Pompea Santoro’s career has seen her sharing the stage with the likes of king of ballet Rudolf Nureyev. Anna Marie Galea interviews the dancer ahead of her participation in After, a contemporary dance show in two parts.

Established by dancer Joeline Tabone, Naupaca Dance Factory has become a promising example of what Gozo can offer. Unlike many traditional schools of dance, Tabone is not interested in merely presenting fixed, traditional notions of beauty. Instead, through her school and unconventional dancers, she strives to explore the weird, wonderful and even the downright ugly, tackling difficult subjects through the medium of dance.

It is this particular openness with respect to that which is usually considered taboo which led her to collaborate with renowned dance pioneer Pompea Santoro. Pompea will be showcasing Non Solo Carmen – Donne Vittime dell’Amore, as the final part of After, a contemporary dance show in two parts that will open with Tabone’s interpretation of Dante’s Purgatorio.

Internationally respected for her talent, which led to her sharing the stage with the legendary Rudolf Nureyev, Pompea was initiated into the world of dance very early in her life when her mother realised that her young daughter had potential. She looks back on this time in a matter-of-fact manner, stating that it was not her choice to start dancing.

“I was seven years old when my mother took me to dance lessons. It was not my decision. I think what ultimately inspired me to continue was the fact that I had a natural musicality and an easy body for dance.”

Indeed, Pompea’s “natural musicality and easy body for dance” not only led her to win the 1978 prize for special artistic talent at the age of 16, but she later went on to study at the legendary La Scala in Milan and became part of the Mats Ek Swedish dance company, which has now been her home for over two decades.

Despite her humble demeanour, Pompea’s track record is one that most ballerinas would kill for. Sharing the stage with king of ballet himself Nureyev is only the beginning. The dancer has fond memories of the ballet star, whom she describes as unassuming.

“He was at the end of his career when he came to dance with the Cullberg Ballet. He was a very hard worker and very generous with me and all the company. He spoke very good Italian and he was constantly joking during the rehearsals, making everyone laugh often.”

I would like to see a dance that makes me feel and think. Just as art should

That said, she says that her youth somewhat shielded her from how great Nureyev truly was: “I was very young I didn’t really think about with who I was dancing with. Still, now when I think about it, I don’t remember him being a star in the popular sense of the word. He was just a great artist like few others I have met in my life. He was not a man interested in preaching and doling out advice.”

Laden with a strong character and a penchant for the challenging, Pompea was inspired to curate and direct Non Solo Carmen – Donne Vittime dell’Amore, a tale of love, violence and womanhood which sees the figures of Carmen, Giselle and Juliet storming the stage because of “the increasing actual issue of violence against women everywhere”.

It is very clear that Pompea feels strongly about her subject matter and, on asking her why she chose the topic of the subjugation of women specifically, she answers in her characteristic clear-cut way.

“I think it is terrible that women should be subservient to men, that they are considered to be inferior just because they appear to be weaker. The woman is entitled to her freedom to love who she wants and to live an independent life.”

So why Carmen, Giselle and Juliet? “First and foremost, I have already danced these roles myself. So, in a sense, I have already been inside their heads and lived their lives. In a way, I am able to understand them. However, my main reason for choosing them was also because of how representative they are of womankind. These are women who become victims of violence and even death for love, passion and jealousy.”

What Pompea believes makes this particular performance so special is that she feels it has “some of the most beautiful pas de deux created by Mats Ek”. Furthermore, “as for the young dancers, it is great to have the chance to dance a role which is not always possible in contemporary dance”.

Despite the glory of the past, Pompea’s mind is clearly firmly fixed on the future.

“A big challenge today is to find a choreographer who creates with music, one who has an idea, a start and an ending. Today, we see a lot of movements based on research, instead of a meaning. I would like to see a dance that makes me feel and think. Just as art should,” she says.

After takes place on Friday at 8pm at the Casino Maltese, Valletta.

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