Performer · Choreographer
Redha Benteifour
Dancer
Why They Matter
Redha represents a model of choreographic mobility that remains relevant to dancers navigating multiple contexts. His integration of Horton and Graham technique into work for ballet companies, entertainment spectacles and screen demonstrates how modern dance training can anchor diverse creative…
Biography
Redha Benteifour is a dancer, choreographer and company director of mixed French and Algerian descent whose work spans modern ballet, international entertainment and large-scale spectacle. He studied with Martha Graham and Jerry Himes at the Horton School in Los Angeles, training in the Graham and Horton techniques that would define his artistic approach. Since 1981 he has directed his own company while maintaining an active commission practice across multiple continents.
Redha's choreographic reach extends across classical and contemporary ballet institutions. He has created modern ballets for Alvin Ailey American Dance Theater, San Francisco Ballet, Ballet Philippines and the National Ballet of South Africa, bringing a movement vocabulary rooted in Graham-based modern dance and Horton technique to each context. In 1998 he choreographed *Lettres D'Amour* for the Ailey repertory.
Beyond the concert stage, Redha has shaped movement for entertainment at the largest scale. He choreographed the 1998 Football World Cup in France and other major spectacles, work that demonstrates his fluency with massed bodies and spatial grandeur. His screen choreography has extended across feature film and music video, collaborating with directors including Costa-Gavras and Roman Polanski, and creating choreography for artists including Elton John, Diana Ross and Michael Jackson.
Legacy & Impact
Redha represents a model of choreographic mobility that remains relevant to dancers navigating multiple contexts. His integration of Horton and Graham technique into work for ballet companies, entertainment spectacles and screen demonstrates how modern dance training can anchor diverse creative practices. For choreographers working across concert, commercial and large-scale contexts, his career offers a template for sustained artistic direction alongside institutional collaboration.
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