Nine dancers on a golden plate made of the same gold used by the people of Israel to erect the golden calf at the foot of mount Sinai. Images sometimes speak louder than words, yet the rave trance music comes on top of the sacred.

Introspection: 14 year-old Christian Rizzo awakes in London to the sound of David Bowie like others come to a spiritual awakening through assiduous practice of Buddhism. Le Syndrôme Ian gathers most of the choreographer’s talismans: the sacred, music to reawaken Chaillot and a revisited section of folklore –here, the ballroom dances for two.

And of course there is the smoke. A smoke to take a breather, a smoke to wear as a mask, a smoke to create accelerating tunnels through time. A hyperlapsed night.

Night butterflies move and groove between neon lights with branches like rays of cold suns. The relentless phototropic ballet doesn’t even notice the black hairy animal poking punctually the edges of the set. The creature strikingly resembling the garbage man in David Lynch’s Mulholland Drive progressively emerges in multiples.

Christian Rizzo, Le Syndrôme Ian, illustration Araso
Christian Rizzo, Le Syndrôme Ian, illustration Araso

At the end they are legion, colonizing the dance floor before collapsing, dead.

Curtain, the golden age of nightclubs is over.

Le Syndrôme Ian was awarded the FEDORA – Van Cleef & Arpels prize for Ballet 2015
The performance was seen in Chaillot on April 26th 2017.

Illustration by Araso