Temp d’arrêt or arrested time, as the name suggests, is a concept that brings to halt the mad world that’s always in a rush.Moving through an unseen dimension, the dance routine is a beautiful ballad of lithe, smooth body movements that curve around, taking the audience into a realm of suspension.Bringing this time lag to the Hyderabadi audience is French contemporary dancer, Miguel Nosibor.On a cross-country Alliance Française tour, Temp d’ arrêt arrived in the city on Tuesday, after touching ground in Mumbai, Delhi, Bengaluru and Pondicherry.Speaking ahead of his performance that took place yesterday evening, dancer-choreographer Nosibor shares some of his magic.As a hip-hop dancer by passion, Nosibor isn’t your conventional contemporary dancer.But then again, contemporary is all about breaking norms. Clad in a casual black tee with a sketch of Master Yoda from the Star Wars movie on it and baggy pants, the Frenchman seems closer to home than usual.Yet, the French-Anglaise conversation (Monsieur Nosibor doesn’t speak English) will leave you in no doubt that his strongest talking point is his dance.“I think dance chose me and not the other way round. I remember dancing from as far back as I can think. I would dance for mon mère (my mother), using a broom some times for a partner.When I was 14, I picked up hip-hop, and that is where my true love lies.It’s a dance form that takes from everything around it, yet still retains its originality.” Much like the dancer himself.Almost.Since then, Nosibor has accumulated a variety of talents, from martial arts like Kung Fu and Capoeira, to Tai Chi, Jazz, Ballet, and the list goes on.Taking all of these together, he still finds himself looking for his own rhythm.“All these dance forms are my road to discovery. I cannot precisely define the kind of dance I do. They are an amalgamation of everything I’ve learnt so far.I have yet to find a style that I can truly call my own.” Miguel Nosibor’s routines aren’t just dance renditions of a story. The projector behind the dance floor, the fine line of sand that keeps raining on the stage, the huge ball of light that he wraps himself around are all part of an experience he tries to give his viewers.Ask him if he prefers dancing with or without his props, and he answers, “I have never thought of it that way.All these elements are there for a purpose. There is a sense behind it. So I can’t imagine dancing without that sense. For instance, the sand that keeps falling is representational of time ticking in a sand clock.The ball of light, of the knowledge I have and wish to receive.” Talking about Temp d’ arrêt, he explains, “In life, what I appreciate is taking time to do things and be in contact with others.I wanted to take time, to stop time, to find time to give from time to time.This isn’t just about me, but is about everyone. We live in an age where everything is quick, quick, quick. Now is the chance to pause and reflect.And the props help with this message.” The master behind the technicalities is Eric Rolland (pronounced Rolon).As the cinematographer for Nosibor’s shows, Rolland designs and creates the look and feel of the recital, which includes décor, lighting and so on.“Miguel and I have have known each other for about 10 years.We’ve collaborated for about six routines. How does it work? There isn’t any specific format. He dances, I watch, and we improvise together.” Visiting India for the first time, the 46-year old dancer and the late 50’s cinematographer are quite unperturbed by their audience.“We’ve been performing to almost full houses everywhere. People have been very receptive and it’s been great,” says Rolland.
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