On Femme Fatale, Our Favorite Dance Group


If there is a dance group that has legitimately been our go-to source of joy, it has been Los Angeles-based Femme Fatale.


Comprised of female dancers who are originally from three different countries- France, South Korea, and Mexico- Femme Fatale seems to be built on the premise that it is possible to succeed while being rooted in femininity, and focused on making great dance, as opposed to producing choreography designed to shock.


If Femme Fatale shocks, it is always in a delightful way. It prompts you to admire their respective talents, technique, artistry, and the values that they evidently stand for; something that we deeply admire about them, and their dance.


The dancing styles of @mariepoppinsdancer, @dancerdassy, and @lilyfdc gel so well together that one would think that they have always danced together. There is incredible unison and complementarity in their movements, but the best part is how they elevate themselves as individuals even within the workings of the group.


Femme Fatale celebrates femininity in a number of ways: costumes, makeup, and the gracefulness in their dance. As dancers, they celebrate stillness, and often use it as their platform to launch movements, individually or as a group, to craft the most stunning visual stories; like sculptures coming to life who are also masters at connecting with their audience.


Most people- even artists- figure out their work, and try to make it look fun. The dancing international trio at Femme Fatale seems to be different: they seem to put the focus on being new, playful, creative and fun, and get to call it (incredible) work.


All of this sounds easy, but surely it must not be; if there is seeming unity in the movements of three unique, independent dancers, then it must also require a fair amount of mutual understanding and maturity to bring about such cohesion and clarity; in dance and in spirit.


One final thing that we adore about the group: they find the most natural, day to day moments and settings to perform, which in itself seems very creative; whether it is while waiting in a car while seated in driver and passenger seats, or in the limited space of a kitchen, Femme Fatale makes the bold statement that there are no real, physical requirements for great dance, and that great dance can be conjured even in the most ordinary spaces. In that sense, Femme Fatale's dance flows in spaces like water; adaptable, unrestricted, free, unstoppable.


Just pure excellence.


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