In their last performance, "Femmes", the ODChas taken its audience on a new journey. This time they invited us to "travel"through what they feel and think it means "to be a woman"...  

Different "roads" were offered for such voyage.A dance, a theatrical interlude, and an image were talking to us about differentwomen... Some of the images triggered comic reactions, some of them suggestedpolitical and social agenda, and some became personal statements of emotionalgratitude to the women most dear for the dancers. This "visual" road has becomethe most uneven one, sometimes taking a spectator to the very heart of a dancer'ssoul, sometimes unnecessarily confusing personal and political. However, theaudience had two more beautiful roads to follow, and they have created themagic of the performance through the artistic dynamic of a choreographedmovement...

The articulated shift from a traditionaloriental dance to a conceptual and modern performance has proved to be a wayfor creating a special atmosphere of playful interaction between the dancersand the audience. A composition of a program, offered in leaflets, has becomean invitation for a play with audience's expectations as well. By notspecifying the format of each piece the ODC offered another creative way tosurprise. The group dances, e.g. mesmerizing "Femme mystérieuses", the smallgroup dances, e.g. dynamic "Femme fortes", or solos, e.g. teasing "Femmecoquette", were cleverly mixed with small theatrical interludes such as "Bubbles","Walking on thin ice", or "Marking the path". Sometimes the dance wasunwrapping without music, and sometimes music was flowing as the extension of adance. Now and then the austere style of black costumes was suddenly alternatedby very casual elements of everyday clothes, a training outfit of a dancer, orstylish milky covers. No text, no explicit story, but a nice balancedcomposition of feelings and emotions fully expressed through the movement andjust touched upon in words...

The "Femmes gātées" presented women using thefull power of their seduction techniques. "They all do it" showed women "behindthe curtains" checking their armpits, fixing their pants as a contrast to thesame women "at the light spot", all shining and composed. There were "Femmeshypocrites" faking the smiles and taking any chance to hurt the "jealous other".There was a lovely "Femme enfante", whose charm of pure child expressivenesswas battling the waking magic of seduction and eroticism. "Femme fragile" wasmourning the unreciprocated precious gifts of her soul through the beautifulplay with her body. She transformed the floor into the liminal space of painand safety. This is where you curve, once you are hit, and this is from whereyou rise, once you are ready to face the world again. The elegant and shining "Femmemusclée", no contradiction in terms here, played with "burdens" that a womancarries along from her private world, but hardly shows the true weight of it inpublic. And the most touchy, perfectly choreographed, and beautifully performeddance "Femmes amiées" showed the full dynamic of loving, caring, and supportivefriendship that lets each to be oneself.

 "Nous,we, biz, wir, noi", the femmes, were modern, seductive, oriental, decisive, natural,flirtatious, and charming... everyone in her own special way. A good finale foran interesting and, in some way, touchy dance performance...