Tribute to dancer
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THE dance company that legendary German choreographer Pina Bausch, who died in 2009, built into one of the world’s most acclaimed is doing its utmost to foster her legacy.
Beloved of fellow artists and seen as a visionary by her peers in the dance world, Bausch mixed dance and theater to produce a tumult of emotions, free from traditional constraints.
“I’m not interested in how people move, but in what moves them,” she said shortly before her death from cancer.
Now her life’s work is being honored with a Berlin exhibition, “Pina Bausch and the Tanztheater,” where members of the company will offer up to five workshops a day to curious visitors and dance lovers until January 7.
“I couldn’t have imagined that you could express yourself without difficult technique, and that it could be so much fun,” said 38-year-old Kerstin Brennscheidt, who had brought her son to rehearse a piece from Bausch’s 1982 work “Nelken” (Carnations).
The exhibition recreates the “Lichtburg,” a former cinema in the western industrial city of Wuppertal that Bausch turned into the headquarters of her dance revolution.
“Somehow she’s still there in us. I feel her aura around us. It’s overpowering,” said Australian Jo Ann Endicott, 66, who became the choreographer’s assistant after being one of the star dancers of the Tanztheater.
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