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Archive for the ‘Pachamama: Mother World’ Category

ALDD 10th Anniversary Timeline

10 Years, 300 Performances, 12 Choreographic works in 80 Venues.

Inline image 22016 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.

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2015: Premiered In Pursuit of Happiness, performed by Lauren Ohmer and Anabella Lenzu, directed by Daniel Pettrow and music design by Todd Carroll; residency at DUO Multicultural Art Center (DMAC); Unveiling Motion and Emotion was awarded Honorable Mention Best Art Book/ Spanish or Bilingual from the International Latino Book Awards in San Francisco from the American Library Association Conference; book readings at Bernie Wohl Center and Cornelia Street Caffe;International Artist Seminar at Peridance in NYC; Unveiling Motion and Emotion sold 90+ copies, Anabella was a faculty member at Wagner College and Peridance Center and taught 350+ classes. AL/DD hosted the 2nd Year of DanceDrama Lab Workshop Series.
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2014: Re-staged the full-length show The Grass is Always Greener; Residency at the Cave. Four book presentations at Casita Maria, City Reliquary Museum, Nuyorican Poet Cafe and Bronx Museum. 5th Annual AL/DD Summer Intensive Workshop; 1st DanceDrama Laboratory Workshop Series, a year long Dance Theater Laboratory: focusing in Technique & Repertory, Choreography/Composition and Methodology of Teaching Dance. 20th Anniversary of L’ATELIER Centro Creativo de Danza (dance school Anabella founded in 1994 in Bahia Blanca, Argentina); Fellowship at The Cave

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2013: premiered Pachamama: Mother World as an artist in residency at DUO Multicultural Art Center (DMAC) and Envoy Enterprises: first collaboration with Jennifer Johanos as costume designer and Todd Carroll as a music landscape designer. Anabella published her first book Unveiling Motion and Emotion and offered 8 book presentations in Universities, Museums, Bookstores …even in the Argentinean Consulate; Photographic exhibition Unveiling Motion and Emotion by Todd Carroll at DNA (Dance New Amsterdam);Unveiling Motion and Emotion for sale on Amazon! 20 Shows in 15 Venues; 200 Books sold, Interviews in TV and magazines, including NBC, Telemundo, Dance Information, Dance Magazine among others; Active member of The Dance Critics Association; 4th Annual AL/DD Summer Intensive for the study of technique and repertory.
My daughter Fiamma Lenzu-Carroll was born!
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2012: premiered Sangre and Arena with dancers Lauren Ohmer and Julia Lindpaintner, artist in residency at DUO Multicultural Art Center (DMAC) second collaboration with composer Geoff Gersh & second collaboration with Daniel Pettrow; Participating in The Association of Performing Arts Presenters (APAP); 3rd Annual AL/DD Summer Intensive at Peridance Center.
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2011: Re-staging of The Grass is always Greener… at Baryshnikov Arts Center in celebration of the 5th Anniversary of ALDD. Anabella celebrates 20 years of teaching dance! 2nd AnabellaLenzu/DanceDrama Summer Intensive Workshop at Peridance;  Choreographed for a work for the 100th Anniversary of the Triangle Shirtwaist Factory Fire of 1911, one of the largest industrial disasters in the history of New York City; 5th Annual Ciao Italy Performing Arts Festival; Anabella creates a YouTube channel with excerpts and examples of dance from pre-history to contemporary dance.
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2010: premiered, The Grass is Always Greener… and first collaboration with actor and director Daniel Pettrow; Anabella’s Blog opens; 1st AnabellaLenzu/DanceDramaSummer Intensive Workshop at CRS Education/Outreach: Extensive teaching workshops in New York, Georgia, Virginia, and North Carolina: building from my relationships with schools, festivals, and communities. Participated in Association of Performing Arts Presenters (APAP) Conferences. Organized and produced 4th Annual Ciao Italy Performing Arts Festival.
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2009: Premiere of The Corral at Merce Cunningham Studios; 3rd Annual Ciao Italy Performing Arts Festival, in Williamsburg, Brooklyn: conceived as a bridge between the historic Italian community in Williamsburg and the more recent community
of artists who are living and/or working in the neighborhood. We present traditional and Italian-inspired work by contemporary performers and scholars.
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2008: Artist in residency at Dance New Group. Premiere of The Garden: first collaboration with composer Geoff Gersh & second collaboration with photographer Todd Carroll; Brooklyn Arts Council Grants to produce 2nd annual Ciao Italy Performing Arts Festival; first annual Embrace Argentina, an intensive Tango travel experience to Argentina for students and professional dancers; Became an official member of the International Dance Council (CID) through Unesco: Selected as a finalist in the New York Urban Artist Initiative; 25 performances, in 8 venues.
My son Lucio Lenzu-Carroll was born!
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2007: Artist in residency at Chashama; NYC premiere of Ilusiones de Percantas ( Women’s Dreams); Independent Community Foundation produces inaugural “Ciao Italy Performing Arts Festival” ; Guest choreographer for Anna Sokolow DanceTheater Company and New Dance Group Company. Produced three “Prelude to Dance” showcases presenting the work of more than 10 emerging choreographers in Williamsburg, Brooklyn. 50 performances in NY, VA, NC & GA!
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2006: Inception of the company, artist in residence at DNA (Dance New Amsterdam).  First evening-length work: Amen; First collaboration with photographer Todd Carroll. Produced three “Prelude to Dance” showcases presenting the work of more than 10 emerging choreographers in Williamsburg, Brooklyn. 25 performances in 10 venues.

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

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Article by Angela Schöpke  (AL/DD Marketing Assistant)

While watching Anabella and AL / DD dancers continue to recreate and rediscover Pachamama: Mother World, it occurred to me how vital the work’s soundscape is in supporting the emotional journey that Pachamama embodies. The music acts as an integral background to the visual counterpoint of the dancers’ movements. I wondered, what was it like to build an auditory experience that is both derived from an emotional starting point, and that also creates an emotional experience for its audience?

The marriage of music and choreography is no easy problem to solve. Anabella suggests that for her (and to echo the words of expressionist dance pioneer, Mary Wigman), “the solution to this problem is 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.”

Todd Carroll, soundscape designer, very generously took the time to speak with me about his perspective on the collaborative and creative process in designing Pachamama’s sound (thanks, Todd!). In the excerpt from our conversation below, Todd describes what collaboration with Anabella meant for him, his sound inspirations, and his experience of Pachamama’s restaging so far.

What was the collaborative artistic process like when you worked with Anabella on the soundscape for Pachamama?

I’ve worked with Anabella on music several times. For Pachamama, I came up with a sound piece for the first time that she worked on the choreography with dancers. The choreographic piece changed dramatically during the rehearsal process after that, and those changes were then reflected in the sound. Much of the exchange we had during the collaborative process was about thoughts on where the emotional impetus for where the music came from.

Also, sometimes Anabella would say that certain things need to be there, like animal sounds, so I made sure to reference those. Or for example, there’s a section of Pachamama called “Babies,” so Anabella explained its thematic significance and I then chose to add in baby sounds from open sound libraries that weave in and out of the soundscape to reflect Anabella’s thematic thoughts.

You mentioned animal and baby sounds. Were there other sound inspirations you drew upon in developing Pachamama’s soundscape?

Well, Anabella did a lot of research for the piece with some of the last surviving members of the Selk’nam (Onas) before they passed away. Anabella chose to approach creating Pachamama from a standpoint not of recreating the ritual of initiation that the Selk’nam practiced, but rather of using that ritual of initiation as a starting point for her choreographic work.

An important element that Anabella chose to keep, was this idea of the audience watching the performance as though they were the audience for an initiation ritual. They’re coming into see this performance and they leave transformed.

So musically what all of that meant for me, is that there were two musical reference points. There were recordings of one of the last shaman singers of the tribe called Lola Kiepja, which became a very important inspiration for the musical composition that I developed. Lola Kiepja provided the sound world with the only sound recordings we have of the Selk’ Nam experiences. Although no one will be able to understand the lyrics, I think it communicates very clearly the trance state she entered while singing. The heavy repetition and syncopation is a musical device for entering into a trance that can be heard the world over, from ancient music to the contemporary trance music people dance to today. It affords introspection, encourages transformation, and ties us to the past by summoning ritual practice.

The second musical reference point was the musician, Moondog. Moondog is an interesting character. People know him as the Viking of 6th Avenue. Moondog, also uses intense syncopation and was influenced by Native American music and chanting. He also blends in the urban sound of New York City, sometimes inventing instruments in order to get the sound he was looking for. He also had some classical training in his youth so I felt his music was a kind of bridge between those two worlds. Those were my starting points for the sound.

The Pachamama soundscape is like gumbo. Kiepja and Moondog were the raw ingredients, but I kept adding spices and stirring the pot until it tasted right. I used effects and distorted the pitch, or sometimes added reverb to achieve a larger space. I added animal sounds or a riff from Thelonius Monk. It’s a very intuitive process that I worked intensely on, then shared with Anabella to see if was going in the right direction. Often I went too far and the music became muddled. Anabella has a good ear, and through the process we hopefully ended up with something that works for the piece.

Much like Anabella’s approach to the choreography, I tried not to recreate what the Selk’ Nam initiation ritual might have sounded like, rather I tried to give Pachamama a familiar but challenging landscape. We investigate this small corner of history to see how it might connect to us here and now.

What is it like to experience Pachamama being recreated several years later, for a different space, and for a different group of dance artists?

Pachamama as a whole has changed a lot because the dancers are different, so they’re in bringing very different interpretations of the work. Especially important to Pachamama, is that a lot of the dancers’ motivation and expression is very personal. Anabella really expects the dancers to do their homework and to go through the process of finding what it is for them that gives the movement life. She doesn’t tell them where the life comes from, they need to find it.

So there are certain parts that will come to light that I didn’t notice as much before, and some parts that I’m expecting to notice, but I won’t anymore. But what remains true is that Pachamama still hangs together as a piece.

Pachamama: Mother World will be performed at Dixon Place’s FastForward Festival on Tuesday, May 17th at 7:30pm, and on Saturday, May 28th at 7.30pm as part of Sheen Theater’s IDACO Festival. Save the dates and get your tickets!

http://www.anabellalenzu.com/news/

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Pachamama: Mother World

Pachamama: Mother World is an exploration of Dance Theatre inspired by the male initiation rituals of the Selk’nam, a tribe of Tierra del Fuego, Argentina. The performance unfolds like a prehistoric commedia dell arte, moving away from the presentational side of dance and reconnecting with the primal impulses of art.
Choreographer: Anabella Lenzu 
Music Landscape: Todd Carroll
Acting and Voice Coach: Daniel Pettrow
Costume and Mask Designer: Jennifer Johanos
Dancers: Lauren Ohmer, Erik Zarcone, Graham Cole, Hope Parker and Sydney Ruf-Wong
Rehearsal Assistant: Hope Parker
Apprentices: Dina Denis & Cesar Brodermann

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Article by Angela Schöpke  (AL/DD Marketing Assistant)

Welcome to part two of our dancer interviews! You may recall that in part one [hyperlink to pt. 1], apprentices lent some fascinating insight to the intellectual and emotional processes involved in dancing Pachamama: Mother World

In part two, you’ll notice that dancers Sydney, Graham, Erik, and Kara focus on the challenging relationship of the external expression of a character to the internal. What is it like to become a fox? What does it mean to be an enigma (and indeed is it even possible)? What does it feel like to be cuckolded?

In the following dancer comments, keep an eye out for reflections of AL / DD’s philosophy that motion creates emotion, emotion creates motion. As AL / DD inspiration, musician and teacher François Delsartre suggests, “Every gesture is expressive of something…It is preceded by and given birth by a thought, a feeling, an emotion, a purpose, a design or a motive.”

Here’s what the dancers said about their experiences:

“For me it’s about keeping it real, and what’s authentic to me. How do I think I would be if I were a fox, and embody what that is for me? I ask myself, what does a fox look like – how are its physical features? How is its spine? By focusing outward and thinking about what a fox looks like, that translates to an internal embodiment. Pachamama is about what dance can be, and how it can translate cultural history through storytelling. The creative process of Pachamama is allowing me to engage in that question and storytelling art.” – Kara Chang

“It’s one of the first pieces I’ve danced in a long time where I’ve had to develop characters. When I started, Anabella gave us a very brief outline of each character and how they each fit into the original ritual. I’ve used that as a base and have embellished that with my own life experiences. For example with the male erotic clown, I’ve used some of my own sexual experiences as a point of reference to understand the character. With Tanu it feels more a philosophical solo. Anabella describes it as an enigma, so I try to build these moments for myself that really surprise me to find that enigma. And I love that that’s what makes the character so captivating. The unknown. I try to take the physicality of each character and say okay, how does this physical move affect my breathing and my focus. I take that as a cue as to what I’m feeling in that moment, and then I sort of create narrative for myself. I discover so many moments with every rehearsal and know I will keep discovering them.” – Graham Cole

“Because the movement is so evocative and it’s so physical, when you do them you do feel a certain way.  You do feel exhausted, you do feel angry or it inspired your body physically to feel a certain way, so that invents what that piece is about because you’re showing it you’re not acting it. I’m letting the movement engage me in certain feelings.  I love what Anabella says about wanting to see artists discover something on stage, really letting that human movement change you in front of people. When I do these things I do feel changed. The other day when I was doing Koshmenk, I did feel angry by the end of it, or so emotionally exhausted that I almost had tears in my eyes from the sheer physicality of the movement and how intense it was.” – Sydney Ruf-Wong

“When I was auditioning I thought this work was just a mix of so many different styles of dance trying to tell a story, but now that I’m really in it, I realize that it’s more than that. It’s a personal journey to embody each character. This process is really challenging because each one of us [dancers] is more or less sensitive to different characters. Dancing with Anabella is very funny. Each rehearsal, I learn more about myself. I’m usually a closed internally-focused person, but with this raw and striking work I feel more confident in sharing my capabilities and also my challenges with some parts of the creative process not familiar to my background.” – Erik Zarcone

Thank you, dancers, for taking the time to share your thoughts! It’s been such a delight to watch you explore your own creative processes with Pachamama: Mother World, and I’m very much looking forward to seeing you become each of the work’s thirteen characters in your upcoming performances.

Pachamama: Mother World will be performed at Dixon Place’s FastForward Festival on Tuesday, May 17th at 7:30pm, and the full-length work as part of Sheen Theater’s Italian Dance Connection (IDACO) Festival on Saturday, May 28th, 7.30pm. AL/DD will also host an open rehearsal on Monday, April 18th at 7:30pm in Duo Multicultural Arts Center’s theater. Limited seating, RSVP: info@Anabellalenzu.com

http://www.AnabellaLenzu.com

Pachamama: Mother World

Pachamama: Mother World is an exploration of Dance Theatre inspired by the male initiation rituals of the Selk’nam, a tribe of Tierra del Fuego, Argentina. The performance unfolds like a prehistoric commedia dell arte, moving away from the presentational side of dance and reconnecting with the primal impulses of art.
Choreographer: Anabella Lenzu 
Music Landscape: Todd Carroll
Acting and Voice Coach: Daniel Pettrow
Costume and Mask Designer: Jennifer Johanos
Dancers: Lauren Ohmer, Erik Zarcone, Graham Cole, Kara Chan and Sydney Ruf-Wong
Rehearsal Assistant: Hope Parker
Apprentices: Hope Parker, Dina Denis & Cesar Brodermann

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Article by Angela Schöpke  (AL/DD Marketing Assistant)

“My emphasis is on the journey rather than the destination, on understanding the impulses generated by movements and gestures. I am constantly searching for authentic and honest movement. Derived from our most basic impulses, my dances use this principle to examine relationships between the individual and society, exploring communication, identity, memory, and spirituality, the relationship between people and their environment. That was the inspiration for my company’s name – DanceDrama—because for me, dance and theater are inseparable.” – Anabella Lenzu

As Anabella mentions, journey rather than destination is vital to AL/DD work. With  AL/DD’s dancers moving into their second month of rehearsals for Pachamama: Mother World, we were curious about what their creative journeys have been like in learning the choreography, internalizing each of the thirteen different ritual characters, and of course for many – becoming new AL/DD initiates.

Pachamama: Mother World will be performed at Dixon Place’s FastForward Festival on Tuesday, May 17th at 7:30pm, and the full-length work as part of Sheen Theater’s Italian Dance Connection (IDACO) Festival on Saturday, May 28th, 7.30pm. AL/DD will also host an open rehearsal on Monday, April 18th at 7:30pm in Duo Multicultural Arts Center’s theater.

We started by chatting with Assistant to the Choreographer, Lauren, and apprentices Dina, Hope and  César  about their experiences jumping into Pachamama. Here’s what they had to say:

“Having gone through the process [of performing Pachamama: Mother World] once, there’s something familiar about coming back to it. Finding those characters, it almost feels like they never completely went away, I just have to find the place inside me where they are. I’m really glad to have the opportunity to do the piece again, because I feel like whenever you have the chance to perform a work that you’ve done before, you get to explore how far you can take it. You get to dig deeper into the characters and continue to keep them alive, give them more dynamics and more dimension. At the same time, I guess a lot of the process doesn’t feel like it’s changed very much when I approach this work from a performance standpoint. It takes just as much effort as it did the first time  to embody or tell the story of these characters because they are so foreign to us as human beings in present day New York society, where there the characters are acting in ways their New York contemporaries  never would.” – Lauren Ohmer

“I love the ritual behind the movement. I love that Anabella is looking at this ancient ritual and bringing it back into current society. I’m finding such parallels with human morality and behavior today and the rituals that these people did so many years ago. I think I’m somehow channeling these ancient characters, something very ancient in our own collective humanness. It’s almost like bloodline, but it’s this spiritual line, it’s this human line because I think the characters really deal with a lot of raw human emotions that we go through as we grow up, so it makes sense as a rite of passage.” – Dina Denis

“I think that this is one of the most intellectual pieces I’ve had to work through in dance. We have to take a character and become that character. It becomes storytelling. I’ve feel I’ve become a much smarter dancer. It’s a lot of things to think about and understand before doing it. As we work on the piece, I’m noticing more and more that the work is getting more and more emotional. I have to think about the characters every day before rehearsal to prepare myself. I have to think about Koshmek’s different mood swings, about internal energy for the Babies because they’re like rocks. I have to think more about how the character would experience a movement.” – Hope Parker

“Anabella really helps us develop the characters. It’s not only about the steps or the dance – it has a meaning to it. She has this thing called the inner chicken, which means that whenever you’re dancing you have to be thinking about something. So if you need to put your arm here, it’s not just putting your arm there. You’re thinking about why that’s happening the whole time. So it’s really hard, but then everything makes more sense. Everything is more specific.  I’ve never worked with such a strong connection to a character so that I really understand more. You actually discover so many things about yourself that you didn’t know you had.” – César Brodermann

Many thanks, Lauren and apprentices, for sharing your thoughts! Stay tuned for dancers’ Sydney, Graham, Erik, and Kara’s thoughts on embodying Pachamama!

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Dear Friends,
I am so happy invite you to the beginning of our celebratory year commemorating the 10th Anniversary of  Anabella Lenzu/DanceDrama!
For the occasion, I am recreating a seminal work, Pachamama: Mother World and showing some excerpts from last year’s In Pursuit of Happiness.

Five shows coming up in April and May! 
Save these dates and join us!
A hug, Anabella
 
   

In Pursuit of Happiness

In Pursuit is a dance-theater piece that explores the themes of death, memory, disappearance, and hope through a collage of juxtapositions.
“I want the happiness that comes from both remembering and from fighting against remembering. A happiness that includes the sadness, pain and injury of experience but also goes forward. Not memory that works like an anchor, but like a catapult. Not a memory that you just arrive at, but one that’s a launch pad.” Eduardo Galeano
In Pursuit of Happiness is an ongoing daily memory trip to remember and honor Mrs. Lenzu’s father, Antonio, who served as her guide and scaffolding. 
Choreography: Anabella Lenzu
Direction: Daniel Pettrow
Dancers: Lauren Ohmer & Anabella Lenzu
Music Landscape: Todd Carroll
Photo Projections: Anabella Lenzu
  • Thursday, March 24 at 7pm at The Tank (151 W 46th St, 8th fl.). Anabella will be the guest judge for xyz nyc  and gives feedback to each of the choreographers selected for this festival.We will also present a 15 minute excerpt from In Pursuit of Happiness. Tickets $10
  • Sunday, April 10 at noon at Dixon Place (161A Chrystie Street, NY 10002): Celebration of the 30th Anniversary of The Field. We will present a 15 minute excerpt from In Pursuit of Happiness. Tickets $15

Pachamama: Mother World

Pachamama: Mother World is an exploration of Dance Theatre inspired by the male initiation rituals of the Selk’nam, a tribe of Tierra del Fuego, Argentina. The performance unfolds like a prehistoric
commedia dell arte, moving away from the presentational side of dance and reconnecting with the primal impulses of art.
Choreographer: Anabella Lenzu 
Music Landscape: Todd Carroll
Acting and Voice Coach: Daniel Pettrow
Costume and Mask Designer: Jennifer Johanos
Dancers: Lauren Ohmer, Erik Zarcone, Graham Cole, Kara Chan and Sydney Ruf-Wong
Rehearsal Assistant: Hope Parker
Apprentices: Hope Parker, Dina Denis & Cesar Bordermann
  • Monday, April 18 at 7:30pm at DMAC (62 E 4th St, New York, NY 10003): Open rehearsal of Pachamama: Mother World. Limited seating. Free Admission. RSVP: info@anabellalenzu.com
  • Tuesday, May 17 at 7:30pm at Dixon Place (161A Chrystie Street, NY 10002) as part of the Festival Fast Forward: We will present a full length performance of Pachamama: Mother World. Tickets are $15 in advance, $18 at the door
  • Saturday, May 28 at 7:30pm: IDACO Festival at Sheen Theater (18 Bleecker St, New York, NY 10012): We will present a full length performance of Pachamama: Mother World. General Admission: $25/  Students $15

http://www.AnabellaLenzu.com

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Re-creating Pachamama: Mother World  in Honor of AL / DD’s 10-Year Anniversary

Article by Angela Schöpke  (AL/DD Marketing Assistant)

Anabella Lenzu/DanceDrama is getting ready to celebrate its 10th anniversary as a company through recreating its seminal work, Pachamama: Mother World.

Pachamama: Mother World was first choreographed by Anabella in residence at DUO Multicultural Arts Center (DMAC) and Envoy Enterprises, NYC in 2013, and the company is excited to be rehearsing the piece back at DMAC from February-April of this year. The piece will be performed by Lauren Ohmer (Assistant to the Choreographer), Graham Cole, Erik Zarcone, Kara Chang and Sydney Ruf-Wong. Hope Parker as a rehearsal assistant and dancers Cesar Bordermann and Dina Denis will support the performance as apprentices.

AL/DD will host an open rehearsal on Monday, April 18th at 7:30pm in DMAC’s theater. The company will then perform a thirty-five minute excerpt of the piece at Dixon Place’s FastForward Festival on Tuesday, May 17th at 7:30pm, and the full-length work as part of Sheen Theater’s Italian Dance Connection (IDACO) Festival on Saturday, May 28th, 7.30pm.

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Why Pachamama?

Pachamama: Mother World is an exploration of Dance Theatre as well as an anthropologic study of male initiation rituals of the Selk’ nam (Onas), a subgroup of the Tehuelches tribe that inhabits the southern tip of Tierra del Fuego, Argentina. The male initiation rituals of the Selk’ nam are celebrated annually, lasting anywhere from three months to almost the entire year.  These rituals have three main functions: initiating boys to adulthood; passing on heritage and cultural legacy of the tribe through sharing songs, spiritualism and religious knowledge; and entertaining the tribe’s women.

Pachamama: Mother World’s performance unfolds like a prehistoric commedia dell arte.  Thirteen characters participate in ten specific rites within the larger ritual of initiation. The rituals, as well as the performance, make use of masks that give the characters superhuman power.

With the 10th anniversary of the company, Anabella is expanding AL/DD to include more dancers. AL/DD was pleased to select a group of four new full company members and three apprentices at an audition held on February 7th at Peridance Capezio Center. New dancers come from the U.S., Mexico, and Italy and have diverse training backgrounds ranging from Juilliard to Joffrey to the North Carolina School of the Arts.

Pachamama: Mother World will act as an important platform of departure for AL/DD’s new dancers to be initiated as members of the company. “We use masks to explore identity,” shares Anabella, “The dancers need to pass through thirteen different masked characters. As they do, each archetypal mask reveals something about the dancer.” 

These thirteen characters describe a range of archetypal narratives, which I’ll take the license to list below as I find that seeing them all in one place reveals the simply incredible breadth of life each dancer must explore as part of his or her initiation. These characters include: Babies( K’terrnen), Cuckold (Koshmenk), Drunk Couple (Hashe and Wakus), Mafia (Shorts), Erotic Clowns (Los Hayilan), Medicine Man / Shaman (Olum), Enigmatic Creature (Tanu), Mother Earth (Xalpen), Prostitute (Kulan), Warrior (Halahaches), The Invisible Foxes (Waash-Heuwan), The Elegant Clowns (Ulen) and The Dancer (Matan)

Each of these characters has an important function in the Selk’ nam ritual as well as in AL/DD’s study thereof. For example, when Selk’ nam men would perform as Babies, they were responsible for communicating with their all female audience whom the community felt were good or bad wives and mothers through the action of advancing or retreating respectively. As such, the Baby played an important role in teaching community values. AL/DD’s engages these ideas deeply through its study of each masked character.

In a move away from the purely spectacular and presentational side of dance, Anabella’s work takes the opportunity to reconnect with the primal impulses of art, creation, communication, identity and celebration. 

Jennifer Johanos has made all masks and costumes, which were created entirely with materials donated by Materials for the Arts/NYC Department of Cultural Affairs/NYC Department of Sanitation/NYC Department of Education.

Daniel Pettrow, a long-time collaborator with AL/DD, is engaged as voice and acting coach with the dancers, and Todd Carroll has composed and recorded Pachamama: Mother World’s music landscape.

*****Pachamama was developed at DMAC through a space/rehearsal grant to Anabella Lenzu and Envoy Enterprises/ Jimi Dams and funded in part by generous grants from Edward Foundation Arts Fund and Rockefeller Brothers Fund.

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