EW
SUMMER INTENSIVE 2013
VI
EW
JELLE IJNTEMA | PASSIE IN BEELD
PR E
PR
EV
IE
W
PR EV I
HENNY JURRIﾃ起S FOUNDATION
1
2
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
3
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
4
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
EW
IE
W
PR EV I
EV
HENNY JURRIﾃ起S FOUNDATION
SUMMER INTENSIVE 2013
PR E
VI
EW
PR
JELLE IJNTEMA | PASSIE IN BEELD
5
6
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
EW
Foreword by Gary Feingold
PR EV I
A dancer’s instrument is his or her body. Just like a singer or musician, a dancer’s technique must also be highly developed. That takes not only years of preparation, but also daily physical training and an open attitude towards learning new techniques and methods that today’s dancer needs. If a reference can be made to another art form, the words of the great Israeli novelist, Amos Oz are appropriate:
W
“If you write a novel you have to make about a quarter of a million decisions- not just decisions about the outline of the plot, who will live or die, who will fall in love or be unfaithful, who will make a fortune or make a fool of himself etc.- You also have to make thousands of finer decisions , such as whether to write, in the third sentence from the end of that paragraph, blue or bluish. Or should it be pale blue, or sky blue, or royal blue, or should it really be blue gray?…. Or would it be best just to write the three words ‘the evening light’ without trying to color it in, either gray-blue or dusty-blue, or whatever?”
PR
EV
IE
Now of course these are the difficult choices that a writer must make, but ultimately when he or she makes them they come directly on to the paper as he chooses them. With a choreographer, she must also make the same choices, but there is an interpreter that must in the end physically express her ideas. The quality of a choreographer’s work thus depends upon those dancing it. Can they capture his nuances? Can they express the subtlety or boldness that he needs in order to bring his message across? Can they do this step with the arms just like that and with head placed just at this angle so that the feeling of the movement brings exactly across to the public what he wants to say? The ability of the dancer to do all of this depends largely on her technical ability to control her own body. Of course the individual expressive abilities of each dancer also play a large role, as well as the ability to work together with and inspire a choreographer in creating a piece. But ultimately it is the dancer’s ability to express him or herself physically that is most important, and thus the ultimate purpose of training is to train that ability.
VI
EW
The Henny Jurriëns Foundation in Amsterdam has organized daily training and periodic workshops with some of the world’s best teachers since 1995 and has grown into perhaps the most important open professional level training institute in Europe. Recently a yearly international summer course the Amsterdam Summer Intensive has become added to the program. In 2013 more than 300 dancers from 35 countries attended. We were delighted when Jelle offered to take photographs during it. As can be seen by his work in the following pages, his pictures manage to show the essence of both training and creation. And in doing so the words above seem to come to life. Perhaps a variation can now be made on the famous quote by Merce Cunningham:
PR E
“You have to love dancing to stick to it. It gives you nothing back, no manuscript to store away, no painting to show on walls and maybe hang in museums, no poems to be printed and sold, nothing but the fleeting moment when you feel alive.” Jelle in this series has at least captured some of those moments and saved them for us to enjoy. Gary Feingold Director Henny Jurriëns Foundation
7
8
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
EW
Preface Of all the performing arts, which do I consider the most beautiful? Look at the book in your hands, and the answer will be obvious.
PR EV I
I have always been drawn to the world of dance. Although it never occurred to me to become a dancer myself, it always gave me great pleasure whenever dance crossed my path -- either as an audience member, watching from a safe and stationary place, or from behind my lighting desk, when I had the good fortune to be part of several dance productions as a lighting designer.
IE
W
Having gradually moved away from theatre towards photography, dance unexpectedly crossed my path again when I met dancer Sophia Maria Kienhuis some years ago. I became reacquainted with her world from a completely different perspective. During the process of capturing several of her performances, I noticed how much I enjoyed being part of it from behind the lens. So when she introduced me to the Henny JurriĂŤns Foundation I found myself in a place where I could learn and grow as a dance photographer. In addition, I was delighted by the atmosphere of creativity, inspiration, passion and joy that permeated their Summer Intensive Course. When you take 300 dancers from all over the world and put them in a pressure cooker for one to three weeks, what do you get? Well, all the things I mentioned above, plus, as a bonus, friendship. Which may be the gift I will take away from it most of all.
PR
EV
I feel blessed having been part of this experience, and I would like to thank Gary Feingold and Ineke Drabbe for welcoming me into the Summer Intensive, giving me the opportunity to watch, participate and learn. Also, a big thanks to all the choreographers, teachers and dancers I had a chance to work with. And, of course, I thank Sophia Maria Kienhuis for bringing dance back into my life again and making me part of it. In the following pages, you will find a broad selection of the photos I took during several workshops and most of the showings at the Summer Extensive 2013. Enjoy these images, and I hope to see you out there some day -- in the studio or on the stage.
VI PR E
Jelle IJntema PASSIE IN BEELD
EW
With a big smile,
9
10
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
EW PR EV I Contents
Foreword by Gary Feingold
7
Preface Jelle IJntema
8 13
Workshop & Showing, Marijke Eliasberg
23
W
Showings Iñaki Azpillaga/ Maurice Causey
43
Showing Kathleen Hermesdorf
53
Showing Miki Orihara
62
Workshop & Showing, Ricardo Ambrózio
68
Workshop Manuel Ronda
82
Workshop Charles Anderson
90
Workshop & Showing Damien Jalet
103
Showing Cristina Leitão
119
Colophon
126
PR E
VI
EW
PR
EV
IE
Workshop Galili, Helena Volkov
11
12
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
EW
VI
EW
PR
EV
IE
W
PR EV I
PR E
SHOWINGS IÑAKI AZPILLAGA / MAURICE CAUSEY
13
14
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
15
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
16
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
17
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
18
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
19
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
20
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
21
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
22
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
EW
VI
EW
PR
EV
IE
W
PR EV I
PR E
WORKSHOP & SHOWING MARIJKE ELIASBERG 23
24
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
25
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
26
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
27
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
28
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
29
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
30
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
31
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
32
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
33
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
34
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
35
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
36
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
37
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
38
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
39
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
40
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
41
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
42
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
EW
PR E
VI
EW
PR
EV
IE
W
PR EV I GALILI WORKSHOP: HELENA VOLKOV 43
44
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
45
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
46
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
47
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
48
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
49
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
50
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
51
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
52
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
EW
PR E
VI
EW
PR
EV
IE
W
PR EV I SHOWING KATHLEEN HERMESDORF 53
54
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
55
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
56
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
57
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
58
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
59
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
60
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
EW
PR E
VI
EW
PR
EV
IE
W
PR EV I SHOWING MIKI ORIHARA
61
62
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
63
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
64
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
65
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
66
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
EW
VI
EW
PR
EV
IE
W
PR EV I
PR E
WORKSHOP & SHOWING RICARDO AMBRÓZIO 67
68
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
69
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
70
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
71
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
72
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
73
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
74
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
75
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
76
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
77
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
78
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
79
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
80
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
EW
PR E
VI
EW
PR
EV
IE
W
PR EV I WORKSHOP MANUEL RONDA
81
82
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
83
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
84
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
85
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
86
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
87
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
88
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
EW
PR E
VI
EW
PR
EV
IE
W
PR EV I WORKSHOP CHARLES ANDERSON 89
90
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
91
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
92
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
93
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
94
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
95
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
96
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
97
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
98
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
99
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
100
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
101
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
102
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
EW
PR E
VI
EW
PR
EV
IE
W
PR EV I WORKSHOP & SHOWING DAMIEN JALET
103
104
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
105
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
106
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
107
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
108
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
109
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
110
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
111
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
112
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
113
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
114
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
115
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
116
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
117
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
118
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
EW
PR E
VI
EW
PR
EV
IE
W
PR EV I SHOWING CRISTINA LEITﾃグ
119
120
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
121
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
122
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
123
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
124
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
125
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
EW
PR E
VI
EW
PR
EV
IE
W
PR EV I COLOPHON: AUTHOR: PASSIE IN BEELD | JELLE IJNTEMA TITLE: HENNY JURRIËNS STICHTING, SUMMER INTENSIVE 2013
© 2014, PASSIE IN BEELD | JELLE IJNTEMA All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or in any means – by electronic, mechanical, photocopying, recording or otherwise – without prior written permission. We have tried to contact all the dancers featured in this book. If for any reason you did not hear from us or you feel wrongfully portrayed please send an email to jelle@passieinbeeld.nl
126
127
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
128
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
129
PR E
EW
VI
W
IE
EV
PR
PR EV I EW
HENNY JURRIﾃ起S FOUNDATION
EW
SUMMER INTENSIVE 2013
EW
PR
EV
IE
W
PR EV I
JELLE IJNTEMA | PASSIE IN BEELD
PR E
VI
In 2013, for the third consecutive year, the Henny Jurriﾃｫns Foundation organized their Summer Intensive. Three hundred dancers from all over the world came to Amsterdam to improve their technique or get acquainted with new ones. All this in an atmosphere which proved to be unique, heartwarming, friendly, inspired, and bursting with creativity. Photographer Jelle IJntema had the good fortune to witness it all, and used his camera to capture many of the striking and moving moments that occurred in the course of these three weeks. The wide selection included in this book is intended to make you remember those moments, look forward to new ones, or simply to make you enjoy dance in all its glory.
WWW.PASSIEINBEELD.NL
130
WWW.HJS.NL