Dannielle ‘Rhimes’ Lecointe is Associate Artistic Director of ZooNation.
The best advice I ever received
I had always been a person who let fear drive me forward: using it to be productive and get things done. But I had never really thought about its implications in the body and that I had a choice to turn it into something else.
It was one of my coaches who said, ‘fear and excitement use the same energy – you get to decide whether it transfers into one or the other.’ These words transformed my thinking and enabled me to turn that high stress feeling of fear into ensuring I was moving from excitement. It’s a powerful perspective that keeps those cortisol levels down.
The advice I would pass on
Don’t quench, hide or dim your light. The problem is never the light you shine, but often the people you’re sharing it with.
Over the years I’ve found that the more you engage, use or train your skills, the brighter you shine. This makes you a beacon to receive more, but it also can be a catalyst to removing people, places and things that are not conducive to where you’re going. This is never a negative thing. I think we’re all called to shine in our own unique way and the one thing that is inevitable is change.
Photo: Amy Cooke
Ebony Scrooge at Sadler’s Wells East. Photo: Johan Persson
Miyako Yoshida was a principal at the Royal Ballet and is now Artistic Director of the National Ballet of Japan.
The best advice I ever received
Among all the advice I’ve received over the years, the one that left the deepest impression came from a woman who simply told me, ‘just dance for your mom.’ Those words carried a meaning that went beyond the stage. She explained that, as a mother, watching her child stand on stage was a source of immense happiness, something pure and unconditional.
Her advice resonated with me even more profoundly because of her personal story. She had tragically lost her daughter in an accident, a daughter who happened to be the same age as me. Knowing this, her words took on an even deeper meaning – they weren’t just advice, but a reflection of her life itself, and a reminder of the love and pride that parents feel simply by witnessing their children shine.
When I stood on stage, when I felt crushed by the pressure of the performance, I found myself clinging to her words. I remembered what she told me and imagined that my own mother was watching me from the audience. This simple act of imagining her presence brought me a sense of peace and comfort. It reminded me of why I dance – not just for perfection or applause, but for the pure joy and love that it brings to myself and others.
Ayako Ono and Kosuke Okumura in Giselle. Photo: Takashi ShikamaNational Ballet of Japan in Giselle. Photo: Takashi Shikama
The advice I would pass on
I hope that dancers can truly enjoy their time on stage. Despite the struggles and challenges they face during their preparation, when the day finally comes I want them to let go of those burdens and embrace the pure joy of performing.
In particular, I want to offer this advice to the dancers of the New National Theatre Japan, who have the remarkable opportunity to perform Giselle at the Royal Opera House in London this July – a dream stage for any dancer. Right now, they are navigating the intense pressure and demands of preparing for such an extraordinary performance. However, when the curtain rises, my greatest wish for them is to let themselves dance freely and wholeheartedly.
The time in a dancer’s life to express themselves on stage is incredibly precious and fleeting. The chance to stand in the spotlight is a gift, and not fully savouring this privilege would be such a loss. I hope they give everything they have and cherish every moment, as these experiences will become unforgettable memories that shape their journey as artists.
The American-Israeli choreographer Barak Marshall is Artist in Residence at Gauthier Dance in Stuttgart.
The best advice I ever received
The best advice I ever received was from my mother, Margalit Oved, who was a famous dancer and choreographer. I began dancing and choreographing relatively late at the age of 27. Just a few years into my career, the dance world’s Darwinian/Hobbesian ‘publish or perish’ culture began to wear me down and I found it difficult to create. I asked her what I should do and she said, ‘the dance world is filled with ambitious and manipulative people who believe that the only way for them to succeed is for others to fail. You will only survive if you understand this: only create when you have something to say and never let their voices define you.’
Barak Marshall rehearsing Gauthier Dance Juniors. Photo: Jeanette BakBarak Marshall in rehearsal. Photo: Jeanette BakBarak Marshall with Gauthier Dance Juniors. Photo: Jeanette Bak
The advice I would pass on
Don’t dance. I’m kidding (mostly). I mentor a lot of young dancers and choreographers and try to prepare them for the realities of the dance world by being as brutally honest as possible – even when it causes them to appear on the verge of nervous breakdown.
I tell them three things:
1 While there has been progress, remnants of dance’s authoritarian DNA survive and thrive. Ninety percent of the time young dancers and choreographers are told what they are doing wrong. And this takes a psychological toll and is the greatest prophylactic to happiness and creativity. I believe that dancers can only realise their full potential as artists when they are free. So – even when circumstances don’t allow for it – urge them to trust themselves, to recognise and politely navigate this cognitive dissonance, and to take everything with a truckload of salt.
2 The dance world is not a meritocracy it’s a chaos-tocracy. Everyone is fallible and just trying to survive. So don’t feed the beast of self-doubt by reading into everything or taking it personally. It’s not you, it’s almost always them.
3 Don’t commit seppuku on the altar of dance. I love dance but it is important to have a life outside of it filled with relationships, friends and family, and to take proactive steps to prepare yourself for the life you want after dance.
José Alves, the Brazilian dancer who was formerly a leading artist with Ballet Black, was part of the panel of judges for The Fonteyn 2024. He judged the competition’s semi-finals, which took place at the RAD’s HQ in London.
The best advice I ever received
The best advice I have ever received came from my first dance teacher who told me, ‘dance with your heart, not just your feet.’ This simple yet profound guidance has always reminded me that the true essence of dance goes beyond technical precision. It is about conveying emotion and connecting with the audience on a deeper level.
The advice I would pass on
The advice I would most like to pass on is to embrace the journey, including its challenges. Every setback is an opportunity to grow, and every triumph is a testament to your resilience. Stay curious, stay passionate, and never stop learning. Also never allow people to say that you’re not capable of anything.
Jasmin Vardimon is an Israeli-born choreographer. Founded in 1998, Jasmin Vardimon Company has been a leading force in British dance theatre for over 20 years, noted for its challenging and visually arresting productions.
The best advice I ever receivedAND the advice I would pass on
• Never restrict your curiosity, and always continue to feed it.
• Explore and learn new territories, abilities, and approaches.
• Find your own independent answers.
Jasmin Vardimon’s ALiCE. Photo: Tristram KentonVardimon Company workshop at RAD Members’ Day. Photo: David Kaplowitz
Jasmin Vardimon Company took part in Exploring Repertoire: Alice in Wonderland at the RAD in London on 1 and 2 June.
The best advice I ever received Advice comes in many forms. Some that you immediately respond to and some that impact you throughout your life.
Years ago, during one of the most difficult periods of my life, I felt dance had abandoned me. At that point my maternal grandmother advised me to wear my ghungroos (bells that all Indian classical dancers wear around their ankles) and just ‘be’. Not dance. But go about my daily activities in the house with my ankle bells on.
She said that gradually the resonance of the bells will fill my being… the weight of the bells will ground me… the feet will remember their rhythm… imagination will take flight and dance will re-emerge from within.
How very true she was. I have kept her words close to my heart. Every time dance seems to abandon me, I re-embody my grandmother’s words.
The advice I would pass on Does the journey itself reward you? Or is it only the goal? For great artistry to blossom it is the process in which we should be completely immersed; with honesty, humility and rigour.
It is only when the journey itself bears fruit, when the journey evokes fragrances, valleys and peaks, that the goal becomes that much more profound and meaningful. Then the dancer in you has actually lived the dance! Don’t wait for the mist to clear, step into the fog – into the forest of dance. If not sight, fragrance will surely guide you.
Aditi Mangaldas in Forbidden. Photo: Von Fox Promotions
The best advice I ever received The thing that probably had the most impact in terms of my happiness and wellbeing was to focus on the things that you can control, rather than the things that are outside of your control.
That’s really important for ballet dancers – or anyone pursuing something at a high level – being able to work out the things that will allow you to get better versus the things that are really out of your control. They can take a lot of time and energy away from the things that you can actually do. I’ve certainly experienced that myself, where you let those things take priority, and then you’re not in the best position to take advantage of potential opportunities.
I also remember my mum putting up a quote in front of my desk. It’s a line from a big speech by Polonius in Hamlet: ‘this above all, to thine own self be true.’ I was a young kid and mum tried to explain it, but I didn’t really get it. But it’s always been there, and as I’ve grown older, I realise that it’s important to be comfortable in your own skin.
You want to make decisions based on who you are and who you want to be. It’s had a huge impact and certainly guides me when I’m making decisions about all sorts of things. It gives me a lot of satisfaction and happiness, being comfortable with who I am rather than what people expect of me
The advice I would pass on It would be that idea about being comfortable with who you are and who you want to be – that can guide you in your decision making. We all come to a point where you’re faced with difficult decisions, so it’s nice to have something guiding you.
Alexander Campbell in Dances at a Gathering. Photo: Bill Cooper/Royal Ballet
The best advice I ever received One of the best pieces of advice I received was to focus on the process and not on the result. I know this is classic, perhaps a cliché, but it’s actually very good not to be obsessed by being successful; by being seen. This allowed me to focus on my training, to focus on what’s lacking, and to keep evolving and push myself outside my zone. I went further with my artistic career.
Another piece of incredible advice I received was to trust my gut and instincts. People want to be normalised: maybe that is changing slowly, but at the time I was obsessed with being accepted and I’m very happy that I listened to my unique voice and understood that the way I move is my own. I think artists need to find the flow, find their way – and I think that the more different you are, the better you are seen in any room.
The advice I would pass on The advice I will give to the next generation is to stay curious and stay inspired by going to museums, theatres and movies. I think it’s the best way to refresh our vision about what’s already happening in the industry. There are a lot of things that repeat themselves, but I think there are many stories to be told and many stories to be believed. Go outside of your zone and discover what has not been touched yet.
