Dance on in Infinity

Panel discussion with Salomon Bausch, Meryl Tankard, Emio Greco, Beppie Blankert , Jordy Dik, Ted Brandsen e.a.
Sat 18 Oct / 15:30 - 18:00
Sat 18 Oct ’25
15:30 - 18:00
  • Sat 18 Oct ’25
    15:30 - 18:00
    Spinozafoyer
    Past event

The success of Kontakthof- Echoes of '78, choreographer Meryl Tankard's interpretation of Pina Bausch's Kontakthof, raises questions about whether and why we want to keep modern dance repertoire alive and relevant, and how we can do so. During this panel discussion, we will talk to choreographers, heirs, and creators. We will also delve into the image archive for special recordings. 

Dance on in Infinity addresses questions such as: what is the importance of keeping dance repertoire alive? How do choreographers feel about the performance of their work in the future? What was once innovative may have become commonplace. Does the power of a choreography change over time? And: should new creators be allowed to make changes to the work so that it fits better into the times, according to those creators of the future?

Moderator Henk van der Meulen discusses these and other questions with Salomon Bausch, who manages his mother's legacy at the Pina Bausch Foundation, and with Beppie Blankert, who is currently reviving her famous performance Dubbelspoor (1986) at Korzo, 40 years after its original premiere.

Background
Pina Bausch's work is still being danced all over the world. The influence of her oeuvre is enormous. She took choreographers, dancers, filmmakers, theater makers, visual artists, and, of course, dance audiences into a new movement idiom. With her powerful expressiveness, Bausch managed to appeal to modern people. Her legacy continues to do so today. 

As in Kontakthof - Echoes of '78, a new work by dancer and choreographer Meryl Tankard. It is based on Bausch's legendary Kontakthof from 1978, one of the most important pieces in the repertoire of Bausch (1940-2009). Now, 45 years later, Tankard has created a new interpretation of this iconic piece with part of the original cast from 1978.

The way in which Maryl Tankard adapted Bausch's original choreography raises questions about how one can and should deal with the legacy of exceptional repertoire. Even when the original creator is no longer with us, as in the case of Pina Bausch. 

The panel discussion is in English. Attendance at the panel discussion is free of charge. However, please reserve a ticket.

We would like to continue our informal discussions over (a vegeterian) dinner (optional, €18.50).

There are also a number of tickets available for the performance on Saturday for visitors to the symposium (€67.50 including dinner, while supplies last). Please note: if you choose this option, you will receive your tickets by email a few days before the performance.

Click the button 'tickets' to order tickets for the panel discussion and optionally dinner and the performance.

Credits

Salomon Bausch established the Pina Bausch Foundation in 2009, shortly after the death of his mother, the world-renowned choreographer Pina Bausch. He manages her artistic legacy and grants licences for performances of her choreographies worldwide. In collaboration with former and current dancers from the Tanztheater Wuppertal, he safeguards the transfer of knowledge and performance traditions. His goal is for future generations to continue to experience Pina Bausch's work on stage.

Meryl Tankard
is an Australian dancer and choreographer who was a member of Pina Bausch's Tanztheater Wuppertal from 1978 to 1984, where she created roles in iconic works such as Café Müller and Kontakthof. After returning to Australia, she founded her own company and was artistic director of Australian Dance Theatre (1993-1999), where she created award-winning works. She has worked for theatre, film, opera and major international companies, and directed the opening ceremony of the 2000 Olympic Games in Sydney, among other things. In 2019, she was appointed Officer of the Order of Australia for her visually compelling and emotionally charged work. 

Ted Brandsen has been artistic director of the Dutch National Ballet since 2003. He began his career as a dancer with the Dutch National Ballet, where he later also became a choreographer. Under his leadership, the company grew into a leading institution with a broad and innovative repertoire. Brandsen is known for his strong artistic vision and his ability to bring together tradition and innovation in the art of dance.

Beppie Blankert is a Dutch dancer and choreographer who played an important role in the development of modern dance in the Netherlands. She began her career in 1969 as a dancer but soon started choreographing, working with various companies such as the Noord Nederlandse Dansgroep, Mezzing and Dansproduktie. In 1987, she founded her own company, with which she created layered performances combining dance and specially composed live music. She has more than forty choreographies to her name, which have been shown at festivals and theatres at home and abroad.

Jordy Dik is a choreographer and community artist who explores the boundaries between dance and theatre. He is co-founder and artistic director of Compagnie Tiuri, an inclusive dance theatre company in which dancers with and without disabilities work together. With performances such as You And Me And All The Others, he won the BNG Bank Dance Prize 2023. His work is characterised by a raw, poetic style and a deep focus on connection and humanity.

Emio Greco has been collaborating with Pieter C. Scholten since 1995 in a joint quest for new forms of dance. He trained as a dancer in Cannes and danced with Jan Fabre and Saburo Teshigawara, among others. In 1996, Greco and Scholten founded the dance company ICK (Emio Greco | PC), with which they achieved international success. In addition to dance, their work also includes opera, music and film, and they have been awarded the VSCD “Zwaan” prize, among others.

Henk van der Meulen was director of the Royal Conservatoire in The Hague from 2008 to 2023. In the 1970s and 1980s, he was a composer for numerous performing arts productions and collaborated with choreographers, poets and theatre makers. Later, he was head of the Music and Dance department at the Dutch Public Broadcasting Service, where he provided a platform for innovative forms of music and dance. Under his leadership, the Royal Conservatoire developed into a school that stimulates artistic talent and is firmly anchored in an international network of artists.






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