Julidans: "Bless the Sound that Saved a Witch like me"

Bless the Sound that Saved a Witch Like Me sounds like a cry for help, waking us up to the many crises of our time: geopolitical, ideological and ecological. In a physical and sonic journey, Sati Veyrunes takes the audience on a quest for beauty, harmony and urgency. She moves effortlessly between different states of mind, blurring the boundaries between genders as she transforms into mother, adolescent or orphan - figures as powerful as they are vulnerable.

In this solo, choreographer Benjamin Kahn focuses on the cry. Not as an expression of mere emotion, but as a powerful means of making a vital impulse accessible again: raw, honest and full of eloquence. The scream is an intimate, instinctive act that evokes immediate empathy, whether it stems from anger, pleasure, pain or silence. Yet we often shy away from it: too loud, too violent, too inappropriate. This performance invites us not only to hear but also to understand and embrace that unfiltered sound.

Bless the Sound that Saved a Witch Like Me is the latest in a series of dance portraits in which Benjamin collaborates with various performers to make their stories, bodies and voices visible. After Sorry, But I Feel Slightly Disidentified... (with previous Frascati-maker Cherish Menzo) and The Blue Hour (with Théo Aucremanne), he collaborates in this project with performer Sati Veyrunes and composer Lucia Ross. By and by, the series is increasingly carried by women who know how to take a powerful and autonomous stance. A force and power that deeply inspires Benjamin.

Benjamin Kahn has previously worked with Nicole Beutler, Frédéric Flamand, Maud Le Pladec, Philippe Saire and Alessandro Sciarroni, among others. His work is intense, sensory and socially engaged.