KOTEKAN COMPANY
RESIDENCES
Compagnie Kotekan also strives to develop artistic education actions in collaboration with the places that host it.
Since 2002, more than 2000 meetings have been organized with different partners, mainly in the Auvergne-Rhône Alpes, Burgundy and Franche Comté regions. They allowed a collective musical practice with the Gamelan to more than 35,000 people of all ages.
The cultural actions developed with Gamelan are called “residence“
they are of two types:
discovery residence
residency followed
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They have the same main objective: in fact, to succeed in a collective production and through this, to discover Indonesian culture. Underlying objective, to make people aware that we can achieve and succeed in things collectively, that we can find our place in a group, that there is a balance to be found between individual expression and the expression collective
Discovery residence: it is a question of discovering Gamelan, its mode of play and the different postures/responsibilities it requires. On the periphery, geographical and cultural elements are approached (according to the age of the participants).
The session lasts 2 hours and at the end, the whole group (teachers and any accompanying persons included) plays on the Gamelan.
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Residence followed: it is based on the same bases as the discovery residence and the first meeting is a discovery meeting. Its extension over time makes it possible to build a repertoire. For this, each piece approached redistributes the roles of each. Everyone changes places and discovers new game modes, new postures, new responsibilities. Other fields covered, the Gamelan's relationship to theatre, dance, singing, in a posture associating the collective with a soloist, in the form of improvisation in a coded space. The residence followed is organized over a longer period allowing at least 5 meetings of 1H30 to 2H, sometimes more. In one piece, over a week or ten days, or over two periods of four to five days, separated by several weeks, which allow the project to mature and explore its peripheral fields (geography, plastic arts, etc.) led by the teachers responsible for the group (school teachers, musicians involved, etc.).
At the end of the residency, we therefore have a repertoire of 4 or 5 pieces and an improvisation device. This is then often the subject of a public presentation, possibly associated with a concert by the Company.
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L'improvisation corporelle et vocale pour appréhender le rapport entre le collectif et le soliste.
