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The Jazzercises should be taken as singular attempts to suspend time. The experience of this suspension is linked to the one that traditionally happens within any celebrative regime, whether profane, whether sacred, always extra-ordinary. The main material, essentially percussive, develops in cyclic or paracyclic ways, standing for the attention’s vehicle and body movement catalyst. This movement — and we should avoid interrupting it — may generate its own emancipation so that any sorts of unexpected distortions, upcycled dressings and psychic inversions could freely take place. Then, cruising through this new contingent system, we find many opportunities to grasp roughnesses and jolts that were spread here and there in the polyrhythmic textures. Once reached these bifurcation spots as options of getting back down or pulling back up, the stake is, for the most advanced dancers, to take advantage of the impurities so as to activate the metacognitive fonction of dance and share acutenesses within ordinary times and spaces. 

The Jazzercises are made of 2 Odes, 3 Nodes and 6 Modes, each of these three moods standing for a specific ritualistic fonction : choral transports, concrete interludes and dance matrices. It is whether the DJ and/or choregrapher's duty to set the tracklist order, just following their own taste and intuition regarding the localisations of the main contrasts as the overall energy profile of the show.


exemple 1 : Node 1 - Mode I - Ode A - Mode II - Node 2 - Mode III - Mode IV - Node 3 - Mode V - Ode B - Mode VI 

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