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On a warm Spring afternoon, I find myself on a video call with the French dance collective (LA)HORDE. This trio, made up of artists Marine Brutti, Jonathan Debrouwer, and Arthur Harel, has just arrived in London for a three-day residency at the Sadler’s Wells East in Stratford, part of the ‘Dance Reflections’ festival presented by Van Cleef & Arpels.
For Dance Reflections, (LA)HORDE showcases ‘Age of Content,’ an engaging investigation into the vulnerability of the physical self amid an increasingly digital world. The performance explores the potential of art and human expression when various identities coexist on the same level, as dancers traverse the metaverse, executing curated dances and stunts infused with raw, primal sexuality. ‘Age of Content’ blurs the boundaries between the tangible and the virtual world, prompting a reflection on the future of art and physical expression.
What begins as a passionate discussion about their craft extends beyond the scheduled thirty minutes to an hour, even as the group is mere hours away from their final dress rehearsal. (LA)HORDE shares insights into the nuances of collaboration and the importance of fostering human connection in the real world. Eager to bridge cultural divides and continuously expand their skills and movements, their productions frequently overlap, fitting rehearsals around the touring commitments of the 17-member troupe at the Ballet National de Marseille, where they have held artistic director roles since September 2019. Here, the trio elaborates on the concepts that inspired their latest work and the processes that transition their ideas to the stage. Committed to understanding the reasons behind our movements and what inspires us, (LA)HORDE continues to craft a dialogue between performer and audience, encouraging active engagement and critical reflection.
Sabrina Soormally: How did (LA)HORDE come together?
(LA)HORDE: We met during our studies in art school. Jonathan and Marine focused on video performance and installation while Arthur trained in acting and dance in Paris. Our paths crossed again in Paris where we frequented nightclubs, dancing together and making our initial connections in the Parisian queer scene at venues like Flash Cocotte, Trou Aux Biches, and later, Possession. We began to recognize dance not just as a medium, but as a subject, a powerful political tool reflecting the societal roles of bodies. There’s nothing more political than our bodies expressing themselves through movement.
Without a family background in the arts, starting out can be daunting. Emotional support plays a significant role; collaborating with friends provides strength and companionship in a challenging world. We never intended to form a collective; it simply evolved. We always invited each other to collaborate on individual projects and discussed everything collectively, leading us to realize that it would be beneficial to create a collective name under which we could all operate.
LA(HORDE) has granted us freedom, allowing us to detach from our egos and insecurities. While ego isn’t inherently negative, as a collective, we can liberate ourselves. The anonymity of our collective means that individuals cannot be singled out when delving into subjects like violence, sensuality, and sexuality, providing a level of protection.
SS: Did each of you have a background in dance? You mentioned not coming from an industry background—were you self-taught?
LH: Arthur received formal training as a dancer, and Marine has ten years of ballet experience. It’s a complex question because our engagement with choreography evolved, with dance becoming a subject before it transformed into a medium. Currently, the most visible aspect of our work is our stage performances, but we also direct videos and create visual art, including drawings, installations, and sculptures. Regardless of the medium, the body in motion remains our core focus.
SS: How do you collaborate as an artistic collective? Is there someone who takes the lead or makes key decisions?
LH: It’s always tricky because our backgrounds influence our vision regarding choreography, but no one has a specific role dictating what areas they control; we collaborate closely on everything.
SS: Do you share a similar dynamic at the Ballet National de Marseille?
LH: At the ballet, we serve as artistic directors, and interestingly, we are also the administrative directors. This presents unique challenges, especially for artists, as we manage a group of 50 people while adhering to a structured workplace, which contrasts with the more liberal and free atmosphere artists typically enjoy. It’s a significant responsibility, and in the company, the dancers are our valued collaborators. We work alongside them in the studio when crafting new shows, exchanging ideas and engaging in thoughtful discussions. I constantly feel fortunate to be part of that environment, as it allows us to challenge the world creatively—it's a truly beautiful and powerful experience.
SS: You’ve collaborated with prominent artists like Spike Jonze and Madonna—do you experience similar collaborative dialogues with external parties, or does (LA)HORDE usually take the lead?
LH: When collaborating with these
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On a warm Spring afternoon, I join a video call with the French dance collective (LA)HORDE, which consists of three artists: Marine Brutti, Jonathan