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Tuesday, October 11, 2016

In Context: Vortex Temporum

Belgian choreographer Anne Teresa De Keersmaeker returns with a dance meditation on late French composer Gérard Grisey’s spectral 1996 masterpiece. Context is everything, so get even closer to the production with this curated selection of related articles and videos. After you've attended the show, let us know what you thought by posting in the comments below and on social media using #VortexTemporum.

Program Notes

Vortex Temporum (PDF)


De Keersmaeker’s Latest Work Is a Dance That Alters the Sense of Sound (The New York Times)
A review of the piece’s debut at the Ruhrtriennale in 2013.

A guide to Gérard Grisey's music (The Guardian)
An in-depth guide to Grisey’s time-shifting contemporary aesthetic: “To hear Grisey's music is to have adventures in the stuff of sound that will change your ears for ever.”

Ictus Timeline (
All about the first 17 years of Belgium’s Ictus ensemble, performing (and moving) alongside Rosas in Vortex Temporum.

Which 'House' Do You Currently Occupy? (Google Books)
A bit about the nine-star ki and Lo Shu magic square, two elements of ancient Chinese and Japanese numerology that inspired movement patterns in Vortex Temporum.

Watch & Listen

Interview mit/with Anne Teresa De Keersmaeker über/about Vortex Temporum (YouTube)
An interview with De Keersmaeker about her ever-evolving musical sense and the creation of Vortex Temporum.

Now your turn...

What did you think? Tell us what's on your mind in the comments below and on social media using #VortexTemporum.


  1. Rosas always comes through with something fresh and exciting. This did not disappoint. Going back tomorrow for more. Rosas too rare in NY - I wish they were here multiple times per year, as there's tons of repertoire they've never even done yet in the states. Anne Teresa is artist royalty - thank you to BAM for hosting the company. Bring them back in 2017!

  2. When watching the performance I felt like a part of the universe. One time observing moving planets, the other the smallest parts of matter. Dancers were moving faster and slower changing the perception of time.

  3. Anne Teresa De Keersmaeker is one of the contemporary choreographers I most admire. The first time I saw her work was when Drumming was performed. This was in 2001, and over the years I continued to attend every performance at BAM, thrilling when I saw her name in the Next Wave Festival program. Flash forward to 2013, when I attended En Atendant and Cesena. I was admittedly thrown for a loop when I was exposed to the new look and feel of her work in those pieces. Last night at BAM, when I watched the performance of Vortex Temporum, I found myself finally beginning to respond to the new level of brilliance and complexity in her latest choreography. There is a very refined, distilled subtlety that requires an intense blend of both listening and watching. I find myself working harder to enter the space of the performance than I did with her earlier work. When she speaks about her inspiration, I am blown away by her intensely focused process. Knowing how she created the movement, combined with her deep understanding of the music, really helps me admire it all the more. It is just going to take time for me to let go of the distinct style of her past performances and let her take me into the future she envisions as she further explores movement and music. It is good for me to allow my previous tastes in dance to be stretched.


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