FIT

About the work:

"Do you fit? If so…. what is it you fit in to? Where do you fit? Where do you not fit? And why?

For me a fit is a form of harmony… there is a sense of ease and rightness. In a creation of a piece, it is all about placing the things that fit next to each other. Does this light fit with this skirt? Does this stone fit on this floor? Do these dancers fit together? Does this step fit here? Does this audience fit with this piece?
Does this text fit on this paper? A puzzle…

But what about those pieces in the puzzle which do not fit… the pieces that provoke….How do they effect the puzzle? Perhaps they become a driving force towards something else, inspiring and transforming the puzzle."

– Alexander Ekman

Ekman’s FIT (2018) is a playful and dynamic exploration of what it truly means to 'fit in'—what happens when the pieces of life’s puzzle align, and what unfolds when they don’t. Set to The Dave Brubeck Quartet’s swinging Take Five, this full-company work bursts with energy, bold costumes, and Ekman’s signature humour, wit, and absurdity. Visually striking and thought-provoking, FIT is a feast for the senses, and we’re excited to bring it back to the stage.

Credits

Choreography: Alexander Ekman
Dramaturge: Carina Nildalen
Music: 'No, Nicolas Jaar', Beggars Music Group
'Take Five', The Dave Brubeck quartet, © Valentine Music Ltd
'Serious drug' (instrumental), Wildcookie, written and produced by Freddie Cruger, 2011 Tru 'Thoughts Ltd', Full Thought Publishing
Lighting design: Alexander Ekman, Lisette van der Linden
Set design: Alexander Ekman
Costume design: Alexander Ekman, Yolanda Klompstra
NDT rehearsal directors: Lydia Bustinduy & Ander Zabala

Text: Alexander Ekman
Collaborating artist: Julia Eichten
Staged by: Ève-Marie Dalcourt
Duration: 30 minutes
Premiere date: Nov. 15, 2018
Premiere location: Zuiderstrandtheater, The Hague

Original cast:

Nathan Allen, Maša Anic, Esmee Boevink, Giovanna Doria, Joan Jansana Escobedo, Joey Gertin, Chléa Guigère, Eliana Hayward, Ruth Lee, Femmie Packbier, Justin Padilla, Erin Park, Nathanaël Plantier, César Sautés-Vescovali

Giovanna Doria about 'FIT':

“Being part of FIT was both a personal and collective experience. Choreographer Alexander Ekman and rehearsal director Ève-Marie Dalcourt constantly challenged us to explore what it truly means to fit in, to belong, to harmonise, and to face what happens when things don’t fit, not just physically, but emotionally, socially, artistically. This process made me think about the world we live in, where we are expected to stand out but still fit in at the same time. FIT isn’t just about perfect harmony, it explores the tension between individuality and community. It’s not only about watching dance, but noticing the connections between dancers, movement, space and the audience. There’s humor, playfulness but also precision. It pushes us to really look at each other, to adapt and to truly listen.

Every day in the studio, we explored what it means to belong, to a group, to a moment, to a space through rhythm, gesture, unison. Alexander and Ève-Marie encouraged us to bring out our individuality, not hide it, and turn it into something honest and powerful. This work reflects how diverse we are, culturally, emotionally, physically without trying to change or fix it. Instead, it gives space to the people and moments that don’t fit perfectly. That’s what makes it feel real and alive. In the end, FIT isn’t neat or clear and that’s what makes it special! It’s funny, chaotic and beautiful, just like the world we live in.”

Sophia Frilot about 'FIT':

“FIT by Alexander Ekman is a theatrical work that navigates juxtaposition. The piece is harmonious yet dissonant, elegant yet mad, free yet uniform, deeply human yet highly stylized. Contrast is embedded not only within the choreographic architecture, but also in the very garment worn. A black tailored suit jacket sits on a soft tutu. Constructed at the seams, the silhouette is duality personified.

In bending the unspoken rules of what it means to fit—or not to fit in—connection acts as the driving force. Colored by memories of what once was considered correct, the dancers carve new possibilities for what could be. The movement itself is guided by an elegant ease that holds the group in harmony. Trust governs cohesion. It is ingrained in the fabric of each gesture, each glance. It isn’t a secret, yet it carries the weight of one.

To be seen is to be bold. Sculpted by the ongoing dialogue between the collective and the individual, Ekman reveals complexities of identity and belonging. From proximity to approach, rebellion unfolds within the dynamic of structure and play. To stand apart is an act of bravery. Is it isolation? Or does standing alone tether one to the collective? This magnetism might manifest by chance, or perhaps it is determined by choice. Either way, quiet negotiations must take place.”