February 25, 2025

★★★★★

By: Peter Rombouts

Introdans surpasses itself in the revival of Typhoon by the Dutch queen of minimal dance, Krisztina de Châtel.

This 1986 choreography was groundbreaking at the time, and even now, it remains as solid as ever. De Châtel masterfully dissects the music Canto Ostinato by Simeon ten Holt, making it visually tangible and transforming it into movement phrases that exude unparalleled power.

Three large wind machines [Peter Vermeulen] stand at the side of the stage. Opposite them, five dancers stand in a line, moving their arms like windmills—a warm-up and a test of strength for what is to come. Then, the dancers begin their repeating phrases, each following their own count, sometimes moving as a group, then breaking into solos or pairs to perform the sequence.

All of this unfolds in straight lines, facing the still-silent wind machines. They almost seem to fall into their movements—occasionally throwing their heads back or swinging their arms behind them—creating a controlled off-balance effect.

It’s clear they are preparing for what’s to come. It’s remarkable how the five dancers execute this with such intense focus. As a spectator, you are drawn in—almost hypnotized.

The movements gradually intensify—legs lifted higher, stretches extended further, the tempo occasionally quickening. The climax arrives as the wind machines roar to life, creating an incredible sense of suspense. Goggles are pulled over their eyes, their breathing becomes heavier, and their movements more laborious. They lean into the wind, letting themselves be carried by its force. The fusion of dance, wind, and music is mesmerizing to witness.

More and more, we see how uncertain the world has become, shaped by short-term political thinking. Here, De Châtel demonstrates that preparation is everything—bracing for what lies ahead. When the music and wind suddenly stop, yet the dancers continue, they reveal their extraordinary resilience.

Introdans deserves praise for bringing Typhoon back into its repertoire. I consider this one of the most significant choreographies in Dutch dance history. Dancers Nina Dijkman, Mark van Drunick, Gabriel Parra Guisado, Juliette Jean, and Angelica Villalon deliver an outstanding performance.

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