All – Mots clés "INTERVIEWS" – Page 16 – Fjord Review

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Movement Language

INTERVIEWS | Par Veronica Posth

Movement Language

Yin Yue is a dancer and choreographer based in New York. She is the artistic director of YY Dance Company, and has developed a signature training method and approach to movement called FoCo technique. FoCo (folk-contemporary) incorporates five elements (root/ground, wood/axis, water/surrounding, metal/tension and fire/kinesphere) and three rhythmic stages (pulse, drop, flow) across three training segments for dancers (triggering, rooting, mapping). The FoCo technique requires the dancer to masterfully integrate all elements, resulting in finessed texture and well-rounded movement quality.

Rafael Bonachela

INTERVIEWS | Par Claudia Lawson

Dancing Through It

Like dance companies the world over, and just days out from opening night, Sydney Dance Company was placed on pause. Not paused indefinitely, but on hold until the threat of Covid-19 passes. What follows is a condensed version of my phone conversation with the company’s artistic director Rafael Bonachela, who spoke candidly about his family in Spain, how the dancers are keeping fit, SDC’s new virtual studios, and the importance of the arts in a time of crisis.

Be Moved: Shale Wagman

INTERVIEWS | Par Penelope Ford

Be Moved: Shale Wagman

Although still in his teens, Shale Wagman’s career in dance has been well-documented, thrilling Canada’s Got Talent audiences with dance routines when he was just eleven years old. The Toronto-born dancer graduated from the Princess Grace Academy in Monaco and danced with English National Ballet after winning the prestigious Prix de Lausanne. He has most recently performed with the Mariinsky Ballet in a principal role.

Second Detail: Tom Leprohon

INTERVIEWS | Par Penelope Ford

Second Detail: Tom Leprohon

A Toronto-native, Tom Leprohon started dancing when he was four years old. He trained at Canada’s National Ballet School and the European School of Ballet in Amsterdam. Tom joined the National Ballet of Canada’s apprentice program in 2018 and will dance with Sarasota Ballet for the coming season.

Paris Match: Lucy Elliott

INTERVIEWS | Par Penelope Ford

Paris Match: Lucy Elliott

Born in St. Tropez, Lucy Elliott grew up in the south of France where she started dance classes at four years of age. By age 7, she knew wanted to dance professionally. She trained in Cannes, Paris Opera Ballet School, and Canada’s National Ballet School. Last September she went the European Ballet School in Amsterdam, before joining the Paris Opera Ballet in January of this year, and before the lockdown, she was preparing to dance in George Balanchine’s iconic ballet, “Serenade.”

Finding Her Voice: Hannah Galway

INTERVIEWS | Par Penelope Ford

Finding Her Voice: Hannah Galway

Hannah Galway grew up in Comox, Vancouver Island and has been dancing since she was four. She graduated from Canada’s National Ballet School and joined the National Ballet of Canada’s apprentice program in 2017. Hannah now dances in the corps de ballet with the National Ballet of Canada, and recently originated a lead role in Crystal Pite’s new ballet, “Angels’ Atlas.”

Ocean Deep: Godwin Merano

INTERVIEWS | Par Penelope Ford

Ocean Deep: Godwin Merano

Inspired by a video of Mikhail Baryshnikov, Godwin Merano started his professional ballet training at Canada’s National Ballet School aged 12. Godwin joined Ballet Manila after graduation and has also performed with the Canadian Opera Company in “Rusalka.”

Rebel Rebel

INTERVIEWS | Par Lorna Irvine

Rebel Rebel

Based in London's South Bank, Rambert is one of the world's most celebrated dance companies, creating extraordinary work which finds the sweet spot between iconoclastic and classic. Edinburgh dancer Daniel Davidson joined Rambert in 2013, having previously performed with Scottish Ballet. More recently, Davidson has emerged as a brilliant choreographer in his own right. On stage he is a mesmerising dancer, and with his elegant and statuesque presence, he has a rock star energy, seeming at times to emulate the glamour, rebellion and poise of a young David Bowie. I caught up with Davidson during a break from making creative...

Errol White Davina Givan Worn

INTERVIEWS | Par Róisín O'Brien

Working Relationship

I am in a dance studio I have danced in for nearly 12 years. I am watching Errol White and Davina Givan show an excerpt from their upcoming work, “Worn.” The studio lights are up. Errol and Davina are wearing their practice clothes, recognisable from the classes they teach. A married couple, they perform an intense duet born from a close embrace that morphs into weaving, fiercely connected patterns.

Viviana Durante

INTERVIEWS | Par Sara Veale

She Dared to be Seen

“Isadora was all about becoming yourself as you dance, really putting yourself into it. She never restricted herself, quite the opposite. I wish I'd met her!”

Karole Armitage

INTERVIEWS | Par Faye Arthurs

Breaking Barriers: Karole Armitage

On a recent fall afternoon, the choreographer Karole Armitage was rehearsing her troupe at the Mana Contemporary cultural center in Jersey City, where she is an artist in residence. One wall of the studio is made of glass, so that everyone strolling through the galleries or stopping for a bite at the café can pause to watch Armitage and her dancers at work. It seems utterly natural for her art to be on display alongside John Chamberlain’s scrap-metal sculptures and Dan Flavin’s fluorescent light installations—even though her medium has a pulse.

Jefta van Dinther

INTERVIEWS | Par Veronica Posth

Jefta van Dinther

Jefta van Dinther, Swedish-German choreographer and dancer, has been making dances with and for contemporary luminaries (Mette Ingvartsen, Frédéric Gies, Kristine Slettevold, Keren Levi, Ivana Muller, LeineRoebana, and Xavier le Roy) for the past decade. Central to his work “is the question of what it means to be human,” and his choreography draws on themes of time, memory, alliance, and isolation. He is one of three choreographers to have been appointed to make dances exclusively for Cullberg, alongside Deborah Hay and Alma Söderberg, for the next two years. Veronica Posth met with Van Dinther in Graefekiez, Berlin, to discuss his...

Featured Reads

REVIEWS | Sara Veale

Tranquil Intrigue

The title of this dance interpretation of The Tempest highlights a notable departure from canon. In “We Caliban,” Shobana Jeyasingh imagines Shakespeare’s titular native in the collective sense—a tribe, a spirit and a place at once.

REVIEWS | Rebecca Deczynski

Firebird Rising

Long before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.

Rare Birds

REVIEWS | Faye Arthurs

Rare Birds

It is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.

REVIEWS | Eoin Fenton

Too Good to be True

When we think of countries that have shaped the world of dance our mind will often drift to the United States, Russia, or Germany. But what of Luxembourg?

REVIEWS | Rebecca Deczynski

Looking Forward

In times of rapid change, predicting the road ahead can seem to be a fool’s errand. But on a spring afternoon at Lincoln Center, I feel confident in this assertion: the future of dance is very bright.