#albert evans

Surely talking to the natives was a far more exciting task than having to use a machete to cut a path through the jungle. At least Albert had in his companion a fervent encourager, who always knew how to lift his spirits.

When they finally arrived at one of the temples and began their research, Albert could rest assured that he had made the right choice. Every inch of that place seemed to want to tell a story, and the only thing more exciting than knowing he was helping to reveal that story to the world was doing it alongside Helena.

For most people, sleeping in a simple tent in the middle of the jungle and spending the day digging through the earth wasn’t exactly the definition of a romantic getaway, but Albert and Helena seemed to have struck gold and found a partnership of peculiar tastes.

Agon with Wendy Whelan, Albert Evans, Teresa Reichlen, and Andrew Veyette, London, 2008.

Wendy Whelan (and the hand of Philip Neal), In a Landscape choreographed by Albert Evans.

Pacific Northwest Ballet | One Body: Preserving the Legacy of Albert Evans 

Selvadorada was truly a world of its own; even in the middle of winter, there wasn’t a single snowflake. Arriving at the village had already been a tsunami of emotions for Albert. There were so many faces in the world, so many forms of art, so many cultures and different customs, and all of that was part of what made us human. How could someone live an entire life ignoring the existence of people like that? Just sharing the same air with them already made him feel more complete.

Despite his fascination, Albert remained much more of a quiet observer, but Helena was able to pull him into the scenes instead of letting him just stand there watching. The girl had an admirable enthusiasm and conviction; it was easy to understand why she and Ane were such good friends.