In gesprek met Catherine Bornaghi Riesi

De geschiedenis heeft de neiging om een grote verscheidenheid aan belangrijke figuren en verhalen over het hoofd te zien die nooit de canon halen, noch in ons collectieve geheugen zijn opgeslagen. Met het Recentering Narratives Project wil Prince Credell, Beleidsadviseur Diversiteit & Inclusie bij Nederlands Dans Theater (NDT), deze blinde vlekken binnen de historische context van het gezelschap aan het licht brengen en het (NDT-)archief aanvullen met de vele multiraciale en veelzijdige talenten en artiesten die het (NDT-)podium door de decennia heen hebben gesierd. Dit project wil niet het verleden van NDT benadrukken waarin verschillen werden gevierd, maar wil eerder kunstenaars van kleur erkennen die geholpen hebben de artistieke creativiteit en identiteit van het gezelschap en de dansgemeenschap in het algemeen uit te bouwen. Via het Recentering Narratives Project zullen de bijdragen van deze kunstenaars worden benoemd en erkend. Niet in de laatste plaats omdat veel van deze voormalige NDT-dansers vandaag de dag nog steeds een enorme bijdrage leveren aan de kunstvorm!

Coverphoto: Blancs d’y Voir (1992) – Lionel Hoche. Foto: Joris-Jan Bos

Next to the wonderful Karyn Benquet, this October, we honor dancer, maker, teacher, jewelry designer, and mother, Catherine Bornaghi Riesi. She studied dance at the Conservatory in Montpellier. She has performed with several dance companies throughout her dance career such as Jeune Ballet de France, Zurich Ballet, and NDT 1 from 1992-2002.

During her career as a professional dancer, she faced many challenges, but persevered nonetheless, and developed into an expressive dance artist with a strong fondness for the Kylián repertoire. She is currently focused on her business as a jewelry designer and continues to create in different ways. We’re very grateful for her openness in sharing her life’s story.

Where were you born, and how did you eventually come to dance in your youth?

“I was born in the heart of France, in a small city named Guéret, and spent my early years there. My biological mother, hailing from Réunion Island, was part of a generation known as the Children of Creuse, who were forcibly relocated by the French government. My biological mother couldn’t keep me, and a new family adopted me before I could remember.

Despite the challenges, I was fortunate to be adopted into a loving home, where I was introduced to the world of dance by my foster mother at the age of 3. I loved modern and jazz, and my generation grew up watching so many dance shows on television in the 1980s!  Until I was 11, dance was this way–something I did with pure enjoyment. Later, my cousin, who had a background in dance and was several years older than me, saw me dance and eventually told me that I had some natural qualities. I would have to work hard to grow in the next phase if I longed to continue in dance, and I took that advice to heart.”

How did you change from recreational dance training to pre-professional dance training?

“As I grew into adolescence, I went to a school in Montpellier, where I was exposed to ballet. By age 13, I entered the Conservatory in Montpellier, and that experience changed everything. To put it lightly, I felt like a black sheep in that environment. The teachers often questioned where I saw my career going given my background. I was there, but I often felt unseen, and I struggled to connect with my peers. Despite the loneliness and the doubts, I never really considered quitting. At that time, Maurice Béjart had male dancers of color, so I was obsessed with that company and could envision myself there through the work and the style. Seeing other individuals of color onstage in professional companies really kept me inspired enough to continue dancing.”

How were you introduced to NDT, and how did you enter the company?

“I had auditioned for NDT in the past, with a negative result, so I was reluctant to take class with the company again when the opportunity came. Even though I still had an injury, colleagues abroad in the Netherlands persuaded me to retake a class at NDT while visiting Den Haag. I remember when I auditioned, a lot of dancers and artistic staff came to me to interact and make me feel welcome in the space. At that moment, the company was performing Jiří Kylián’s black-and-white program, and I was blown away.

Two weeks later, I got a call from Carmen Thomas saying that I had a place in NDT 2, which was a dream after auditioning while I was still injured. So, I spent three years in the second company before moving to the main company. The dancers in both companies were incredibly open, and I finally felt I was in the right place. Everyone was ambitious and motivated, and it felt like a collective goal to work and create together. When I moved to the main company, this profound way of working was more autonomous, and it was incredible to work more directly with Jiří on works such as Un Ballo, Whereabouts unknown, and One of a Kind.”

What were your final years at NDT like, and how did you know it was time to move on?  

“The end of my career was turbulent and not the ending most dancers envision with colleagues at their side while taking a final bow with bouquets; Jardin Clos was the last work I danced when it premiered in 2001. My final show was in Reggio Emilia, but at that stage, I didn’t know it would be my final show.

In 2002, during my final year and those previous, I had a relationship with one of the other dancers, and we had two girls. Later, my firstborn was diagnosed with Leukemia when she was two years old, and that moment shattered my dance bubble. Suddenly, I had to deal with other questions and concerns outside of dance. NDT, both the staff and the colleagues, were a pillar of guidance through many obstacles, everyone made it easy for me to take care of my daughter during the intensive 2-year chemotherapy treatment. This support was a testament to the warmth and care within the company and dance community. Yet, my oldest daughter’s sickness was not the only obstacle.

During my incredible years at NDT, I was also suffering from psychological abuse outside of NDT. It took me six years to acknowledge that and to understand that I could not continue that way, especially with my daughters and the instability we were experiencing.”

What was the transition from performing to teaching and parenting like?

“I decided to move back to France to settle my family’s obstacles. I had no idea of what would come next, but that was the first positive necessary step forward. I started to teach at dance conservatories, academies, and private schools in Lyon, Montpellier, Paris, and Marseille, and did so for nearly ten years. Especially teaching workshops on Jiří ’s work to the young dancers was exciting and enriching for me!
Nevertheless, it always felt challenging to maintain enough earnings to support my daughters as a single parent. The rigorous system of gaining permanent space at any of the conservatories is daunting, even though I maintained much freelance teaching work. In the end, we stayed afloat throughout the years.

Now, I feel so happy that my oldest daughters are happy and healthy adults now! I also have two teenagers from my current marriage who keep me on my toes. Most recently, I started , @BIJOUXCATEOR, and it’s been a journey to learn the craft through self-teaching. Learning about marketing to build my brand and how to maintain a website are new challenges that have inspired me at this stage in my life where I can redevelop and shape my artistic past into new outlooks for my young business. I’m very content.”