The press wrote about Rankefod
”Now in her late fifties, Johnson remains a formidable presence and performer… Rankefod’s overall poetic resonance is enigmatic, more easily felt than explained… it’s epic and awe-inspiring!”
Michael Crabb, Toronto Star, April 2017
At the roots of evolution…astonishing….a timeless performance, subjugating and enchanting by its force of expression, by its sense of wisdom, serenity and peacefulness, but also by the disquiet facing the measureless eternity.
J.M. Gourreau, Critiphotodanse, France, March 2013
Strong yet vulnerable, the character she projects is almost atavistically pure and immediate. Something draws us to her. Maybe it’s the aura of primitive mystery…perhaps it’s the notion of a shared quest. Rankefod is, at heart, about evolution on an almost cellular level.
Donald Hutera, Dance Europe, April 2010, March 2010
…streamlined, balanced, evocative – you know you are in the presence of a master.
Naomi Steinberg, Plankmagazine, Vancouver, Canada, March 2010
Kitt Johnson creates images by means of her exceptional body control without other props than sound and light. It is anatomical magic and unique performing arts.
Torben Kastrup, Danstidningen, Sweden, April 2009
A five star masterpiece that continues to be as captivating as when first premiered. It demonstrates with all clarity that Kitt Johnson is one of the most interesting and original choreographers in contemporary dance in Denmark.
Vibeke Wern, Berlingske Tidende, Denmark, April 2009
It is bodily witchcraft at the highest level. And the creator of magic is Kitt Johnson. With minimalist choreography she delves deep into the mysteries of the body and creates strangely recognizable images of the different phases of development and original stages of life. Brilliant, original, and completely supreme body art! The anatomical trilogy is nothing less than a milestone in contemporary dance in Denmark.
Majbrit Hjelmsbo, Weekend Avisen, Denmark, April 2009
With the body as her finely tuned instrument, Kitt Johnson spellbinds her audience in this image of recollection. Violently and yet meditatively, while the echo resounds in yourself. A shatteringly intense experience where you are captured by body, sound and light, but also drained yourself and forced to consider the foundation and existence of life.
Susanne Trudsø, Byen Kalder, Denmark, April 2009
Johnson pulls the show off with such a level of skill that it’s impossible for you to take your eyes off her for full 55 minutes…. Acting like a piece of human origami, she folds herself into all sorts of strange positions, resembling a vast array of long since extinct creatures that you have never heard of, but somehow recognize…….the piece registers on such an instinctive level. With incredible skill, precision, and even occasional moments of humour, Johnson achieves something younger choreographers often strive for but rarely accomplish. Absolutely mesmerizing. Catch it while you can!
Chris Dupuis, Time and Space, Canada, October 2008
Prehistoric and non-human, soloist is spellbinding (3½ out of 4 stars). It’s not very often that a choreographer creates something that is unlike something you’ve ever seen before – from start to finish… There is a strange, haunting beauty to Rankefod, the first must-see performance of the dance season.
Susan Walker, Toronto Star, Canada, October 2008
An exquisite solo…..a mesmerizing exploration of insect and animal imagery to an electronic soundtrack, a masterful evocation of a world that is in flux, forming and becoming.
Paula Citron, The Globe and Mail, Canada, October 2008
Timeless and in some ways not even human. There are moments of real beauty – as simple as undulating hands – emerging from the abstractly shifting shapes of her body……However much it appears abstract, Rankefod is touchingly resonant……Johnson made a compelling case through a work whose real power lies beneath its impressively immediate exterior.
Michael Seaver, Irish Time, Ireland, May 2008
A rare dance performance – I’ve never seen anything like it.
Beate L. Samuelsen, Heimatidindi, The Faeroe Islands, September 2007
There is an intense intellectual dimension to her movement study of humankind’s emergence from the primordial slime, a process she charts in minute muscular twitches and graduately extending limbs – an astounding choreography you feel Davis Attenborourgh should be voicing-over.
Mary Brennan, The Herald, UK, August 2007
In her solo, Johnson transgressed beyond the notion of ugly or beautiful, male or female. She achieved a state of pure living existence. Sture Ericson … developed the soundscape from computer-manipulated nature and animal sounds, and Mogens Kjempff created the ideal light design, so essential for this outstanding performance.
Anne-Marie Elmby, Dance International, Canada, Fall 2005
A magical dance animal who continuously spellbinds the eye.
Vibeke Wern, Berlingske Tidende, Denmark, April 2005
The most exceptional prodigy in Danish dance; from inside the shell, existence roars in timeless ripples embroidered into Sture Ericson’s stirring electro-acoustic score. And with Mogens Kjempff’s precise grained light of ages and the pause on Charlotte Østergaard’s dreamy textile backdrop creating a timeless universe; …. People become animals, creatures become thoughts … It takes place right in front of your eyes but still you are in doubt as to what you are actually watching. Rankefod is universal at the highest level. And so extremely exclusive, because the sense perception of Kitt Johnson’s naked skin and peculiar muscle tone is crucial to the experience of the dance. It is strange the way she makes you think twice, this insistently original creature.
Anne Middelboe Christensen, Information, Denmark, April 2005
A deeply fascinating dance performance about the birth of life. It is wildly fascinating to watch, like being a witness to the birth of a new existence; insistent repetitions force us to focus on the movement and body alone, not on the person involved; an intense and wonderful experience.
Henrik Lyding, Jyllandsposten, Denmark, April 2005
A fascinating loner in Danish dance; her body, a perfectly tuned instrument. Simultaneously she performs both meditatively and intensely and it is this tactile, corporeal experience her dance brings to the audience. It strikes a chord in all of us.
Janus Kodal, Politiken, Denmark, April 2005
Photo: Per Morten Abrahamsen
Performer: Kitt Johnson