American choreographer Helen Pickett, a prominent figure in contemporary dance, spent over a decade shaping her unique style under the mentorship of William Forsythe. Forsythe, renowned for pushing classical ballet into a hyper-modern realm, instilled in Pickett a similar drive to explore and expand the boundaries of dance. Pickett’s work, much like Forsythe’s, often delves into literary themes, revealing a profound intimacy and emotional depth through movement, marked by a distinct feminine sensibility. In this insightful interview, Dancer Helen Pickett shares the inner workings of her creative process and artistic vision.
Dance ICONS: How would you describe the look and feel of your choreography?
Helen Pickett: For me, choreography is deeply rooted in intimacy and the subtle spaces of human connection. My sensory system has always been a primary source of inspiration, both as a choreographer and in my past as a dancer. I’m fascinated by translating the textures of space and music into movement, exploring the vast interior landscape of the human body, and creating worlds based on how we relate and intertwine.
My background in theater and film has significantly influenced my choreographic approach. Even with my very first commission for Boston Ballet in 2005, I knew I wanted to cultivate a long-term creative trajectory, avoiding being pigeonholed into a specific niche or style. Instead, I aim to evolve with each new piece. The idea that change is the only constant is a guiding principle in my work. I find immense joy in continuous discovery across diverse artistic paths.
Furthermore, the palpable sensation of the present moment – my immediate surroundings and experiences – is a constant wellspring of inspiration. The world is endlessly rich with input and ideas, providing a never-ending source of creativity.
ICONS: How does the human element of your dancers influence your choreographic process?
H.P.: I have the privilege of working with incredibly talented and sensitive individuals. I’ve always been passionate about coaching and mentoring, and this philosophy is integral to my choreographic method. Regardless of the specific work, dancers perform at their peak when they feel a sense of ownership over the art, empowered to express their individual voices. There’s something far greater than just the steps themselves – it’s the communication, the relationships, the unique qualities of each dancer, and how they communicate those qualities. This collaborative aspect is truly exciting.
ICONS: In your early career, did you utilize video recording as part of your choreographic process?
H.P.: Yes, in the beginning, video was essential for me. I needed to document the original movements precisely to prevent them from being diluted or altered over time. It helped me build a movement vocabulary that I could continually develop and expand upon. However, as I gained a deeper understanding of the choreographic puzzle, I learned to trust the process and allow the movement to naturally evolve and morph. My focus shifted from rigidly adhering to my personal style to embracing the dancers I was collaborating with and the energy of the rehearsal space. The process became more about “us” – a collective interpretation and refinement of the steps and ideas – rather than solely about “me.” It transformed into a shared creative practice.
Today, I no longer rely on video in the initial stages. When I start working with a new company, I dedicate a significant amount of time to getting to know the dancers individually, particularly when creating narrative-driven pieces.
ICONS: You spent 11 formative years working with William Forsythe. What key aspects of the choreographic process did you learn from him, and were you aware of their impact at the time?
H.P.: Working with Forsythe was like being in a perpetual state of creative flux. We were constantly generating, evaluating, and re-evaluating ideas. This dynamic environment was deeply ingrained in the company culture; it was how we lived and breathed dance. We were immersed in the process of delving into movement, fearlessly exploring, deconstructing, and reconstructing, always hovering around the edge of balance, rarely settling in a static state. Nothing ever remained fixed. We were in a continuous cycle of growth, critical thinking, and questioning the very nature of chaos. I often tell aspiring artists, “Don’t be afraid of that chaotic space. The unknown is an incredibly fertile ground.” It’s not something to fear or avoid; it’s the very place that fosters personal and artistic evolution because it compels you to constantly question your assumptions and realities.
ICONS: Does embracing chaos liberate your creativity?
H.P.: Absolutely. It might sound daunting, but it’s not terrifying at all once you recognize the power inherent in the present moment. Presence is key, and that’s one of the most invaluable lessons I absorbed and carried forward from my time with Forsythe. Don’t misunderstand me; I’m not advocating for abandoning technique. I deeply respect ballet technique and view mastering it as a lifelong pursuit. Thoroughly rehearsing roles, movement phrases, and the nuanced qualities of movement until every facet shines with understanding provides the foundation to be ready for anything.
And ultimately, that’s the essence of live art, isn’t it? It has the potential to be spontaneously beautiful, vibrant, and grounded in a strong, knowledgeable foundation.
ICONS: Is there any piece of advice you wish someone had given you at the outset of your choreographic journey?
H.P.: Actually, I was fortunate to hear these words frequently, and I reiterate them now: “Don’t abandon your ideas.” If you have an idea that resonates deeply with you, nurture it and develop it. Obstacles and closed doors are inevitable, but opportunities always exist. Stay receptive, keep your “antennae” alert, and be prepared for the moment of revelation. Self-motivation is your greatest ally in reaching your goals. If you possess that inner drive, you will find a way forward.
And cultivate patience. That’s often the most challenging concept for younger artists to fully grasp. Keep working consistently, regardless of setbacks. And always carry a notebook to capture fleeting inspirations.
More about Helen Pickett:
As a choreographer, dancer Helen Pickett draws inspiration from a vast spectrum of sources, ranging from the subtle nuances of floral scents and colors to the philosophical inquiries of Immanuel Kant, and the depth of literature, such as Arthur Miller’s powerful play The Crucible. Pickett is passionate about empowering her dancers to infuse her choreography with their unique individuality. During the global pandemic, she innovatively adapted to remote creation, crafting twelve dance films via Zoom, conducting 83 online interviews with fellow dance and theater artists in her Creative Vitality Jam Sessions, and establishing the Female Choreographers Big Round Table.
Looking ahead to the 2022-23-24 seasons, Helen Pickett returns to in-studio creation for large-scale projects, including four new choreographic commissions: an hour-long narrative piece for the National Ballet of Canada, a 25-minute work for the West Australian Ballet, a 20-minute piece for Boston Ballet, and a full-length narrative ballet for the Dutch National Ballet in the 2024-25 season. Prior to these premieres, The Scottish Ballet will present her acclaimed full-length ballet, The Crucible, at Sadler’s Wells Theatre in London from June 14-18, 2022, and at the John F. Kennedy Center for the Performing Arts in Washington, D.C., in May 2023. Website: https://helenpickett.com/
Helen Pickett is represented by Kristopher McDowell, KMP Artists, and Rhizome Arts Consulting.
SHORT VIDEO TRAILERS OF RECENT WORK:
The Crucible, choreography by Helen Pickett, performed by The Scottish Ballet:
Petal, choreography by Helen Pickett, performed by the Boston Ballet:
PHOTO CREDITS OF IMAGES IN THE INTERVIEW:
Helen Pickett, portrait, photography © Mihaela Bodlovic
Petal, choreography by Helen Pickett, Pittsburgh Ballet, photography © Rosalie O’Connor
Petal, choreography by Helen Pickett, Pittsburgh Ballet, photography © Rosalie O’Connor
TILT, choreography by Helen Pickett, Philadelphia Ballet, photography © Dayesi Torriente
The Crucible, choreography by Helen Pickett, Scottish Ballet, photography © Andy Ross
The Exiled, choreography by Helen Pickett, Atlanta Ballet, photography © C. McCullers
The Crucible, choreography by Helen Pickett, Scottish Ballet, photography © Andy Ross
PHOTO CREDITS OF IMAGES IN THE NEWSLETTER TEMPLATE IMAGES:
(Choreography By Helen Pickett)
Photography © Costin Radu (girl)
Photography © Hiromi Platt (boy)
ACKNOWLEDGMENTS:
Interviewer: Lisa Traiger
Executive Content Editor: Camilla Acquista
Executive Assistant: Charles Scheland
Executive Director: Vladimir Angelov
Dance ICONS, Inc., May 2022 © All rights reserved.
