Choreographer Vũ Ngọc Khải will present a new show entitled Đáy Giếng (Inkhổng lồ The Well) on June 28 in thủ đô hà nội. Khải currently works at the Konzert Theatre Bern, Switzerland. He graduated from the Việt Nam Dance Academy & attended a one-year course at the Codarts Rotterdam Dance Academy in the Netherlands. He is the art director and co-founder of the 1648km Art Performance & Community Organisation. Lê Hoa talks lớn Khải about his new show và career.

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Can you tell us about your new work?

I choreographed Into lớn The Well for the Hanoi Dance Fest 2019. The work is a journey of Vietnamese looking for their identity. In Vietnamese culture, the bamboo oars, communal house yards, water wells & mats are both propulsive sầu forces và resistance for the individual human being. Striking through cultural challenges I wanted khổng lồ reflect myself in correlation with nature. The journey is illustrated by the language of contemporary dance and traditional live music. I researched traditional festivals such as buffalo fighting and the Tây Sơn battle drum to lớn incorporate inkhổng lồ the dance. I was introduced khổng lồ artists who I invited lớn join my project later. Traditional musicians Nguyễn Thành Nam & meritorious artist Nguyễn Ngọc Khánh will be playing for me. They were born into traditional music families.

How did you become a dancer?

I started dancing because my father made me lớn. At that time I was very active sầu và like many other children I liked sports a lot. Honestly, when my father submitted the application for my entrance exam khổng lồ dance school, I didn’t lượt thích it at all. But now I have sầu khổng lồ thank him because I’ve sầu become a professional dancer và I love khổng lồ dance.

Did you face many difficulties at the beginning?

I had a lot of injuries. When I was a child I often twisted my ankles. When I started learning ballet my legs were quite weak, so injuries were comtháng if I fell in training. I’ve suffered the consequences of those injuries such as arthritis. The worst injury I’ve sầu had was a herniated disc. I had lớn take a year off because of that.

You’ve sầu had the chance to perform with foreign artists on international stages. What have sầu been your most memorable experiences?

Foreign dancers have amazing creativities, và I’m happy to be involved in that environment. School dancers have the right to lớn zone in to their own creativity. Good or bad is not important và no one has the right to judge. This is the key for creativity. The contemporary dance language is very wide và almost without limits. In school they learn many different techniques such as ballet, Cunningsay mê, Litháng, Flying Flow, Floorwork, Counter Technique and Release Technique. These techniques are all choreographed by teachers. Creative thinking helps khổng lồ acquire these techniques. In contemporary dance ideas relate much khổng lồ life, especially in the way you think about people. Modern life brings people lớn more complex thoughts & young people in particular want lớn express their emotions.

There are more young artists involved in contemporary dance. What vị you want lớn say to lớn them?

Actually, it is difficult to lớn enjoy a dance performance. I think young dancers should phối their goals from the beginning. They should know if they want to lớn be ballet dancers, contemporary dancers or both because dance always takes time lớn practice. Depending on the form of dance they choose, their bodies will grow around them. A dancer has quite short time to lớn persize so if they have sầu a clear plan from the beginning they will get the results they desire. In addition, when they are dancers, they should learn the methods of teaching, choreography & staging. It will be good preparation for them when they can no longer dance. But the most important thing is they should try their best to dance while they can. The door will open more for them later.

Le Hoa (Vietnamnews)


Knhì Ngoc Vu is currently a dancer/choreographer at Konzert Theatre Bern, Switzerland. He had the opportunity to lớn both study and work in Vietphái mạnh và Europe. Before being a professional, he graduated from the Vietphái nam National Dance College in 2004 after 7 years of study. In 2006, he received a full scholarship for the Codarts/Rotterdam Dance Academy – Netherlands from the Consulate of Netherlands in Vietphái mạnh. Ever since, he has worked for a number of dance companies và theaters in Vietnam giới, Holland, Italia, Germany và Switzerl&.

He started choreographing in 2009. Since 2018, he is the Artistic Director, co-founder 1648kilomet (Performing Arts and Community Activity Organization). He first started as a ballet dancer, then gradually changed to lớn neo-classical dance, & now he has finally found himself embracing contemporary dance. He would love khổng lồ giới thiệu his experience lớn audience by teaching và choreographing. He wishes his work could touch the people in modern life.

In march 2018, one of his works ‘’Mushrooms Zone’’ won 1st prize International Ayang Young Choreographer Competition – South Korea.


How bởi vì you succeed in Dance? (Part Two)

Lesson 11: Know when to lớn quit.

“If you’re not getting challenged in a big company, investigate why. Where is your dancing lacking? Where is your work ethic lacking? If you can’t seem lớn move sầu forward, look inkhổng lồ other companies. Go baông chồng to what it means lớn bkết thúc your body, to bover your knees, to move in space. You’ll be able lớn breathe through those moments of difficulty.” —Ashley Tuttle, master ballet teacher

Lesson 12: Rethành viên that even stars are part of a team.

“This is a collaborative art khung. Successful dance artists see themselves as part of a whole. They may be the star, but they remain aware that there’s an entire corps de ballet behind them, & a conductor in the pit carefully keeping the music at the right tempo, and someone who will stay late và vì chưng all the laundry for the next day. Anytime there’s a mishap onstage, we all have lớn bvà together and coordinate the best, most subtle solution possible, ideally without the audience knowing anything was wrong. Sometimes I feel lượt thích we’re a pod of dolphins—we communicate very simply and effectively, sometimes just with our eyes or a whisper. We find a way to lớn fix it, then move along as if nothing happened. The stronger the team, the better the company.” —Kelly Brown, production stage manager at Miamày City Ballet

Lesson 13: Hire experts.

“Do not be, as one lawyer told me, ‘penny wise and pound foolish.’ When you have an opportunity khổng lồ be paid for your craft, especially when it comes khổng lồ commercial partnerships with brands and products, find a good entertainment lawyer or agent lớn help you navigate the contract. It’ll cost you 5 lớn 15 percent of the overall fee, but is very worth it. They’ll make sure you’re not giving away rights khổng lồ your image and likeness indefinitely or for longer than the value of your compensation. You’ll avoid being unfairly locked into category exclusivity. The details are truly in the fine print.” —Gildomain authority Squire, founder of Squire Media và Management, Inc., & manager lớn Misty Copelvà and others

Lesson 14: Be insatiable.

“When you see artists who are dancing inkhổng lồ their 50s, ask, ‘What is it that has brought them to lớn this moment?’ When you think of Alessandra Ferri, Wendy Whelan, Sylvie Guillem, Mikhail Baryshnikov—they’re incredibly gifted, versatile artists, but there is a drive sầu that is innate.” —Jodie Gates, vice dean & director of USC Glorya Kaufman School of Dance

Lesson 15: Get some distance.

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“I was getting burned out nhảy và being on the road so much with Batsheva, và decided to lớn spkết thúc nine months at a Buddhist monastery in Nova Scotia. There was a scary feeling of space that opened up by cutting the momentum of my dancing life. I became aware of how much I defined myself as a dancer, và held that as a proof of my self-worth. I had thought I wasn’t one of those ‘crazy dancers’ who prioritizes being a dancer over being a person. Now I feel less afraid khổng lồ drop khiêu vũ and that identity entirely, which allows me khổng lồ continue, & more fully, because my grip on it is more relaxed. Any time I have sầu stepped away, I have sầu come baông xã with more than I left with.” —Doug Letheren, dancer with Tanztheater Wuppertal Pimãng cầu Bausch

Lesson 16: Don’t trust the trends.

“Don’t get lost in what is ‘cool,’ even when you see the pros doing it. Trends lượt thích no ballet slippers or dressing lượt thích you’re at a gym can make anyone watching think less of you, và you never know who is going to walk in. Even I put myself into a unitard & skirt lớn teach class because I feel and think more like dancer when I am dressed like one.” —Nancy Bielski, master ballet teacher at Steps on Broadway

esson 17: Save money khổng lồ buy yourself freedom.

“Save enough for three to lớn sixth months. Start by putting a little bit aside. I have the bank vì it automatically, so it slowly drips inkhổng lồ a savings tài khoản. That cushion is going khổng lồ make it okay for you to not take the crappy gig you don’t want but khổng lồ hold out for the job that you vì chưng.” —Jessica Scheitler, enrolled agent, owner of Financial Groove

Lesson 18: Keep exploring.

“The dancers I’ve sầu watched succeed haven’t been afraid lớn reinvent themselves, either across topic or scale. Consider how your practice works across platforms—corporate and not, nonprofit và not, on Broadway but also at a place like The Joyce.” —Marc Bamuthi Joseph, vice president & artistic director of social impact at the Kennedy Center

Lesson 19: Don’t cross your legs when you sit.

“Considering the frequency of total hip replacements in dancers these days, you should refrain from sitting with your legs crossed. This position adds găng to the lumbar spine và the hip joints. It compresses the nerves & blood supply lớn the lower extremities, and it inhibits the abdominal muscles from activity, making them insufficient khổng lồ stabilize your spine.” —Marika Molnar, physical therapist and founder of Westside Dance Physical Therapy in Thành Phố New York City

Lesson 20: Treat rehearsals like more than practice.

“Rehearsals are not just about preparing for some future event. They are the present, too. So how we engage with each other, & how we literally live sầu together in the hours and hours we have making a thing together, well, that matters. Once I figured that out, my attitude about time changed, as did the actual outcomes of the dances themselves.” —Liz Lerman, choreographer and educator

(Dance Magazine)


How do you succeed in Dance?

What does it take khổng lồ “make it” in dance? It’s no secret that turning this passion into a profession can be a struggle. In such a competitive sầu field, talent alone isn’t enough lớn get you where you want khổng lồ be. So what kinds of steps can you take to become successful? Dance Magazine spoke to lớn 33 people from all corners of the industry lớn get their advice on the lessons that could help us all, no matter where we are in our careers.

Lesson 1: Ask yourself why you dance, và make sure the answer is, “Because I love sầu it.”

“The stage is transparent. Some people go out onstage & they have so much life because they love what they vì. Other people just do tricks. Someone might give sầu great performances, & the audience might think, Oh, that’s very nice, but it doesn’t change them. They were just watching someone who wanted to be the center of attention, not an artist who was dying to lớn dance.” -Paloma Herrera, artistic director of Teatro Colón’s ballet company

Lesson 2: Learn about the culture of every style you study.

“Have sầu the same respect for the culture of locking, for instance, as you would for pointe work. Understanding the history will open up your storytelling abilities và make you look more natural because you’ll ‘get’ where it comes from, not just what it is.” – Luam, hip-hop choreographer, director and master teacher

Lesson 3: Don’t get hung up on talent.

“Statistically, less physically gifted dancers are more successful. A talented dancer gets everything easier, gets used to lớn this & stops exerting. The greatest mistake dancers make is too much self-assurance.” -Yuri Fateyev, acting director of the Mariinsky Ballet

Lesson 4: Value all improvement.

“Don’t dismiss small improvements just because they don’t fulfill the image of your larger-scale goals. Improvement can be a change in quality, facility, adaptation or efficiency. A change can be tiny, incremental. Acknowledging an improvement makes the difference between leaving the studio that day with a success or with a failure—& this can mix the tone by which we live our lives.” —Amày Shulman, rehearsal director for GöteborgsOperans Danskompani and certified Feldenkrais practitioner

Lesson 5: Don’t work hard, work smart.

“A lot of young artists practice by just repeating và repeating the same material, thinking it will get better. But sometimes you have to lớn pause and think about why you’re doing the movement, or why it doesn’t work. Stichồng with it, but try a different way.”—PeiJu Chien-Pott, principal with the Martha Građê mê Dance Company

Lesson 6: Value your choices more than your body or ability

“How your body toàn thân looks or how well you exexinh đẹp movements does not determine who you are. If your feelings about yourself rise & fall with your weight or how high you jump, then you will feel anxious & depressed. But if your self-esteem is based on your actions và behaviors, then you can consistently feel good about yourself.” —Nadine Kaslow, a clinical psychologist who works with Atlanta Ballet

Lesson 7: Share yourself, not just what you can vì.

“What’s interesting is who you are, not how many turns you can bởi or how you can distort your body. Dancers today are challenged constantly by that very passing flashiness. Like a jewel dangling in front of you, sparkling. But stars glow, they vì not sparkle. Sparkles can disappear.” —Judith Jamison, artistic director emerita at Alvin Ailey American Dance Theater

Lesson 8: Don’t ignore directions just so you can show off.

“In the audition room when the choreographer is lượt thích, ‘Okay, give sầu me a double pirouette—clean, please,’ we’ll get young hotshots giving us a triple or a quadruple. They want to sex it up a little bit, when in fact what’s being asked for is very clear, very succinct. If you show off, it can quite often work against your favor.” —Duncan Stewart, Broadway casting director at Stewart/Whitley

Lesson 9: Ask for advice—& the opportunities you want.

“No one in the dance world has ever said no when I’ve asked for advice. Pichồng up the phone or meet face-to-face and ask questions. If you want to lớn dance in a certain company or project, ask. Sometimes luchồng just occurs, and sometimes luông xã is made because you are vigilant in your pleasant, kind assertiveness. Make yourself available for opportunities. And make your own opportunities.” —David Dorfman, artistic director, college professor, Broadway và postmodern choreographer

Lesson 10: Value the small roles.

“Dancers today too often want everything now. To that, I say, ‘Wait your turn, stiông xã it out, gather the experience và commit to lớn the company.’ Patience develops dancers.” —Barbara Bears, ballet master at Houston Ballet