Sander Hiskemuller in TROUW 04/07/13:
"The solos he created for the 62-year-old dancer Truus Bronkhorst
and the young actress Joke Emmers that premiered during SPRING festival,
were uncompromising theater rituals on current topics
that cut through the soul. Jan Martens is the discovery
in an otherwise rather boring dance season."
In 2013 - 2014 Jan Martens is artist in residence at the International Choreographic Arts Centre ICK Amsterdam and supported by DansBrabant and Frascati.
Jan Martens (Belgium °1984) studied at the Fontys dance academy in Tilburg and graduated at the Artesis Conservatory for Dance in Antwerp in 2006. He performed in the work of amongst others: Koen De Preter, United-C, Mor Shani and Ann Van den Broek. In 2009 he started to develop his own choreographic work. In a short time his work received critical and popular acclaim which resulted in a growing number of shows performed mainly in the Netherlands and Belgium.
His first major work was i can ride a horse whilst juggling so marry me (United-C,2010), a work which portrayed a generation of young women in a society dominated by social networks. Since 2011 his work is produced by frascati.
There he created two ‘love duets’ in 2011, both investigating the cliché portrayal of a man – woman relationship: a small guide on how to treat your lifetime companion and sweat baby sweat. The first one is selected for Aerowaves, a european network supporting young choreographers. The work has been performed more than 40 times and is continuing to travel in and outside of Netherlands and Flanders next season, just like sweat baby sweat.
Next to these works he made guest choreographies for dansateliers, Meekers, and AHK.
In march 2012 he created pretty perfect, a coproduction by dansateliers and Conny Janssen Danst.
In 2012 - 2013 he created the solos BIS for Truus Bronkhorst, La Bete for Joke Emmers and VICTOR, a duet for a boy and a man together with Peter Seynaeve.
All Jans works explore the possibility of a perfect balance and symbiosis between story-telling and conceptualism. He is not trying to create a new movement language, but instead he molds and recycles existing idioms and places them in a different setting, so a new idea emerges.
In his work the beauty of the incomplete human being stands up front, rather than to excel in choreographic complexity or physical virtuosity.