Born in Cecina, Italy, to Nigerian dad and mom, Nnamdi Nwagwu doesn’t keep in mind a time when dance wasn’t a part of his life. Dance was at all times current in his household residence, and after a brief, unsuccessful stint with basketball, he started formal coaching at 6.
At 13, he acquired a scholarship to review at Professione Danza Parma in Parma, Italy, and commenced rigorous ballet coaching. Over the following few years, Nwagwu competed in quite a few solos. However at 16, he found a love for choreography—making a solo for himself that went on to win first place within the Up to date Dance class on the 2020 YAGP semifinals.
Successful at YAGP launched Nwagwu’s skilled profession, resulting in gala appearances around the globe and a richer exploration of his choreographic voice. It was throughout this era that Nwagwu started to know the political nature of his presence onstage. “Even simply being in areas as a Black artist, I’m political. Being onstage and dealing in an organization is political for me.”
At 18, he auditioned for Codarts College for the Arts in Rotterdam, the Netherlands, the place he was accepted. That very same yr, he left faculty for a month to choreograph for Stuttgart Ballet.
Now 22 and graduated, Nwagwu has emerged as a part of a brand new technology of choreographic voices in Europe. As he continues to ascertain himself, he’s defining his creative priorities whereas navigating life as a freelancer.
On Being an Afro-Italian Artist
“Once I was 14, I went to review at The Ailey College in New York Metropolis. That was the second I noticed some dancers seemed like me and had roots like mine.
“And so they weren’t the stereotype of ‘Black dancers.’ Generally individuals discover out I’m a dancer and assume I solely do hip hop or break dancing. However at The Ailey College, I assumed: Oh, there are individuals like me on the ballet barre. And that stereotype didn’t exist anymore. That’s after I realized I is also knowledgeable dancer.
“I used to be an enormous fan of Misty Copeland, Michaela DePrince, and Carlos Acosta, however they have been American or exterior of my Italian dance world. That’s why I now really feel a duty to symbolize what Black artists can do in Italy and Europe.
“That’s why I at all times say I’m Afro-Italian. Sure, I’m Nigerian—my blood is 100% Nigerian. However I’m additionally Italian. I used to be born and grew up in Italy, and I converse and assume in Italian.
“So I’m a queer, Black, Afro-Italian artist, and I have to be in areas the place there aren’t individuals who appear to be me—as a result of I can open doorways for others to come back after me, in the best way doorways have been opened for me.”
Recommendation on Freelancing
“I’ve realized networking solely works should you’re capable of be true to your self. Go see exhibits. Discuss with administrators, choreographers, and programmers.
“Freelancing is about group. I’ve by no means heard of a freelancer doing issues by themselves. To me, ‘freelance’ means there’s a ‘lance’ you might be ‘freely’ shifting by. Your lance is your group, and it provides you the liberty to take jobs as they arrive.
“However should you’re free and never placing within the effort to be a part of a lance group—should you’re simply lancing, or swimming round—then the entire system doesn’t work.
“For me, freelancing isn’t just in regards to the bodily work; it’s additionally about knowledge evaluation. Who’s following you on Instagram? Which director is appreciating your work?
“…Networking additionally means saying, ‘Okay, I’m going to do a aspect job as a result of I can’t discover a challenge proper now.’ I’m going to place that cash apart, take an enormous journey, and go to a choreographer and say, ‘Hey, I need to work with you. I don’t understand how, however I’ll be there—even when I’m within the nook, as a result of I need to study from you.’ ”
On Choreography and Future Objectives
“I feel everybody has a mission in life, and I really feel mine is to assist individuals know their power. That’s what I like about teaching: I can use my very own style and standpoint to assist dancers change into not higher however to see a unique mild inside themselves. I like making individuals shine.
“…My trustworthy dream is to be a flexible choreographer with a particular voice. Take somebody like Marco Goecke—you may watch a chunk by him and, with out realizing the choreographer, instantly see that it’s Marco. I need to have my very own recognizable motion language, one that may mix ballet firms and modern firms.
“…I additionally love creating characters and storytelling. Even when the world created isn’t specific, there’s an lively throughline. For me, it’s actually in regards to the power. I feel as a dancer, as a performer, my power has at all times been my power—my presence—and that’s what I actually need to translate into my choreography.
“I wish to say that in choreography, the mind is aware of the place it’s going by way of steps and reminiscence, however for the physique, it ought to at all times be a brand new expertise. That’s what I would like dancers to consider after we work and transfer collectively.
“As a result of on the finish of the day, steps are steps. However by experiences, we are able to hook up with humanity and convey empathy and honesty onstage.”