We sat down with Lucy Monkman to chat about the latest piece from Hofesh Shechter.
Hofesh Shechter’s work often creates a feeling of communal release between performers and audiences; how do you cultivate that atmosphere in a theatre setting?
I think central to this is Hofesh’s interest and skill in creating performances that really get inside you – they are performances that are so viscerally felt as much as they are watched. Every creative decision is made to support this. The choreography, original music, and Tom Visser’s lighting design all work together to create an atmosphere that is all encompassing rather than simply something for the audience to observe. Instead of sitting back as spectators, the audience is pulled into the world of the performance, sharing the energy and emotion with the dancers. That shared experience creates a real sense of communal release, where the boundaries between performer and audience begin to dissolve and everyone feels part of the same collective moment.
This piece grew from CAVE and its exploration of nightlife and human gathering — what felt important to expand or deepen when developing IN THE BRAIN into a full-scale work?
I think it’s worth looking at the context in which CAVE was created. It was made at a time when Covid-19 restrictions were beginning to ease, but social distancing was still very much part of everyday life. In fact, I think Hofesh and the dancers were still wearing masks in the studio during the creation process. CAVE, with it’s exploration of connection and communal gathering through movement and music, the joy and ecstasy that comes from club/night spaces and being physically together, felt like the perfect antidote to the isolation we’d all experienced at that time, and is an interesting lens through which we can think about the work. It felt important and exciting to deepen that exploration of collective energy and human connection when developing IN THE BRAIN. The desire to move together, to lose ourselves in music, and to experience something as a group felt like a rich idea to expand over a longer 55-minute work, especially with a company of young dancers who brought an incredible level of energy, openness and curiosity to the process.
Shechter II is uniquely ambitious as a fully paid development company for emerging dancers — what does that level of investment allow young artists to experience that is still rare in the industry?
Being fully paid at the London Living Wage means our dancers can focus on developing their artistry without the financial pressures that so many emerging artists face at the start of their careers. That kind of investment is still rare in the dance industry, and it allows them to fully immerse themselves in the programme and make the most of every opportunity. As part of Shechter II, dancers work in close proximity to Hofesh and the inner workings of an international touring company. They gain first-hand experience of how an international touring company operates, which also means exposure to press, programmers and other artists and choreographers in attendance at world renowned venues and festivals in the UK and Europe.
Alongside touring, they take part in a continued professional development programme designed to support them as artists and as individuals. This includes a dance science programme delivered in partnership with The Place, helping them understand how to care for their physical and emotional wellbeing throughout their careers. They also receive a bursary to pursue individual areas of professional interest, have the opportunity to work with an invited guest choreographer, and develop their teaching practice by assisting senior Hofesh Shechter Company dancers in professional workshop settings.
Together, these experiences equip dancers with the artistic, practical and professional skills they need to build long, sustainable careers, rather than simply preparing them for their next job.
The Shechter II programme combines touring, creation, wellbeing and professional development — how important is it that the company prepares dancers not just artistically, but for sustainable long-term careers?
It’s essential! It’s why we’ve been working with The Place since 2022 to deliver a dance science programme, and why we’ve made dance science an even stronger part of the Shechter II programme through a research partnership. We want our dancers to have more than just exceptional technical training. We want them to understand the science behind their artistry, giving them the knowledge, skills and support they need to look after themselves throughout their careers. We see our dancers as whole people, not just performers. By helping them understand their own bodies and develop approaches that work for them individually, we’re giving them the confidence and agency to perform at their best while supporting their long-term health and wellbeing. Ultimately, we’re preparing them to enter the industry as well-rounded, thoughtful artists with the tools to build sustainable careers.
Another key part of the programme is the opportunity for dancers to work alongside senior members of the Hofesh Shechter Company team in delivering workshops. Through this, they develop their teaching skills by working with a wide range of participants, from people with little or no dance experience to conservatoire students and professional dancers. The programme is designed to give dancers skills that go beyond performing. Alongside their artistic development, they gain valuable teaching experience, a deeper understanding of their physical practice, and a broader skill set that strengthens their employability and helps prepare them for long, successful careers in the dance sector.