Alessandra Felci discusses collaboration, choreography, and her recent short film

Alessandra Felci stepped into the world of dance through ballet, discovering her passion for the art at the age of seven. She trained at the Accademia Ucraina di Balletto in Milan and later at the Ashkenazy Ballet Centre in Switzerland, dancing in several shows and participating in various dance competitions. Alongside her dance journey, Alessandra attended the Linguistic High School and graduated with top marks. Wishing to further develop her artistic voice, she applied to Trinity Laban and received a scholarship to study the BA in Contemporary Dance. During the last three years, Alessandra focused on refining her technical ability, performance skills, and choreography while shaping her own creative work and performing on multiple occasions. In September 2024, she joined the postgraduate company Emergence, for which she had been previously selected. We talked to Alessandra about her time at Trinity Laban and her project for the Innovation Award: Dance Has No Age.

What first gave you the idea to create your project Dance Has No Age?

The idea for Dance Has No Age came one winter afternoon. I was sitting in my grandmother’s living room, sharing my progress at conservatoire and the various projects we were working on. Inspired by these stories, my grandmother jokingly asked if I would create choreography for her. For years, I had dreamed of creating a project together – my grandmother is an artist and the person who passed on her passion for dance to me, so I always wanted to create something meaningful with her, almost as a way to say thank you.

That afternoon, we started playing around with Bach’s Goldberg Variations in the background. It felt almost like a game: I was the choreographer, and she was my dancer. In the days that followed, I couldn’t stop thinking about the powerful emotions that filled that room, and how dance had brought us even closer once more. I kept picturing my grandmother moving around the living room, filled with the desire to dance as she once did, yet carrying a slight vulnerability, a hesitation, the fear that maybe she couldn’t do it anymore.

I remembered her saying, “Well, at my age…” That’s when I thought, no, she wasn’t too old to move, to put herself out there again. She could embrace her body’s changes – not as limitations, but as new possibilities.

This moment was the spark that led to Dance Has No Age – a project born from the desire to celebrate movement at any stage of life. It’s a reminder that dance is not bound by age; it’s about expression, connection, and the courage to embrace every version of ourselves. To make her say “Well. At my age… look what I can do”.

Your grandmother is the protagonist of this short film. What was it like to work together?

My grandmother Silva is ninety years old and is the star of Dance Has No Age. Working with her was a truly beautiful experience and a memory I will carry in my heart forever. It was my first time working with someone in their nineties, and while it was incredibly rewarding, it also came with its challenges. When creating the choreography, I had to understand how the mind-body connection works for someone of her age and find the best way to collaborate effectively. Working with my grandmother taught me so much about patience, adaptability, and the beauty of creating art across generations. It was a journey that perfectly captured the spirit of the project – celebrating movement, connection, and the timeless joy of dance.

How did you go about crafting the script and choreography of Dance Has No Age?

Bringing Dance Has No Age to life was an incredibly heartfelt journey. I leaned into the methods I learned at Trinity Laban, where we embraced a flexible and collaborative approach. The process began with my grandmother suggesting movements, which we then explored and refined together, creating a shared language that made the choreography come alive with a personal touch. The music, Bach’s Goldberg Variations, played a pivotal role, infusing the choreography with inspiration and depth.

In the short film, the sound is not only the music, but also fragments of recorded conversations with my grandmother about her experiences with ageing and dance, making sure the film truly captured her essence and told her story. The dress she wore was another meaningful element. With her background in theatrical performances, I wanted the costume to echo those vibrant, expressive shows from her past. Collaborating with a costume designer, we created an outfit that suited her gracefully, and the dress rehearsal was a magical moment where our vision began to sparkle. Filming Dance Has No Age was quite a journey, especially with the intense August heat in Italy. We had to carefully plan each day to make sure my grandmother stayed comfortable and had the energy to perform. Balancing more demanding scenes with quieter ones, we made sure she had plenty of breaks and shaded spots to rest.

I used the knowledge from my Dance Film module to carefully map out the shoot and work closely with talented filmmaker Matteo Gaglione, makeup artist Patrizia Locatelli, photographer Francesco Pividori, and costume designer Cristina Duzioni to create a supportive and professional environment. Research was a vital part of our process too. I looked at various sources to inspire and inform our work. For example, the documentary Malou Airaudo and Germaine Acogny – No Space for Age showed elderly dancers performing with such vitality that it deeply resonated with us. Insights from artists like Benjamin Millepied and Judith Jamison on dance inclusivity and diversity also guided our approach. The day before we started filming, watching a video of Eileen Kramer, a 100-year-old dancer, was particularly inspiring. It gave my grandmother a real boost of confidence. This whole experience beautifully highlighted how art can connect generations and celebrate the enduring spirit of dance.

You’ve just finished your final year of Contemporary Dance at Trinity Laban. Tell us all about your final show, where you performed commissioned works.

My recent show at Trinity Laban was a unique and fulfilling experience. I worked with Elizabeth Kew Ross and Dominic Murcott on the former’s new choreography Skin*Sinks, a project that combines music with the exploration of touch. Following Lizzy’s guidance, we delved into the potential of touch in improvisation, collaborating closely with one another. For me, the focus of this choreography was on sensations and attention to details. My role was centred on listening, drawing the audience’s attention to subtle sounds and small movements. It felt almost mystical, as if we were on the edge of holding our breath to truly hear the delicate sounds of skin against skin. What I particularly loved was Lizzy’s kindness and her openness to our ideas. She genuinely wanted to hear our voices and opinions with sincerity and curiosity, which I found incredibly valuable. From her choreographic approach, I learned a lot: she advised me to study others’ work and reflect on how I might make different choices, which I believe is a wonderful method. It’s a great lesson in staying open to others’ opinions while remaining confident in your own ideas.

Collaborating with Dominic was a new experience for me. The sounds he and the other three musicians created came solely from the noise of skin touching skin. Moving to such unconventional sounds led to constant discoveries and new possibilities in movement. Working in Skin*Sinks was immensely satisfying; I felt a strong artistic connection with everyone on stage and appreciated for my individual talents, which gave me a significant boost in self-confidence.

What advice do you have for prospective undergraduate applicants?

For prospective undergraduate applicants at Trinity Laban, my advice would be to embrace your unique voice and stay open to diverse experiences. Trinity Laban is a place where innovation is highly valued, so let your personal artistic vision shine through. Prepare thoroughly by immersing yourself in both practical and theoretical aspects of your field, engage with a variety of styles and techniques, and don’t shy away from exploring new forms of expression. Also, embrace every opportunity that Trinity Laban and its team offer you. Thanks to the wide range of possibilities, you’ll have the chance to develop your artistic skills in many areas of the dance industry, from the production team and audio and visual team, to the scenography and costume team. Take advantage of opportunities to collaborate and learn from others, as Trinity Laban fosters a collaborative environment where working with fellow students and staff members will enrich your artistic growth. Lastly, be curious and passionate: your enthusiasm and commitment will help you make the most of your time there.