When Luna Negra Dance Theater put its dancers on an extended hiatus last spring, Nigel Campbell was the first one to secure a new gig. RB spoke with him after he settled at his new job/home. Here’s an update on what he’s up to.
Where are you?
I live in Gothenburg, Sweden.
What are you doing now?
I am dancing at the Gothenburg Opera DansKompani. I began here about two weeks after Luna announced its extended hiatus. I was very fortunate to be able to move to another job so quickly. I feel very blessed.
What do you miss about LNDT?
The PEOPLE. What a great group we had. [It was] a wonderful collection of individuals…and we were always encouraged to bring our individuality out so we could constantly learn from each other. I miss Gustavo (Ramirez Sansano) terribly, although we are still in contact. I miss being in the studio with him vibe-ing and creating.
What were some of your favorite works?
“Not Everything”…a group piece. It was visually, musically, and architecturally gorgeous! The process flowed very smoothly. It just came together, really relaxed, really unforced. It also contained some of the fastest dancing I’ve ever had to do in my life.
“Toda una Vida” was Gustavo’s first creation as director of Luna. [It was] a tour de force 20-minute duet with some of the most complex partnering I’ve ever done or seen. It remains the most challenging piece I’ve ever had to dance. It also has the most sophisticated and deep understanding of musicality I’ve ever seen to that piece of music (Ravel’s “Bolero”).
“Carmen.maquia” was Gustavo’s evening-length abstract take on “Carmen”. It was quite simply a masterpiece.
“Walk-in” by Fernando Melo, who is my rehearsal director here in Gothenburg. I think he made an exquisite piece of contemporary dance on us and my only regret is that we only got to dance it once. My fear is that it will be lost and no one else will ever get to see this absolutely gorgeous piece.
What was special about LNDT? What did it mean to be a “Lunatic”?
Again, what was most special about Luna was the artists who gave their hearts and souls to it. To be a Lunatic meant you knew you were at the ground of something, that you were a part of building something that could have a legacy. We were always very aware of that. We made so many sacrifices because we believed in the potential of the company under Gustavo’s leadership. We were willing to go above and beyond, because we could feel how truly special what we were doing was. We were a company that didn’t focus on the great master works of the past, but went boldly into the unknown and tried to discover what the next step for contemporary dance was. We were risk takers and hard workers, collaborators, not just receivers. We were active participants in what was being created. We were all part of the legacy we were trying to build. What an incredible journey we were able to go on together.
It’s hard for me to comprehend that all the work we put so much of ourselves into, all of the sacrifices we made, are now just memories. Life goes on and we will all continue to make great and relevant art. Life is crazy and I’ve learned from this that truly, in a moment, EVERYTHING can change and that you always have to be ready. I’m thankful that I had the opportunity to be a Lunatic. It has shaped me in so many ways. I am so incredibly and remarkably blessed that I was in the right place at the right time.