The contemporary dance event La Danse au Grand Jour took place in Toulouse, with the National Choreographic Development Center La Place de la Danse opening its season with a weekend of outdoor contemporary creations in the heart of the University of the Capitol and La Reynerie neighborhoods. Following a first edition titled Le Jour de la Danse in 2025, La Place de la Danse returned for a weekend at the beginning of October, with an enriched program that introduced the richness of contemporary dance in the streets and gardens of Toulouse. Pieces currently on tour, repertoire, residency outputs, creations with amateurs, and even choreographic ball-festival — these two days were a good opportunity to immerse oneself in the universe of contemporary dance in all its forms. Anouk Orignac, trained at the Conservatoire à Rayonnement Régional de Toulouse and later at the Folkwang Universität der Künste in Germany, presented Colère#2, which, as its title indicates, is a second version of a piece created in 2024. It is a cultural mediation device for which she recruited a dozen young people aged 15 to 20 years, amateurs or students of dance and theater. Every weekend in September, the group, the stage director, and the accompanist Fanny Do met to work on the stage representation of emotions. The result is a real breath of fresh air. Although anger is indeed at the center of the construction of the performance, it is also a pretext to let the fervor and excitement be expressed, as well as a contagious collective joy on the background of hip-hop and street dances. Anouk Orignac succeeded in highlighting the theatrical and choreographic individualities of each young person, so much so that a beautiful synergy emerges between the different personalities and technical formations. The festival also offered a work session for the next creation of Yaëlle Antoine, Le lichen prend racine comme Rosa prend le bus, in the form of a performative walk within the park of the Château de la Reynerie. The "splinters" of the performance presented by the circassian have all been created the week preceding the walk, especially for and in the beautiful Toulouse garden. However, her attempt to approach the matrimoine remains for now disjointed and without a clear direction. Her team of seven dancers, musicians, and circassians alternate dance, acrobatics, balancing, and monologues, accompanied by experimental ambient music or with the voices of the singers of the Chœurs du Lac. Fully dressed in black, they invite the public to follow them through trees, fountains, and old buildings to present various enigmatic, parodic, satirical, or even caricatural female figures. However, the skillful use of the environment and the total physical commitment of the interpreters are real strengths. The courtyard of the Didier Daurat school, on the other hand, hosts a gem of the contemporary repertoire. Three representatives of the association C.C.I.N.P, the International Choreographic Center of Nowhere, made the trip to fulfill their mission of promotion and preservation of the heritage of American choreographer Andy de Groat. They thus presented four times during the weekend Rope Danse Translation, a short format of 15 minutes, created in 1974. This creation examines the effects of centrifugal force on ropes, exercised through the spinning technique, a rotation principle of which the choreographer was a specialist. In constant movement, each of the three dancers explores in turn the geometric possibilities offered by the act of spinning on oneself, while manipulating three ropes in order to create constantly renewed forms. Minimalist and austere, the whole is nevertheless hypnotic. One appreciated therefore the diversity of proposals of this Toulouse cultural event, the rest of the programming was undoubtedly just as enriching.