Sierra Leonean Choreographer Harold George is based in Brussels, Belgium since 2001 and presents work in which story telling and elements of African mythology merge with modern and African dance techniques to create a contemporary dance experience. New York — and more specifically the Martha Graham Company — played a pivotal role in shaping his artistic philosophy. He often cites the profound influence of Yuriko, a former principal dancer trained by Graham, whose radical approach to embodiment marked him deeply. Her words became a guiding force: “When you do that back bend, you have to do it as if you are going to hit your head and die — and you have to get pleasure out of that.” For him, dance demands absolute commitment: to transcend fear, to push beyond physical limits, and to inhabit movement with complete abandon. His choreographic style is defined by a powerful transcultural voice. His creations merge beauty, strength, precision and emotional resonance — often with small ensembles that leave an unforgettable impact. Among his most acclaimed works: • Emotions of Africa, a vivid dialogue between live percussion and dancers, channeling the visceral energy of the continent. • Yoko, a genre-blurring ballet where dance, theatre, circus, song and music flow together, reflecting an Africa where artistic forms intertwine freely. • Mammy Wata, a near-mythical piece known for its astonishing physical grace. • Shadows / Push Pull (2014), a diptych on migration exploring the tension between origin and belonging through dance, circus, video and voice. • Making Men (2020), a recent work challenging gender stereotypes and identity among male dancers, presented in Belgium, the United States and Portugal. Through boldness, fluidity and cultural hybridity, Harold George has forged a singular identity at the crossroads of tradition and innovation — leaving a lasting imprint on contemporary dance and those who witness it.