In New York with two choreographers from the Netherlands. 'So refreshing and unlike anything we have done the last few years.'

Between the buildings, streaks of sunlight invade the endless streets. Yellow taxis accentuate the colourful, vibrant street scene that looks like candy canes. On either side, countless floors and windows rise skyward. On one of those floors on 42nd Street, the Dance Theatre of Harlem is rehearsing the final scenes of Balamouk, a new creation by Annabelle Lopez Ochoa.

Also coming to watch is Wubkje Kuindersma. She is in New York because of a residency as a fellow at the Center for Ballet and the Arts at New York University, for which she was nominated by the Dutch National Ballet. Earlier this year, Wubkje observed in Moscow how her duet for two men, Two and Only, during the Benois Gala resonated with Russian audiences. To her delight, very well. What also caught her eye was that she was the only female choreographer on the programme that night, alongside works by dance legend Agrippina Vaganova.

Dutch Doubles, but different

As recently as March this year, both Annabelle Lopez Ochoa and Wubkje Kuindersma participated in the programme Dutch Doubles of the National Ballet (review here on Culture Press). It is a coincidence that both choreographers are now in New York at the same time. A good reason to visit after the rehearsal of Balamouk having lunch with them and asking how to make strides as a choreographer. We order in a typical American restaurant with those rows of benches back to back.

'It should not be the case that a woman is chosen as choreographer just because she is a woman,' argues Annabelle. That she and Wubkje are in Dutch Doubles were on the programme together was fairly unique. Admittedly, it was also because another male choreographer dropped out. Otherwise, it was just Annabelle among men. But in several combination programmes of the country's largest ballet company, men predominate as choreographers (see earlier article on this subject, also on Culture Press). However, this does not only apply to the Netherlands.

In England, however, the English National Ballet published the programme She Said, featuring new work by exclusively female choreographers. Artistic director Tamara Rojo hinted at a sequel when I asked her about it. She Said Too, I joked. It turns out that there will indeed be one, under the name She Persisted, with also the earlier Broken Wings by Lopez Ochoa. People at the company are very impressed with the ambitious and award-winning choreographer.

Five-year plan

That invitation by a company to come and create a work a second time is important for a choreographer. It cannot be done soon enough. However, it often takes years for such a second production to fit into a programming. Companies can work with five-year plans and have to take house choreographers into account, associate choreographers, in-house dancers getting opportunities and the big names you want on the repertoire too.

'As a choreographer, you have to be able to be humble,' says Annabelle. She managed to make the step to the big stage, where she can work with large groups of dancers. Wubkje is eager to make that step too and looks forward to working with larger ensembles. Fortunately, she already has offers in for this. Annabelle: 'In the past, I used to travel to Heerlen to work with a large group of amateur dancers. Financially, I kept little from it, but I learnt a lot from that experience.'

Wende

Wubkje is delighted with an offer she recently received at Ballet X in Philadelphia. 'You can't afford to turn down opportunities like that as a choreographer,' thinks Annabelle. Ballet X also offered her first assignment in the US, and she still returns there. However, some choreographers prefer to start directly with the first ensemble, rather than the second - often junior - part of a company. The reality is that you have to tackle everything. That's what Wubkje likes to do. 'I have a lot of ideas for pieces ready to go and every realisation is a dream come true. However, I do want to guard my own artistic course, I want to make something that adds something to a company: make an artistically high-quality contribution.'

That has not fallen on deaf ears with Annabelle. While her play with Wende Snijders was already quirky, with American companies she sometimes has to adjust her vision. But not in everything. She lets the coloured dancers of Dance Theatre of Harlem swing un-ballet-like to Romanian music. Then she may have to go the extra mile at an open rehearsal where sponsors, among others, can question the piece. 'Why is this dancer pointing her finger forward?" roars then a famous former dancer of George Balanchine, Arthur Mitchell, through the studio.

Instagram

If you go to the videos looks that Wubkje puts on Instagram, one notices a very personal movement style. How will she convey that to a large group of dancers?

'You will need rehearsal time to get dancers to make that their own, but I think that process is wonderful.' She continues, 'Those videos are also a kind of research where I work ahead. The residency now gives me plenty of room in that.' Annabelle is also a lover of the working process. 'Reviewers can knock off your entire work with two hours of writing, but that doesn't take away from the fact that I was able to experience five fantastic and valuable weeks with the dancers'.

This is evident from the reaction of a Dance Theatre of Harlem dancer I spoke to briefly earlier in the hallway. 'She is unbelievable, it is so refreshing and unlike anything we have done the last few years.' So cheers and applause rise at the end of the rehearsal of the exciting and energetic Balamouk. Just like before the curtain opened on Last Resistance at Dutch Doubles. The audience could hear through the thick curtain the enthusiasm of the dancers, Annabelle and singer Wende Snijders even before the ballet had to start. How do you pull off such a group experience?

People Management

'I myself also want working with the dancers to be fun and make sure everyone feels involved in the production. I don't believe in soloists doing their own thing in isolation, but want to achieve a joint end result.' That sounds like people management and also means being able to comfort dancers with personal distress, for example. 'Taking into account dancers who aren't having their day for a while,' Wubkje adds.

Besides the fact that working with dancers can be fun, every now and then it is necessary to give them a hard time. To keep their attention, to inspire them and remind them that they are not just sweating. The MeToo discussion may confuse some of that. America, for instance, is tightening guidelines on how to deal with your dancers as a director or creator. Not only to prevent sexual harassment, but also to protect dancers from tirades from directors or choreographers.

Outside

In some areas, therefore, America is ahead in terms of dance. One reason many dancers and makers from the Netherlands still go there. Money is a determining factor for the dance climate. A lot depends on sponsorship, with even individual dancers at a company being supported by a sponsor for a year. Creating a new work with a set as we are used to in the Netherlands can also be a big problem there. There is simply not enough money for that.

Perhaps that is why the dance you see in company videos, with dancers on the street or on a building, exude so much energy. They are free from the constraints of a rectangular stage, wings and an audience far away.

So is dance outside the theatre the future for ballet? No, because of practical issues such as a good floor, weather conditions and the decided focus of a theatre audience, probably not. In early 2019, the international summit Positioning Ballet at the Dutch National Ballet are considering the question of the future of ballet. Perhaps I will see Annabelle and Wubkje there again.