Rhythm Isn't A Dancer

It may come as a surprise, but not all dancers have a natural sense of rhythm. Having rhythm seems like it would be a pre-requisite for a dancer, but Swedish choreographer Alexander Ekman says it ain't necessarily so. “Rhythm is a mystery right? It's one of those things: either you have it or you don't,” Ekman says. “Of course, I've come across dancers that haven't been so rhythmical and then it's up to them to find another way of doing it and hearing it. There are so many different kinds of dancing and for some, maybe you don't need rhythm so much. It's very difficult. Nowadays when I make a creation and I know I'm going to work with rhythm, I clap a rhythm and ask the dancer to clap after me and if they can't do it, I know I can't work with them. I know it's harsh but it's the reality of it. I learnt that from experience.”

The young Swede is the in demand name in international choreography at the moment despite being just 28. Having worked extensively in Scandinavia and Europe for the likes of Nederlands Dans Theatre, the Royal Swedish Ballet and the Ballet de l'Opéra du Rhin, for the first time Ekman is taking his piece, Cacti, on the road and the first cab off the rank to perform this stunning work is Sydney Dance Company. Ekman saw Sydney Dance Company perform in New York a couple of years ago and thinks his highly percussive piece will fit in well to De Novo, a showcase of contemporary works including a piece by artistic director Rafael Bonachela, Emergence, that uses music by Sarah Blasko and Nick Wales.

Ask Ekman how long he likes to work with dancers to prepare a piece he responds with a drawn out, “years and years”, but then he giggles. “No. But Cacti is an extremely detailed piece. It's very difficult to perform. There's a lot of counting and it's such big teamwork. It's like an orchestra. The dancers really need to feel each other and be super concentrated. And then it looks amazing.

“I'm always very interested in that high state of concentration we have. And what we're actually capable of doing in that space. That was a big part of creating Cacti actually – how fast we could listen to each other and the speed also.”

Ekman is in Australia to work with the dancers on developing this season of Cacti. It's his first trip down under, but considering this is Cacti's first time away from home it makes sense the choreographer wants to be here to hone the piece. “Of course, it changes. Every time you make a new season in another company it kind of transforms. It's kind of like the basics of the piece are there but I also make a lot of changes when there's new people,” he says. “For me in my work I want the dancers to be comfortable because when they're comfortable it usually looks good, I think. If that means I have to make changes I will. I'm not completely stuck on the choreography. Whatever works; whatever looks good.”