Dance
First major Choreography “Jardi Tancat” which is Catalonian for “enclosed garden” by Nacho Duato performed in 1983 is based on Catalan folk tales. The work explores the hardship and sorrow of the Catalonian people as they struggle working in the barren, water stricken Catalonian land. Throughout Jardi Tancat you can see the presentation of contemporary dance, with a background of classical techniques; this is evident through the training accompanied. Throughout the performance you can see the influence of social, historical and cultural climate. Also the choreographer’s background, philosophical underpinnings, experience and intentions have an impact on the way the Nacho Duato’s piece came together.
Duato spent many years working with Jiri Kylian. Kylian was Duato’s mentor through his early period as a professional dancer and an emerging choreographer. Throughout the performance it is evident that Kylian played an immense role in his training, as both Kylian and Duato both have the presentation of contemporary dance with the background of classical technique. Critics suggest that much of Nacho Duato’s work contains characteristics, especially “Jardi Tancat”. Duato discounts this influence suggesting that his work could be equally compared to Kylian.
At the age of eighteen (1975) Duato went to London and auditioned for the Ballet Rambert School, he was told he was too old to start dancing and that he had no technique, no training, but was one of two boys taken… then was told, you don’t know much about dance but has something special that makes the examiners look at him all the time. From this criticism Duato was able to move forward and joined Bejart’s Mudra School in Brussles and also had the opportunity to study at Alvin Ailey American Dance Centre in New York (pre 1980). Then in 1980 joining Cullberg Ballet in Stockholm Netherlands Dance Theatre. Through his history of training from 1975 you can see each individual element including movement, spatial
Duato spent many years working with Jiri Kylian. Kylian was Duato’s mentor through his early period as a professional dancer and an emerging choreographer. Throughout the performance it is evident that Kylian played an immense role in his training, as both Kylian and Duato both have the presentation of contemporary dance with the background of classical technique. Critics suggest that much of Nacho Duato’s work contains characteristics, especially “Jardi Tancat”. Duato discounts this influence suggesting that his work could be equally compared to Kylian.
At the age of eighteen (1975) Duato went to London and auditioned for the Ballet Rambert School, he was told he was too old to start dancing and that he had no technique, no training, but was one of two boys taken… then was told, you don’t know much about dance but has something special that makes the examiners look at him all the time. From this criticism Duato was able to move forward and joined Bejart’s Mudra School in Brussles and also had the opportunity to study at Alvin Ailey American Dance Centre in New York (pre 1980). Then in 1980 joining Cullberg Ballet in Stockholm Netherlands Dance Theatre. Through his history of training from 1975 you can see each individual element including movement, spatial