Amsterdamse Ballet Combinatie
By 1945 millions across Europe had been displaced from their homes, industries had shut down and unemployment and famine raged. Florrie Rodrigo’s choreography Verzet: De tirannie verdrijven, die mij het hart doorwondt explored these themes as well as advocating for postwar solidarity and political resistance. A life-long activist and early member of the Communist Party Holland, the Socialist Artists Circle and the anti-fascist Committee for Artists and Intellectuals, Rodrigo never shied away from topical concerns. Early ballets such as Schepelingen in 1932 and Vreemd Land in 1936 exemplified a series of expressionist dance works that openly dealt with subjects such as oppression, rebellion and the consequences of dictatorship. Verzet extended that narrative. Though simple in structure and uncomplicated in its movement vocabulary, Verzet-whose full title is taken from the Dutch National Anthem Wilhelmus-set a precedent for a particular history of Dutch dance that is rooted in German expressionism and prioritizes activism.