Entertainment Engineer & Choreographer
So Amé, how do you feel about choreographing from 15,000 kilometres away?
It was a stretch (sorry!) actually, it worked really well. I was in Florida at the time so we used all of the technologies you’d expect. However, it definitely comes down to everyone’s attitude on the creative team. We all wanted this to really sizzle and it did.
What challenges did Yakkazoo ask you to solve?
The plan was to create a dynamic graphical content that the dancers could interact with, creating the illusion that they were playing with it and changing it. That’s always a horse-and-cart thing with content and chorey – which comes first?
Which came first?
I collaborated with Yakkazoo’s digital content team, so I could suggest a shape, colour, move or effect on the big screen, knowing what I expected my dancers to do with it. There’s such an excitement about creating original, new work so everyone was so responsive and cooperative.
And you switch seamlessly between dance choreography and aerial choreography?
And I can fly too! 😉
Aerial work can come with its challenges, especially because that annoying thing ‘gravity’ gets in the way. But having really experienced performers, and that amazing giant sphere with its beautiful projections and stunning soundscape, it was quite easy to be inspired.
Do you think Yakkazoo’s CoLAB approach to working is different to the norm?
It’s very rare in the corporate experiential world to experience a true, graceful, collaboration with creative directors, musicians, storytellers, performers and clients. Somehow Yakkazoo curated this so everyone’s maximum value was realised. Really rewarding process, especially seeing such a happy client.