"Whatever I'm into, whether it's ballet or healthy food," says Natasha Sheehan, "I'll research anything and everything about it."
That curiosity has led the San Francisco Ballet corps member, 19, to develop a sideline as an Instagram foodie star and food blogger. Sheehan shares recipes and photos of her beautifully styled meals, along with behind-the-scenes ballet insights, with her more than 44,000 followers.
The first week of San Francisco Ballet's Unbound: A Festival of New Works was all about new ballets, with 12 world premieres by the likes of Justin Peck, Dwight Rhoden and Annabelle Lopez Ochoa. The second weekend provided time to reflect, as artists and influencers gathered for "Boundless: A Symposium on Ballet's Future."
Dance Magazine sat in on two sessions.
The ballet world will converge on San Francisco this month for San Francisco Ballet's Unbound: A Festival of New Works, a 17-day event featuring 12 world premieres, a symposium, original dance films and pop-up events.
"Ballet is going through changes," says artistic director Helgi Tomasson. "I thought, What would it be like to bring all these choreographers together in one place? Would I discover some trends in movement, or in how they are thinking?"
As side hustles go, Margaret Cromwell might win the prize for most unusual.
When she's not onstage with Margaret Jenkins Dance Company, the modern dancer moonlights as a first officer on dinner cruises on the San Francisco Bay. After company class and rehearsal from 12:30 to 5:30 pm, one to two days a week she'll work on a boat from 6 pm until 1 am, pulling ropes, lifting heavy objects, running up and down stairs, and assisting the captain.
Vibrant, dazzling, a little bit dangerous: Angelo Greco is a firecracker. He pushes his breathtaking jumps and turns to the very edge of control, yet imbues each step with lyrical musicality and sensitive emotion. Those qualities, along with a boyish mop of curls, made Greco an instant audience favorite when he joined San Francisco Ballet from La Scala as a soloist in 2016. A frequent partner for prima ballerina Maria Kochetkova, he was promoted to principal in 2017—and he's just 22.
When Alonzo King LINES Ballet dancer James Gowan started meditating in early 2017, he was seeking a more mindful approach to his dancing. "I was trying to be more aware of what I was doing inside the studio, so that it could help me be more positive with myself and my work," he says. He found it so helpful that he now does breathing exercises and visualizations for 45 minutes a few mornings a week. On rehearsal breaks, he'll take five minutes to do a body scan or calm his mind.
But he finds the benefits go far beyond the studio. "Meditation has provided me a new perspective," he says. "It really does bring a heightened awareness of what's going on around you."
Science shows that meditation's myriad benefits range from physical health to emotional well-being. Meditation's popularity has risen to trend level, and savvy entrepreneurs have caught on, capitalizing on the wave of interest with subscription-based meditation apps, exotic retreats and $29-a-pop classes. But what are the benefits for dancers specifically?
You dance like a knockout—but can you take a punch? Intense stage combat is a crucial element in many shows, from the sword fighting in Romeo & Juliet to the left hooks of the Broadway musical Rocky. But performing it well requires careful body awareness, trust and a full commitment to safety. Whether you're dancing a pivotal battle in a story ballet or intense partnering in a contemporary piece, these expert tips can help you make your fight scenes convincing, compelling and safe.
1. Master the Basics
When Luke Ingham was cast as Tybalt in San Francisco Ballet's Romeo & Juliet, he spent a full month practicing the basic body positions, footwork and momentum of fencing. "You need to be really grounded, you need to know where your feet are," Ingham says.
After 30 years of pioneering work in physically integrated dance, AXIS Dance Company co-founder Judith Smith has announced plans to retire from the Oakland, California, company. Throughout her tenure, she strived to get equal recognition for integrated dance and disabled dancers, commissioning work from high-profile choreographers like Bill T. Jones. Her efforts generated huge momentum for expanded training, choreography, education and advocacy for dancers with disabilities.
By phone from her home in Oakland, Smith reflected on how far the field has evolved since the early days of AXIS, and what's yet to be done.
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Janie Taylor didn't know if she'd ever return to the stage. But that's exactly where the former New York City Ballet principal has found herself: Nearly three years after retiring, she is performing again, as a member of L.A. Dance Project.
Taylor officially debuted with the company at its December 2016 gala in Los Angeles, then performed in Boston, via live stream from Marfa, Texas, and at New York's Joyce Theater before heading off on tour dates in France, Singapore, Dubai and beyond.
"She is wildly interesting to watch—and not conventional," says LADP artistic director Benjamin Millepied. "There are films of Suzanne Farrell dancing, where you feel like the music is coming out of her body," he says. "I think Janie has that same kind of quality."
To stay in shape, San Francisco Ballet's Sofiane Sylve takes class with the trainees, taught by SFB School associate director Patrick Armand. Why? Because it's 30 minutes longer than company class.
"You have to floss deep," quips the 41-year-old principal.
Sofiane Sylve doesn't mince words. "If you are just going through the motions," she says to her trainee class at the San Francisco Ballet School, "we might as well stay home."
The veteran SFB principal is famed as much for her directness as for her exquisite technique, astonishing interpretive range and captivating stage presence. "I don't do average," she says in an interview at SFB headquarters, across a tree-lined street from the War Memorial Opera House. "If somebody has made the effort to come and sit in the audience, I'm going to give everything I have. There is no holding back."
These are among the first words Sylve has said to the press since she joined SFB as a principal in 2008. Defiant of the trend for self-promotion, she avoids interviews and social media. "I'm highly, highly private," says the French-born ballerina, who turns 41 this month. "I'd rather spend time in the studio."
It's fitting that choreographer Benjamin Millepied named a recent work On the Other Side. After a difficult two-year tenure as artistic director of the Paris Opéra Ballet, he is happily settled in Los Angeles and reemerging with big plans for L.A. Dance Project, the contemporary company he founded there in 2012.
Today, his ambitious vision is redefining what an independent dance company can do: grow into an online dance platform and a lifestyle brand, host a building and performance space, and build an international presence.
When Katelyn Prominski came down with swine flu in 2009, she never quite recovered. Six months later, she remembers, "I started feeling super-exhausted, super-hungry, always thirsty. Just really, really run down."
Then a corps member with Pennsylvania Ballet, Prominski didn't know that the virus had triggered Type 1 diabetes. The disease is normally diagnosed in childhood, so it didn't occur to Prominski or her doctors that she could have developed it at age 25.
Craving candy? Doubling down on dessert?
In sensible amounts, sweets can be tasty treats and can even provide a quick energy boost. According to well-designed research, athletes like dancers tend to metabolize sugar efficiently, so they can safely consume reasonable amounts as part of a healthy diet.
But if you fuel up on too many sweets, you risk being "overfed and undernourished," says certified dietitian nutritionist Heidi Skolnik. That's because sugar provides quickly digested calories (16 per teaspoon) and no other nutrients.
If your cravings feel out of control, here's how to tame them without feeling deprived.
At Hubbard Street's new intensive in Los Angeles, dancers dig into the choreographic process.
“Give it more intensity," says Robyn Mineko Williams, the choreographer in residence at Hubbard Street Dance Chicago's inaugural pre-professional summer intensive at the University of Southern California. The dancer tries her solo again, moving across the floor in wider second-position pliés, bending her torso more deeply, jutting her elbows more sharply.
The studio bursts into applause. “I think the other students could feel this dancer changing right before their eyes," Williams says afterward. That kind of aha moment is exactly what the program is designed to cultivate. An odyssey into the contemporary dance-making process, it challenges dancers to immerse themselves in collaboration with a world-class choreographer and offers a taste of life in a top-tier company.
Come back stronger by using your body’s natural healing response.
It’s the end of a tiring rehearsal, but you try that challenging jump one last time, and land sideways on your foot. Within minutes you begin to notice the signs of a sprain: swelling, pain and heat, and eventually bruising.
As a group, these symptoms are called inflammation. It hurts—and it looks awful—but is it dangerous? “Inflammation is part of the healing process,” says Dr. Joey Fernandez, a sports medicine specialist with the Harkness Center for Dance Injuries at New York University’s Langone Medical Center. Inflammation is natural and unavoidable, and you can work with it to get back on your feet more quickly.
When you have an acute soft-tissue injury like an ankle sprain, Fernandez explains, inflammation sends in immune cells and chemicals, such as neutrophils, cytokines and macrophages, to clear out damaged tissue. “It’s like renovation,” he says. “You put up scaffolding, and the workers have to remove the damage before they can rebuild.”
Get the Swelling Down
Swelling is a result of fluid leaking out of the blood vessels into the surrounding tissue during the inflammation process. This delivers the repair cells to the site, but it can also slow recovery. “Let’s say you have a partially torn ligament,” explains Dr. Selina Shah, who treats dancers at Saint Francis Memorial Hospital’s Center for Sports Medicine in Walnut Creek, California. “The fibers are going to have a hard time coming back together if the fluid from swelling is in the way.”
Immediately after the injury, you can help clear out the excess fluid by wrapping the site in an ACE bandage or brace to apply gentle compression and by elevating the injured area (above the heart, if possible). Ice can also be applied (using a towel to protect your skin from frost burn) for 15 minutes about three times a day. You can continue these treatments for as long as the swelling is visible and you notice a benefit.
Fernandez estimates that the debris-removing macrophages need about 36 hours to eat up damaged cells. Dancers should avoid weight-bearing activity on the injured body part during that time, he says, “or you can be dancing on tissues that haven’t started to build new cells.” However, he prescribes gentle movement immediately after injury. For a sprained ankle, for example, lie on your back, raise your injured ankle toward the ceiling, and carefully rotate your ankle, wiggle your toes and flex your foot. These “open-chain” exercises, where the limb is free to move without resistance, promote healing without further damaging the tissue. “I tell dancers, Think of your ankle sprain as having lungs,” explains Fernandez. “It needs oxygen to heal, and the physical motion squeezes the tissues to encourage drainage.”
“NSAIDs get a bad rap,” Fernandez says of the over-the-counter anti-inflammatory drugs, which have been blamed for everything from liver damage to ulcers. He is comfortable recommending short-term use to reduce pain. “Nothing is going to happen unless you have a predisposing condition,” says Shah. Addressing another common misconception, she adds that “they’re absolutely not addicting.”
However, both doctors warn against using anti-inflammatories to push through class or rehearsals before an injury has healed sufficiently. “Teachers and directors expect dancers to heal on a timeline,” Fernandez says, “but you might actually take two steps back.”
“There are a lot of misconceptions about inflammation in the dance world,” Shah warns. Many existing studies are poorly designed and unreliable, she says, “but people read them on the internet and think they’re true.”
In particular, she says that many dancers underestimate the power of the inflammatory response. “They’ll say, ‘If you use ice or NSAIDs, you’re going to stop the inflammation.’ They don’t stop the process—your body is a lot smarter than that and has many pathways to healing.”
Ultimately, every body is unique and responds to inflammation—and treatment—in its own way. “There is a sweet spot for each person,” Fernandez observes. “What we want to do is get the benefits while minimizing the side effects.”
Don’t let Steffi Cheong’s petite build fool you—onstage, she can unleash fierce physicality as readily as the most delicate gesture. Now in her third season with San Francisco’s ODC/Dance, Cheong is coming into her own in the intellectually rigorous, intensely technical works created by artistic directors Brenda Way, KT Nelson and Kimi Okada.
Cheong has been turning heads since she joined ODC in 2013. Photo by Andrew Weeks, Courtesy ODC.
Hometown: Murray Hill, New Jersey
Training: Ballet and modern at New Jersey Dance Theatre Ensemble; BFA in dance from SUNY Purchase
Becoming a collaborator: Cheong relishes ODC’s collaborative method, with the dancers generating movement for the directors to refine into new work. It’s a 180-degree change from the choreographer-directed rehearsals she was used to at her previous company, DanceWorks Chicago. The challenge has enriched her artistry: “I have to dig deeper,” she says.
Moving in the moment: During a Springboard Danse Montréal workshop in college, Cheong fell in love with improvising. “That’s where I really learned to let go and find myself,” she says. “Discovering different ways that your body can move, and listening to different kinds of music, creates a new tempo in your head.” She still takes classes when she has time.
What Brenda Way is saying: “Steffi is not just another dancer in a group—you feel her presence. In her first season, people said ‘Who’s the new girl?’ ”
Property master: ODC’s intricate multimedia works can include moving sets, wheeled vehicles, confetti and projections. Cheong says that rather than distracting her onstage, these props enhance her experience. “Dancers are so attentive to their surroundings during live performance,” she says. “If there’s another element thrown in, it just opens another facet of attentiveness.”
Inner strength: Way praises Cheong’s technical elegance as well as her emotional resilience, a prerequisite for ODC’s demanding creation process. She says, “The number of ideas we try and throw away—you have to be strong.”
New nutrition buzzwords seem to crop up every week. How can you decide what’s helpful, what’s bogus and what might be harmful? Three dietitians help separate fact from fiction.
Go for It
PROBIOTICS: The microbes in our intestines affect immunity, brain function and possibly even anxiety and depression. Emily Cook Harrison, dietitian with the Centre for Dance Nutrition at Atlanta Ballet, suggests a daily probiotic supplement to replenish your gut’s microbiome, which can be depleted by a poor diet or antibiotics; choose capsules or liquids that contain at least six different live strains. Also fill your diet with fermented foods like yogurt, kefir, kombucha, kimchi, raw sauerkraut and miso soup.
NO ANTIBIOTICS ADDED: Antibiotics in livestock feed have been cited as a major contributor to antibiotic-resistant bacteria, or “superbugs.” Peggy Otto Swistak, consulting nutritionist at Pacific Northwest Ballet, recommends eating meats and poultry with no antibiotics added.
ORGANIC: Organic and conventional produce are generally considered equally nutritious. But for produce with edible skin, like strawberries and bell peppers, buying organic will help you avoid synthetic pesticides, herbicides and fertilizers.
SUPERFOODS: Berries, leafy greens, hemp hearts, chia and other plant foods deliver loads of nutrients with each calorie, including hard-to-get micronutrients.
GLUTEN-FREE: “Dancers mistakenly think that going gluten-free is healthier,” says Harrison. In fact, the National Foundation for Celiac Awareness estimates that just 1 percent of Americans have celiac disease and cannot safely consume gluten (a protein found in wheat and other grains), and only 6 percent more have non-celiac gluten sensitivity. “For everyone else, it’s not a big deal,” Harrison says. Needlessly going gluten-free means losing out on good sources of the carbohydrates and B vitamins that fuel long dance days.
DAIRY-FREE: Rumors abound that adults aren’t designed to digest dairy. “That isn’t true unless you’re lactose intolerant,” says Kristen Gravani, director of sports nutrition at Stanford University. Going nondairy can increase dancers’ risk of stress fractures. “You want as much calcium and vitamin D as you can get, and the body absorbs them better from natural sources than supplements.”
NON-GMO: There is still some debate about the health ramifications of eating genetically modified crops. Harrison’s bigger concern is glyphosate, a weed-killing chemical farmers use because GMO plants are bred to resist it. “The World Health Organization has labeled glyphosate ‘probably carcinogenic,’ ” she says. “When we eat GMO foods, we expose ourselves to it.”
LOCALLY GROWN: Locally grown produce tends to be very fresh, so it is healthier than produce that’s traveled farther. But both are nutritious—as are frozen options, says Swistak.
JUICE CLEANSES: “Cleanses are harmful at best,” Gravani warns. “You’re not getting enough calories, and it’s going to mess with your metabolism.” Typically, weight loss is mostly water weight that will come back within a few days.
BONE BROTH: Credited for everything from healing cartilage to restoring immunity, bone broth is little more than soup stock: animal bones simmered with vegetables. “There is zero science showing that bone broth is helpful,” Harrison says. That doesn’t mean it’s harmless: “Bone broth is known to be high in lead and arsenic.”
As a student at The Rock School for Dance Education in Philadelphia, American Ballet Theatre soloist Christine Shevchenko’s first experience with character dance was learning the Paquita harp variation. “It was challenging,” she admits, “because I hadn’t taken character class yet.” For extra training, Shevchenko enrolled in character at a local university—and went on to earn first place in the Junior Division at the 2003 Youth America Grand Prix and a gold medal at the 2005 Moscow International Ballet Competition, dancing Paquita variations both times.
Christine Shevchenko says her character training helps her bring stylistic detail to classical and contemporary roles. Photo by Gene Schiavone, Courtesy ABT.
Often based on European and Middle Eastern folk dances, the character repertoire showcases national dances in refined, stylized choreography. Though it’s an often-overlooked aspect of dance training, character helps dancers gain a deeper understanding of story ballets, while boosting strength and musicality. But the form isn’t just for extreme classicists. Character dance also develops the coordination required to become a versatile dancer.
Bring Context To the Classics
From the mazurkas of Coppélia to the flamenco of Don Quixote, Marius Petipa used character dances to give his ballets a sense of place and personality. “All the steps have historical meaning,” says Leonid Shagalov, the teacher of San Francisco Ballet School’s character dance program. “If dancers know this meaning, they can bring an emotional side to the dance.”
Natalya Lushina-Zeiger, who teaches Vaganova technique and variations at The Rock School, agrees. She points to the third-act solos from Swan Lake, when Siegfried’s potential brides perform dances of Poland, Italy, Spain, Russia and Hungary. “A lot of people think they’re all the same, but they’re completely different,” she says. “Is the arm out to the side or up? Is your hand behind your head?”
Character dances are rich in details like these, some of which trace back to regional costume. In the Polish mazurka, for example, the hand is placed on the upper back of the head because the original performers held their hats in place during the vigorous dancing. “The style is what the variation is really about,” Lushina-Zeiger says, and understanding the nuances is the key to shining. When scoring competitions like YAGP, she and her fellow judges take authenticity into account. “We try not to be too strict, but we always mark the wrong style and say it needs to be addressed.”
Composers like Minkus and Tchaikovsky based music for variations on folk refrains, retaining their sometimes-unusual time signatures. Italian tarantellas, as in Bournonville’s Napoli, can have 18/8 and 6/8 rhythms; Polish mazurkas, like those in Raymonda, can be danced in a triple time with accents on the second or third beat. “Learning flamenco rhythms was really hard,” Shevchenko says of Don Quixote. “There are so many little syncopations.” Kitri alone dances to an array of rhythms: Her fan variation is a basic 2/4, but her Act II entrance is a staccato 3/8, while Dulcinea’s coda is in 6/8.
Lushina-Zeiger says these benefits reach beyond ballet. “Once you coordinate it, once you can hear it, your body is free,” she says. “It makes dancing much easier.” Shevchenko also credits character study with preparing her mind and body for more modern repertoire. “You learn all these tricky sequences that people rarely do,” she says. “It helps you pick up contemporary pieces quickly.”
Turbo-charge Your Technique
Because character dances often feature hopping and running steps, flat shoes or boots, and a lighthearted presentation, they can seem more relaxed—and easier—than classical choreography. In reality, they entail complex upper-lower body opposition, épaulement and heel-toe footwork. “A lot of character dance is much sharper and faster than classical,” Lushina-Zeiger observes. It’s essentially a form of cross-training that can enhance classical and contemporary technique alike.
“In Moldavian Moldovenyaska and jok, students develop coordination that helps them jump higher,” says Shagalov. His dancers “study Hungarian czardas for épaulement, which helps with turns. For the Russian trepak in Nutcracker, they learn how to get force out of pliés.”
Shevchenko has applied what she learned to such roles in Swan Lake, Raymonda, Coppélia and Polyhymnia in Balanchine’s Apollo. “It’s really good for your brain,” she says. “And it makes you use your body in a completely different way.”
Make the most of this career-defining transition.
When Sarasota Ballet corps member Caroline Hennekes started her apprenticeship in 2014, it was a big shock. “Being in an adult world makes you grow up fast,” she says. An apprenticeship can be one of the hardest years of your career—as Hennekes learned, proving that you have the confidence and maturity to thrive in a high-pressure company is a lofty task for a first job.
But an apprenticeship is also a tantalizing glimpse of your future. You’ll dance alongside elite principals, perform world-famous rep and collect that all-important paycheck. If you handle it gracefully, you can set yourself up for success at promotion time.
Steffi Cheong, now an ODC company member, in rehearsal. Photo by Andrew Weeks, courtesy ODC.
Read the Room
“First we teach apprentices about work ethic and seniority,” explains Lindsay Fischer, who runs National Ballet of Canada’s apprentice program. Throughout a 41-week term, Fischer shepherds young dancers through daily technique class, rehearsals and performances as supers, in outreach demonstrations and as corps de ballet substitutes.
With such a heavy workload, apprentices need to learn the ropes quickly. Observing other dancers will give you a leg up on company etiquette. “You’re at the bottom of the totem pole,” says 18-year-old Hennekes. “At times I felt I needed to prove myself. It’s hard to do without being pushy.” She says to show you’re a team player by dancing towards the back of the room and letting senior dancers go first. “The point is for directors to see if you fit in. You’ll get noticed more if you’re working as part of the group, not as a soloist.”
But that doesn’t mean you should hide, especially when you’re given opportunities to explore your artistry. “Our rehearsals are invested in individual performance,” says Janet Eilber, artistic director of the Martha Graham Dance Company. “Apprentices are asked to think about their interpretive choices. Commitment to that process is what takes them from apprentice to New Dancer.”
Be Your Own Teacher
Apprentices are expected to pick up repertory without much hand-holding. Hennekes says it’s essential to absorb feedback given to others. “You have to take what they correct in other people and apply it to yourself.”
Sometimes apprentices do get corrected, and it can sting. “Rehearsing La Sylphide,” Hennekes recalls, “I’d be called out: ‘Caroline, your head’s wrong.’ It can chip away at your confidence. But you learn that it’s just the process.”
She did ask a ballet master for guidance on vexing cabrioles in La Fille mal gardée. “I approached him casually, once or twice after rehearsal,” she recalls. But, ultimately, companies prize dancers who solve problems on their own, freeing up staff to prepare casts for performance. Hennekes suggests asking for help from other dancers, who tend to be generous with advice.
Jump on Opportunities
Apprentices at small companies, like San Francisco’s ODC or the Martha Graham Dance Company, might perform featured roles—but they have to be ready. “We look for people who are proactive about absorbing what we do,” says Eilber. Over an apprenticeship lasting up to 20 weeks, Eilber wants to see “a desire to learn—researching roles before rehearsal, learning roles they haven’t been assigned.”
When Steffi Cheong apprenticed at ODC in 2013, her initiative paid off. She was thrust into the title role of The Velveteen Rabbit, ODC’s holiday program, just two months into her apprenticeship. “I had learned it just in case,” she recalls. While the pressure was “terrifying,” she says, “it proved they could trust me.”
Set the Stage for a Promotion
As your apprentice contract ends, it’s natural to feel anxious about getting promoted. Directors understand that, says Eilber, who welcomes apprentices to meet with her but says “we’re so busy, we won’t necessarily take them aside to talk about the future.” If the protocol isn’t spelled out, ask an administrator how to schedule a check-in.
The transition from student to professional is challenging. But it can make you stronger physically, mentally and artistically. “Apprentices are the future,” Fischer says. “I try to set them up for a productive career.” It’s up to you to make the most of it.
The German choreographer brings her visionary dance theater to the U.S.
Niannian Zhou, of Sasha Waltz & Guests, in Continu. Photo by Sebastian Bolesch, courtesy BAM.
Whether reinterpreting Wagner or exploring the forces of destruction, Berlin-based choreographer Sasha Waltz creates postmodern worlds onstage. She populates them with dancers whose ages, origins and training vary widely, but their common language is bold and expressive. Waltz enlists equally avant-garde collaborators in her dance-theater odysseys—more than 300 visual artists, filmmakers, composers and architects since founding Sasha Waltz & Guests in 1993. Her company makes an appearance at the Brooklyn Academy of Music’s Next Wave Festival December 4–5, with Continu (2010), an evening-length work inspired by two of her museum installations: one raw, dynamic and musical, the other bright, cerebral and minimalist.
Tell me about the two works that make up Continu.
In 2009, I did the inauguration of the Neues Museum in Berlin, which houses an Egyptian collection. The building was terribly destroyed after the war, and they tried to rebuild it while still keeping the scars. It was a very moving and beautiful way to deal with architecture. I used the whole museum, and the public was freely moving through the space. Also in 2009, I did an opening for the National Museum of the XXI Century Arts in Rome, which was developed by Zaha Hadid. That had very contemporary, very organic forms, white and glass.
How did you translate these to the proscenium?
I abstracted them very much, because it’s not possible to rework architecture like that. The first part is very emotional, like an outcry of society. It talks a lot about collective. The second part, in contrast, is our mind observing. It is the deconstruction of the body and of certain theories of aesthetics. It’s very analytical.
You’ve always taken a collaborative approach to making work.
I find it very stimulating to confront my own vision with the vision of someone else, and to see how that creates something different.
Your company members are also your collaborators. What do you look for in a dancer?
I’m not hooked on a certain technical background. I am interested in people’s uniqueness. I really fall in love with the person, and through my work, try to understand who they are and bring out their essence. It’s a very deep connection because we go into a universe together that is more than myself and more than them. I’ve been collaborating with some of them for more than 20 years.
How do you work in the studio?
I separate the women and men and work very intensively. The Venus space is like a research into femininity, motherhood, deep energies of creative power. The warrior side is more the men’s work. We go into a process of improvisation for quite a long time, and bit by bit, a language gets created that is quite unique.
Where do you think dance theater is headed?
It’s very open and diverse. Collaboration with contemporary art is really developing, and museums are extremely interested in dance. It depends on the artist—there are so many languages within every person. n