance, Seoul
            Festival Romaeuropa, Rome 
            Théâtre Olympia, CDN de Tours
            EMPAC, Troy (NY)
            Festival C'est Comme Ça, CDCN Chateau-Thierry
            Hebbel Am Uffer, Berlin
            Festival 30/30, Marché de Lerme Bordeaux
            Festival Au Bord du Risque, Théâtre d'Aubusson 
            XS Festival, Théâtre National de Bruxelles Wallonie
            Le Printemps de Septembre, CDC Toulouse 
            Centre Pompidou Malaga
            Steps on Common Ground, Museum Villa Stuck München
            Flurstück Museum für Kunst & Kultur, Münster
            Festival 360°, La Passerelle SN St Brieuc
            À CORPS, TAP Poitier             Bonlieu, SN Annecy
2013    Scores #6, Tanzquartier Wien
            Vagamondes, La Filature Mulhouse
            Sur Les Frontières, Théâtre National de Chaillot Paris
            Cultures de Paix, Strasbourg
            Zürcher Theater Spektakel, Rote Fabrik Zurich
            Dancing on the Edge, Korzo (The Hague) & De Brakke Grond (Amsterdam)
            Nouvelles, FRAC Alsace Célesta
            TUNIS, capitale de la danse 
            Festival Montpellier Danse
            EXTRA-11, Bonlieu Annecy 
            WAOPA, BAC Genève 
            Soirées Nomades, Fondation Cartier Paris
            Jamai(s) vu, Théâtre de Bagnolet
            Schools, CNDC Angers
            Institut Français de Lisbonne 

Ali Moini proposes in My Paradoxical Knives the construction and the exploration of an image. The image of a man singing in the center of gravitating knives.
The words of that Rumi poem praise the sky not to turn without him... The gyratory choreography of Ali sets him in the middle of a floating system where the written words, while being sung, are erased from the floor by his dancing feet. The audience, raptured and repulsed by the performer, is installed at the periphery of this dispositive and will assist to the meticulous building of this emerging system, its apogee and its silence.

© Claudia Mateus
Gérard Mayen about My Paradoxical Knives
(…) in fact it’s all a matter of tension between the extreme acuity of dynamics, either mental or material, that My Paradoxical Knives gathers and the circular and infinite deepness that constitute Ali Moini’s presence in that very moment. Meanwhile his feet are about to erase the last traces of a poetry he wrote himself on the floor, he starts to enunciate it vocally, bringing back that powerful staccato so specific to the traditional Iranian sing he studied while he was young.
Powerful is the resonance generated by the rattling of the blades shocking, and which collecting has been established in its diversity according to that specific sonorous project. The performance is the one of dance, music, singing and poetry declaiming. It propagates in a dry and multidirectional emanation of multiple, complex and far away senses from Dervishes’ uniformly vertical elevation, overwhelmed by their spiritual exaltation.
Patched to that terrible context of the Green Revolution, MPK has inspired all possible comments and interpretations about Islam, torture, rebellion and suicide bombers. Yet, a simple look at the dates leads us to conclude that this piece was existing before this sequence of political outburst.
While it seemed to wait for those events to happen, it could, then, getting loaded of the many tales that its spectators remain infinitively free to evocate through its experience.