We are very happy to announce the holders of the
2016 Löftadalen Summer Academy Scholarship, in memory of Ivo Cramér:
Julia Bengtsson and Mickaël Bouffard
They will attend the advanced/professional Summer Academy 7-13 August, to study with Catherine Turocy and Marie-Geneviève Massé.
Julia Bengtsson, dancer and choreographer, New York City/US and Gothenburg/Sweden:
‘I think that one reason why I have become so interested in baroque dance – except of the aesthetic in itself, the fantastic music and the fact that I find the choreography interesting and fun to dance – is the time when this dance technique was created. I admire stage performances that combine song, music, dance, scenography and costume in order to tell a story, and the vision of a ‘gesamtkunstwerk’, a synthesis of the arts, was highly present during the baroque era. Their ideas changed the performing arts of the western world.
[…] In June 2016 I will create a border-crossing piece for a performance arts festival at Northern Manhattan. In addition to dance, I will use new composed live music, two dimensional costume, projections, song and shadow play! […] My fascination for this kind of productions keeps me constantly curious and in search of inspiration. It is fantastic that there is still so much preserved from the art of dance of the baroque era, such as paintings and dance notation.’
Photo: Paul Brissman
Mickaël Bouffard, baroque dancer and dance researcher, Paris/France and Montreal/Canada:
‘My first year at Löftadalen was a great surprise. I had forgotten what was the pleasure of studying baroque dance with the great masters of our time. […] Most baroque dance academies are turned towards beginners or high level amateurs, and consequently, there is little room left for professional dancers who want to improve and keep themselves up-to-date. One of the advantages of the International Summer Academy at Löftadalen is the rotation of teachers every year. Thanks to you, I had the opportunity to have a last, but fruitful, week with our most-regrettée Françoise Denieau, then with Natalie van Parys, and now with Marie-Geneviève Massé. You always give us a good reason not to skip a year. In the case of Marie-Geneviève Massé, the fact that she is presenting her own repertoire is an incredible chance, because only the happy few members of her company normally can experience her exquisite style.
In conclusion, it would be a folly to miss the third part of this trilogy, and I can’t do otherwise than to come again.’