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According to a theory books contemporary dance, it is a genre of concert dance that employs compositional philosophy, rather than choreography, maybe rather (un)choreographed movement. It is a dance techniques and methods to look for in ballet, postmodern dance or modern dance and it also draws from other philosophies of movement that are outside the realm of classical dance technique.


Fernando Melo brings festivities and Latin spirit via contemporary dance to his audience. The brilliant Melo on the stage offers a delightful magic show and provokes bitter debate regarding the masculinity. Debate often immanent in the contemporary dance circles, naturally inspired in the spirit of Brazilian folk and the masculine world of Samba dance where men express love, melancholy and devotion toward women. Melo sets men and women in a swirling and energetic set of movement that seamlessly mixes lightning-fast gestured sequences with passionate solo and ensemble patterns. Beautiful Fernando Melo celebrates the richness and diversity of Latino culture through the creation of works as the contemporary choreographer via intensive, educative programs that encourage discovery and exploration of personal and identity of himself and Latino dance culture. Steering away from dancing stereotypes and partly folkloric inheritance, contemporary Latino dance with energy and passion beautiful Melo offers an exquisite entry into an European Contemporary Dance. In his work Melo explores the traditions, culture and music of varied culture bringing with them a unique dance language and culture blended from different influences, Arab, Hebrew, Hispanic influences etc. His choreographies, as it is often said in the paper, “evokes different themes of loss, lust for women or other emotions, in a series of hauntingly beautiful tableaux”. His contemporaries evoke ancient melodies and dance into the modern and sensual moves on the dance floor.

And Melo Is

Originally from Rio de Janeiro, Brazil, Fernando Melo, built his career, as a dancer and choreographer in Europe, but his works have been well known worldwide.
As the guest of Belgrade Dance Festival 2011 Melo presented his line of work to Belgrade audience as well as he presented to Belgrade audience Göteborg Ballet (Sweden), where he is also currently settled. Beside Göteborgircle Ballet Melo worked as choreographer in different companies such as: Luna Negra Dance Theater (USA), Deutsche Oper am Rhein Düsseldorf (Germany), Introdans (Holland), and Rumpus Room Dance Company (Sweden). For those who already know, Melo work may be useful; Fernando has performed the works of William Forsythe, Stijn Celis, Tero Saarinen, Jirí Kylián Johan Inger, Wim Vandekeybus, Nacho Duato, and Mats Ek. Today Fernando Melo is the co-founder of the Rompus Room Dance Company and in 2002, he was awarded the first prize at the Willich Choreographic Competition for his work Sightless Love, created for the Junge Choreographen Der Deutsche Oper Am Rhein.


Interview with Fernando Melo
fernando-melo.com/

CE: -Tell us about your experience as a world well known choreographer and dancer, what does it take to become that well off in the world? What was your way?

I do not have a recipe for success. I believe that what has helped me so far is a constant effort to communicate with the audience, an attempt to comprehend the Zeitgeist of our era and having confidence to take risks. I had the privilege to begin choreographing at an early age, which allowed me to take certain risks without being hampered by expectations.

CE: - Tell us about your work that you have directed; a dance film entitled "Mahjong", which screened at international film festivals and received the 2010 Audience Award at the San Francisco Dance Film Festival?

Twenty years ago producing a dance film was out of reach for most choreographers. However, the digital era has since provided artists with access to many multimedia tools. I was interested in experimenting with the intersection between dance and film, which prompted "Mahjong" an exploration of the nuances of non-verbal communication. I think that the medium of dance film offers tremendous potential to explore dance through different points of view in unexpected settings.

More to it, US Dance Establishment is according to many other European dancers and choreographers a bit conservative and your choreographies that I have seen on the net are pretty bold, what do you think, are there any difference between US dance trends and European dance trends?

Most American dance companies have private investors as their primary source of funding and depend a great deal on box office sales. Such an environment can be unfavorable for innovative ideas. Nevertheless, there are companies making efforts to explore more contemporary artistic visions, followed by a new and very enthusiastic audience.

CE:- You did work for Göteborg Ballet (Sweden), and we had chance to see Göteborg Ballet on Belgrade Dance Festival, what was your collaboration with such a distinguish Ballet?

I joined Göteborg Ballet as a dancer in 2004. In addition to working with many renowned choreographers, I have also had the opportunity to choreograph three works for the company. The Göteborg Ballet not only has vast resources, but also a very creative environment, which makes the company fertile ground for choreographers interested in process and collaboration.

CE:- As dancer you have performed the works of Stijn Celis, Tero Saarinen, Wim Vandekeybus, Nacho Duato, Johan Inger, William Forsythe, Jirí Kylián and Mats Ek, is there anyone special you would like to point out and what is that connection to all those artists together? Everyone has its own style and they are all different.

I believe the common denominator between these artists is their artistic integrity.

CE:- Is there any special dance technique that you would like to aim for the future, any predictions coming from you for contemporary dance developments?

Technique is a means to end, an important resource. I am interested in developing tools that give way to the broadest range of artistic expression.

CE:- Since you are coming from Brazil, can you tell us about contemporary dance in Brazil, and how different I assume, everything is there?

Brazil has a vast contemporary dance scene but funding for the arts is scarce. Brazilian art institutions are very linked to politics, which are rather unstable, thus hindering consistent art development.


CE:-Tell us something about latest collaboration with Stephan Laks and OffSeaon Dance?

Off-season Dance was recently founded by Rayco Cano-Cortes in Göteborg, Sweden. It is a collaborative that features avant-garde choreographers from the European dance scene. Stephan and I have collaborated in other projects in the past and we're joining forces one again to create, and perform, a new work together for Off Season Dance... premiere date to be announced.


CE: - What would you recommend to young dancers nowadays?

Knowledge is power. Read, see, listen and discuss.


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