Like ICK, Amos Ben-Tal is always curious about what the body does and knows. Although he makes precise choreographies, he lets his dancers fill them out; after all, everyone has his own past, fantasies and instincts which make every person’s body move differently.
Recently, the British newspaper The Guardian changed its language policy with regard to the changing climate. Climate change became ‘climate emergency’ and instead of global warming, it now says: global heating. The newspaper does this in order to make the urgency clear and to break familiarization – people get used to a catastrophe -.
This Christmas holiday, for the first time in 30 years of history, there will be a dance performance at the Bellevue Lunchtheater. We invited the prestigious dance company ICK Amsterdam that is celebrating its 10th anniversary this year. We spoke to the artistic director: Pieter C. Scholten and Emio Greco about their performance Sweet like a chocolate.
Four dancers of different generations share their experiences with dancing TWO: Barbara Meneses who performed it with Emio Greco in the early 2000s, Suzan Tunca and Vincent Colomes who danced it together in the decade after that, and Edward Lloyd – dancer of the present generation working at ICK. Did their experiences change over time.
ICK dancers Edward Lloyd and Sophia Dinkel started rehearsing with Kris Verdonck for SOMETHING (out of nothing). Edward shares his experiences after a workshop to prepare them for this process.
How beautiful it would be if choreographies could be danced again even after a hundred years. ICK is, therefore, working on a way to ‘archive’ contemporary dance. Not just in order to pass it on to future generations, but also to build bridges with the world outside dance.
Annet Huizing, the coordinator of ICK’s artistic archive, reflects on two aspects underlying CHOREOPOP, a performance by Jésus de Vega & Chai Blaq: things broken and things Japanese.
Jesse Vanhoeck’s notes that she made during rehearsals with Nacera Belaza. A choreographer, who tries to deconstruct all physical knowledge and habits trained dancers have about themselves.