Archive for the ‘Anabella Lenzu/DanceDrama’ Category
Posted in Anabella Lenzu/DanceDrama, argentinean choreographer in nyc, Dance, dance book review, Dance Magazine, danza hoy en español, Education, In Pursuit of Happiness, Meaningful Gestures: Inner Thought and Outward Expression, Revelando Movimiento y Emoción, Uncategorized, Unveiling Motion and Emotion on January 30, 2017| Leave a Comment »
Posted in Anabella Lenzu/DanceDrama, argentinean choreographer in nyc, Art and Politics, Dance, Dance Magazine, Uncategorized, tagged Agustina Lluma, Balletin Dance, Coreografa Argentina en Nueva York, danza en Argentina, Danza en Nueva York, Un decada de danza, Una decada en Nueva York on January 18, 2017| Leave a Comment »
Gracias Agustina Lluma & Balletin Dance en Argentina
por celebrar mi década de Danza en Nueva York y por su apoyo permanente!!!!
“Diez años en Nueva York, marcan un intenso período de mi vida (de mis 30 a 40 años). Me mudé a Nueva York hace 11 años, me convertí en mamá, profesora en diferentes universidades y cumplí mi sueño de crear una compañía de baile en Estados Unidos (la primera que dirigí fue L’Atelier Ballet Contemporaneo en Argentina (1994-2000) y la segunda en Roma (2002-2005)”, recordó. “Vivir en Nueva York es gratificante, difícil e inspirador. Trabajar con bailarines de todo el mundo y con un público tan internacional, es el fuego que purifica mis ideas coreográficas”, finalizó la argentina que asegura encontrarse “feliz y orgullosa”.
Posted in Anabella Lenzu/DanceDrama, argentinean choreographer in nyc, Dance, Teatro, tagged Argentinean Choreographer, choreograph for Opera, choreographer, Choreography, Contemporary Opera, HERE Arts Center, John Martin, Mary Anthony, Mary Wigman, Mata Hari, Mata Hari Opera, Matt Marks, modern dance, Opera, Paul Peers, Prototype Festival on November 17, 2016| Leave a Comment »
Being a guest Choreographer for the Mata Hari Opera Production in NY, 2017
Mata Hari (World Premiere)
January 5th-7th, and 11th-14th, at 7 PM and January 8th at 2 PM
at HERE Arts Center, New York City
part of Prototype Festival
Composer: Matt Marks
Librettist/Director: Paul Peers
It has been a journey of exploration and self-analysis being the guest choreographer for Mata Hari Opera production, sharing my creative process, inspiration, and artistic quest.
With the magic of giving shape to an idea, an emotion, or an opinion comes great responsibility. Sharing my work with others provides the ultimate fulfillment, allowing me to broaden my search and crystallize my views on whatever moves me deeply.
Like an artisan, with each choreographic section I refine and explore ideas through movement and examine how to communicate.
This is not the first time that I have choreographed an opera. Previously, I created dances for “Il Pagliacci” by the opera director Guy Ariel Kruh (Paris/France) in Buenos Aires, Argentina in 1998. Later that same year I choreographed “Cavalleria Rusticana” by Bahia Blanca Symphonic Orchestra under the direction of Eugenia Gallego in Bahia Blanca, Argentina.
I also choreographed the “Notre dame de Paris” musical in Sardegna, Italy in 2003, as well as being guest choreographer for many theater productions, TV programs, and dance companies in Argentina, Italy and USA.
In this article I would like to talk about the relationship between Dance and Music. As a choreographer and maker of metaphoric images and sensations, I understand the power of dance as a language.
How does one balance the meaning of the lyrics in the song when there is powerful movement and visual effects at the same time? Words are specific, movement is subjective.
As an audience member, there is a choice to make with your attention. Imagine someone massaging you when to are eating a piece of steak while smelling roses at the same time.
I remember my choreography teacher Mary Anthony talking about using music without lyrics, because words are your direct intellectual competitor.
What about when the lyrics are in a foreign language for that audience? Alternately, what is the effect if the lyrics and audience speak the same language?
Like husband and wife, music and dance share the same bed but are two different people choosing to live together.
So how do I negotiate the lyrics and the music in an opera with the movements that Mata Hari evokes in me?
- Music interpretation: This is a contradictory formula, how can a dancer interpret Bach or Beethoven? The composer expresses himself sufficiently in musical form, not needing a dancing or gestural commentary. The dancer’s intention is to translate his own emotion, his own personal reaction to a determinate music. Another choice is interpreting the content of the music.
- Transposition: visualize merely its form, translating sound patterns into movement patterns. The most tragic experience was Rite of Spring by Nijinsky, applying eurhythmics from Jacques Dalcroze. Nijinsky divided the dancers in groups representing the different instruments of the orchestra and attributed a corresponding movement to each note.
- Contrapuntal background: placing movement patterns against music patterns. This is a compromise between interpretative and transposition. The music is the background and the movements are a visual counterpoint.
- Music should merely mark the tempo and phrasing of what a choreographer wants to do using ready-made music or a specially make composition.
- Mary Wigman, a German dancer, choreographer and notable as the pioneer of expressionist dance, proposed that the solution to this problem was that the music must be created at the same time as the dance, in a mutual collaboration between choreographer and composer. To respect the specificity of dance, the music must be born from live movements like the dance.
Transmitting my ideas as a guest choreographer working with a company for a short period of time is a delicate process. Precision, clarity of ideas, and effective synthesis help new dancers grasp my work and find the focus of their creative and interpretive search.
Working as a guest choreographer allows me to keep an open mind and heart because every company and group has its own particular architecture, ethos, and psychology. My job is to make the creative process accessible, exciting, and rewarding for both parties.
- To Purchase tickets for Mata Hari Opera Production CLICK HERE
Posted in Anabella Lenzu/DanceDrama, argentinean choreographer in nyc, Art and Politics, Education, In Pursuit of Happiness, todd carroll photography, tagged Anabella Lenzu, Anabella Lenzu?DanceDrama, Attitude The dancers' Magazine, Dance Enthusiast, Dance NYC, dance photograph, dance reviews, Jenny Thompson, Madeleine L. Dale, Mari Gold, New York Arts, Photography, photography exhibition, Todd Carroll on October 28, 2016| Leave a Comment »
Posted in Anabella Lenzu/DanceDrama, argentinean choreographer in nyc, Art and Politics, Dance, In Pursuit of Happiness, Pachamama: Mother World, Revelando Movimiento y Emoción, Uncategorized, Unveiling Motion and Emotion, tagged ALDD, Anabella Lenzu, Anabella Lenzu?DanceDrama, Argentina, Brooklyn, Choreography, Dance in New York, Dance In NYC, DanceTheater, modern dance, repertory, The creative process, Todd Carroll on October 11, 2016| Leave a Comment »
ALDD 10th Anniversary Timeline
10 Years, 300 Performances, 12 Choreographic works in 80 Venues.
2016 DanceDrama 10th anniversary! Argentinean tour presenting Unveiling Motion and Emotion and premiering In Pursuit of Happiness with Lauren Ohmer in Buenos Aires and Bahia Blanca. Hosted the 3rd Annual DanceDrama Laboratory Workshop Series; Re-staging the full-length show Pachamama: Mother World; artist in residency at DUO Multicultural Art Center (DMAC); Anabella guest judges for xyz nyc at The Tank; book presentation at Figment Festival.
To all the supporters, family and friends for supporting us economically and emotionally. You make this company possible.
Thanks for trusting and for being my partner! Anabella
Posted in Anabella Lenzu/DanceDrama, argentinean choreographer in nyc, Art and Politics, todd carroll photography, Uncategorized, tagged Alegrias Flamenco Tablao, Ana Wu, Anabella Lenzu, Anthony Rosado, Argentina, Argentinean Consulate in NYC, Ben Lee, Brianna Fails, Brooklyn, Carmen Caceres, cesar brodermann, Choreography, Christina Graybard, Cori Marquis, DanceTheater, Daniel Pettrow, Dawn Quigley, Dina Denis, Elizabeth Weinstein, Emily Quant, Emily Vescht, Erik Zarcone, Geoff Gersh, Hope Parker, Igal Perry, Instituto Cervantes, James Scrugg, Jennifer Johanos, Jodi Kaplan, julia Lindpaintner, Justin Coates, Kate Ladenheim, Kathleen Hines, Katie Clancy, Kelley Natella, Lauren Ohmer, L’Atelier Ballet Contemporaneo, Leslie Berman, Liz Gorgas, Macy Sullivan, Marielis Garcia, Mariko Endo, MATERIALS FOR THE ARTS, NYC Department of Cultural Affairs/NYC Department of Sanitation/NYC Department of Education, Mayu Inomata, Michelangelo Alasa, modern dance, Or Reitman, Oshi Wanigasekera, Paulina Espinosa, Pele Bauch, Peridance Center, Raleigh Veach, Samuel Humphreys, Stephen Petrilli, Steve Gross, Tanya Calamoneri, The Field, Todd Carroll, Trina Maninno, Val Loukiano,, Yukiko Sassa on September 30, 2016| Leave a Comment »
Dear Friends and Supporters,
What better an opportunity than the 10th Anniversary celebration to reiterate my eternal thanks to the people that make my dream of having a dance company in New York possible?
Ten years mark an intense period of my life (from my 30s to my 40s). I moved to New York 11 years ago, became a mom, a professor in different universities and fulfilled my dream of creating a dance company in the United States (the first one was in Argentina: L’Atelier Ballet Contemporaneo (1994-2000) the second one in Italy from (2002-2005) and now Anabella Lenzu/DanceDrama, starting in 2006.
How it all started:
- When I moved back to NY in 2005, my base was Peridance Center, directed by Igal Perry (where I was student in 1999-2001) and The Field, an amazing organization that supports artists.
- Igal Perry opened doors for me and gave me the opportunity to start teaching dance in NY.
- The Field (through an internship) prepared me to create ALDD, giving my the foundation to understand how a private/non profit dance company functions in NY. In exchange of my intern work, I (and my husband Todd) took ALL the workshops they offered in Grant Writing, Development, Marketing, Pitching, etc. Under the wing of Tanya Calamoneri, Pele Bauch and James Scruggs. I met Steve Gross, the founder of The Field, in 1999, when I did not even speak English and I participated in his Field Work session at least 10 times. I learned how to give honest and precise feedback to my peers (in English). Eternal thanks to Steve for creating The Field!
- I also worked as a stage manager for The Jodi Kaplan Dance Agency during APAP in 2006.
In these 10 years, 40 dancers passed through AL/DD! Thanks for your inspiration, commitment, hard work, dedication, criticism and encouragement: Mayu Inomata, Leslie Berman, Emily Quant, Yukiko Sassa, Lauren Ohmer, Julia Lindpaintner, Katie Clancy, Kelley Natella, Debra Zalkind, Val Loukiano, Emily Vescht, Liz Gorgas, Dawn Quigley, Brianna Fails, Raleigh Veach, Cori Marquis, Oshi Wanigasekera, Trina Maninno, Ana Wu, Macy Sullivan, Or Reitman, Paulina Espinosa, Anthony Rosado, Carmen Caceres, Elizabeth Weinstein, Marielis Garcia, Alice Pucheu, Graham Cole, Sydney Ruf Wang, Emily Jeffries, Carolina Rivera Moreno, Mary-Elizabeth Fenn, Hope Parker, Dina Denis, Cesar Brodermann, Erik Zarcone, Justin Coates, Ritzuko Sato, Samuel Humphreys and Guest Dancer: Mariko Endo. Your presence allowed to materialize my dance, making my ideas become real. Thanks for allowing me to experiment and play in my craft of making dances.
I am humbled and honored to have collaborated with:
- Todd Carroll who has been with me since the inception of AL/DD. As executive director, photographer, writer, sound designer, graphic designer, advisor an lover! Your honest and sincere feedback is my daily bread. Your support is my foundation.
- Daniel Pettrow, our theater guru! I started collaborating with him in 2010, for the desire to train myself and my dance in theater and voice. He began by coaching us at first, and has even directed my last show In Pursuit of Happiness, in 2015. Your sensibility, humor and imagery nurtures my creative work.
- Geoff Gersh, for composing the music fro The Garden (2008), and Sangre y Arena (2012). Thanks for deepening our emotional environmental atmospheres.
- Jennifer Johanos, for creating costumes and masks for Pachamama: Mother World (2013) and advising us always. Thanks for being in almost all our shows!!!! Thanks to DJ too (her husband).
- Lauren Ohmer: my choreographic assistant, my right hand, who has been dancing for DanceDrama for nine years. So many adventures, so many rehearsals, and shows and explorations. Many tears and a lot of laughter too. Complicated emotions and hard moments. Respect and friendship. Professionalism and nurturing love. Eternal thanks for believing in my vision and for making it real. Thanks for your creativity and openness.
In 2007, I started an internship program for AL/DD to assist with administrative work, development and promotion. Since then, we trained and guided more than 30 interns: Sarah Isaacman, Patrick Heffernan, Julia Lindpaintner, Brittany Taylor, Brittany Wilson, Melissa Moore, Shreenath Muthyala, Roberto Ventura, Misaki Kawachi, Courtney Kenyon, Sarah Rose, Caitlin Thurgood, Angela Schopke, Lisa Colpa, Jo Leung, Donna Wilson Marizcal, Yoo Yey, Stephanie Frasca, Grace Rezendes, Emily Hedvall, Daniella Garofalo, Olga Dobrowolska, Sandy Shelton, Dawn Paap, Andrea Šamonilova, Veronica Hackethal, Emily Thornton and Tina Wang. I’m happy and proud to have become the adoptive mother, sister, auntie, friend to all these young and talented artists and administrators. My home/office was their home, we shared many meals, coffees and yummy sweets, between office work. They saw me in my duties as a mom in between writing a grant proposal, cooking, changing diapers and doing home work with my kids. Without inhibitions, I exposed myself as a working mom/artist. Many of these interns have their own companies now, or work as an artist or administrator for major companies. Many discovered that dance was not for them, many learn to love dance, many are still coming to my kids’ birthday parties! All of them have my love and sincere thanks for helping me to make the company move!
To my Guardian Angels:
- Michelangelo Alasa, who, since 2012, opened his doors to us repeatedly for creative and magical Artist in Residencies, Works in Progress and performances in DMAC (Duo Multicultural Art Center). And of course for co-producing Sangre y Arena.
- To Gisela for your wise eye and kind words! For believing in me and my work since the very beginning with David.
- To the number 1 fan in our Fan Club: Ben Lee, friend and tanguero (my first Tango student in NYC). Always there to help on set and off. And thanks for driving us to Ikea all these years!
- To Christina Graybard for your friendship and for editing of my book Unveiling Motion and Emotion. Your generosity astonishes me!
- To Julia Lindpaintner, dancer, intern, office administrator, website designer, graphic designer and translator of my book Unveiling Motion and Emotion. Your love, creativity, imagination, dedication and friendship are true treasures!
- To my Friends in our past and present ALDD Advisory Board: Svetlana Mikhalevskaya, Patricia Young, Amy Larimer, Liz Espert, Marji Liebman, Calogero Salvo, Charlotte Patton, Melissa Bernstein, Jennifer Johanos, Muriel Karlin, Tina Graybard and Nichole Spates.
- To my local business supporters who have donated food to cultivate our community and feed the starving artists who come to our Fundraisers and Premieres: Sette Panni Bakery, Sal’s Pizzeria, Fortunato Bakery, Cheers Restaurant, C-Town, Dunkin Donuts, To the World Farm and Edible Arrangements.
- To my artist friends and supporters who have donated for our fundraiser over all these years: HERE Arts Center, Surramics, Alegrias Flamenco Tablao, Annie Rachele Lanzillotto and KIT Italian Theater.
- To Stephen Petrilli, who illuminated and designed the lights for our shows!
- To Kathleen Hines, Kate Ladenheim, Julia Lindpaintner, Misaki Kawachi, Leslie Berman, Katie Clancy, Sarah Rose and Caitlin Thurgood for making the administrative work a pleasure. Thanks for your hard work and for sharing life experiences!
To all the supporters, family and friends for supporting us economically and emotionally. You make this company possible. Thanks for trusting and for being my partner.
To all the people and institutions that believed in us and invited us to be Artist in Residency, where ideas and emotions were challenged, explored and crafted: DMAC (Duo Multicultural Art Center), Dance New Amsterdam, New Dance Group, Envoy Enterprises, Silo (through The Field/Artward Bound program), Envoy Enterprises, The Cave/ Leimay and Chashama.
We are blessed to have received the support of the following Foundations: MATERIALS FOR THE ARTS, NYC Department of Cultural Affairs/NYC Department of Sanitation/NYC Department of Education, Brooklyn Arts Council, Independent Community Foundation, Edward Foundation Art Fund, Puffin Foundation and Rockefeller Brothers Fund.
Places where we often rehearsed or held our DanceDrama Labs: DMAC, CPR, SounDance, Gibney Dance, Culture Hub and The Cave/Leimay. Thanks for making us feel at home, storing our props, letting us play freely. Thanks for providing a roof over our ideas!
Presenters and festivals that hosted us in NY: Baryshnikov Arts Center, Dance New Amsterdam, New Dance Group, Sangeeta, IDACO, Sheen Theater, Young Soom Kim, Dixon Place, Figment Festival, The Bernie Wohl Center, Gibney Dance Center, Movement Research at Eden’s Expressway, MacGuinness Senior Center (part of SPARK program), Alchemical Theater Lab, DMAC- Duo Multicultural Arts Center, Arts In Odd Places/AIOP, Peridance Capezio Center, Casita Maria, Nuyorican Poet Café, City Reliquary Museum, Bronx Museum, Dance Parade, The Cave, Center for Performance Research, Brooklyn, Argentinean Consulate in New York, Movement Research at Judson Church, In Scena Italian Theater Festival, Bluestockings Bookstore, Lehman College, Wagner College, Staten Island, Instituto Cervantes, Hatch Series/The Works Studio, NYC Dance Week, APAP, Alvin Ailey Studios, Roulette, Williamsburg Dance Festival – WAH, Wave Rising Series, Greenwood Cemetery, Little Italy Festival, University Settlement, Green Space, City Center, 100th Anniversary of the Triangle Shirtwaist Factory Fire, DUMBO Festival, 60X60 Dance, Merce Cunningham Studio, 92nd Street Y, Performance Lab/Steps in Broadway, The Rover, Ciao Italy Performing Arts Festival, Collaborations in Dance Festival, The Tank, Gershwin Hotel, Episcopal Actors Guild, Brecht Forum, Bronx Academy of Arts and Dance, Artist for Peace Festival, Crystal Theater ( CT), JCC, Triskelion Arts, SounDance, the cell Theatre, NYU Casa Zerilli Marimo, 3LD Center for Art & Technology, Kumble Theater/Long Island University, FAR Space, WAXworks, North Hills Country Club, Felician College ( NJ), Williamsburg Performance Alliance, Oasis Festival, Abrons Arts Center, Joyce Soho, Studio 111 , Cool NY Dance Festival, Galapagos, Taiwan Center, The Bridge for Dance, La Mama, HERE Art Center and Fordham University.
Festivals and Universities that hosted us in USA: Randolph College (VA), Charlotte Dance Festival (NC), Latino Arts Festival (Atlanta), Reinhardt College (Waleska, GA) and Randolph-Macon Woman’s College (VA).
Venues that hosted us in Argentina: Centro Cultural Borges, Teatro Municipal (B.BCA), Teatro Colon (Punta Alta), Cafe Museo Historico B. Bca, Museo Ing.White, Teatro El Tablao , Museo de Arte Contemporaneo, Centro Cultural e Historico Universidad Nacional del Sur and L’Atelier Centro Creativo de Danza.
***Note: Sorry if I forgot someone – Know that you are deeply appreciated!
10 years exploring how memory and spirituality shape identity. My dance-theater works provoke historical and social consciousness by breaking down the wall between artist and audience.
Thanks again for being my Partner! Anabella
SAVE THE DATE: 10th ANNIVERSARY CELEBRATION of ALDD
Thursday October 20th at 6 PM
at Argentinean Consulate in NYC, 12 West 56th Street
Performance is free to the public, but space is limited and reservations are necessary
To reserve, please contact firstname.lastname@example.org
Choreography by Anabella Lenzu
Direction: Daniel Pettrow
Dancers: Lauren Ohmer, Dina Denis, Sydney Ruff-Wong, Graham Cole & Anabella Lenzu
Posted in Anabella Lenzu/DanceDrama, argentinean choreographer in nyc, Barre a Terre, Beyond the Barre, Dance, Education, Uncategorized, tagged Anabella Lenzu, Barre a Terre, barre a terre in NYC, Dance with Joy, Floor Barre, Peridance CApezio Center, Peridance Center, Professional dance experience on April 26, 2016| Leave a Comment »
Barre a Terre with Anabella
CLASS SCHEDULE STARTING May 4, 2016 / BARRE A TERRE (Open Level)
- TUESDAYS 7:30- 8:30pm
- WEDNESDAYS 10am- 11:30am
- THURSDAYS 7:30- 9pm
- FRIDAYS 10am- 11:30am
All Classes are held at Peridance Capezio Center (126 East 13th Street, between 3rd and 4th Ave)
Barre à Terre: In 2006, I began to systematically teach what I call Structural Barre à Terre. Thinking about what kind of complementary training dancers needed for strengthening, increasing flexibility and sensitivity, and educating their bodies, no matter their technique. My classes are for people who wish to explore and learn about the fundamentals of their bodies’ functionality, bring awareness to their movement and their dancing, learn to use their bodies in service of movement, and become receptive to changes.
On the floor, under the effect of gravity, you become aware of the conscious and unconscious uses of energy and musculature: You can isolate and explore the functions of different parts of the body and their proper use. It takes patience and consistency to achieve an honest and available body. Make the body available. The body is the means, not the end!
Actors, dancers, singers, musicians, painters – everybody can take my class. Although their reasons for taking my class may differ, they all have one reason in common: self-discovery.