KEERATI JINAKUNWIPHAT
News & Press
“The way that I look at programming I like to think about how best to think about where my influences come from, whether they be someone in the past or someone from the next generation like Keerati Jinakunwiphat,” Abraham notes.
“I started playing with this idea of flowers,” the artist tells ESSENCE. “I was just in a place in my life where I was trying to really allow myself to accept the love that I was being given, whether it’s in like relationship, success, career, any of those things,” Jinakunwiphat adds.
Photo by Alexander Diaz
Photo by Alexander Diaz
"Despite working with companies far and wide, Jinakunwiphat's dancers always appear at home in her movements, in part because of her keen awareness of what it means to perform. She centers her process around facilitating a genuine connection onstage. The atmosphere she builds often feels more akin to members of a team than a hierarchical choreographer-dancer dynamic. "Camaraderie is something I always want to be present in my work, a reminder of the humanness of it all," said Jinakunwiphat in a recent conversation."
"The idea of rebirth takes wing in “Fortuitous Ash,” a dance created by 28-year-old choreographer Keerati Jinakunwiphat for the New York City Ballet. The work’s title alludes to the mythological phoenix, consumed by fire and reborn from its ashes."
"Set to music by the Pulitzer Prize-winning composer Du Yun, “Fortuitous Ash” represents the first time that choreography and music by female artists of Asian heritage have entered the NYCB repertory."
Photo by Alexander Diaz
Photo by Quinn Wharton
“I’m one of those people who loves the work, so I’m used to being busy and traveling. But spending time by myself and reflecting is important because it helps me to study my art and emphasize intentionality and clarity. I like to live and present loudly and proudly of who I am, which is many things. Sometimes my work might not seem so blatantly ‘Asian’ to some people, but to me, it always is because it’s just who I am.”
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