How did you approach the programme?
I began from the position that contemporary dance is dead. And what I mean is the West European way of moving, clinging to the names of a load of famous choreographers. They are still very much a part of contemporary dance, of course, but the style has evolved so much that it has become more of an umbrella term for a wide range of sub-styles or ‘wings’, as I prefer to call them.
This expansion has been going on for a long time in my opinion. William Forsythe influenced contemporary dance with ballet, Trisha Brown with postmodern movement and the influences of dance theatre were because of German choreographers, like Pina Baush.
Now that the brand is so extensive, it feels as if we finally represent the literal meaning of contemporary dance: present day dance. And it’s that beautiful web of interpretations that I wanted the Out of the Toolbox programme to reflect.
How should I imagine that web?
I see it as a sort of mood board, a mind map in which all the parts lead back to a centre, but also represent their own unique wing. I see myself as the centre, because I’m the curator, but also because I regard myself as a multifunctional teacher and I understand a lot of different languages of dance.
Because it’s a web, you can place just about anyone next to or opposite each other. Douglas and Libby’s starting point is ballet, but Douglas’ approach is improvisation while Libby’s is anatomy and body work.
Opposite them, you can place Colas and Rafaela, at least in terms of age. Colas was trained by me, so he is second generation: his approach is an interpretation of my interpretation. My interpretation of contemporary dance is largely the same as Tijen’s. We say the same stuff, but in a very different way. Everyone is simultaneously the opposite and the same.
How did you choose the teachers?
The first and main thing was that I looked at the unique atmosphere at Danspunt: a mix of serious work, a lot of fun and people of all sorts. I wanted the teacher team to represent that mix: important figures, but also young newcomers who are still developing their practice.
I began by looking at my own network. I was very lucky to be able to gain a lot of experience. I worked with Laborgras, Aleksandra and Douglas, I taught with Libby, Colas is my partner and teaches from my syllabus, I have very good contact with Rafaela and Tijen and Maya is a friend of mine.
Each of them is a linchpin in the web of contemporary dance and invests so much in their own practice or teaching. That and the fact that they are all simply extremely talented and nice, ensured their place in the programme.
