It is a rare thing to meet a true legend in this industry but today I had the pleasure of interviewing a folk dance giant, M. Chevalier. He is the Artistic Director of the Ballet National Folklorique du Luxembourg, a company that has soared to renewed prominence since M. Chevalier began his directorship in 2018. On a visit to London, the illusive M. Chevalier sat down with us to talk about his vision for the company and what they have in store.

Grace Nicol: The Ballet National Folklorique du Luxembourg is known throughout Europe as one of the most prestigious ballets in the world. Can you tell us a bit about the history of the company?

M. Chevalier: The Ballet National Folklorique du Luxembourg was founded in 1962 by two Luxembourgish sisters, Josephine and Claudine Bal. Having grown up on a farm in the North of Luxembourg, they had a strong passion for dance and their country. By starting the Ballet National Folklorique du Luxembourg, they wanted to make dance that encapsulated the true spirit of Luxembourg. The company premiered their first ballet, Josiane, the Country Girl, in 1965. The ballet quickly rose to international acclaim and success, and toured throughout Europe, the Soviet Union, and across North and South America. After visiting the East, the sisters were motivated to make a new ballet that was inspired by these cultures, Tusnelda, Queen of Turkestan. However, at the time, Josiane, the Country Girl was touring extensively and the sisters had little time to commit to the new project, so they decided to work on the new ballet whilst on tour. During a visit to Turkmenistan, they set out into the mountains to create sketches of the scenery for the set design of Tusnelda, Queen of Turkestan. That fateful expedition would forever be remembered as a truly dark time in the history of Luxembourgish dance as the sisters disappeared, and despite international efforts to search for them, they were never found. 

Josephine and Claudine Bal, 1963

It saddens me to say that, without these two powerhouses of contemporary Folk Dance at the helm, the company slowly disbanded and the great history of Luxembourgish cultural dance was all but forgotten. This was until 2017, when the company’s history was rediscovered by Luxembourgish choreographer and now co-director at the Ballet National Folklorique du Luxembourg, Simone Mousset. Due to the tragic disappearance of Josephine and Claudine Bal and other misfortunes of the company, many of the original works had been lost. Understandably, there was much outrage and scandal in the press about how this beacon of all that is Luxembourg was simply left to disappear. However, this rediscovery also came with immense pride in the work of the Bal sisters and the culture they represent. The decision was made to resurrect the company.

For my part, I was distraught to hear that nobody knew about this important piece of Luxembourgish heritage. Due to my own history with the company and my knowledge of the productions, it was of course decided that I would immediately take over as Artistic Director. The first thing I did was to make sure that the repertoire of the company was reconstructed, and particularly, that the timeless masterpiece, Josiane, the Country Girl, was intact and touring again. I think it is no exaggeration to say that under my directorship, the company has been restored to its former glory. And here we are today.

Grace Nicol: Yes, here we are! So, the company has been under your direction since 2018, what is your vision for the Ballet National Folklorique du Luxembourg?

M. Chevalier: In Luxembourg, I have found a true home and an overwhelming sense of belonging and hope. I have fallen in love with Luxembourg, not because it’s a small country but because it knows how to take up space. As I said previously, I was distraught to hear that this piece of Luxembourgish history had been forgotten, but this is not the first time in history that Luxembourg has been overlooked. I believe that Luxembourg can be more present on the world stage - culturally, historically, and in the dance sector. The world needs to know about the unbelievably rich culture of Luxembourg, and I am not afraid to make this happen. I believe you have to be hungry for such things, and you must not be scared of being loud or taking up space. This is what I see for the future of Luxembourg. The Ballet National Folklorique du Luxembourg is exactly the right medium through which to make this happen.

I truly believe in the power of Folk Dance to bring together the masses and make them understand what it means to belong to a culture. A lot of people don't understand what it really means to dance together, to belong together and be one. Folk Dance has the magical power to make people understand collectivity and to instill in them a passion for the collective act. In collective movement, we find clarity about our values, history, culture and identities, and we find strength and the necessary pride to go out into the world and shout about them. People have been lost for too long. It is time for the Ballet National Folklorique du Luxembourg to take to the stage again, to show people what it means to be Luxembourgish and that we are a culture to be reckoned with.

M. Chevalier performing extracts of Josiane the Country Girl on tour

Grace Nicol: This is a truly inspiring sentiment. As a well-renowned artist in your own right, can you tell us what some of your inspirations are?

M. Chevalier: My main source of inspiration are horses. I started my obsession when I heard the great Claudine Bal say, ‘It is through the horse-like rocking of our dancers that the world will meet Luxembourg’. The horse is a majestic animal that embodies the spiritual power of independence, freedom, nobleness, endurance, confidence, triumph, heroism and competition. Its symbol is associated with strength, courage and freedom. In my time working with horses, I have found that there is nothing more inspiring than seeing a thoroughbred stallion move. Thoroughbreds are considered ‘hot-blooded’ horses that are known for their agility, speed, and spirit and what could be more inspiring than that?

I was also inspired by horses when I first had the idea to create a new third act for the ballet Josiane, the Country Girl, a third act called Immensity. Immensity will encapsulate these ideas of nobleness, endurance, and triumph through the symbolic recalling of a horse’s movements, and as a metaphor for the expansion of the company. These ideals will serve as a red thread for future productions of the Ballet National Folklorique du Luxembourg, and will be a source of strength for me as I continue to lead the company forward.

M. Chevalier in rehearsal

Grace Nicol: Immensity sounds like it’s going to be an incredible watch. What else is on the cards for the Ballet National Folklorique du Luxembourg?

M. Chevalier: Josiane, the Country Girl, as I mentioned before, is currently on tour and has found its foothold in the industry again. Once completed, we will add Immensity to the touring show and continue to visit the big stages around the world. What is most exciting for me at the moment is that we are celebrating the 50 year anniversary of Josiane, the Country Girl, and part of that will be The Great Chevalier tour. This will be a solo show that I will be performing myself, sharing extracts from the work. I am proud to be able to revisit and remind all of the dance houses that we are back! I am also looking forward to reconnecting with our supporters and audiences in the places that have been loyal to the company and showing this iconic repertoire in a very accessible way to them. It will be such a delicious moment to fully connect with people across the world and I know it will be a very special encounter for everyone.

Most of the tour dates are sold out currently but we have added extra tickets to some of the shows which are:

Casino Luxembourg - Forum d’Art Contemporain 7 Nov
104 Paris, Village de la Francophonie early Oct
Festival Artdanthé, Théâtre de Vanves, 7 Mar

Backstage moment: M. Chevalier on The Great Chevalier solo tour with co-director Simone Mousset (left) and company manager Cathy Modert (middle)

Grace Nicol: This sounds really exciting! So, what inspired you to come to London and what can we see here?

M. Chevalier: London is a wonderful city and a powerful one. Due to my connection to the dance houses here, and my appearances on many stages across the city, it feels like a second home. The Ballet National Folklorique du Luxemboroug also has great ties to London, from performing on its various stages and by way of one of our offices being based in the city. I often visit. However, it is the London audiences that provide the biggest pull for me. The London audiences have always shown a particular sensitivity and appreciation for Luxemborgish culture, and we have a very strong community of supporters here. Our relationship is a relationship of fusion. From the pounding feet of the dancers on the stage to the pounding feet of the audience in the auditorium at the end of performances, one feels on a visceral level as if one was in Luxembourg herself. I always love coming to London. It fills me with inspiration and energy. It confirms my belief that it is now more important than ever to bring Luxembourg to all these stages and to insist on my vision for the Ballet National Folklorique du Luxembourg’s expansion.

M. Chevalier in rehearsals with the company in London.

My coming to London this time has even greater significance, as we have a very special event coming up. For the first time in the history of the Ballet National Folklorique du Luxembourg, a dance conservatoire will be performing repertoire from our company. A selection of third year students from the BA at London Contemporary Dance School have been working with myself and choreographer and co-director Simone Mousset, to revisit the Ballet National Folklorique du Luxembourg’s iconic Pigeon Dance. Part of the celebrated folkloric ballet, Josiane the Country Girl, the Pigeon Dance is only rarely transmitted to other companies. The dance is known all over the world as one of the most iconic and challenging pieces of contemporary folk dance repertoire. Due to my history and connections with the school and the historic ties with the company, I made the decision to allow the students at London Contemporary Dance School to be the first ever cohort of dance conservatoire students to have the privilege of working with the Ballet National Folklorique du Luxembourg and, under my supervision, to perform this work. 

M. Chevalier and Simone Mousset working with students at London Contemporary Dance School

Catch the London Contemporary Dance School Graduation shows from 25th-28th June online and in person at The Place.

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