Feline van Dijken: Transition, Transformation and the Work That Shaped Her

By Armando BRASWELL

Long before our paths crossed again in Basel, I knew Feline van Dijken as the talented young daughter of Mea Venema, with whom I had the privilege of working while learning the repertoire of Hans van Manen and other choreographers. Feline was a lovely young dancer who seemed to carry the spirit of the studio with her. Over the years, I watched her grow into the artist she is today, and our paths continued to cross in the most natural way that the dance world allows.

Recently, she came to Basel to stage Hans van Manen’s The Old Man and Me. I was lucky to watch her in rehearsal, which offered a completely different experience than seeing her on stage. Up close, in the quiet concentration of the studio, I could see her clarity, her respect for the work and her deep connection to the lineage she carries. During those days, she shared her story with me, from a childhood spent around rehearsals to her transition from dancer to stager. It felt like witnessing the next chapter of a journey I had unknowingly been observing from the sidelines for years.

This interview is a chance to share that story. Feline’s path is one of dedication, sensitivity and a real love for the craft.

With Alexandre Simoes Kleines Requiem, Ch. Hans va Manen © Gert Weigelt

Looking back, what were some of the defining moments of your career as a ballerina?