I always focus only on the next step, like the street sweeper in the book Momo by Michael Ende.

Dancer Emese Cuhorka only needed to take a look at the building of the Ballet Academy in Budapest before she decided to turn around. But the dance didn´t leave her. It only took a different form. 

Who are you? 
I am a contemporary dancer, teacher and choreographer. It happens that after some hesitation I open the shoe cabinet with the confidence that I would find my coffee left from the morning in there. I have reasonable freedom to try anything, even when I face failure, helplessness, and moreover. None of the days are special ones except for Christmas, and that lasts for 3 days. I often have the thought ‘just another day’ when I haven’t paid the bill. The smell of the stage makes me smile. My body can unavoidably become the subject of sexism. When I don’t move or when I move too much I don’t feel good. The whole city is my workplace. Each night I am conscious about the softness of my bed as opposed to the linoleum. 

What is your professional background?
I finished my studies at the Budapest Contemporary Dance Academy in 2011. As an amateur I spent a lot of time with improvisation, experimental movement ideas, leading amateur movement groups. As a professional artist this experimenting instinct has transformed into an attitude that is free of judgement and formal limitations. The approach of Adrienn Hód to movement, dance, body and personality, the diverse training of the body, various street actions, interactions and performances, the cooperations with theatres, the movement and relation creations developed with László Fülöp since 2009, the reinterpretations of sub-cultures with Csaba Molnár have all had a deep impact on me. I have been working with Hodworks for 10 years, 3 of our pieces have been selected into the Aerowaves priority companies. Four pieces that I collaborated in have earned the Rudolf Laban Award.  

How did you get in to dance and what in your opinion does dance express that conventional theatre does not?
Before learning to speak I improvised endless songs and I danced a lot to all sorts of music in my room. I wasn't judgemental about what I was doing as there was no reference. I didn’t need a mirror or audience, it just felt good doing it, experiencing it. Then from the countryside my mom took me to the Ballet Academy. I took sight of the building and we turned back. It was a very good decision. I wanted to have a normal life, I wanted to be a teacher, although right now it’s not what’s happening. At the school of Iván Angelus I found a place where everything seemed familiar. And I feel the same about the people I am working with. I go on as long as I am on the scent. I always focus only on the next step, like the street sweeper in Momo by Michael Ende. Step, sweep, step, sweep. I don’t look up to see where I’m heading as long as I enjoy each and every step, as long as I react to them vividly.

How was the process working with this particular performance for you?
In the studio with László Fülöp we always let the ideas we have brought to take shape through our interference. We always think in movement, whatever we discuss we try it immediately as the movement brings about a great deal that is impossible to figure out in advance or to identify. A rehearsal is a continuous dialogue between us, with the body, with emotions, music and words. Then we brought Dvořák into the dialogue, so the interference went on between the three of us. We treated the New World Symphony as it had been an idea, as it had been written right there, thus – like working with a contemporary composer – by editing and various musical interpretations we asked him for variations, repetitions, omissions and exaggerations of the original score. Our approach in the relationship between the music and the movement was that we would cast the spotlight on the most hidden moments, atmospheres and situations. Through its capability of highlighting theatre has the freedom to apply whatever unit of measurement as it likes. We indulged ourselves in the magnification of the tiny without causing any damage. 

What do you think when you dance?

If you are really interested in something and you enjoy it, it will penetrate you and others will also enjoy watching it. We all desire safety, the sensation when we can be really ourselves in a social situation, when we are free of our fears. This ally is possible to experience in the theatre, between the performer and the viewer, as theatre is a protected field, where the viewer can experience it all without taking the responsibility. Attention without the burden of the responsibility of our minutes. As a performer I love this commitment, the absorption as it lacks the judgement of myself. I like forgetting who I am, existing in a larger space to get closer to something. Arts – as an artist and as a viewer – is a shelter where you find trust beyond fears, where giving myself to something else will be a pure reward. It’s an encounter with the unlimited maximum of things. I like making mistakes. It’s like as if there is suddenly a gap for a change in the big flow. 


You have danced for many years now- how did you change or evolve as a dancer through these years?

Through my mistakes, my experiences, my imagination, all sorts of trainings, conversations, a great deal of movement, performances and continuous self-reflection. 


What does it mean for you that your performance got selected through the Aerowaves platform? 

The approach of Aerowaves is a very important reassurance that if you make brave and credible art you do something valuable. Beyond the fact that the supporting structure is well constructed it gives you huge impetus. A lot of dance performances can become part of the European dance world that would otherwise be lost due the ephemeral nature of the genre and the financial situation of some countries. It’s so good that adults admit that it’s great to play together, it’s great to laugh at ourselves and to take ourselves seriously as well.

Your Mother at my Door, 15.–16. September

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