Interview with Tash Chu

What inspires your creative work?

I’m creatively driven by the idea of connecting with audiences from all backgrounds through compelling story telling. I draw inspiration from many sources – music, lived experiences, duality, books, films, current/historical affairs, questions, art – but the common thread is the curiosity of translating an idea into a movement context and letting dance say what words sometimes can’t. I want to make people feel something.

How do you start the process of working with the dancers at London City Ballet and in which way does it develop into a finished piece?

I am still discovering what ‘my process’ is and think it changes and adapts with every new project I’m involved in. At London City Ballet, I will be creating with dancers I haven’t crossed paths with before, so will find it really useful to watch company class and rehearsals prior to getting in the studio. I want to see how the artists move and be able to create with them in mind.

Music is essential to me and often acts as a catalyst for the concept. I have initial movement thoughts and questions after researching an idea, which I can really visualise and work through in the studio, but a lot of the early stages of making something new involve playing with a possibility and being ready for it to change. I try not to be too precious until I get to the refining stage of the process. 

Establishing the beginning and end of a piece is important to me quite early on because this gives me a framework and a narrative arc to work within. This is of course subject to change, but I want the dancers to be able to think about intention/the purpose of the work as soon as possible. The ideas will continue to evolve and develop even after finishing the piece. 

What’s the result of creating with dancers from different training backgrounds and with varying levels of experience?

It allows for a really multifaceted, textured creative process. Each dancer brings their own unique artistic perspective, influences and personality to the space which I think encourages experimentation, layering and expands the choreographic potential of the piece. Having worked in genres including opera and musical theatre, I’m interested in the challenge of adapting my approach to the people I’m working with. I feel that I can learn so much from these artists and want to create an open environment for us to ask questions and be questioned.

What is the current climate like for emerging choreographers in today’s industry?

I think the industry is a constantly evolving and challenging place to be. The integration of technology and growing emphasis on innovation is pushing the boundaries of what dance creation can be which is exciting to me. Opportunities like working with London City Ballet is key to the development of an emerging choreographer. Being given the space and time to research ideas in a studio and discover things with such talented artists is something I am very grateful for.

Is there a message that you would like us to take away from your work as a choreographer?

What excites me is that movement can portray the fragility and vigour of human experience in a way that you can’t always explain. I love the idea of all elements of performance working in tandem to encourage people to connect. At the heart of my work is the audience’s experience.

You can see Tash’s new work this autumn at the Linbury Theatre from 19-22 November.