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August 2020 ONLINE MENTORSHIP PROGRAM

FACULTY: ANABELLA LENZU

Applied Anatomy and Barre a Terre:

*Mondays, August 3, 10, 17 & 24

11am-2pm (EDT) NYC Time.

12pm-3pm Argentina & Brazil

5pm-8pm European Countries- CEST


Pedagogy and Methodology of Teaching Dance:

*Wednesdays, August 5, 12, 19 & 26

11am-2pm (EDT) NYC Time.

12pm-3pm Argentina & Brazil

5pm-8pm European Countries- CEST


Dance Composition/ Choreography: 

*Saturdays, August 1, 8, 15 & 22

11am-2pm (EDT) NYC Time.

12pm-3pm Argentina & Brazil

5pm-8pm European Countries- CEST

www.AnabellaLenzu.com/workshops

I am very pleased to offer this mentorship opportunity and share my 30 years of experience and knowledge as a teacher, choreographer, and dancer.

Besides your personal growth, this will be a unique opportunity to connect with other international artists working with deep intensity and strong vision.

With Love and Gratitude, Anabella

 


ALL CLASSES VIA ZOOM.

I WILL PROVIDE INDIVIDUAL ATTENTION, FEEDBACK, AND GUIDANCE FOR EACH INDIVIDUAL, WHICH IS WHY ALL PARTICIPANTS NEED TO BE PRE-REGISTERED. NO SINGLE CLASSES ARE ALLOWED. EACH PARTICIPANT NEEDS TO REGISTER FOR THE ENTIRE LENGTH OF THE COURSE, SO I WILL BE ABLE TO DEDICATE MYSELF INTENSIVELY TO THE PROGRESS OF EACH ARTIST. THEORETICAL MATERIAL IS INCLUDED.

NOTE: AT THE END OF EACH WORKSHOP YOU WILL RECEIVE A CERTIFICATE OF COMPLETION

CLASS SIZE IS LIMITED TO 10 STUDENTS PER WORKSHOP. TO APPLY: PLEASE SEND A COVER LETTER EXPLAINING WHY YOU ARE INTERESTED IN PARTICIPATING AND YOUR RESUME TO INFO@ANABELLALENZU.COM BY JULY 26, 2020.

PLEASE DESIGNATE WHAT WORKSHOP YOU ARE INTERESTED IN.

  • THE COST OF ONE WORKSHOP IS $150 PER PERSON.
  • TWO WORKSHOPS: $250
  • THREE WORKSHOPS: $400

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Applied Anatomy and Barre a Terre: 
Find your inner-strength. Use your body and your energy in a healthy way as an instrument of your expression whether you are ballet, modern, contemporary, hip hop dancer, or an actor. Develop & Improve alignment and technique.

Acquire muscular awareness in order to prevent injuries.

The focus of this workshop is to further develop and deepen one’s understanding of the principles of the skills basic to all movement studies; such as dynamic alignment through coordination and integration of the neuro/skeletal/muscular system, strength, balance, and spatial awareness. To this end, we will explore alignment with an emphasis on anatomical principles and enlist the appropriate neuromuscular effort needed to dance with optimal integration of every aspect of the individual body, mind, and spirit.

Course Objectives
*To learn, develop & understand the principles of the skills basic to all movement studies; such as dynamic alignment through coordination and integration of the neuro/skeletal/muscular system, strength, balance, and spatial awareness.

*To explore the use of space, dynamic, coordination, and body control of energy.

*To compare how exercises & alignment of the body affect the upright position and the different effects of gravity on the dancer.

*To know the names of major bones and muscles

*To learn to develop & understand breath control to better understand how it affects movement.

—————————–

Pedagogy and Methodology of Teaching Dance: 
Learn how to teach dance and provide a comprehensive dance education. This Laboratory is for artists and educators of all dance disciplines who want to learn how to increase their students’ creative ability by providing organized lesson plans aimed at solving educational problems using methodological tools of analysis. Promote artistic education and enhance the social and cultural community.

Dance is a profound exploration of life.
We must improve how we teach Dance as a theoretical and practical discipline.
——————————–

Dance Composition/ Choreography:  
This workshop will give you the tools to create your own original dances, exploring the elements of composition, both for the stage as well as for dance films. We will examine the creative process by learning how to take risks, transition from thinking to feeling to making artistic choices. Through short in-class assignments and extensive work outside of class, students will investigate both form and content in choreography. Participants will create and perform solo studies based on choreographic problems. We look not only at what you dance but also ask the question “Why do you dance?” Dance is the expressive medium of our heart, mind, and soul.

Course Objectives

*To understand choreographic elements and design.

*To utilize movement exploration and improvisation to develop movement vocabulary.

*To develop subject matter.

*To identify choreographic forms.

*To recognize choreographic styles.

*To develop the skill to critically and articulately analyze a dance with an objective eye.

*To learn how to give feedback, appreciate, and respect each other’s creative process.

*To develop the skills of critical thinking.

*To give you confidence in understanding what you are seeing.

*To help develop a sense of your own aesthetic tastes.

 

 

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Loud whispers of a Latina artist, woman, mother, and immigrant living and working in New York during the pandemic and the demonstrations.

June, 2020.

“The Mind of the Beginner, The Mind of the Expert”

“I am interested in helping you keep your practice from becoming impure. In Japan, we have a phrase shoshin, which means “beginner’s mind”. The goal of practice is always to keep your beginner’s mind.” When learning an important text, Suzuki asks “…but what will happen to you if you recited it twice, three times, four times or more? You might easily lose your original attitude towards it.” “This (beginner’s mind) does not mean a closed mind, but actually an empty mind and a ready mind. If your mind is empty, it is always ready for anything; it is open to everything; in the beginner’s mind there are many possibilities, but in the expert’s mind there are few. ”

“The beginner’s mind is the mind of compassion. When your mind is compassionate, it is boundless.” “Then we are always true to ourselves, in sympathy with all beings, and can actually practice…This is also a real secret of the arts: always be a beginner.”  Zen Mind, Beginner’s Mind, Informal Talks on meditation and practice by Shunryu Suzuki.

Why mention this quote about Zen meditation? Did this practice influence my philosophy?

I consider the practice of any Art as a meditation on life.

I dedicate my life to investigating the interior logic of performance and the role of a dancer in our culture today, using the 5 W’s and the H: Who, what, when, where, why, and how. My practice for 30 years is teaching, choreographing, dancing, and writing.

Nothing gives me more fulfillment than to discover different processes of creation, becoming, and transformation.

My curious mind and heart always lead me to a fresh beginning, where creativity helps me to transcend ideas and rules, creating meaningful methods.

In each new adventure, I’m either creating a scene, a show, an education program, or a class. But how does one keep this boundless attitude after 30 years?

There are periods when my inner child is fully awake and the generosity of my discoveries is easy to communicate and share with others, but there are periods when the candle is only half-lit, and that’s when my experience, practice, and mastery of craft, guide me like a blind person.

It’s a precarious balance between my outer and inner state.

Dance is union with ourselves, with others and with the environment.

I celebrate, respond, protest, scream, cry, and laugh about life through dance.

I don’t want to follow a formula, or lean too heavily on my previous failures and successes. I have a need to keep it fresh, surprise myself with each discovery. Perhaps unconsciously, I want to remain naive and keep my practice pure, as the master teacher said.

Can I force myself to feel thirsty or hungry? I cannot. But you, my reader, will ask me, what about the mind of the expert?

You think after 30 years, teaching in three continents, in more than 50 institutions, embassies, private and public schools, universities, academies, dance companies, festivals, and institutions, I feel that I am a master! The only thing that I know is that I am here, every day, opening myself to the magical and mysterious encounter with others in life, on the stage, and in a classroom.

My daily meditation is observing the bodies of my dancers and students in fine detail and with love as their expressions (mentally, emotionally, and spirituals) emanate and emerge. They flourish in each rehearsal, in each class. It’s like observing nature reveal itself in front of your eyes, like a plant growing from seed and becoming a tree with flowers and fruits.

What a privilege! Here is the beginner’s mind – observing, nurturing and guiding others like a gardener, because our bodies are a perfect manifestation of life, and our temple.

When I perform, I feel the forces of life in my entire being. I am more awake, alert and all my senses are enhanced, ready to share the gift of my dance, ready to connect with others, from anima to anima. Here, the meditation happens after the show when I reflect on the interaction and reaction between the audience and myself.

For me, performing is an attempt to have communion with others and with my environment. Perhaps one of our needs as human beings is to connect with the presence of God or greater power than ourselves. Sometimes I feel that my dance is a prayer.

As I always say, a good teacher is an excellent student, because I want to remain open to everything, and available to a new experience.

My profession allows me to experience generosity, compassion, altruism, empathy, tolerance, patience, and gratitude. I value respect and love for others and receive it in return. In giving myself totally in the learning process.

The art of teaching is about contemplation, appreciation, reflection, exchange, detailed observance, assimilation, and developing a deeper human consciousness.

I am humbled, grateful, and thankful for every student, dancer, artist, collaborator, institution, and organization that lets me share my point of view.

Yours in dance, Anabella

www.AnabellaLenzu.com


(Version en Español)

“La Mente del Principiante y la Mente del Experto”

“Estoy interesado en ayudarlo a evitar que su práctica se vuelva impura. En Japón, tenemos una frase shoshin, que significa “mente de principiante”. El objetivo de la práctica siempre es mantener la mente del principiante”. Al aprender un texto importante, el maestro Suzuki pregunta “¿qué te sucederá si lo recitas dos veces, tres veces, cuatro veces o más? Puede perder fácilmente su actitud original hacia él “.”Esto (mente de principiante) no significa una mente cerrada, sino una mente vacía, una mente lista. Si tu mente está vacía, está preparada para cualquier cosa; está abierta a todo; En la mente del principiante hay muchas posibilidades, pero en la mente del experto hay pocas.” “La mente del principiante es la mente de la compasión. Cuando tu mente es compasiva, no tiene límites”. “Entonces, siempre somos fieles a nosotros mismos, simpatizamos con todos los seres y podemos practicar. Este también es el verdadero secreto de las artes: ser siempre un principiante”. Mente Zen, Mente de Principiante, charlas informales sobre meditación y práctica por Shunryu Suzuki.

¿Por qué mencionar esta cita sobre la Meditación Zen? ¿Esta práctica influyó en mi filosofía o en mi trabajo?

Considero la práctica de cualquier arte como una meditación acerca de la vida. 

En los últimos 30 años, he dedicado mi vida a investigar la lógica interior de la actuación y el rol del bailarín en nuestra sociedad actual, utilizando y respondiendo con este sistema de 6 preguntas: quién, qué, cuándo, dónde, porqué y cómo, a través de la enseñanza de la Danza, la creación coreográfica, y la escritura.

Nada me da más satisfacción que descubrir los diferentes procesos de creación,  de devenir y de transformación.

Mi mente y corazón curioso siempre me llevan a un nuevo comienzo, donde la creatividad me ayuda a trascender ideas y reglas, creando métodos significativos, en cada nueva aventura, tanto en el escenario como en el salón de clase.

Pero, ¿cómo se mantiene esta actitud de pureza después de 30 años? Hay períodos en los que mi niña interior está completamente despierta y la generosidad de mis descubrimientos son fáciles de comunicar y compartir. Hay períodos en los que la llama está casi apagada, y es aquí cuando mi experiencia y dominio del oficio, me guían como una persona ciega.

Es un precario equilibrio entre mi estado interior y lo que me rodea.

La danza es unión con nosotros mismos, con los demás y con el medio ambiente.

Celebro, respondo, protesto, grito, lloro y me río de la vida a través de la Danza.

No quiero seguir una fórmula, ni apoyarme en mis  previos fracasos o éxitos. Mi formula para seguir adelante, es sorprenderme con cada descubrimiento. Tal vez inconscientemente, quiera seguir siendo ingenua y así mantener mi práctica “pura”, como dice el maestro zen. ¿Puedo obligarme a sentir sed o hambre? No puedo.

Usted, mi lector, me preguntará, ¿qué pasa con la mente del experto? Piensa que después de 30 años, enseñando en tres continentes, en más de 50 instituciones, embajadas, escuelas públicas y privadas, universidades, academias, compañías de danza, festivales e instituciones, ¡siento que soy un master!? Lo único que sé es que estoy aquí, todos los días, abriéndome al encuentro mágico y misterioso con otros en la vida, en el escenario y en un salón de clases.

Mi meditación diaria es observar los cuerpos de mis bailarines con gran detalle y con amor, ver cómo sus expresiones (mentales, emocionales y espirituales) emergen y florecen en cada ensayo, en cada clase.

Es como observar la naturaleza que se revela ante nuestros ojos, como una planta que crece de una semilla y se convierte en un árbol con flores y frutos. ¡Qué privilegio! Aquí está la mente del principiante: observando, nutriendo y guiando a otros, porque nuestros cuerpos son una perfecta manifestación de vida. Nuestros cuerpos, son nuestro templo.

Cuando bailo, siento las fuerzas de la vida en todo mi ser. Estoy despierta y todos mis sentidos están alertas, para compartir el regalo de mi danza, para conectarme con otros, desde mi ánima hasta el ánima del espectador. Aquí, la meditación ocurre después del espectáculo cuando reflexiono acerca de mi interacción y la reacción con el público.

Para mí, danzar, es un intento de comunión con los demás y con mi entorno.

Quizás una de nuestras necesidades como seres humanos es conectarnos con la presencia de Dios o con un poder mayor que nosotros. A veces siento que mi danza es un rezo.

Como siempre digo, un buen maestro es un excelente estudiante, y es por eso que quiero permanecer abierta a todo y disponible en cada nueva experiencia.

Mi profesión me permite experimentar la generosidad, compasión, altrísmo, empatía, tolerancia, paciencia y gratitud.

Valoro la libertad y el respeto por los demás al  entregarme totalmente en el proceso de aprendizaje.

El arte de la enseñanza comprende la contemplación, apreciación, reflexión, intercambio, observación detallada, asimilación y desarrollo de la conciencia humana.

Gracias a Ud., a cada estudiante, bailarín, artista, colaborador, institución y organización que me permiten compartir mi punto de vista.

Un abrazo, Anabella

www.AnabellaLenzu.com

 

 

 

DEC9EF06-1AF5-4EF9-893E-337F1FC4445D

JULY ONLINE MENTORSHIP PROGRAM

FACULTY: ANABELLA LENZU

Expand your craft, technique, and creativity with personalized tailored workshops via ZOOM 

I always remember that the word teaching is linked to the word service. The term “service in dance” is in decay, but as Mary Wigman said in a letter to a young dancer, “Our task, however, lies in serving: to serve the dance, to serve the work, to serve man, and to serve life. Keep the artistic fire from being extinguished.” I say, keep alive the flame of service in dance for the community.

I hear your needs… I created a NEW Online Educational Program for my company Anabella Lenzu/DanceDrama that addresses your needs during this pandemic.

I am very pleased to offer this mentorship opportunity and share my 30 years of experience and knowledge as a teacher, choreographer, and dancer.

Besides your personal growth, this will be a unique opportunity to connect with other international artists working with deep intensity and strong vision.

With Love and Gratitude, Anabella


ALL CLASSES VIA ZOOM.

I WILL PROVIDE INDIVIDUAL ATTENTION, FEEDBACK, AND GUIDANCE FOR EACH INDIVIDUAL, WHICH IS WHY ALL PARTICIPANTS NEED TO BE PRE-REGISTERED. NO SINGLE CLASSES ARE ALLOWED. EACH PARTICIPANT NEEDS TO REGISTER FOR THE ENTIRE LENGTH OF THE COURSE, SO I WILL BE ABLE TO DEDICATE MYSELF INTENSIVELY TO THE PROGRESS OF EACH ARTIST. THEORETICAL MATERIAL IS INCLUDED.

CLASS SIZE IS LIMITED TO 10 STUDENTS PER WORKSHOP. TO APPLY: PLEASE SEND A COVER LETTER EXPLAINING WHY YOU ARE INTERESTED IN PARTICIPATING AND YOUR RESUME TO INFO@ANABELLALENZU.COM BY JULY 1, 2020. PLEASE DESIGNATE WHAT WORKSHOP YOU ARE INTERESTED IN.

THE COST OF EACH WORKSHOP IS $150 PER PERSON. $50 DISCOUNT WHEN TAKING BOTH WORKSHOPS

NOTE: AT THE END OF EACH WORKSHOP YOU WILL RECEIVE A CERTIFICATE OF COMPLETION.


C73135BE-47ED-44A8-889D-624E43F0330A-2

DANCE COMPOSITION/ CHOREOGRAPHY WORKSHOP

  • Saturdays, July 11, 18 & 25, 2020

  • 11am-2pm New York Time- EDT

  • 12pm-3pm Argentina & Brazil

  • 5pm-8pm European Countries- CEST

This workshop will give you the tools to create your own original dances, exploring the elements of composition, both for the stage as well as for dance films. We will examine the creative process by learning how to take risks, transition from thinking to feeling to making artistic choices. Through short in-class assignments and extensive work outside of class, students will investigate both form and content in choreography. Participants will create and perform solo studies based on choreographic problems. We look not only at what you dance but also ask the question “Why do you dance?” Dance is the expressive medium of our heart, mind, and soul.

Course Objectives 

  • To understand choreographic elements and design.

  • To utilize movement exploration and improvisation to develop movement vocabulary.

  • To develop subject matter.

  • To identify choreographic forms.

  • To recognize choreographic styles.

  • To develop the skill to critically and articulately analyze a dance with an objective eye.

  • To learn how to give feedback, appreciate, and respect each other creative process.

  • To develop the skills of critical thinking.

  • To give you confidence in understanding what you are seeing.

  • To help develop a sense of your own aesthetic tastes.


DANCE-THEATER WORKSHOP

  • Sundays, July 12, 19 & 26, 2020

  • 11am-2pm New York Time- EDT

  • 12pm-3pm Argentina & Brazil

  • 5pm-8pm European Countries- CEST

    Description: This workshop is dedicated to exploring the connection between the body, voice, and self to deepen performance practice. It is open to dancers who want to investigate voice, text, and movement; to actors who desire to explore movement and physicality; and performers of all backgrounds who want to deepen their performance practice.
    This workshop explores the principle: Motion Creates Emotion /Emotion Creates Motion. The emphasis is on the journey rather than the destination, on understanding the impulses generated by movements and gestures.
    The workshop will incorporate vocal production to understand how the voice and body are integrated into a healthy, expressive whole. Exercises in text, partnering, and theatre games will free uninhibited theatrical expression. Whether a seasoned or early-career performer, this workshop will leave actors and dancers with new confidence and inspiration in their performance practice.

    Participants will experience and study Anabella Lenzu / DanceDrama repertory.

PROGRAMA DE MENTORÍA de DANZA ONLINE

Dirijido por Anabella Lenzu

Escuchando tus necesidades durante esta pandemia, creé un NUEVO programa educativo ONLINE via ZOOM para vos.

Mejora tu técnica y cultiva tu creatividad.

Estoy muy feliz de poder ofrecer esta oportunidad de tutoría y así compartir mis 30 años de experiencia como maestra, coreógrafa y bailarina con ustedes.  Además de crecer personalmente y profesionalmente, ésta será una oportunidad única para conectarse con otros artistas internacionales que trabajan seriamente y con una sólida visión.

Los workshops tendrán un cupo máximo de 10 participantes por taller.  

C73135BE-47ED-44A8-889D-624E43F0330A-2

Workshop de Composición Coreográfica:

  • Sábados 11, 18 y 25 de Julio de 2020
  • 11am – 2pm, hora de Nueva York, EDT
  • 12hs -15hs, hora de Argentina y Brasil
  • 5pm – 8pm, hora Países europeos- CEST

Durante el workshop se ofrecerán herramientas para crear tus coreografías, explorando los elementos de la composición, tanto para el escenario como para realizar videos de danza. Examinaremos el proceso creativo aprendiendo a asumir riesgos y como tomar decisiones artísticas. A través de ejercicios en clase y  exploraciones fuera de clase, los participantes investigarán tanto la forma como el contenido en sus obras.  No solo investigaremos cómo bailas y qué bailas, sino que también afrontaremos la pregunta ¿Por qué bailas? …Porque danza es el medio expresivo de nuestro ser.

Objetivos del Workshop: • Comprender los elementos y el diseño coreográfico. • Utilizar la exploración del movimiento y la improvisación para desarrollar un nuevo vocabulario del movimiento. • Desarrollar el tema. • Identificar formas y estilos coreográficos. • Aprender a respetar el proceso creativo de cada uno. • Desarrollar las habilidades del pensamiento crítico. • Desarrollar un sentido de los propios gustos estéticos.

DEC9EF06-1AF5-4EF9-893E-337F1FC4445D

Workshop de Danza Teatro

  • Domingos, 12, 19 y 26 de Julio, 2020
  • 11 am-2pm hora de Nueva York – EDT
  • 12hs -15hs hora de Argentina y Brasil
  • 5 pm – 8pm hora Países europeos- CEST

Description: This workshop is dedicated to exploring the connection between the body, voice, and self to deepen performance practice. It is open to dancers who want to investigate voice, text, and movement; to actors who desire to explore movement and physicality; and performers of all backgrounds who want to deepen their performance practice.
This workshop explores the principle: Motion Creates Emotion /Emotion Creates Motion. The emphasis is on the journey rather than the destination, on understanding the impulses generated by movements and gestures.
The workshop will incorporate vocal production to understand how the voice and body are integrated into a healthy, expressive whole. Exercises in text, partnering, and theatre games will free uninhibited theatrical expression. Whether a seasoned or early-career performer, this workshop will leave actors and dancers with new confidence and inspiration in their performance practice.

TODAS LAS CLASES SON ONLINE Y A  TRAVÉS DEL PROGRAMA ZOOM. DURANTE LOS WORKSHOPS SE GARANTIZA LA ATENCIÓN PERSONALIZADA Y SE INCLUIRÁ MATERIAL TEÓRICO.

PARA REGISTRARSE, ENVÍE UN EMAIL A: INFO@ANABELLALENZU.COM EXPLICANDO POR QUÉ ESTÁ INTERESADO EN PARTICIPAR Y SU CURRICULUM. FECHA LíMITE DE INSCRIPCIÓN: 1 de Julio, 2020. 

EL COSTO DE CADA TALLER ES $150 (DOLARES) POR PERSONA POR WORKSHOP. SI DESEA TOMAR AMBOS WORKSHOPS HABRÁ UN DESCUENTO DE $50 (DOLARES).

AL FINALIZAR CADA WORKSHOP SE OTORGARÁ UN CERTIFICADO DE PARTICIPACIÓN.  

www. AnabellaLenzu.com

_DSC2182
Expand your craft, technique, and creativity 
with personalized tailored workshops 
via ZOOM

by Anabella Lenzu

I always remember that the word teaching is linked to the word service. The term “service in dance” is in decay, but as Mary Wigman said in a letter to a young dancer, “Our task, however, lies in serving: to serve the dance, to serve the work, to serve man, and to serve life. Keep the artistic fire from being extinguished.” I say, keep alive the flame of service in dance for the community. 

I hear your needs…

I created a NEW Online Educational Program for my company Anabella Lenzu/DanceDrama that addresses your needs during this pandemic.

I am very pleased to offer this mentorship opportunity and share my 30 years of experience and knowledge as a teacher, choreographer, and writer.

Besides your personal growth, this will be a unique opportunity to connect with other international artists working with deep intensity and strong vision.
The workshop size is limited to 10 students per workshop.
With Love and Gratitude,
Anabella
———————————————————————————————–
Dance Composition/Choreography Workshop:
Saturdays, June 6, 13, 20 & 27, 2020
from 11am-2pm New York Time- EDT 
from noon-3pm Argentina & Brazil
from 5-8pm European Countries- CEST 
This workshop will give you the tools to create your own original dances, exploring the elements of composition, both for the stage as well as for dance films.
We will examine the creative process by learning how to take risks, transition from thinking to feeling to making artistic choices. Through short in-class assignments and extensive work outside of class, students will investigate both form and content in choreography. Participants will create and perform solo studies based on choreographic problems.
We look not only at what you dance but also ask the question “Why do you dance?” Dance is the expressive medium of our heart, mind, and soul.
Course Objectives 
  • To understand choreographic elements and design.
  • To utilize movement exploration and improvisation to develop movement vocabulary.
  • To develop subject matter.
  • To identify choreographic forms.
  • To recognize choreographic styles.
  • To develop the skill to critically and articulately analyze a dance with an objective eye.
  • To learn how to give feedback, appreciate, and respect each other creative process.
  • To develop the skills of critical thinking.
  • To give you confidence in understanding what you are seeing.
  • To help develop a sense of your own aesthetic tastes.
———————————————————————————————————
Barre a Terre Workshop
Mondays, June 1, 8, 15 & 22, 2020  
11am-2pm New York Time- EDT 
12pm-3pm Argentina & Brazil
5pm-8pm European Countries- CEST
Find your inner-strength. Use your body and your energy in a healthy way as an instrument of your expression whether you are ballet, modern, or hip hop dancer or actor. Develop & Improve alignment and technique. Acquire a muscular awareness in order to prevent injuries. Open to all levels of experience.
Course Description  
The focus of this workshop is to further develop and deepen one’s understanding of the principles of the skills basic to all movement studies; such as dynamic alignment through coordination and integration of the neuro/skeletal/muscular system, strength, balance, and spatial awareness. To this end, we will explore alignment with an emphasis on anatomical principles and enlist the appropriate neuromuscular effort needed to dance with optimal integration of every aspect of the individual body, mind, and spirit.
Course Objectives 
  • To learn, develop & understand the principles of the skills basic to all movement studies; such as dynamic alignment through coordination and integration of the neuro/skeletal/muscular system, strength, balance, and spatial awareness.
  • To explore the use of space, dynamic, coordination, and body control of energy.
  • To compare how exercises & alignment of the body affect the upright position and the different effects of gravity on the dancer.
  • To know the names of major bones and muscles
  • To learn to develop & understand breath control to better understand how it affects movement.

———————————————————————————————
ALL CLASSES VIA ZOOM. 
I WILL PROVIDE INDIVIDUAL ATTENTION, FEEDBACK, AND GUIDANCE FOR EACH INDIVIDUAL, WHICH IS WHY ALL PARTICIPANTS NEED TO BE PRE-REGISTERED. NO SINGLE CLASSES ARE ALLOWED.
EACH PARTICIPANT NEEDS TO REGISTER FOR THE ENTIRE LENGTH OF THE COURSE, SO I WILL BE ABLE TO DEDICATE MYSELF INTENSIVELY TO THE PROGRESS OF EACH ARTIST.
THEORETICAL MATERIAL IS INCLUDED.

CLASS SIZE IS LIMITED TO 10 STUDENTS PER WORKSHOP.

TO APPLY: PLEASE SEND A COVER LETTER EXPLAINING WHY YOU ARE INTERESTED IN PARTICIPATING AND YOUR RESUME TO INFO@ANABELLALENZU.COM BY MAY 25, 2020

PLEASE DESIGNATE WHAT WORKSHOP YOU ARE INTERESTED IN.

THE COST OF EACH WORKSHOP IS $150 PER PERSON.
$50 DISCOUNT WHEN TAKING BOTH WORKSHOPS
 NOTE: AT THE END OF EACH WORKSHOP YOU WILL RECEIVE A CERTIFICATE OF COMPLETION.

Screen Shot 2020-05-19 at 2.41.53 PM

Dear Friends, Colleagues, Dancers, and Students:

As a little gift for you, I want to share one of my chapters from my book “Unveiling Motion and Emotion” that I published in 2013, because it may help in these times of social distancing. Feeling support for so many friends and publications around the world that shared my opinions.

Enjoy and use this difficult time to deepen your practice, art, and research.

Much love and Gratitude from Brooklyn!
Anabella

www.AnabellaLenzu.com

 

Screen Shot 2020-04-23 at 11.50.34 PM

_DSC2182

 

Dear Friends, Dancers, and Students:
As a little gift for you, I want to share one of my chapters from my book “Unveiling Motion and Emotion” that I published in 2013, because it may help with these times of social distancing.

https://www.anabellalenzu.com/emotion-creates-motion

Let’s see the glass half full.

Enjoy and use this quiet time to deepen in your practice, art, and research.
Much love and Gratitude from Brooklyn! Anabella

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I WANT TO BE THE ETERNAL STUDENT
The period of my greatest creative and technical growth as a dancer came over the course of four years (1995-1999) in my home city of Bahia Blanca, Argentina, where I directed my own school, “L’Atelier” Centro Creativo de Danza.
Every morning I would teach with my assistant Soledad Gutierrez, and I gave myself a class from 10 a.m. to 2 p.m. Yes, I taught myself! It was a matter of self-discipline, self-knowledge, and self-respect.
Without self-discipline, conscience, and maturity, nothing in life bears fruit – and that is especially true in a dancer’s career.
Why was that period so significant for me? Because even when I felt tired or lazy, I knew that without work, growth was impossible, and a voice from my subconscious urged me to believe in myself.
Even when I wasn’t at 100 percent, I would get up, drink a cup of tea, and leave for my studio. My routine: one hour of stretching and physical preparation; one hour at the barre; one hour in the center; then I rehearsed. How hard it is to have the discipline and commitment to work with yourself day after day! But oh the beauty…
Why is it so hard for us to take the time to connect with ourselves through movement, even though we know it always makes us feel better? Laziness, distractions, fear of failure, and fear of our own limitations are just some of the monsters to be vanquished.
Now why, after so many years of taking a class from other teachers, was this period so valuable for me? Because I am both my best student and my best teacher. That time teaching myself is and was my best gift: the chance to dedicate time to listen to myself and, in a way, re-create myself.
Today, living in New York, a mother and wife, a professor at two universities, and the director of my own dance company, I feel distractions gnawing at me constantly, trying to keep me from listening to myself again.
The life of a dancer is a constant fight interspersed with bursts of development, full of work, filled with distractions and procrastination.
The conscience and self-discipline that I acquired in that time accompany me to this day, helping me face life each day because inside I know who I am.
One puts oneself to the test looking in the mirror every day, trying to decipher one’s reflection. Many times we don’t want to see the truth; we’d rather turn a blind eye or come up with a false self-image. I was bulimic but with my family’s – and especially my mother Graciela’s – patience and guidance, I overcame it. Many times I reached my physical and mental limits. I suffered panic attacks and felt I couldn’t control my life, and thank God I overcame those as well. I overcame them by listening to myself, confronting my- self in the mirror, closing my eyes and cultivating an internal self- image. This is my dance training, and I apply it to all areas of my life.
Our perception develops. As dancers (after years of training), we know how we appear externally, how the audience sees and perceives us. We have built our internal framework, the skeleton of our artistic selves, and just as we built the house, we must furnish the interiors.
When we close our eyes, monsters appear fear, insecurity, perfectionism, self-repression, censorship. When we close our eyes, we can’t lie to ourselves, we are forced to exist in the here and now, without taking flight or letting our imaginations transport us elsewhere. Through years of constant, persistent work, we form an umbilical cord – a connection – between the darkness and the light.
I invite you to submerge yourself and pursue self-knowledge be-cause without that, we are lost in life. When we remain strangers to ourselves, we are deprived of the pleasure of growing, transforming, and finally discovering an inner balance.
That period in Argentina was my creative and pedagogical laboratory, a place everyone should build for themselves so they can enter it daily and when needed.
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Dear Friends, Dancers, and Students:
As a little gift for you, I have compiled a list of amazing and free resources online where you can research and see dance, plays, musicals, concerts, museums and libraries from your home no matter where you are.
Enjoy and use this quiet time to deepen in your practices, arts, and research. 
Much love and Gratitude from Brooklyn,
Anabella
 
Also: 
  • Youtube is a great resource to expand knowledge about dance and artists. As a choreographer & dance history and dance criticism professor, I created a library on my page, which enables dancers to view and analyze historical and contemporary dance pieces. I created 100 playlists (with approximately 1,200 videos) organized by historical periods and choreographers. Please SUBSCRIBE to my youtube page.
  • Pinterest:  I created a board about METHODOLOGYof TEACHING DANCE.  Subscribe to see amazing images about anatomy, kinesiology, centers of energy to enhance your dance technique and get inspired by accurate imagery.
 
FREE DANCE BOOKS to download in English and Spanish:
Books for FREE to download from the NYPL in NYC:
 
UNESCO Library
 
Montreal Library
 
3000 Arts Book to Download in PDF
 


12 famous museums offer virtual tours you can take on your couch:
https://hellogiggles.com/news/museums-with-virtual-tours/?utm_term=A36AA812-655E-11EA-97D8-7D87C28169F1&utm_medium=social&utm_source=facebook.com&utm_content=link&utm_campaign=hellogiggles_hellogiggles&fbclid=IwAR2V7xOqDKZmOkYQtPu-5TZ_aM1VLO1VHkahR7sOL3NcBZ0sxiQCfnUrYx0 

500 museums virtual tours: https://artsandculture.google.com 

Plays and Musicals Switch to Streaming: https://www.nytimes.com/2020/03/17/theater/theater-streaming.html?fbclid=IwAR15vAURx4AH6OEx7ZUqvqmPoceialDTwh9IrFefrlaTDOzyu2vBZHdrzos

Ópera de París
https://www.operadeparis.fr/
https://www.france.tv/spectacles-et-culture/

Metropolitan Opera “Live in HD”: https://www.metopera.org/user-information/nightly-met-opera-streams/

 
 

BERLIN PHILHARMONIC

 
Dance Podcast in NYC:
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“My Body, My Country” 
Dance Theater Performance 
and participatory 
Visual Art Creative Workshop
 
Lead by Argentinean choreographer Anabella Lenzu 
  • Presented by BAAD as part BAAD!ASS Women Festival

SATURDAY, MARCH 21, 2020

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at The Bronx Academy of Arts & Dance (2474 Westchester Avenue, Bronx, NY 10461, Westchester Square)

FREE ADMISSION
&

at Judson Memorial Church (55 Washington Square South, New York, NY, 10012)

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How does our body become our homeland? 
How do our bodies become a receptacle and messenger of the multiple realities we are immersed in?

During the event, Anabella Lenzu performs excerpts of her dance-theater piece of “No more beautiful dances”, followed by a 10 minute Q & A. 

The performance challenges the viewer to think about how they view bodies.

The performance will be followed by a Body Mapping Workshop, where the participants use texts and drawings to share their own stories of their bodies. Body Mapping is an inter-generational dialogue tool helping people of different generations to talk to each other. The experience builds trust and deepens people’s understanding of how their lives are all connected with each other. The aim of this event is to explore issues of identity and agency, as experienced by a contemporary artist who is also a woman, mother, and immigrant in the United States. Through the shared creative process, we will explore identity and social relationships.

This performance and workshop is open to audiences of all genders and ages interested in exploring movement and visual expression, and to experience a journey of self-discovering the body and accepting yourself anew. No previous experience is required. Comfortable clothes that allow movement are recommended.

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My work reflects my experience as a Latina/European artist living in New York & comes from a deep examination of my motivations as a woman, mother, & immigrant. 
Thanks for your support of Anabella Lenzu/DanceDrama over these last 14 years!

DONATE  

Make “The night that you stopped acting” happen!

Without your support: artists, family, friends, audience… we would not exist!

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