photo Hans Gerritsen
'... a new name to watch, Wubkje Kuindersma, made a splash with Two and Only, set to songs by Michael Benjamin. Musical and never sappy, this duet for two men, Marijn Rademaker and Timothy van Poucke, portrayed emotional intimacy with a light touch. The piece held its own next to a wry, tongue- in-cheek pas de deux by Dutch master Hans van Manen, Déjà vu — no small achievement for Kuindersma.'
Laura Cappelle - Financial Times
'...Wubkje Kuindersma had the tough challenge of presenting her new work alongside a classic by Hans van Manen, which she did in style with Two and Only, a male duet pairing Rademaker, an experienced lead soloist, with apprentice dancer Timothy van Poucke. Kuidersma's ¨double¨was singer-songwriter Michael Benjamin, who performed two songs live on stage, accompanying himself on guitar for ¨Long Overdue¨and on piano in ¨From Blue to Red¨. Making no attempt to interpret the lyrics, Kuindersma nonetheless kept up an absorbing emotional momentum through her choreography, which was sentimental without being mawkish, and immutable without being banal. Here was a new choreographer of which to take note.'
Graham Watts - Dancing Times
'...Two and Only by Wubkje Kuindersma is the most affectionate work of evening. The work is about universal love and the perishability of it. The duet between the two man combines power and masculinity with tenderness, and there is a sense of warmth and pain at the same time. Perhaps it is a memory of a relationship that once was. Singer and songwriter Michael Benjamin performs his touching songs live with the dancers on stage, adding to the intimate atmosphere.'
Isabella Zijp - Bachtrack
'...The program begins with “Yonder: a skype ballet, a visually stunning work by Dutch choreographer Wubkje Kuindersma, enhanced by excellent lighting design by Mark Stanley. The work’s subtitle gives away its beginnings: visa problems led to choreography starting via internet video. This is little evident in the finished work, which makes full use of the whole stage.
"...s Yonder, a Skype Ballet, by Wubkje Kuindersma, a mysterious work where the ten dancers seemed to be looking into the horizon, or yonder, for hope, for answers, and for peace. The group dynamics often reminded audience members of Gerald Arpino or Maurice Bejart, while one duet for two men stood out with distinction. Stanley Glover and Roderick Phifer appeared to be close friends, perhaps lovers, in a grand, expansive duet which was a joy to witness. Yonder is a beautiful work well worth a return viewing in the future...."
PhillyGayCalendar, Ralph Malachowski, December 4th 2018
"...Dutch choreographer Kuindersma turned the ten member cast in her “Yonder, a skype ballet” into a delicate blue wave. The Skype part is merely nominal as our government, once again, prevented an artist coming to our shores to work. And so, Kuindersma and the company began the ballet via Skype until her visa was approved.
...the entire cast rained beauty on this pure ballet. The fluid arm-over-arm groupings melted one dancer into another repeatedly, like waves softly lapping at our shores...'
Fjord Review, Merilyn Jackson - December 4th 2018
'...Wubkje Kuindersma is as always astute, choreographing to the strength of her dancers, but also challenging them. In Mesmer she adds contemporary technique into the mix, dresses her nine dancers in striking silvery-grey lycra, like men and woman of steel, and sets her superheroes on a trajectory across the stage like meteors leaving a blazing trail behind.
Mesmer is thrillingly intense and dramatic, too much so to be literally mesmerising, for it wonderfully succeeded in stimulating and heightening the senses rather than hypnotising and numbing them...' Ali Mahbouba, Dance Europe
"...Mesmer, drawn from the verb, to mesmerize, Dutch choreographer, Wubkje Kuindersma, explained that rather than follow a traditional narrative approach, this piece aimed to capture the ability of the universe to mesmerize. Wearing shimmering silver and platinum coloured costumes, nine young stars mesmerized with their syncopated, staccato steps symbolic of the way in which light refracts and pulses when seen from a great distance. The music by Anthony Flumara, A sort of Homecoming, further reinforced notions of time, distance and space..."
Souwie Buis - ARTISTALK- 1st February 2019
..."Wubkje Kuindersma’s Tamashii was for me the high-spot of the evening. Taking as its premise that the soul is the unifying element to a fragmented identity it explored the relationship, dependency almost, between the two dancers. The whole thing worked beautifully with a wonderful soundscape by Anthony Fiumara, utilising the fine cello playing of Diederik Smulders, the fine dramatic lighting by Peter Lemmens and, of course two outstanding performances by Christie Partelow and Aya Misaki. The huge wall constantly drew them back – “The Moving Finger writes; and, having writ, Moves on: nor all thy Piety nor Wit. Shall lure it back to cancel half a Line, Nor all thy Tears wash out a Word of it.”* Excellent.”...
Rubáiyát of Omar Khayyám, Artstalk Magazine- Michael Hasted , 21st November 2019
¨ ...Wubkje Kuindersma made a number of pieces in the Netherlands and Germany and in 2016 she won the BNG Bank Dance Award for young choreography talent. Mångata is a composition of the Swedish words for 'moon' and 'way' and refers to the reflection of the moon over the water. From two sides the road is entered by a man and a woman who seek closeness in a virtuoso game of clean lines for a short time.¨ (translated from dutch)
¨...Georgian Salome Leverashvili who combines an exact technique with a radiant performance. She sparkles... in the new duet with Van Poucke, created by choreographic talent Wubkje Kuindersma. She delicately debuts in the classical world, enlivening warm-blooded romance with playful accents such as in air-cycling legs.¨ (translated from dutch). Volkskrant
'..Doubleyou by Wubkje Kuindersma does have that completeness. The starting point is the painting La réproduction interdite by Magritte: the man who looks in the mirror who does not look at him, but from whom you again see the back of his head. At the beginning one of the men is looking at the picture with a list in his hand. Then the dance begins. In various light circles, Diego Tortelli and Kevin Quinaou take over their wide movements. They look alike, which is of course the intention in this game of mirroring, but not in accordance with the laws of optics. In the projected sentences there is always a paradox: Think What Is Not Spoken, Trust Waits In Nasty Spaces, To Win I Now Surrender. Take the initial letters and you will get TWINS. These twins come apart from mirroring: the men seek each other up and come apart. Doubleyou is an elegant, powerful male duet and the strong conclusion of a quartet of new choreographies.¨ (translated from dutch) - Theaterkrant
'...Hiraeth is the perfect start for the new edition of the annual dance evening of the Noverre Society, in which young choreographers present their own creations...¨
(translated from german)' STUTTGARTER ZEITUNG
'...Already the first piece, Hiraeth, was an aesthetic pleasure, and it touched very much, because it raised an existential, philosophical, and fundamental tone: the memory of something that was lost; the longing for something that was home or never had become home, and therefore constantly as a feeling circulates within us, inscrutable and insatiable....¨
(translated from german)' TANZNETZ
¨.....Less is more, and this applies to programme notes too...the one with the briefest of notes was the one that inspired the imagination the most. For her Play Dead, Wubkje Kuindersma chose just the last two lines of Shakespeare’s famous sonnet 18: ¨So long as men can breathe , or eyes can see, So long lives this, and this gives life to thee.¨ A love immortalised by a poem, but for Kuindersma, it is perhaps this immortal eternity, where death has no play, that drives her two women to madness.... Existentialism is pushed to its limits as existence becomes unbearably immortal. What to do to pass away the time but play with the idea, indeed the wish, of how it is to be dead? Kuindersma keeps a tight rein on the structure with an austere economy of ideas, with the exposition of the motifs given by each dancer, before they are developed and intertwined as the two interact and semi-embrace. ...Kuindersma delivered an imaginative and haunting work, with Valrija Kuzmica and Nele Deckx turning out a compelling performance- perhaps as child zombies locked in an endless time loop, as at the end one says. ¨and next time you will be.'
DANCE EUROPE - Ali Mahbouba
KORZO/NDT Here we live and now - The Hague
Wubkje's video links can be viewed here
Wubkje Kuindersma is a Dutch choreographer. She trained at the Rotterdam Dance Academy and went on to perform with Danish Dance Theatre, Gulbenkian Ballet, Wayne McGregor's Random Dance, Djazzex, Nürnberg Ballet and in several freelance projects.
Wubkje was a recipient of the Dansersfonds scholarship and has received a nomination for the Philip Morris Award for outstanding performance in the ITS Festival in Amsterdam. Her first choreography Aquasomnia won the award for ‘Originality of Movement Vocabulary’ and ‘Outstanding Movement Quality’ in the U30 Choreographic Competition in Cologne in 2010.
Since making her choreographic debut, Wubkje has gone on to receive international commissions and prizes. In 2016, she received the BNG Bank Dance Award for ‘Choreographic Talent’.
She has created works for The Dutch National Ballet and Dutch National Ballet Junior Company, Ballet Dortmund, BalletX, Danish Dance Theatre, Korzo Theater & Netherlands Dance Theater’s program, Stuttgart Ballet's Noverre Programme, the Hamburg Ballet's National Youth Ballet of John Neumeier.
Her duet Two and Only for Dutch National Ballet has been internationally acclaimed with dancer Marijn Rademaker nominated for the Prix de Benois for his role in the work. He and Timothy van Poucke performed Two and Only at the Benois Gala at the Bolshoi Theatre in Moscow.
Wubjke's Tales of A Nordic Mind for Danish Dance Theatre also delivered dancer Csongor Szabo a nomination as Best Dancer for the prestigious Danish Reumert Award.
The Center for Ballet and the Arts at New York University and Dutch National Ballet nominated Wubjke to serve as an Artistic Partnership Initiative Fellow in Summer 2018. Dancemagazine included her in their “Top 25 to watch list for 2019” an annual list of the dancers, choreographers and companies that are on the verge of skyrocketing and whom Dancemagazine believes represent the future of the field.
In May 2019 Wubkje was nominated for the Dutch Dance Festival Maastricht Award “Nederlandse Dansdagen” in the Netherlands, a prestigious award supporting emerging talent.
Commissions in 2020 included Architecture of Hope for West Australian Ballet for which she received the 'Best New Work' award from Performing Arts WA.
In 2021, Wubkje was appointed a Young Creative Associate at Dutch National Ballet and her jointly choreographed, abstract translation of Beethoven's Die Geschopje des Prometheus for Dutch National Ballet premiered in June.