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Why do I dance?

I dance to draw connections and open up encounters. Dancing helps me put questions in motion and I enjoy inviting people to find their own answers. What dance is, does or means evolves hand-in-hand with each individual’s personal, athletic and artistic development.

From theatres and galleries to outdoor or online spaces, I move across community and professional settings to carve a balanced practice. With my long limbs, I long to develop links between people of different backgrounds; between movement and sound; and between humans and their environment.

Recent Projects

Musical Fragments (2022)
Garden Unlocked (2022)
El Duende Me Protege (2022)

Poetry in motion

For me, contemporary dance is to movement what poetry is to literature. Whether narrative or conceptual, coherent or confusing, contemporary dance has artistic license to create its own grammar.

The beauty of its indefinable style is that it emerges from each individual’s taste, personal story, abilities and encounters with others. Always reinventing itself, it is the most adaptable dance form of all.

Choreography

I see choreography as the art of shaping ideas in space and time to share them with communities. I nurture this immaterial craft through repetitions until its ephemeral realization, the performance event.

In practice, choreography can be scored, recorded, extracted from tasks, drawings or descriptions and even restaged long after its creation. Yet, it is no more tangible than the transmission of my vision through motion.

Reviews

Yanaëlle, this was the first time seeing you dance, and what a pleasure it was! Your patience with the time and movement in your piece was truly captivating!

Audience member
Surfaces (2021)

Yanaëlle has a gift for finding magic in the seemingly mundane or overlooked

Audience member
The Performance Path (2022)

I especially liked the play on distance, perspective and angles

Audience member
Garden Unlocked (2022)

her mastery of mood is assured and she is not afraid of stillness

Reviewer Neil Norman
Play On (2019)

The entire piece was engaging throughout and with the tremendous integrity of the subtleties of movement and choreography as a whole, I was captivated by not only what I could see but even by what I couldn’t.

Audience member
Swapping Shadows (2018)

I was gently swept away by the visuals: smooth shapes, loose tumbles and harmonious lines with effective, uncomplicated lighting.

Reviewer Stephanie Brown
Swapping Shadows (2018)