Dancers are movers, in more ways than one; it’s fairly common for dance artists to travel widely, to study various styles, to engage with different artists and projects. Yet Valerie Kosnevich, originally hailing from Russia and currently based in NYC, appears particularly well-traveled and versatile.
She’s lived and worked in Israel, Russia, and the US. She’s danced the works of Ohad Naharin, Mats Ek, Igal Perry, Guanglei Hui, Caleaf Sellers, Chrybaby Cozie, Buddha Stretch/Henry Link, and the Peridance Contemporary Dance Company – as a short list. She’s studied and performed in ballet, contemporary dance, and a number of street dance styles – that’s another short list.
Valerie Kosnevich, photo credit:
Liz Schneider-Cohen
It also seems that through all of that, she’s remained remarkably grounded: in touch with values such as true human connection, genuine artistry, authenticity, and emotional honesty.
I spoke with Kosnevich in another edition of my Artist Chat series: on versatility in dancers, how all of her travels have deepened her artistry, what remains more important than social media clout, and more. Take it away, Valerie!
KB: You’ve danced in various cities, countries, and dance communities. What are some key commonalities and differences you have experienced in these separate locales – in other words, what’s been the same and what’s been different, that seems meaningful to you?
VK: There’s a sense of a dance community in all of the places I’ve danced in. People gather for events, in addition to time rehearsing in the studio. It might be a group tour, someone’s birthday party, watching a performance together, or a trip into nature. All these events have helped to unite the group.
The difference is in the approach towards learning dance. The process differs from place to place. I would assume that is from cultural differences. I think that New York is the most open city out of all of the places I have lived; there are so many people, coming from all over the world – which adds many different flavors to the NYC dance scene. But the most important things are in common: the love of dance and the love of music.
KB: Do you think that being well-traveled, having worked and lived in various places, has contributed to your artistry? Have there been any other notable advantages to all of that for you?
VK: Definitely! Being in different places and experiencing different cultures made me who I am today. Sometimes it confuses me a lot – because the cultures, languages, and approach towards life are very different. But once you get a better understanding of people and the place you live in, it can be fun. You can then decide where to place yourself: to fit in or to stand out, or maybe both, depending on what you are looking for.
Even today, while traveling within the United States and visiting different states, I keep learning new things about people and their lives. Staying in NYC makes these experiences more feasible for me, because people come from different parts of the world. That’s one of the reasons why I love this city.
I learn so much by watching other people dance: new ways of moving the body, how to convey/change energy, new ideas and perspectives on how the same things might be done in a completely different way. This informs me of new possibilities, as well as enhances my understanding of who I am and how I can keep growing and evolving as a dancer.
KB: You’ve also trained in a variety of dance styles: from street to contemporary and beyond. Have you found that versatility beneficial in your creative journey and career?
VK: Versatility in anything is beneficial, especially nowadays – when people and choreographers are looking for variety. People get bored easily. It seems that versatility has become an essential part of a professional dancer’s skillset.
I only wish that people could go to the origins of each dance form, and learn more of the history of what they are dancing. That knowledge could give their movement more depth and expression – rather than just copying someone doing the movement, without understanding the story behind it.
Learning new dance styles makes me more versatile, teaches me about my body, and brings me more movement choices. By learning new styles, I get exposed to new music, have new experiences, and am challenged to move in different ways.
Music has also always been in my life, especially in challenging times. I remember myself listening to Beyonce, Shakira, and Jennifer Lopez back in school, later to Rihanna and Adele. Today’s music is a savior for me. It is a place to both escape and get closer to myself.
Going back to your question about versatility: the amount of information that comes with many dance styles can sometimes be overwhelming, but that feeling settles after a certain amount of time. We all used to learn so many different subjects in school, and we all managed to make it happen. We had to narrow our professional choices once we left school – which probably makes our mind work in a completely different way than it did when we were kids.
That makes it harder for us as grownups to stay open to other opportunities and look for other ways to accomplish a certain task – rather than just using one way of doing things: routine. Kids are so much more open to exploring and to learning new things. Relating to the dance world: yes, you should have a specialty style, but dancing in general is all about discovery and evolution. That can only be done only if you allow yourself to explore new things.
Photo credit: Kuoheng Huang
KB: You’ve spoken about how the experience of dancing – of training and performing with dancing peers and colleagues – is really the special part of it all, not any kind of acclaim or fame (on social media or otherwise). What about the dancing experience, in particular, is so special for you? If you could put it into words!
VK: Quoting what you said – “training and performing with dancing peers and colleagues” – is an unforgettable and a unique journey. Some of these moments are still in my heart: the memories of people, places, and the emotions that I have experienced. That’s my foundation for moving forward during difficult times.
About social media: it is a good tool to look for work, get connected with people around the world, and to promote yourself. But it became such a dominant thing in our lives that people forgot about the truly important thing: gathering together and having conversations.
Dance is not only about being in the studio, rehearsing, and performing: it is about connecting with people in our lives. People started to dance because they wanted to communicate and express their feelings. Nowadays, I feel, that’s been left aside – and we just keep looking at the amount of followers and “likes.”
KB: What unique quality or qualities do you think that you bring to the American dance sector? What’s your vision for moving your dancing forward here in the US (or elsewhere)?
VK: I think that staying present is the main quality and my main goal in the dance sector. We’re all human, and we all have outside things that occupy our minds – especially when a dance life might become a real fight. That can be particularly intense for the dancers coming from abroad and pursuing their dance careers in a big city like New York. By being present in the moment, I can fully share my energy, ideas, and my knowledge with others.
Being myself is another quality that I’ve learned how to preserve. New York has an endless number of dancers paving their career paths. Everyone is different, and not everyone will be on the same page. During these moments it is very important to know your goals, and to remember why you are doing this thing.
Not everyone will be appreciative and supportive. Just because other people disagree with your point, it does not mean you are wrong. We all have different perspectives. By appreciating people for who they are, we can leave space for variety and versatility in the dance world.
Moving forward, I have a few personal goals. But I would be very happy if I could be part of bringing street dance to theater stages. We witness ballet, modern, and contemporary performances in our theaters, while hip-hop and commercial dance is associated with the music scene. I believe that audiences would enjoy watching street style performances just as much as any other dance style. That programming could give audiences more variety and choice.
Photo credit: Alberto Barreto