By BRUCE DENNILL
Following a successful opening run of their 2026 season and new production Juxtapose at Johannesburg’s Roodepoort Theatre and the Mandela Bay Theatre Complex in Gqeberha, independent dance company WGRUV (pronounced “W-Groove”) introduces another new work, Highlights, in Johannesburg. Highlights: Tracing the Line is a celebration of choreographic excellence drawn from some of the most compelling voices in contemporary and classical ballet, including Jesse Obremski, whose visceral movement language cuts to the heart of human connection. Obremski trained at The Ailey School and is the founder and director of the contemporary dance company Obremski/Works, based in New York.
Giving movement a message: what are, for you, the best ways to communicate meaning via dance or choreography?
I feel one of the most efficient ways to communicate meaning via dance and choreography is through gestures. Movement is our universal language, and the vocabulary/alphabet of this language is our body’s gestures and how we use our bodies in space. A performance highlights dancers, people, in space and what they are communicating, but in every single moment of our lives, we, as humans, are communicating a message with our bodies, whether consciously or unconsciously. When I say gestures, this could be with our hands, eyes, back, pelvis, legs, or wherever. Another efficient way to communicate meaning via dance and choreography is through the physical relationships that are created in space. How far are folks from each other? How close are they? Is there a physical connection and/or emotional connection? Are they facing away from each other or toward each other? Each of these questions, and many, many more, are ways that movement and the physical body can communicate through dance and choreography.
Accessibility: how important is it to achieve a balance between concept and pure artistry and entertainment?
I feel that when all three of these aspects (concept, artistry, and entertainment) come together is when a work really makes audiences think and curious about what they observed on stage. I believe that each of these has value, and none is more important than the other. The concept comes from the creative process and choreographic work that aims to be presented. The artistry is what each performer brings to the work and how they approach the movement, relationships, and concept. The entertainment can come into play when the work is viewed and experienced, whether from the outside or as a participant in the work. Additionally, I feel that the entertainment portion of a creation, as a choreographer, is out of my control because I can’t dictate how an audience member will feel when viewing a work. In this regard, as a choreographer, I am often thinking about concept and, while working with the performers, the artistry that they bring to the stage.
Solo versus partner or ensemble work – how do the challenges differ?
I like to imagine that working on a solo, partnership/duet, or ensemble work is each an opportunity rather than “challenges”. In my mind, solo work is never really solo work even though there is one individual on the stage. That individual performing the solo has the opportunity to be in reference to the music, costumes and lighting, which all have effects that shift the solo’s performance. Partnering, with two folks, shares a great opportunity for relationship building and showcasing of human dynamics. The ensemble work shares the opportunity for more spatial relationships, community engagement, and physical possibilities that can exemplify a different aspect of humanity. As Alvin Ailey, an American Modern Dance icon, had shared – and I paraphrase – he wants to hold up a mirror to society and show audiences how beautiful they are. Each of the possibilities, solo, partnering and ensemble work, has this opportunity to reflect our humanity and connect with people.
In terms of physical preparation, what are your go-to routines – generally needed as a professional dancer and specifically when you’re part of a production?
As a performer, physical preparation is immensely important. For me, it sets up my body for physical activity and my mind for how I want to approach my day. Whether it be a Modern class, Contemporary class, ballet class, West-African class, tap Class – each of these and other physical movement languages share the commonality of warming up the body, challenging the brain through coordination, strengthening the body through repetition, rhythmic associations and more. Honestly, as I get older, my physical body needs additional routines and practices to be prepared and healthy for a rehearsal, performance or production. All of these aspects are individual to each artist, person and dancer and are developed through our daily practices as individual artists. Each body is different and may need/want different ways to be prepared physically.
What are the qualities in dancers and choreographers that you prefer to work with (if or when you’re able to let such things influence your choices).
In response to this question, I feel the attributes of folks that I appreciate working with are the same, no matter if they are a dancer or a choreographer. Artists that I appreciate working with are individuals who have a clear sense of their own identity and movement, individuals who are open to playing and experiencing, as well as those who don’t know all of the answers. The idea of never-ending exploration is one that humbles the soul and is of interest to me. Empathy is a huge part of my artistic exploration and thought processes. The reality of not knowing something is very human, which therefore brings empathy for one another, whether that is between audiences and performers or individuals in the studio together through creative processes. In not knowing, and the acceptance of this, it brings the possibility of space and collaboration, which are vital aspects of any creative process. There is a difference between ego and confidence. I appreciate working with those who are confident in themselves while also acknowledging the potential of never-ending growth.
Name a dancer every arts lover should see dance at least once, past or present.
This is an extremely difficult question because naming one individual’s artistry that should to be seen can subconsciously create a hierarchy of artistic expression. Each person’s artistic expression is of value and important in changing humanity, society, and the world. In response to this question, I have had a hard time figuring out one individual to name. Here are a few folks that come to mind that I’d like to share: Mikhail Baryshnikov, Bobbi Jene Smith, Alvin Ailey, José Limón, Shamel Pitts, Michael Jackson, Pina Bausch, Jie-Hung Connie Shiau, Gregory Hines, Kyle Abraham, Clifton Brown and Peter Chu.