Interview with Simona Somacescu
On April 27th, 2026, I commenced an online interview with Simona Somacescu to discuss with her the 2nd edition of the International Conference on Creativity in Dance and her role as project manager and curator.
A Clear Framework
Patrick: Why do we need an International Conference on Creativity in Dance (ICCD)?
Simona Șomăcescu: We need ICCD because, first of all, it gives us the opportunity to truly connect with one another — not only as professionals, but as people who share the same passion for dance and artistic research. It creates a rare space where artists, academics, and educators from different countries and cultural backgrounds can communicate openly, exchange ideas, and better understand each other’s perspectives. What makes ICCD so important is that it allows us to share our experiences, challenges, and discoveries related to our work. Through these discussions, we are exposed to different points of view on the same artistic or academic subject, which enriches our own thinking and creative process. These kinds of meaningful connections are essential for personal growth, artistic evolution, and international collaboration. In my opinion, ICCD is unique because it is one of the very few international academic events dedicated specifically to the world of dance art. It provides not only the context, but also the motivation and the professional environment necessary for dialogue, reflection, and inspiration. It reminds us why we are passionate about what we do and encourages us to continue developing both individually and collectively as a global artistic community.
Patrick: Who started the conference?
Simona Șomăcescu: The International Conference on Creativity in Dance (ICCD) is, without a doubt, one of the projects that defines me most deeply at this stage of my academic and artistic journey. As stated on the official website of the conference (www.iccdance-unatc.com), ICCD represents not only an institutional initiative, but also a personal commitment to creating a meaningful platform for dialogue between artistic practice, research, and innovation in the field of dance. The inaugural edition in 2025 had a particularly profound significance because it coincided with the 35th anniversary of higher choreography studies in Romania. For me, this was more than a commemorative moment; it was an opportunity to acknowledge the evolution, resilience, and growing international relevance of dance education in our country. It was essential that this anniversary be marked not only ceremonially, but also through an event capable of generating future perspectives and international academic exchange. One of the most emotional and symbolically important moments of the conference was awarding the Doctor Honoris Causa distinction to Dimitris Papaioannou, one of the most visionary and innovative contemporary artists of our time. His acceptance of this distinction and his presence at ICCD represented an extraordinary gesture of trust and support for our academic community and for this newly established conference. Personally, I remain deeply grateful for his generosity and openness. At the same time, his participation also brought with it a profound sense of responsibility. The lecture he delivered during the conference was remarkable not only through its artistic depth and intellectual clarity, but also through the standards it implicitly established for the future of ICCD. He challenged us to think beyond conventional academic formats and to approach creativity as a serious field of research, reflection, and transformation. In many ways, his presence elevated the identity of the conference from its very first edition. It confirmed that ICCD has the potential to become an important international space for dialogue in dance studies and artistic research. For me personally, it also reinforced the responsibility I carry in ensuring that future editions maintain this level of excellence, relevance, and openness to innovation.
Patrick: What are the pillars of the conference?
Simona Șomăcescu: Usually, when people think about organizing events at a national or international level, they immediately imagine competitions, festivals, tournaments, or large commercial productions. In the world of dance, however, academic conferences remain surprisingly rare. And this is quite paradoxical, especially today, when dance has never been more visible or more accessible through social media, online platforms, digital performances, and virtual courses. What often gets overlooked is the essential difference between content that circulates online and discourse developed within an academic and research-based framework. One of the fundamental pillars of the conference is precisely the development of a scientific and critical approach to dance — encouraging research methodologies, theoretical studies, artistic analysis, and specialized criticism. Dance is not only performance; it is also a field of knowledge, reflection, and cultural dialogue. Another major pillar of the conference is creating a safe and open environment where choreographers, teachers, students, researchers, and artists can explore new directions of expression freely, without preconceived ideas or limitations. This type of space is extremely important because it encourages genuine artistic experimentation and meaningful exchange between generations and disciplines. At the same time, the conference creates valuable opportunities for professional and artistic connections. Beyond simply meeting one another, participants have the possibility to establish long-term collaborations and institutional partnerships that can lead to future projects, exchanges, and international initiatives. ICCD is also a platform for visibility and promotion within the dance community. It is the place where new specialized books are launched, where audiences can discover students’ performance productions, and where emerging artistic voices can be heard and supported. Finally, the conference strongly supports the interdisciplinary nature of contemporary art. Each edition includes exhibitions dedicated to dance photography, emphasizing the dialogue between movement and visual arts, and highlighting how dance can exist beyond the stage itself. So, in essence, ICCD is much more than a conference. It is a meeting point between research, creativity, education, and artistic innovation — a space where dance is explored not only as performance, but also as knowledge, culture, and human connection.
Patrick: How will the conference affect and influence the next generation?
Simona Șomăcescu:It remains to be seen. The effects will not appear overnight because this is not about creating an immediate sensation but about building a long-term transformation. Real change in the arts happens gradually, through consistency, dialogue, and the accumulation of meaningful experiences. My goal is not simply to organize conferences but to contribute to a shift in the way dance is perceived—both by the general public and by specialists. I want dance to be understood not only as entertainment, performance, or technique, but also as a powerful form of expression, reflection, and communication in society. If, over time, audiences become more open, more curious, and more emotionally connected to contemporary dance, and if professionals begin to approach it with greater depth and openness, then I would consider that a meaningful achievement. For me, this is a process of cultural change, and cultural change always requires patience.
Patrick: Can I ask you respectfully about how you see your own role and your qualifications as project manager and curator?
Simona Șomăcescu:The transition from my career as a prima ballerina to that of a teacher and cultural manager was both a natural evolution and a deeply meaningful personal journey. After many years dedicated to performance, I felt the need to further explore the artistic and pedagogical dimensions of dance and theater through academic research. During this important transition period, I devoted myself to writing my Doctoral Thesis in Performing Arts, Theater-Choreography at UNATC “I.L. Caragiale,” under the guidance of the distinguished theater scholar Professor Michaela Tonitza-Iordache. This experience allowed me to reflect profoundly on the relationship between performance, artistic expression, and education, while also helping me define my own pedagogical philosophy. Before beginning my university teaching career, I coordinated several international educational and artistic projects, experiences that broadened my perspective on cultural collaboration and contemporary performing arts education. Working in international environments strengthened my belief that art has the power not only to inspire audiences, but also to build bridges between cultures and generations. Later, I had the honor of becoming the Artistic Director of the Bucharest National Opera Ballet, the most important ballet company in Romania. I obtained this position through a national managerial project competition, which represented an important recognition of both my artistic vision and my leadership abilities. In this role, I sought to balance respect for the classical ballet tradition with openness toward innovation and contemporary artistic dialogue. Looking back, I see this transition not as a departure from the stage, but as a continuation of my artistic mission in a different form — through mentorship, education, cultural leadership, and the development of future generations of artists.
Patrick: Is there a market or demand for dance performances and participation in dancing activities?
Simona Șomăcescu:Romania has a surprisingly rich and dynamic dance ecosystem, both in the institutional and independent sectors. At the institutional level, six opera houses across the country maintain an active ballet repertoire, which contributes significantly to preserving and promoting classical dance traditions. In addition, graduates of all six choreography faculties contribute every year to developing the artistic market. Beyond the traditional institutions, the contemporary dance scene in Romania has become increasingly vibrant and innovative. The National Center for Dance in Bucharest plays a key role in supporting contemporary artistic expression, interdisciplinary projects, and emerging choreographers. Alongside it, several independent organizations and private initiatives have created important spaces for experimentation and artistic freedom. For example, Linotip Independent Choreographic Center has become a major platform for contemporary dance productions and artistic collaboration. Contemporary Creative Dreamers, a private contemporary dance company, actively supports new forms of performance and international artistic dialogue. At the same time, NGOs such as A.R.E.A.L. are doing remarkable work by exploring the social impact of dance, especially its role in social inclusion and therapy.
Patrick: Can you share with us why you started dancing?
Simona Șomăcescu: I don’t remember a specific moment when I started dancing, because for me it was never just a hobby or a decision — it’s something that has always been part of who I am. Dance became my way of exploring the world, understanding people, and expressing what words sometimes cannot. Every movement is a form of communication, energy, and freedom. What I love most is that dance constantly challenges me to grow, stay creative, and connect deeply with others. It’s not only an art form for me — it’s the way I experience life.
LIEU - online
Review by: Patrick Kevin O'Hara
Date line: Monday April the 27th 2026
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