Rafael Bonachela

Rafael, what are your plans for the SDC?
I'm creating one work a year minimum and I'm inviting guest choreographers. I'll be giving the company its stamp and identity, but at the same time I want my dancers to enjoy working with other choreographers. I also want us to be touring the world. That hasn't happened for a long time and that's one of my missions.

There must have been a lot of competition for this job...
It was the hot job at the time. There are not many opportunities for a choreographer to run a middle- to large-scale dance company that has a constant group of 16 dancers. It's a very well established company that has a legacy.

Did you meet with [former co-artistic director and founder] Graeme Murphy?
I got a postcard from him and Janet [Vernon] wishing me all the best and that was very sweet. To know that the person who has made such an impact in dance in Australia and the world is supportive of my appointment, it's very good.

What does this company have to show the world?
Australian dancers are very athletic and for me, I'm very focused on the physicality of dance - I would say there's a lot of dance in my dance!

You ruffled a lot of feathers when you sacked seven of the company last year though.
It's very common that for any new artistic directorship there will be changes. It's just life. And dance is something that you don't do forever. At a professional level it has a sell-by date.

Were you into dance as a child?
Always. I was born in a small town outside Barcelona and there was not a dance school so I used to get some music and make my own steps, with my brothers as well. It wasn't until much later on that I realised that it had a name: choreography. And when I was 15 my parents let me take the train to classes. After three years I did an audition for a contemporary dance company in Barcelona and got the job. I was 17. I had talent but there were not many male dancers at the time, so that helped!

When I left the job I got a scholarship and went to the London Studio Centre and that was a school like Fame - six classes a day - and my obsession became even worse. And after two years I joined [leading British dance company] Rambert. I got to work with some of the most incredible living choreographers in the world.

How did you end up working with Kylie Minogue?
My connection with Australia has always been there for some strange reason. That's why this [job] feels so right! Rambert was a company that gave the opportunity to in-house dancers to create work. I went to the director and said, "I've made a piece." He watched it and said, "I'm going to put it on at Sadler's Wells next November." Which is the biggest dance venue in London. I did the shows and I got an email from William Baker, creative director for Kylie, saying "we loved your show, I'd like you to choreograph for Kylie."

Kylie and William wanted changes from the typical synchronised pop show and they took a chance on me. I'll never forget that. When I came out of doing the Fever tour I was a different person.

What's she like as a dancer?
She's a beautiful mover. She has an incredible, natural, sensual flair. She's a quick learner, and always suggesting things. Working with her was a true pleasure.

I think Kylie helps people realise that contemporary dance is not scary. The boundaries between serious art and pop culture are integrating a lot more. I think there are people walking around Sydney who don't even know they love contemporary dance and the way for me to attract audiences is to bring in other elements, like from pop culture.

What can we expect from We Unfold, your debut as director of the company?
It uses a new piece of music, a symphony, and the composer is Italian - Ezio Bosso. I used two of his pieces in 360°. It's classical contemporary music, very emotional strings that I love, really powerful. The title, We Unfold, is about moving on, stretching out. There is a lot in that title for me.

Sydney Dance Company's We Unfoldopens at the Sydney Theatre on 31 Mar.

Life & times

1972 Born in La Garriga, Spain
1986 Has first dance lesson in Barcelona
1990 Attends London Studio Centre
1992 Joins Rambert Dance Company
2002 Choreographs Kylie's Fever tour - two more tours follow
2006 Launches Bonachela Dance Company; appointed artist in residence at Southbank Centre, London
2008 Creates 360° for Sydney Dance Company
2009 Formally appointed artistic director; opens We Unfold

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