Anka Postic

Born on the 8th of October 2001 in Caen, Anka Postic grew up between the artistic events of his city, a mother who grew up in Argentina and who danced a lot there and the radio, always on. At the age of 7, he began his training: Capoeira, Hip Hop culture dances (krump, break dance, locking, popping, new style, house), Jazz, Classical, and Tricking. He is now a 1st year student at the Pôle Supérieur de Boulogne-Billancourt in Jazz dance.

“I knew very early on that I wanted to go into this profession, it was obvious. The idea of transmitting ideas, a message and emotions to people appealed to me. To push people to think, to disturb, to provoke, to sublimate. The first time I saw that I could do that, it made me laugh and I wanted to see how far I could go. Her multiple inspirations fuel her performances. Sometimes they are more trivial than you might think: “My biggest inspiration at the moment is watching people dance who have never taken a class, there is a lot of purity in their movements.

Always in a position of meticulous observation, Anka Postic is always aware of what’s going on in Hip Hop culture, in terms of dance and music. Whenever a new sound or choreographic movement appears, he tries to understand it and see what he can do with it. “It’s important to be up to date in order to understand the environment in which we create.

But Anka Postic is not one of those who lock himself into a single discipline: for him, art has different echoes, and he tries to grasp them all.

In the field of literature, he looks at such great figures as Albert Camus, Kundera and Herman Hesse. Certain films have also left their mark on him, such as Beetlejuice, Edward Scissorhands, Interstellar, and the Marvel / DC Comics.

Finally, painting, passed on by his father when he himself was painting in his garage, and particularly that of the Romantic period, also played an important role in his search for inspiration. Beyond the arts, he spends a lot of time understanding and meditating on the different periods of his life. From this, he draws an emotion, a state of the body, which he then translates into movement.

He works a lot on movement concepts. He experiments, for example, with the movement of his arms, working only on the frontal plane. He also focuses on his feet by developing his heel support. Recently his creative process has been building from the ground up, with the pelvis very close to the ground, and with fluidity in the arms. All this forms movement concepts, which he then reuses in his choreography to share.

Anka Postic is very attached to the idea of transmitting something to the viewer; emotion and reflection.

Today, he seeks in his art a way to push to reflection and action. One of the struggles he holds most dear is that of allowing himself to think and to do. “I have often found myself in front of people who did not feel legitimate to create, to undertake. Who had the desire, but were afraid of being ashamed. I try to get people to overcome this feeling.

Finally, he expresses the desire to relax those who watch him. That they can put his creation in the background, like an atmosphere, or that they look at it to calm themselves. All the fundamental questions linked to creation can sometimes seem heavy; he makes them pleasant. He turns thinking into a pleasant game.