PHOTOS SHOOTING WITH ETHAN OELMAN

This pictures represents so many years  on the dance floor, learning, practice and transforming my life. Life is movement and all is impermanent.

I would like to thanks my teachers who offered me such a precious knowledge that helped me overcome difficult times, grief , loss , sadness and fear.

But,  I am a work in progress , and once you are dancing the dance from heart to mind and mind to heart , this practice is present in my life every day.

 

In this foto shooting I wanted to express some emotional landscape I visited in the dance floor. And I hope from my heart this images  inspired you to dance with me.


INTRODANS’S ‘HEAVENLY’ IS NOTHING SHORT OF MIRACULOUS


Introdans in Messiah by Ed Wubbe
Photo by Hans Gerritsen

Written by Steve Ha

Closing out the 2011-12 Season of the University of Washington’s World Dance series was an honor bestowed upon Introdans, a modern ballet troupe hailing from the Netherlands. Starting their three day run on May 10, 2012, Introdans brought their program entitled Heavenly (or Hemels, in Dutch) to Meany Hall, featuring the choreography of Nils Christe, Gisela Rocha, and Ed Wubbe. Though classical ballet can often struggle to find a voice in contemporary themes, Heavenly reassured those centuries old steps can find new life when properly utilized.
 
The merging of ballet and modern dance is often precarious, as dancers who find their strengths in one genre over another are easily exposed; but the company members of Introdans showed proficiency in both, and, more importantly, excelled in achieving the delicate balance between them, as if to say that contemporary ballet is in fact its own classification. Christe’s Fünf Gedichte, set to Richard Wagner’s “Wesendonk Lieder” opened the program in gossamer fashion. A barely clad Zachary Chant began the piece with a lyrical solo as a divine, celestial presence that never ceased motion, the smoothness with which he moved a most remarkable quality, like unraveling a bolt of silk of infinite length. Divided into “poems,” several pas de deuxfollowed with dancers in simple, but elegant unitards in rich colors, each couple embodying the enigmatic transition between life and death. Soft and serene, Fünf Gedichteshowed elegance, simplicity, and a marvelous musicality.

Photo by Hans Gerritsen

 

Introdans in Paradise? by Gisela Rocha

Rocha’s Paradise?, a large ensemble piece, could not have been any more different. Punctuated by sharp angles and dynamism, Paradise? at times was an ether of bravura technique, in fast pirouettes and effervescent jumps, but masked with a sense of earthiness. The arabesque penchée, an iconic move in ballet where a dancer lifts one leg to the back and tilts forward, took on new meaning when one of the performers practically exploded into that shape, then held it in perfect stillness, frozen in time with her partner. Rocha’s choreography was both clean and efficient, but showed great complexity in layers. Though difficult to discern the inclusion of certain moments, watchingParadise? could be likened to observing several parallel universes at once—there were moments of humanity, and others less so but not entirely alien, having their familiarities that were enough to inspire nostalgia, but altered to fit within the context of the work. A dancer’s ethereal rendition of “Somewhere Over the Rainbow” highlighted the piece, her vocal talents equal to that of her dancing.

Article in Seoul South korea

Article about 40 years of Introdans Dance Company


Netherlands Press 2011

Introdans Magazine

Article Seoul South Korea 2013