words by DEBORAH DRENOFCI
Wednesday, 21 October marked the beginning of Amsterdam Dance Event, which turned 30 this year. The opening night was a special one. The historic Gashouder reopened its doors for ADE - ahead of its official opening on 30 October - to welcome a fascinating remix of Tchaikovsky’s Swan Lake. A synergy between Dutch National Ballet, ISH Dance Collective, Gashouder and Amsterdam Dance Event brought to life a performance where pointe shoes, hip hop, electronic music and industrial surroundings not only collided but created a balance. A testimony that sometimes in life, harmony is born when differences dance together.
photography by JORRIT LOUSBERG
We spoke with Ernst Meisner, director of Dutch National Ballet, and Marco Gerris, artistic director of ISH Dance Collective. Asked about the inspiration behind the show, Meisner said: “There were many things to celebrate. ADE is celebrating 30 years. The Gashouder, this incredible building, is reopening. The collaboration with ISH Dance Collective is celebrating ten years, and Dutch National Ballet and the ballet world are celebrating 150 years since the very first production of Swan Lake. So many celebrations needed to come together, so this seemed very logical.”
For Gerris, the difference from their previous work was in the setting. “Normally we create big theatre shows in beautiful buildings all around the Netherlands,” he said. “But this venue is so epic, linked to ADE and the underground scene. So for us, it was a beautiful challenge to see how we could combine our skills with classical ballet, electronic music and Tchaikovsky. The craziest crossovers you would normally never think of. That was our fun creative challenge.”
The dancers of ISH Dance Collective opened the show. A wave of youth came from them as they performed a choreography full of jumps, downrock and headspins. You could sense the anticipation in the air, the quiet curiosity of the audience waiting to see how all the dots would connect, and how the famous tension between the White and the Black Swan would unfold. In the midst of it all, Giorgi Potskhishvili, one of Dutch National Ballet’s principal dancers, entered as Rothbart, the sorcerer, here reimagined as a DJ. His grand jeté landed on melodic techno, surrounded by hip hop moves.
As everything grew more intense, with backflips and the crowd applauding, composer Rik Ronner’s original score subtly shifted to Tchaikovsky. In that moment, framed by industrial ironwork, the corps de ballet entered with the gliding magic of bourrées and arabesques. The Dance of the Little Swans was a collective moment, with everyone taking it all in. The most famous ballet in history met hip hop inside a former gas holder.
Salome Leverashvili then entered as the White Swan, all poise and quiet elegance, joined by Timothy van Poucke as the Prince for the pas de deux. There was so much power in seeing the ease the ballet dancers and the ISH dancers shared with each other. More than dancers, they were great narrators.
The arrival of the Black Swan, the remix’s take on Act III, was the real gem of the show. He entered in a black latex bodice, bringing the dips, poses and attitude of ballroom voguing to the stage. Beside him, another dancer in vast red wings whipped through the 32 fouettés. Safe to say, the Black Swan served. For a while, red dominated the space, from the lights to the costumes. After the fouettés, a performer in a wide, conical red hat and a high-necked red top stole the stage with a solo of her own. Then the lights cooled to blue for another breathtaking solo performance. Two solos, two temperatures. Shades of red and blue, softness and fire. The same contrasts that run through Swan Lake itself, played out in lightning colour.
And then came the final act. The beat dropped hard and all the dancers collided, ballet’s lift against hip hop’s bounce. The synchronisation was splendid. It felt like a connection. It was one.
An event like this was a fitting way to mark ADE’s 30th anniversary, a reminder that the purpose of it all is to celebrate dance and music. Meisner describes ADE as “one event, one organisation, one big thing that has evolved. And it has had so many voices along the way. I think that’s such a beautiful thing. All those different voices that come together, but feel like one.” For Gerris, “it literally brings the world together. It’s so unique that a small city like Amsterdam can bring this vibe. It’s fantastic, and I’m proud to be part of it.”
There is an underlying takeaway from it all: the best way for the soul to stay young is through dance, music, shared knowledge and unforgettable moments. For the younger generation, these are pillars of freedom, movement, lightness, and precious means of expression. Both Meisner and Gerris work with young people. Asked what is important to nurture in them, Meisner spoke about letting them be and find out who they are, without trying to figure it out for them. “Give them platforms, make things possible for them. Give them chances and opportunities, but don’t fill it in for them.”
Gerris offered a final piece of advice. “Learn from each other. That’s very important. You can never do it all alone. You need beautiful artistic inspiration, and that is all around you. So be open-minded.”
photography by TOM DOMS
