©Jelle IJntema

©Jean-Claude Davidian

©Didier Nadeau

©Didier Nadeau


Choreography : Mithkal Alzghair

Performers : Mithkal Alzghair, Marion Blondeau, Olivier Normand, Noma Omran

Vocals creation : Noma Omran

Lighting design : Julie Valette

Visual artist : Khaled Dawwa

Stage management and sound : François Chaussebourg

Costumes : Manon Denarié

Production and touring : Clémence Sormani

Project co-produced by ICI-Centre chorégraphique national de Montpellier Languedoc-Roussillon Midi-Pyrénées / Direction Christian Rizzo – as part of the Life Long Burning project supported by the Culture Programme of the European Union ; CN D Centre national pour la danse ; le Vivat – Scène conventionnée danse & théâtre d’Armentières ; l’Echangeur-CDCN Hauts-de-France ; Performance(s) Between two shores – project supported by the European Commission (in partnership with Les Bancs Publics / Les Rencontres à l’échelle, Marseille – France; BOZAR, Brussels – Belgium; Dancing on the Edge (DOTE) – Netherlands; Globalize: Cologne international platform for dance & theatre, Cologne – Germany; SEE Foundation / D-CAF Festival, Cairo – Egypt; Shubbak Festival, London – United Kingdom); DRAC Île-de-France ; Mophradat ; Mawred ; Shubbak in partnership with the British Council ; the Caisse des Dépôts group ; ARCADI Île-de-France; Fondation Ford. This production was created thanks to a Prix de Production des Jeunes Artistes de la Ressource Culturelle. With the support of Théâtre de la Ville – ParisThéâtre Louis Aragon – Tremblay-en-France and the Pôle de danse verticale/compagnie Retouramont.

The Institut français and ONDA regularly support the national and international touring of HEK-MA.

This is a dialogue between the images that are shown and the blurry reality. Obsessions. Between the media coverage that creates fog and illusion to give us a simple view. Transactions, an excess of images, conflict and peace. We look. Was it constructed to be destroyed? Before our very eyes? But also the song of what we have killed. Transaction is the suspended moment of an explosion, of traces of voices, bodies, cries, movements in space.

I am trying to create an installation of dead bodies, forced to move in a mechanical system. Over-exposed, the dead bodies become disincarnated instruments in the service of media power. The repulsion, horror or dread that they convey disappear in favour of the political apparatus.

In Transaction, suspended bodies construct a human panorama that embodies the absurdity of war. I would like to open up a field of experimentation on the representation of the dead body as a mirror of an eclipsed reality. Transaction calls into question choreography, which emerges here less as a composition of dancing bodies than a living installation that juxtaposes, articulates and brings together states of life and death in the same space, in the same universe.

Mithkal Alzghair