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Jan Martens tours US with two new shows
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In early March Dutch-Flemish dance choreographer Jan Martens will come to Columbus and Minneapolis
From March 1 to 4, the Jan Martens production ‘Rule of Three‘ will come to Wexner Center for the Arts in Columbus, OH, and on March 8 to Walker Art Center in Minneapolis, MN. On March 9 and 10 his performance ‘The Dog Days Are Over‘ will play in the latter venue. For more information and tickets: click here (Rule of Three) and here (The Dog Days are Over).
Rule of Three
Building on dynamic contrasts and fragmentary vignettes, ‘Rule of Three’ evokes the restless pace of urban life—the thrill of a downtown nightclub, the pulse of traffic, the experience of getting lost in pages of information. Columbus dance followers delighted in discovering Martens’s work at the Wex when he presented the US premieres of ‘Sweat Baby Sweat’ and ‘The Dog Days Are Over’ back-to-back two seasons ago.
The Dog Days Are Over
This complex, mathematical, and ultimately ecstatic hour-long work features eight performers who surrender themselves to a single movement: the jump. The Dutch choreographer’s conceptually rigorous and dynamically engaging ‘The Dog Days Are Over’ has been captivating audiences across Europe since 2009.
Jan Martens
Jan Martens (b. Belgium, 1984) studied at the Fontys Dance Academy in Tilburg and is a dance graduate of the Artesis Royal Conservatory in Antwerp. He has performed with Mor Shani, Tuur Marinus, Ann Van den Broek and more. In 2009, he began his own choreographic work. He has been hosted in this capacity by Frascati, ICKamsterdam, CAMPO, and DansBrabant. In 2014, together with business leader Klaartje Oerlemans, he founded GRIP in Antwerp/Rotterdam, from where they organize and distribute his work. From September 2014 through June 2016, Martens was artist in residence at the Tanzhaus NRW in Düsseldorf. From 2016 till 2018 he’s artist in residence at CDC Le Gymnase and till 2021 he’s Associated Artist at deSingel. Jan Martens’ works are fresh, as well as hard-core, but most importantly communicate directly. He does not attempt to create his own language of movement, but forms and reuses existing idioms, placing them in different contexts so that new ideas arise. The human being is central to his work.