Introdans – Icon; Lucinda Childs’ choreography on Canto Ostinato

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Lucinda Childs is one of the iconic ‘grand old ladies’ of American modern dance. Her movement language is absolutely unique: in an abstract, almost mathematical fashion the ‘queen of minimal dance’ uses relatively simple ballet and athletic movements to create hugely complex masterpieces. Her ‘Canto Ostinato’ will tour again in February till May 2020…   

There is a special bond between Childs and Introdans: Introdans is the only Dutch company allowed to perform her work. In addition to existing top-level dance pieces the group has now also produced three world premieres of her work. In June 2020 Childs will be celebrating her 80th birthday. So that’s a great opportunity for Introdans to turn the spotlight on her exceptional work in the tribute programme ICON (Dutch-ICOON), featuring some of the finest jewels in her wide-ranging oeuvre. A unique show highlighting a unique dance personality!

Kilar is the first work that Lucinda Childs made specially for Introdans, in 2013. This choreography features an ingenious interaction with the Piano Concerto by (film) composer Wojciech Kilar. Childs’ movement language captivates the audience with her trademark sparkling, abstract and pure dance patterns. In this work she has challenged herself in a way new for herself by having the dancers perform in crinolines and with cubes of steel wire. This not only results in many fine images but also gives her work a more romantic touch.

Following on from Kilar the next work that Childs created for Introdans was Canto Ostinato, which proved a major hit at its premiere in 2015. “Simple, pure and wonderful,” said one reviewer. When making this work Childs took her inspiration from sections of the famous composition of the same name by Simeon ten Holt. The choreography displays an apparent simplicity: simple walking steps, low jumps, tight formations. But appearances are deceptive. The constantly shifting patterns, directions and rhythms reveal brilliant inventiveness and demand the utmost from the dancers.

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