Foi (2003) Larbi

Question 1

When did Larbi choreograph ‘Foi’?

Answer 1

2003

Question 2

What is the subject matter of Foi (2003)

Answer 2

Set in the post 9/11 era. Foi translates to faith in French, questioning ‘What do you believe in?’. Each time the protagonists think they are safe, another catastrophe hits.

Question 3

Who are the collaborators on Foi (2003)?

Answer 3

Musicians - Capilla Flameca
Designer - Rufus Didwiszus

Question 4

What is the set design for Foi (2003)?

Answer 4

• Triangular set
• Windows for musicians at top of set, vioristicly watching.
• Cream clothes = Angels
• Normal clothes = civilians
• Props: Hammer, Blood, Gas canister.

Question 5

Give a movement example that shows Larbi’s use of: acrobatics, yoga, martial arts, subject matter, physical setting, aural setting.

Answer 5

• Movement: the male soloist is CS kneeling on all fours, looking at the floor. He slowly lifts his feet into a handstand where he pauses. The camera shakes and cuts between the other dancers who move about the stage, shaking the props as if an earthquake has hit.
• Interpretation: Larbi uses the still handstand (yoga/martial arts/acro/using dancers strength) to juxtapose the other dancers, e.g. the lady in red fans herself with the newspaper. This shows how the man is an angel and when in the afterlife, you become untouchable (faith/subject matter).

Question 6

Give a movement example that shows Larbi’s influence of Wim Vandekeybus, Anne Teresa de Keersmaecker, Pina Bausch and Trish Brown, in addition to his use of: tanz teatre, accumulation, subject matter, physical and aural setting.

Answer 6

• Movement: the woman in the green jacket is SL with a hammer which she hits repeatedly on the table. The singer is black is SR. Both create polyphonic music. The dancers perform an accumulative canon in direct correlation. They perform a range of violent movements like when they hinge forwards throwing an arm behind the body, then bringing the torso ip and both arms out to the side throwing the head back.
• Interpretation: this shows Larbi’s influence of Vandekeybus and Bausch through the animalistic brutal/harsh movements. Keersmaecker and Brown through the pedestrian gestures and accumulation (Rosas Danst Rosas 1983) - tanz theatre through the singing, dancing, and acting (hammer hitting). Also shows his self-taught manner via the original movements.