This week, two choreographers—Rachid Ouramdane and Pam Tanowitz—reminded us why dance remains one of the most thrillingly unpredictable art forms. Their works, *Outsider* and *Neither Drums Nor Trumpets*, aren’t just performances; they’re conversations about what dance *can* be when it refuses to fit neatly into boxes.
Ouramdane’s *Outsider* (performed by Ballet du Grand Théâtre de Genève) is a masterclass in tension and precision. The Stage called it “hypnotic,” and for good reason. His dancers move like tightrope walkers—cool, controlled, yet brimming with quiet danger. The piece challenges the idea of belonging, asking who gets to define the “center” and who’s pushed to the edges. In a world obsessed with labels, *Outsider* feels like a rebellion.
Then there’s Tanowitz, whose *Neither Drums Nor Trumpets* (at the Royal Opera House) is a gleeful middle finger to expectations. The Financial Times praised its “playful rigor,” and that’s exactly what makes Tanowitz so exciting. She doesn’t just mix ballet and postmodern movement—she scrambles them, tosses them in the air, and lets them land in ways that feel both deliberate and spontaneous. As she told Hero Magazine, “There’s this blurring of boundaries.” And thank god for that.
What unites these two works is their refusal to be easily categorized. Ouramdane and Tanowitz aren’t interested in giving audiences comfort food; they’re serving something spicier, stranger, and far more memorable. In 2025, as dance continues to evolve, we need more artists who embrace the *outsider* label—because that’s where the magic happens.
So here’s to the blur, the tension, and the tightrope walkers. May they keep us on our toes.
