Notes of Longing (2025)
Notes of Longing is a new creation by Lucinda Childs for Introdans. She works with the piano music of Matteo Myderwyk and has selected eight pieces from his album Notes of Longing. Inspired by the structure of the music, she creates the choreography together with the Introdans dancers. Childs wants the dancers to be fully immersed in the music—she wants to see them feel it, enjoy it.

Interior Drama (1977)
Interior Drama is one of Childs’ early works. This choreography was premiered at the famous Brooklyn Academy of Music in New York in 1977 and since then has been performed at all kinds of indoor and outdoor locations in the city, mostly on large, flat roofs. This work is performed in total silence and you might call it a study in minimal, repetitive movement, but in fact this little jewel transcends this simple goal. Geometry, spatial relationships, timing, tempo and variable repetition are key in this ‘mathematical’ choreography, but the result is hypnotic and spellbinding.  

Kilar (2013)
Kilar, dating from 2013, is the first work that Childs made specially for Introdans. This choreography involves an ingenious interaction with the Piano Concerto by (film) composer Wojciech Kilar. In Kilar – as in most of her creations – Childs impresses with scintillating, abstract and complex dance patterns. However, in the middle section the choreograph also challenged herself in a new way by having the dancers perform in crinolines and with cubes of steel wire. This not only generates many fine images but also gives the work something of a romantic touch.  

Petricor (2018)
Petricor (‘the scent released when rain falls on dry ground’) is the third work that the ‘queen of minimal dance’ created for Introdans, dating from 2018. For this work, Childs drew inspiration from the composition of the same name by Ludovico Einaudi, known among other things for his music for the successful French film Intouchables. This resulted in a complex but also crystal-clear choreography of repetitive, classical dance steps – with many turns, arabesques and small, low jumps – that are arranged in space with a feather-light touch. The ingenious mathematical patterns that Childs creates through this process are also rendered visible, in a sketched version, in the stage design of the French artist Dominique Drillot. This results in abstract artworks that further reveal the genius of the choreography. 

Concerto (1993)
An electrifying work that moves across the stage like one long whirlwind. That’s how Lucinda Childs’ Concerto was described at its Dutch premiere in 2007. In this work, which might well be the most ‘ballet-like’ of the choreographies by the American ‘queen of minimal dance’, seven dancers race across the stage in continually changing formations, accompanied by the driving music of Henryk Mikołaj Górecki. With tiny variations and shifts, Childs is able to create a kaleidoscopic jewel: it looks so simple, but in fact it’s incredibly refined and masterful. 

Interview Lucinda Childs
“Two dance legends on the difficulty of minimal dance: Backstage, dancers count along on their fingers”: Read here an interview in de Volkskrant with Lucinda Childs and Krisztina Châtel about their work and the performances ICON and TYPHOON.