IN CONVERSATION WITH ARTHUR CADRE

interview by MAREK BARTEK

Dancer and stage director Arthur Cadre is known for his unique style of contemporary performance and signature movements. His past work includes shows for Cirque du Soleil, Tomorrowland, F1 Grand Prix and NFL halftime shows, just to name a few. Next up, Arthur is working on a Bob Marley themed Las Vegas residency show. Before that though, he will have a lead role at the Olympic Games closing ceremony.

Arthur, before launching your successful dancing career, you were an architect. What made you make this switch ?

Absolutely! Dance and architecture are two things Ive done simultaneously for several years. I love them both. After graduating and working for a few months as an architect, I was feeling out of place, and I realised that i should follow my instinct. So I decided to pursue my "premier amour" with dance. 

You are known for a unique blend of contemporary dance, acrobatics, theatre art, circus, and magic. How did you develop this signature style, and what continues to inspire its evolution?

I believe it all started in my young dancing years with breakdance. Urban disciplines are a fantastic "school" for creativity. When I started dancing, I wasn't very strong, flexible, or recognisable, so I had to adapt mysel. One way to stand out was to create my own choreographies, mix movements that don't belong together, and work on innovative patterns. It was very criticised at the time, but now it all feels pretty normal. Today, artistic diversity is still part of my DNA. I love blending different arts together, the scale of things just got much bigger. It may be a very French thing to do, but I think the "Vivre ensemble" is something amazing that can create unexpected moments of beauty. In my dance and artworks in general, I'm always looking for this kind of beautiful mistake and surprising visuals. It is still very hard (even for me) today to define my style, as it's a mix of a lot of different art forms in constant evolution. I'm hardly definable, and I've learned to live with it. I'm just someone naturally curious and interested in movement-based and stage arts forms, which allow me to learn what I like about each discipline and add it into my signature vocabulary. Fashion photography inspires me a lot as well! I love the way they can create a whole story only with clothes. Tim Walker, David Lachapelle, and Helmut Newton (iust to name a few) developed such a unique way of creating their own reality and capturing moments: It's fantastic!

Do vou feel like your architecture background still has some sort of influence on your creative process?

Yes, architecture influences my dance and shows on so many levels. The nations of lines, rhythm, proportions, space awareness, and cultural heritage (the list goes on and on) are all important variables for any artist. The methodology that architects use to build up a project, the imagination it requires, the artistic craziness, and the down-to-earth laws of physics are all notions I use on a daily basis. Architecture is a very important tool for me to develop spectacle. It allows me to look for a genuine human connection, deliver messages, tell stories, share emotions, and bring to life the visions in my head. I don't work as an architect; I'm more of an artist who tries to reinvent constantly. Transforming dance, reimagining spectacles, reinventing myself, and reshaping the world we live in one show at a time.

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jacket & pants LIONNARD
shirt OLIVIER THEYSKENS
shoes ADIEU
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top LIONNARD
pants STEVEN PASSARO
shoes ADIEU

You've gained international recognition through viral videos and performing on television shows worldwide. How has this visibility impacted your career, and what has been the most surprising outcome of your online success?

Popularity has its perks, but it's not the reason we choose the artistic fields. It's like a cherry on the cake, but it's not the cake. I've done a lot of successful projects, but I've done even more unsuccessful ones. It's always important to put this into perspective. Life as an artist can be quite tumultuous and require a lot of work, and that's one of the reasons why it's so interesting. I try to not let visibility, popularity, or attentions define or influence my work. Otherwise, next thing you know, you’re doing TikTok dance videos following random trends just to seek attention. Nothing wrong with that. it's just not of my interest. I try to develop a sense of viscerality and timelessness in my work that transports people out of their reality for a few moments. As utopian as it sounds, I believe that storytelling with human performances can make the world a better place. In an age where society desperately needs more humanity, we must embrace less virtual and more genuine connections. Theatre, dance. circus, concerts, and live performances are very pure expressions of this humanity.

You've worked with legendary directors like Franco Dragone for ten years. What was the most valuable lesson you learned from these collaborations, and how have they shaped your approach to performance and direction?

Franco was an extraordinary human being. I learned so much from him during the priceless moments of artistic research and show creations. Beside the fact that he was a genius in his field, revolutionised the warld of entertainment forever, and contributed to the success of Las Vegas, Cirque du Soleil, or Celine Dion, he was still trying to reinvent himself every day. Being surrounded by this kind of individual is very precious. He saw in me things before everyone else--things I havent even seen myself. He was one of the first to believe in my vision and give me a global platform to express it. He also had the unique faculty to teach you things without telling them. If I had to choose only one thing, it is probably to "observe what is in front of you and not arrive with preconceived ideas that would limit your intellect." Follow your instinct, never stop to experiment, search, try, fail, try again, and push yourself until you succeed. The secret is that there is no secret. Hard work is the only way to open a new path toward a better future. Still today, he has a tremendous influence on my work, and I feel like he is with me every day.

You’ve performed and worked on many extraordinary shows. Which performance has been the most memorable for you, and why?

I did had the chance to perform in a lot of prestigious venues such as the Arena DiVerona in Italy, the Pasadena theatre in LA or the universal expo in Dubai. I think as an artist, first times are always exciting. The first time you performed in an arena, first TV show, first ad campaign etc., but it I had to choose a moment that really impressed me in a very unusual set up, it would be the tour I did in Egypt. I remember performing in a small village without electricity in the middle of nowhere. Some of the people in the audience came riding donkeys, it was fascinating to see that it was the first time ever they saw a show. I remember vividly that spark in their eyes, it means you've done vour part of the job. It reminds us how lucky we are in the West to have access to entertainment.

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trench coat STEVEN PASSARO
shirt & pants OLIVIER THEYSKENS
shoes ADIEU
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jacket SONGZIO
shirt OLIVIER THEYSKENS
pants STEVEN PASSARO
shoes ADIEU

Just today we'll be able to see you in a lead role at the Olympic Games closing ceremony. What can we expect from this performance, and how special is this performance for you?

I'm very pleased to come back to France to perform on such a unique and gigantic show with an incredible creative team led by Thomas Jolly, who is one of the best (if not the best) stage directors of his generation. It's an honour to lead the dance on such project with over 100 dancers, acrobats, special guests, etc. Conseming the ceremony in itself, you can expect the unexpected. An avant-garde dystopia with fashionable costumes conceived by Kevin Germanier (another fantastic French-speaking designer). I won t say much mare because I don't want to spoil anyone. 

Traveling around 300 days a year, how do these global experiences influence your artistry, and what cultural elements do you integrate into your performances?

I want to say that I try to integrate it all! Even if it can be a little overwhelming sometimes.. Every country is different; people don't necessarily appreciate the same thing in the US than in China (to take 2 extremes): people don't react the same way as well. I'm very lucky to meet a lot of different people with different life experiences that give me a lot of inspiration As cheesy as it sounds, I do believe that art is a universal and visceral language. This is why it allows me to travel a lot and share my experience with people from all over the world without even speaking the same language. We can have a genuine connection that sometimes can be deeper than when we use words. The difference between cultures, way of living, and art enthusiasm are all very inspiring to me. 

Balancing roles as a dancer, choreographer, director, and photographer must be challenging. How do you manage your time and energy across these various creative pursuits?

It's a mix between a strict schedule and a daily routine including creative and physical activity without loosing the freedom within. I have to say that it is not easy every day, but it's also very fulfilling. I tend to say that I want to do things that I like when I want it." It's the best way to stay inspired about something. Somedays I wake up and have an idea about a show concept, then my entire day will be oriented for this. Because good ideas are a rare and capricious gift, when you find one, you have to grab it! The beauty of the things is that everything is connected. I created this world where I use photography as a tool to create show moments, where fashion inspires dance, architecture meets up with circus, and everything lives well together.

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top LIONNARD
pants STEVEN PASSARO
shoes ADIEU
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jacket & pants LIONNARD
shirt OLIVIER THEYSKENS
shoes ADIEU

You've collaborated with prestigious brands like Cartier, Dolce & Gabbana, and McLaren. How do you approach these brand partnerships, and how do they complement your artistic vision?

It's always flattering to work with amazing Maisons. It is always nice to feel supported by brands that have been around for decades. I see this as an exchange. I believe it's important to come up to these brands with strong and boldideas, because this is what they need. A few decades ago, most of these big fashion brands were embodied by strong personalities (Karl Lagerfeld, Coco Chanel, Yves Saint Laurent, to name a few); all these personalities are hardly replicable. Nowadavs they tend to associate themselves with artists, singers, and creatives of all sorts, which is great for the art industry. It went full circle. 

With numerous achievements already under your belt, what future projects or ambitions are you most excited about? Can you share a bit more about the Las Vegas residency you're working on, about the iconic Bob Marley?

There are still hundreds of mountains to climb. I want to keep on creating shows that resonate into peoples life. The Vegas project is a show produced by the Marley family on the theme of Bob, set to open doors in December at the mandalay bay on the strip of LV. I'm (lucky to be) one of the connectors of this grandiose resident show directed by Amy Tinkham, another amazing director. Bob was and still is such an icon, his entire story is so inspiring to create a show around it. Larger than life is too small to define him. We're trying to capture his essence and vision of life to inject it in this show, it's a fantastic challenge.

TEAM CREDITS

talent ARTHUR CADRE
photographers ANTON REVA & VITALII AKIMOV
stylist ALEXANDRA OSINA
hair & makeup LUDOVIC DUPUIS
editor-in-chief TIMOTEJ LETONJA