In conversation with Karyn Benquet

History tends to overlook a wide variety of important figures and stories that never make the canon, nor are stored in our collective memory. With the Recentering Narratives Project, Prince Credell, Policy advisor for Diversity & Inclusion at Nederlands Dans Theater (NDT) is making strides to shed light on these blind spots within the historical context of the company and aims to complement and recover the (NDT) archive with the many multi-racial and multifaceted talents and artists that have graced the (NDT) stage over the decades. This project does not seek to highlight NDT’s past of celebrating differences, but rather wishes to recognize artists of color who have helped carve out the artistic creativity and identity associated with the company and the dance community at large. Through the Recentering Narratives Project the inclusion and acknowledgment of the contributions of these artists will be named and exposed. Not in the least because many of these former NDT dancers continue to contribute vastly to the art form today!

Coverphoto: Chamber – Medhi Walerski. Photo: Rahi Rezvani

This October, we honor dancer, choreographer, teacher, and sports educator Karyn Benquet. She studied dance in France at Ballet Méditerranéen Danse and Conservatoire National Supérieur de Musique et de Danse de Paris. She has performed around the world with dance companies such as Grand Théatre de Genève, Ballets de Monte-Carlo, and NDT 1 from 2008-2013.

During her career as a professional dancer, she developed a passion for the human potential in the field of perception. She is currently focused on the areas of dance, education, sports medicine, and healing through a variety of collaborative and cultural projects.

What was your early journey in dance like, and how did that interact with your African identity to Western Classical Ballet?

“Dance is really a part of my culture, my African identity from Port-Gentil, Gabon. Listening to and making music every day, and people dancing around, this is essentially how I remember childhood in Africa and what remains the most vivid. I couldn’t help but imitate everything I saw: how people observe, stand, and gesture, as well as the community experience of traditional and ceremonial dances.

The Myènè (my ethnic tribe) use a particular way to dance and, through the dance, experience a mysticism associated with communicating with the ancestors. It was clear to me that dance could tell a story, and I wanted to be part of it.”

How did your career proceed after the CNSMDP and how did you end up with NDT?

“During my final year at CNSMDP, I got a contract at Ballet du Grands Theatre de Geneve. Many know how there is a lack of jobs in the industry, especially for black female dancers, so it was a dream for me. They had a wide range of repertoire from choreographers like Balanchine and Neumeier, but also Ohad Naharin and Amanda Miller.

Outside of the social change and the search for the balance between work and life, the most difficult part of my 3 years in Geneva was understanding how to adequately care for and maintain my body daily. Like many new dancers, chronic injuries showed me the importance of warming up, conditioning, and later on even cross-training instead of simply stretching. After 3 years and many opportunities, I had grown tremendously and began to ask myself what else might be out there.

I had the opportunity to audition for Ballet de Monte Carlo with a positive result, and I was super happy because dancers there had the reputation for their unique individuality and the repertoire provided great opportunities for growth. In Monaco I got to dance Jean Christophe Maillot, William Forsythe and Johan Inger, among several others. Even though it was a rich environment, after 5 years I wanted to further develop my movement language, like floor-work and theatricality. I started taking classes at different companies and eventually I found my way to a class at NDT. I auditioned for NDT in August 2008 and a month later I relocated from France to the Netherlands. I didn’t expect things to align so rapidly, but I couldn’t say no after Anders Hellström, who was directing at that time, offered me a place.”

What was it like, and how did you find the atmosphere at NDT at that time?

“Life at NDT was uniquely different but felt right in many ways: it was a great opportunity for my career and artistic development, but also because of how dancers were involved in the decision making of the company. Like many others, I came with the dream of working with masters where I could enter a new realm of knowledge and perception.

When I started, it was a whirlwind because I went into a lot of work immediately. Several female dancers were on leave, due to maternity or injury, which allowed me to become part of the company rather quickly. Some dancers had spent a great deal of time creating with Jiří Kylián and others entered from NDT 2, which was evident because of their incredible personalities and strength. When I was watching rehearsals, it was such a delight to rediscover the potential and talents of those senior dancers who remained. Many works deeply changed my dancing. It was a very exciting time for me.

One year later, shifts in the artistic direction occurred and Jim Vincent took over. For me, the whole period was like being in transition, which brought nourishment but also much fatigue. I didn’t have time off between dancing in Monaco and with NDT, so the 2-year period took a toll, and I needed to slow down. I started to focus more on other collaborative projects internally at NDT.”

How did your career evolve after NDT and what is your main focus now?

“I could always see that dancers had an amazing connection with knowing their body’s needs. This was something that I wanted to explore more, gain knowledge from, and share with others. At this time, I also became pregnant, which was another sign for me. Almost 10 years after my first kinesthetic course, I’ve explored pedagogy in various realms.

Now, I’m certified in sports health education, Reiki, and ballet. I teach master classes at the Conservatoire de Montpellier and have embarked on a creative project with 30 students. Through my work and pedagogic approach, I continue to explore my interests in the benefits of neuromuscular memory and the power of the body’s knowledge in dance spaces and recreational environments.”

Lastly, what has it been like to become a parent and start a family? How has this influenced you as an artist?

“The unconditional love you feel from becoming a parent is incredible, and my pregnancy crystallized many of the transitions that were already set in motion. Being a dancer centers largely on self-care and maintenance while having a child really forced me to step out of that way of seeing myself and engaging with life.

Ending my performance career was a big deal and made me question my identity; I still think it’s strange that dancers arrive at a certain age and just stop. Moving into motherhood taught me that my body has so much embodied knowledge inside of it. I now combine work with young dancers and non-dancers independently where I can and am happy to envision myself doing meaningful work in both domains, while raising my children as a single mother.”