Cellule refers to the Krump dance born in Los Angeles in the 2000s following race riots, Nach is presenting a personal version, freed from the past but loyal to the peers of the movement.

Nach is a young woman who started to take an interest in Krump after watching David LaChapelle’s movie Rize and running into one of these dance performances in front of Opéra de Lyon in 2005. Nach says that she is “exploring the territory of her inner lights and shades (…) and playing with the ambiguity of her androgynous body, two beings conversing within the same body.” As, like all the Krumpers, Nach is herself and her avatar, her personal.

I am a warrior. I take risk.
Day after day, I am making up, I find out, I dare, I don’t bend.
I am alone in my identity suspended.
I am moved to tears. I grab my guts, I devour my loved ones.
I am multiple, pure, violent, « jouissante », suffering.
My soul is burning, it’s sacred. I whisper in churches. I beg. I seize I take my pain out to undo it.
I am Nach.
A monster lost in myths and cultures.
I fascinate, I frighten, I disgust, I feed fantasies.
I am a goddess, a whore, a witch, a holy Mary.
I am ugly. I get high with life.
I seek a ritual to be created.
I don’t care about Art, necessity only is worth.

The street was Nach’s first dance school. After the whirlwind created by David LaChapelle’s documentary film Rize, she started learning Krump. By joining Heddy Maalem’s company in 2013 she perfected her learning of contemporary dance. In search of new encounters and multidisciplinary artistic collaborations, Nach performed with theater director Paul Delore, offering an encounter between live music, theater, literature and video. Her dance is inspired by the traditional arts and dances of Africa and Asia, like Kathakali (India), and other traditional Korean or Senegalese dances.

Coproducers: Espace 1789, Scène conventionnée danse – Saint-Ouen; Maison Daniel Féry – Nanterre; CDCN Atelier de Paris / Carolyn Carlson—Vincennes; Théâtre de Fresnes
The project has been supported by: La Maison des Métallos – Paris; La Scène nationale de Saint-Nazaire; le CN D – Pantin; Le CCN de Roubaix, le CCN de La Rochelle
Thanks to: Heddy Maalem and Marcel Bozonnet