Hans van Manen Festival: Dancers' thoughts on the Van Manen repertoire

“Hans’ choreographies always make me feel like the ultimate dancer. I am able to portray who I am as an artist, but am also given the space to just be Floor. This is certainly the case with Concertante: it brings out the best in you. The movements are very powerful, enabling the dancer to be in excellent form on stage. My partner and I have to find a flow that’s just right and that Hans is happy with. This means we are very attuned to one another: we look around, covertly catch each other's eye and make sure all of our movements are in sync. This creates dramatic tension on stage, which we experience together – between the two of us and with the entire group.”   - Floor Eimers, Dutch National Ballet soloist

Season 2023/2024

In season 2023/2024, Dutch National Ballet will dance Hans van Manen's Concertante in the programme Dancing Dutch (30 March-14 April 2024).

“In Sarcasmen, the two dancers give their all from the outset. From the wings, I hear the pounding of the piano, following which I take the stage with an aggressive solo. The ballet is very well structured and also comical for the audience, probably because they can relate to it so well. It’s about a couple and the good and toxic traits people sometimes show to the ones they love. It’s that ‘bad’ side that makes this piece so interesting to dance, because it’s a side to your personality that you normally keep hidden. The fact that you have to show this in the dance gives a sense of freedom. Aside from that, working with Hans in general is fantastic. The nine decades of experience and stories that he brings into the studio shine through in everything he does. Despite not being able to demonstrate the fullest expression of certain movements or jumps anymore, he leaves you in no doubt about how you should perform his ballets: you can see his intention in the smallest of movements.”   - Timothy van Poucke, Dutch National Ballet soloist

“One of the things that’s truly special about working with Hans van Manen is how he’s always looking for the ‘person behind the piece’. He doesn’t want you to perform his steps like some kind of robot; that won’t do anything for him. He really wants to see a human being, the flesh and blood, with emotions, strength, and sexuality. You can see this in his Polish Pieces: the characters – especially the women – are strong and sensual, and there’s a palpable tension throughout. Hans’ use of music contributes to this and is an important means of conveying this tension to the audience. The steps are always just on the count and the challenge for the dancers is to hold them for as long as possible. The muscle strength and empathy involved make this piece really enjoyable to dance. It’s also nice to be able to open the performance with Polish Pieces. We come running onto the stage: an explosive start to the evening!”   - Jamy Schinkelshoek, Introdans dancer

“No music – just sound recordings from films. If you consider this work was created in 1970, it’s not hard to imagine how avant-garde it was at the time. The piece is full of tension, which seems to centre on the group versus the individual, with a recurring push-pull dynamic. Who will gain the upper hand? What I will remember most about the rehearsals for Situation is that Hans was able to demonstrate so fully and specifically what he wanted. His commitment and dedication are a huge source of inspiration to me. I have no idea what I'll be doing when I'm 90, but if – like him – I am still able to do something I love so much, I think there can be no greater value than that. I believe everyone can learn a lot from him in this regard, both in the dance world and beyond.”   - Chuck Jones, NDT1 dancer

“Working with Hans? It’s pure joy. His pieces are beautiful and they hit the mark each time. The steps add to and enhance the music, and vice versa. There are no frills or frou frou: you raise your arm and then you lower it, that’s it. It just makes sense. Two Gold Variations is all about clean lines and it’s very fast. It is therefore essential that all dancers are in sync with one another. We challenge one another in this regard – especially our partners. We are well-matched in terms of strength and speed, and so we encourage one another to hone and perfect each movement. This is a piece that inspires quite a bit of 'camaraderie', as we have to be very in tune with one another and get a feel for each other. I have danced this piece quite a few times now, meaning I can delve deeper into the choreography and focus on the small details and accents.”   - Edo Wijnen, Dutch National Ballet soloist

“Simple Things ensures you have nowhere to hide: your most vulnerable side is exposed to the public. It's all about simplicity – about the beauty of what can be said in silence. Hans tough me to elicit feelings and ideas below the surface. In this way, a layer of complexity is added to a piece – making it more interesting for the audience – without bombarding them with over-the-top emotions. This is what I love most about performing Van Manen’s ballets. Plus, Hans doesn't take himself or his work too seriously, which makes for a very relaxed atmosphere. It gives us the space to let go a bit of all those expectations and demands, and just - simply - move.”   - Cassandra Martin, NDT2 dancer

“5 Tangos is a very intense piece, but in a good way. It turns the spotlight on the sparks that exist between a man and a woman; the pure passion that characterizes the Argentine tango. The music transports you to an intimate world and, as partners, you become completely absorbed by one another. This makes the piece very exciting – I would even say hot! But it is very layered at the same time: the choreography shows the depth of a relationship and the sadness it can cause sometimes. It is therefore a reflection on life as well. The choreography itself is very minimalist – as is typical of all Van Manen’s works. His ability to convey an idea or principle with the smallest of movements is uncanny. And the best way to execute such a movement, he still likes to show you himself.”   - Anna Tsygankova, Dutch National Ballet soloist

“Once the music starts, it’s impossible to sit still. In the Future is a playful piece and, as dancers, we go all out in this performance. We are given the freedom to feel sexy and comfortable – as this piece is all about knowing who you are. And it’s okay to just be yourself: in fact, this piece lets some of my personality shine through as many of the movements are imbued with my own feelings. This is true of all the dancers: it's about twelve personalities creating something together. This means each one of us is very aware of the other dancers around us: behind us, in front of us, to the left of us and to the right of us. We are constantly seeking out connections with one other, as this gives us energy, making us light up and pass this energy on to others. The sheer fact that we are allowed to dance one of Hans' pieces at all is a huge energy booster, especially when he suddenly appears in the studio! It is such an honour that so many generations before us have added their own personal touch to this piece and that we - as the youngest company – will now be allowed to do the same.”   - Sven de Wilde, Dutch National Ballet's Junior Company

“The world of a dancer is a competitive one: you’re constantly being driven to outshine your colleagues – and ultimately yourself. That’s what Solo is about: three dancers take turns to perform a lightning-fast choreography and then watch from the wings as the subsequent dancer pushes themselves beyond their limits, raising the bar for the others. But there’s no hostility in this competition; it’s a form of friendship. The same reassuring mindset has really helped me develop, both in my career and in my performance of this difficult dance technique. The steps and turns have to be performed at warp speed, meaning you have to be in full control of your body from the very first step. That’s only possible if you can find a sense of peace in the pace of the choreography. Solo then becomes a kind of game for me, to see how fast I can go and between which movements I can breathe. Van Manen is also a master of contrasts, combining Bach’s frenetic violin music with hip movements that might be more at home on the beach. It’s a work of genius.”   - Alessandro Giaquinto, The Stuttgart Ballet dancer