Monument

Three ballets, three perspectives 

In Monument for a Dead Boy (1965), Rudi van Dantzig portrays the inner turmoil of a boy struggling with his homosexuality—just as Van Dantzig himself did in his youth. Composed of nightmarish scenes, the work was so groundbreaking at the time that it caught the attention of ballet legend Rudolf Nureyev. His interpretation of the role of the ‘dead boy’ led to the international breakthrough of both Van Dantzig and Dutch National Ballet. 

Power and joie de vivre 

In 1986, Toer van Schayk took inspiration from Beethoven’s Seventh Symphony to create a ballet full of vitality, dynamism, and exuberance. In some sections, twenty dancers whirl across the stage to the rhythmic pulse of the music, while in the more introspective second movement, Van Schayk paints an emotional portrait of two men who ultimately cannot reach one another. His widely acclaimed 7th Symphony was awarded the VSCD Choreography Prize. 

A contemporary take on gender identity 

Alongside these two masterpieces, we present the world premiere of IN FLUX by Juanjo Arqués, set to new music by composer (and Project Rembrandt winner) Thomas van Dun. As part of a new generation of choreographers, Arqués approaches gender identity with a contemporary and open mindset. He believes we still cling too tightly to binary notions of gender and identity. Through an abstract, poetic dance language, IN FLUX advocates for greater recognition of ‘fluid’ identities, so that everyone can feel seen and valued.