I am well aware that I am a little slow on the uptake to blog about the whole Beyonce-Stealing-Anne-Teresa-De-Keersmaekers-Moves fisaco, due to lack of internet it wasn't until a friend from England arrived three weeks ago (I am currently in San Francisco) that I became aware of it. Due to many guests and life I have only gotten round to looking it all up in the last few days.

What impacted me most was Anne dKT's statement about the whole situation. I thought it was a highly intelligent, rational and highlights some interesting considerations. For me the reflective tone, essence and generosity of her statement are a perfect examples of how we should be as artists.

Just in case there are people out there who haven't read it I wanted to share it..(taken from the Rosas website).

Like so many people, I was extremely surprised when I got a message on Facebook about the special appearance of my two choreographies - Rosas danst Rosas (1983) and Achterland (1990) in Beyoncé's new videoclip Countdown. The first question was whether I was now selling out Rosas into the commercial circuit.

When I saw the actual video, I was struck by the resemblance of Beyoncé's clip not only with the movements from Rosas danst Rosas, but also with the costumes, the set and even the shots from the film by Thierry De Mey. Obviously, Beyoncé, or the video clip director Adria Petty, plundered many bits of the integral scenes in the film, which the videoclip, made by Studio Brussel, gives a taste of juxtaposing Beyoncé's video and the Rosas danst Rosas film. But this videoclip is far from showing all materials that Beyoncé took from Rosas in Countdown. There are many movements taken from Achterland, but it is less visible because of the difference in aesthetics.

People asked me if I'm angry or honored. Neither. On the one hand, I am glad that Rosas danst Rosas can perhaps reach a mass audience which such a dance performance could never achieve, despite its popurality in the dance world since 1980s. And, Beyoncé is not the worst copycat, she sings and dances very well, and she has a good taste! On the other hand, there are protocols and consequences to such actions, and I can't imagine she and her team are not aware of it.

To conclude, this event didn't make me angry, on the contrary, it made me think a few things. Like, why does it take popular culture thirty years to recognize an experimental work of dance? A few months ago, I saw on Youtube a clip where schoolgirls in Flanders are dancing Rosas danst Rosas to the music of Like a Virgin by Madonna. And that was touching to see. But with global pop culture it is different, does this mean that thirty years is the time that it takes to recycle non-mainstream experimental performance? And, what does it say about the work of Rosas danst Rosas? In the 1980s, this was seen as a statement of girl power, based on assuming a feminine stance on sexual expression. I was often asked then if it was feminist. Now that I see Beyoncé dancing it, I find it pleasant but I don't see any edge to it. It's seductive in an entertaining consumerist way.

Beyond resemblance there is also one funny coincidence. Everyone told me, she is dancing and she is four months pregnant. In 1996, when De Mey's film was made, I was also pregnant with my second child. So, today, I can only wish her the same joy that my daughter brought me.

Anne Teresa De Keersmaeker
October 10th, 2011