I really wanted to go to the Royal Ballet, but I didn’t get in, so I went to a different ballet school called The Hammond and was a junior associate there. HB: I went through a very normative route into dance and initially started with ballet. I want to sit just outside of what we know of it so far.ĬZ: What moved your mind away from that traditional practice to something more liberal and interpretive? I’m always interested in exploring what dance can be and all of its building blocks, whether it’s music, costume, character, choreography. People who like to play with context and explore who they are within what we’re doing. I generally look for collaborators who understand nuance and can approach things that might recognise the status quo, but just sit to the left of it. In my life practice, it’s often been the same people for quite a long time. HB: I’ve been working with the same group of performers for about six or so years, but other people do come in and out. What’s happening now – and what I’m interested in – is more about exploring people and their diversity.ĬZ: How do you select dancers for your work? Do you usually work with the same group of performers?
Holly Blakey: I do, there’s obviously such a history of uniformity in dance, most of which is this sense of height being the same, colour being the same, hips rotating the same way, and the aesthetic, choreographic image being the same. Do you think the way people view dance is changing? Clementine Zawadzki: Your style doesn’t sit in any traditional sense of form or structure.
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