5 vragen aan associate choreograaf Jermaine Spivey

“As a child, I was always dancing: copying music videos, mimicking the movements of figure skating and gymnastics — you name it My mother noticed this and enrolled me in an after-school ballet programme when I was about 11. I was accepted and absolutely loved it, though for a long time I was afraid of being teased for it. My mother really got me through those years, constantly encouraging me to keep going. From there I went on to the conservatoire and later to Juilliard, where I expanded my vocabulary with a lot of modern dance techniques. After graduating, I worked as a dancer in various countries across Europe, where I was introduced to contemporary dance and improvisation. That was crucial for my development, not only as a dancer, but also as a maker. The transition into choreography happened very organically; I staged works for Crystal Pite and several other choreographers, which meant I had to analyse dance from a different perspective. I had to think about how to pass it on, how to lead, create space, and understand what dancers need to make material their own. Equipped with those skills, I began to create my own work.”