Jason Akira Somma

2008/2009 Dance Protégé

After a Year with a Master

Jason Akira Somma Talks about His Year as a Rolex Protégé

How would you characterize your relationship with Kylián?

Jiří likes to joke that he’s not my mentor, he’s my “TOR-mentor” But in truth, he’s become my life coach. Jiří now feels like family; and like family we’re continually checking up on one another. When we met for the first time, we talked non-stop for over an hour without mentioning art even once. That was when I realized how truly lucky I am. I've always thought that what separates true artists from the rest is their willingness to take in the world around them and to appreciate all aspects of life. When I was introduced this year to the great choreographer William Forsythe, he told me I was lucky to have Jiří as a mentor because of who he is, not because of what he does.

Did you ever take class with the dancers at Nederlands Dans Theater?

Are you kidding? I’d look like such a klutz. I can’t hold my own with those ballet-trained virtuosos.

How does your experience as a performer and choreographer affect your dance photography?

Because I’ve been a dancer too, I know instinctively when the performers are going to reach the arc of a movement – so I know when to “click”. In my best dance photography, the camera becomes an extension of my body.

What was the biggest lesson you learned from watching Kylián in rehearsal?

Without a doubt, group shape. Jiří is the grand architect of bodies in space. On a more philosophical level, Jiří’s shown me that we will always encounter obstacles when we try to create new work and that the true test is how we choose to deal with those obstacles. But, regardless of the ways in which your original vision might be compromised, the audience isn’t going to know what you first had in mind. They’re only going to see the final product.