Archives for category: dialogue

 Photo: Vincent Wijlhuizen

As  an independent dance dramaturge, text writer and international project developer I’m a forceful and committed ally in the realisation of artistic projects. Together with Vincent Wijlhuizen and Ieme Soes I’ve initiated What You See Festival, I’m artistic associate of Bitter Sweet Dance and advisor of the Dutch Performing Arts Fund. I reflect on the activities of the European Dancehouse Network and am part of Springback Magazine and am experienced in artistic work, dance dramaturgy, moderation, producing, budgeting, writing, project development and management.

My interests are broad, but I have a soft spot for the representation of gender, age and cultural diversity, cultural structures that influence our thinking and tools that stretch the conventions of what is considered normal. I’m always interested in new collaborations so contact me via


 Photo: Yuri Huijg / Soopknife

The second edition of What You See Festival took place from November 22 – 24 in the city of Utrecht. Initiated by Vincent Wijlhuizen, Ieme Soes and myself, this multidisciplinary and international festival presented a brand new program fueled with urgency and joy. Through dance, theatre, film, exhibitions, music and more, the festival questions and stretches deep ingrained norms on gender and identity.

“Still humble in means, yet rich and ambitious in its programming, this festival is diverse in its core – the main focus lying on the topics of (gender and sexual) identities – but also diverse in poetic approaches to the themes at hand.” – Jordi Theunissen,

Next festival is November 19 – 22 in Utrecht, NL
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Passible means being capable of feeling or suffering, being susceptible to sensation or emotion.

Together with 16 young talents from the third year of the Modern Dance Education at the Theater School in Utrecht, choreographer Liat Waysbort and I continued working on group dynamics, compositional ideas and dramaturgical lines related to a large body of dancers.
With the dancers, the domains of feelings and emotions as an active activity was explored. In the journey of creation, we looked at various ways to provoke material and bodily expressions through the filters of emotional tension, exploring how those result in movement and motion of the individual and of the group. 

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Springback Magazine keeps artists, programmers and audiences in touch with new dance across Europe.
Founded in 2018, Springback Magazine does things differently. Rather than chase the mainstream, it follows the many streams of contemporary dance practice, performance and thought that cross the continent.

I’m one of the contributors to Springback Academy and you can read my contribution here.

Become a subscriber or member of Springback Academy and you’ll receive special benefits and gain exclusive access to videos of new dance across Europe – and support the visibility, circulation and status of the field at the same time.

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European Dancehouse Network (EDN) is a network for trust and cooperation between dancehouses all over Europe sharing a common vision regarding the development of dance art across borders. To  cooperate in securing a sustainable future for the dance sector and to improve relevance for diverse dance among society, EDN organises different activities every year. I’m involved in the network as documentalist and write reflective articles on the Ateliers and Forum they initiate.

Get to know their activities through the EDN calendar.  

The dancers are overwhelmed by disaster, but they don’t go down without a fight. Instead, they radically embrace every option and opportunity to influence their ending. Powerful and explosive, vulnerable and bounded, they draw us into their struggle, mortal fear, resignation and solidarity. During this bittersweet performance – alongside the inevitable crack of human lives – hope and comradeship emerge.

Liat Waysbort saw Ohad Naharin’s ‘The Sinking of the Titanic’ as a teenager, and was deeply moved by the oppressive power of the work. The production was inspired by the unshakeable orchestra that played on while the iconic ship went down. The impact of the strong images, set against Gavin Bryars’ all-embracing soundtrack evoked a whole array of emotions.

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A reflection on my experiences at Spring Forward Festival 2017

‘It don’t matter if you’re black or white’ was the ideological soundtrack of my youth. Somewhere along the line, while imitating Michael Jackson moves, we somehow forgot that what he was singing about was an ideal and not yet a reality. I, and many others, grew up with the illusion that we don’t see skin colour, and that it really doesn’t matter if you’re black or white. But it does matter and, by ignoring that, we are at risk over overlooking systematic iniquities in our society. As Anousha Nzume’s writes in her recently-published and very accessible book Hallo witte mensen (Hello white people), ‘if you claim you don’t see colour, you will also not see power structures created on the base of colour.’[1] In order to unravel power structures we have to talk about skin colour, including within the dance field. So here we go.

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Classical Beauty by LOCATION X / Taneli Törmä Photo: Jan Vesala

I was one of the lucky ten that were selected for the Springback Academy at Spring Forward Festival 2017. From 28th till 30th of April we saw 20 performances plus a film at the festival in Aarhus, Denmark. We ate, drank, discussed and danced together. Each one of us wrote three reviews and in doing, were mentored by professional dance critics. Below I’ve included my reviews, but you can find the work of my badass colleagues here.

Classical Beauty
by LOCATION X / Taneli Törmä  / April 28

A burly, beardy man stands centre stage, surrounded by a circle of light. He starts running in place, showing us the muscle tension in his bare legs while sweat seeps through his neat, lilac shirt. During the action his blissful smile reveals exaltation; he’s aiming for something to fulfil his longing.

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True Colors / Backbone Connects
‘Look at me. Admire and envy me. In True Colors, choreographer Alida Dors goes in search of the real person behind our online identities. Nothing is what it seems. Her characteristic, innovative hip-hop vocabulary, stripped of show and bravado, unpicks the stories behind social media images. We see what normally is hidden.’

making of

Premiere: 28th of January 2017, Theater Bellevue Amsterdam

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The diptych Please me Please of Bitter Sweet Dance is going to be shown on traveling festival De Parade in Amsterdam as well as in Utrecht.

Utrecht: 3 – 6 August
Amterdam: 12 – 15 August

More info on: