March 12, 2025
by: Sandra van Maanen

The American choreographer Lucinda Childs is the queen of minimalist dance. Her unique movement language, energy, and influence on the development of modern dance are unparalleled, and her style is one of a kind. She will soon turn 85, and Introdans is celebrating this milestone with the focus programme ICON.

This programme includes Childs’ earliest choreographies as well as her most recent work. Five ballets in one program, with Nijmegen honored to host the premiere. ICON is a time journey through the highlights of her long career, starting with Interior Drama, which she created in 1977, and leading up to the world premiere of Notes of Longing. Naturally, Kilar (2013), Petricor (2018—both created for Introdans), and Concerto (1993) are also included.

The relationship between Childs and Introdans is strong. The Arnhem-based Introdans was the first company in the Netherlands with which she truly felt a connection and that has the privilege of performing her work. No other company in the world has incorporated as many of her pieces into its repertoire. Artistic director Roel Voorintholt considers her masterpieces a showpiece for Introdans. “Because they are meditative, aesthetic, and incomparable to any other choreographer’s work. You are effortlessly drawn into them. Audiences often say they feel calm and relaxed afterward. And that’s something valuable, especially in these chaotic times.”

At home in Arnhem
Recently, Childs temporarily moved into Introdans’ Arnhem apartment from New York. She knows it from previous visits to the Netherlands when she came to rehearse her work with the dancers. “The last time I was here was five years ago, for the premiere of Oceana,” she recalls. “Spending another month in Arnhem feels more comfortable than constantly traveling back and forth.” She doesn’t mind being away from home for weeks or even months—although she once miscalculated the expiration of her visa after ninety days and was sent back home.

These past weeks, she has been rehearsing her latest creation, Notes of Longing, with the dancers. A work in progress, refining insights during rehearsals. Even though Childs meticulously maps out her complex masterpieces in her mind and on paper—often described as “dancing mathematics,” as if she were using a compass, protractor, and timer to construct movements around a theme and then explore all possible variations—something extra happens in the rehearsal space. The choreography develops not just for but especially on the dancers, shaped by their personalities.

Childs has a deep appreciation for Introdans’ dancers. “Because of their concentration and dedication,” she says. “They are very open. Their willingness to learn is immense, and they put all their energy into it.” She doesn’t make it easy for them. Childs is known for being demanding, expecting absolute commitment. Dancers must have a strong sense of rhythm but, above all, be musical. “And they are—you can tell by how they respond to the music. Counting is crucial to knowing their place in the piece, in relation to each other and the space. And during rehearsals, in relation to me—I want to stay connected.”

Wilson and Glass
From the very beginning of her career—within the legendary experimental art platform Judson Dance Theatre in New York—Lucinda Childs has sought connections between art forms. She collaborated with designers, composers, poets, and musicians. The artistic climate of the 1970s was ripe for such experiments. “I started in a time of experimentation, of non-traditional collaborations. It was quite radical—without music and far removed from what was customary in the dance world. Only when I met Robert Wilson and Philip Glass did I return to traditional forms, though in a way that suited me, of course.”

In Notes of Longing, music plays a crucial role. She wants dancers to be inside the music, to see that they feel it, enjoy it. Only then do they understand what the choreographer is aiming for. “They are dancers first and foremost, but also performers who bring something special, something personal to my choreography. Their quality as artists on stage is that they share unique elements—with me and my work. So, it’s not just about me telling them what to do, but also about what they bring to the work. Their interpretation determines the final result, and I allow them that space.”

Live Music
Kilar, Petricor, and Concerto will be performed live during the ICOON tour in several theaters—including in Nijmegen—accompanied by the National Youth Orchestra under the direction of Jurjen Empel. Notes of Longing will feature live accompaniment by composer and pianist Matteo Myderwyk, who composed the music of the same name. Childs loves live music. “Not just for the dancers but also for the audience—it’s a fantastic experience.”

“I know how difficult it is to strike a pose in company without music.” – Lucinda Childs

That the time journey begins with Interior Drama (1977), one of her most radical pieces without music, is exciting. “It’s a challenge for dancers, but I saw during rehearsals that they can do it! I am very impressed—I know how difficult it is to strike a pose in company without music, purely by instinct. It requires ultimate teamwork.”

Stopping? Not an Option.
The American choreographer has no plans to stop. Despite her advanced age, she keeps working. “Dancers can’t because of the physical demands, but a choreographer can.” Does she have a secret to keeping up the pace? “Maybe the fact that I exercise every day? Tai Chi, yoga, Pilates—I love it all equally. Every day starts with movement. Because I enjoy it, not because I have to.”

March 14 – ICON premiere in Nijmegen. More info & tickets >>

Read the full article in De Gelderlander >>