Benjamin Kahn is a dancer and choreographer. He studied dramaturgy and theatre at the University of Aix-en-Provence and the Conservatoire de Rennes and graduated from ESAC (École Supérieure des Arts du Cirque) in Belgium. After his studies, he collaborated with choreographers such as Philippe Saire, Benjamin Vandewalles, Nicole Beutler, Ben Riepe, Frédéric Flamand, Maud Le Pladec, Egle Budvytyte and Alessandro Sciaronni. He considers dance and choreography to be powerful political tools and is particularly interested in the construction and deconstruction of how we view individual and collective bodies.
Whether filled with rage, pleasure, pain or silence, screaming is a powerful and profoundly intimate act. It provokes instant empathy that also summons up our most common and instinctive emotions. It opens a crack in space and time.
Together with performer Sati Veyrunes and composer Lucia Ross, Benjamin Kahn examines the means of expression connected to the feeling of emergency. Screaming is less well documented in the history of philosophy and the social sciences. It is mostly equated with anger, hysteria or chaos and is often silenced.
This solo is an attempt to reappropriate the scream in order to articulate and tame this raw and staggering material. The journey is physical, sonic and aims at making this vital impulse accessible to all, once again.
“Bless the Sound that Saved a Witch like me” is the second part of a trilogy of portraits, composed by “Sorry, But I Feel Slightly Dissidentified…”, a solo for Cherish Menzo and the solo The Blue Hour for Théo Acremanne (2023).
