I will show a 15 minute excerpt of a new choreographic study entitled “No more beautiful dances”.
Archive for the ‘todd carroll photography’ Category
Posted in Anabella Lenzu/DanceDrama, Art and Politics, todd carroll photography, Uncategorized, tagged Anabella Lenzu, Anabella Lenzu?DanceDrama, Baruch College, Beautiful, becoming a mother, being an inmigrant., choreographic study, Choreography, Dance Festival in NYC, Dance In NYC, Dance Performance, DanceDrama, DanceTheater, IDACO festival, IDACOnyc, Jennifer Johanos, No more beautiful dances, Performance Art, Photography, Todd Carroll, vision of femininity, woman on April 20, 2017|
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, 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, Pachamama: Mother World, todd carroll photography, tagged Anabella Lenzu, Anabella Lenzu /DanceDrama, Angela Schöpke, Cesar Bordermann, Dance in New York, Dina Denis, Dixon Place’s FastForward Festival, Duo Multicultural Arts Center (DMAC), Hope Parker, Italian Dance Connection (IDACO) Festival, Lauren Ohmer, Todd Carroll, Unveiling Motion and Emotion on March 20, 2016| Leave a Comment »
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!
Posted in Anabella Lenzu/DanceDrama, Art and Politics, Education, Higher education in Dance, In Pursuit of Happiness, Pachamama: Mother World, todd carroll photography, tagged Anabella Lenzu, Anabella Lenzu?DanceDrama, Cesar Bordermann, Daniel Pettrow, Dina Denis, Dixon Place’s FastForward Festival, Duo Multicultural Arts Center (DMAC), Eduardo Galeano, Graham Cole, Hope Parker, In Pursuit of Happiness, Italian Dance Connection (IDACO) Festival, Jennifer Johanos, Kara Chan, Lauren Ohmer, Pachamama, Sydney Ruf-Wong, The Field, The Tank, Todd Carroll on March 16, 2016| Leave a Comment »
Five shows coming up in April and May!
Save these dates and join us!
In Pursuit of Happiness
- 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
Music Landscape: Todd Carroll
Acting and Voice Coach: Daniel Pettrow
Costume and Mask Designer: Jennifer Johanos
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: email@example.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
Posted in Anabella Lenzu/DanceDrama, argentinean choreographer in nyc, Education, Pachamama: Mother World, todd carroll photography, tagged Anabella Lenzu, Angela Schöpke, Argentinean Choreographer, 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), P, Cesar Bordermann, dance drama, Dance In NYC, DanceDrama, Daniel Pettrow, Dina Denis, Dixon Place’s FastForward Festival, Duo Multicultural Arts Center (DMAC), Edward Foundation Arts Fund, Envoy Enterprises, Envoy Enterprises/ Jimi Dams, Erik Zarcone, Graham Cole, Hope Parker, Italian Dance Connection (IDACO) Festival, Jennifer Johanos, Kara Chang, Lauren Ohmer, Materials for the Arts/NYC Department of Cultural Affairs/NYC Department of Sanitation/NYC Department of Education., Pachamama: Mother World, Rockefeller Brothers Fund., Selk’ nam (Onas), Sheen Theater, Sydney Ruf-Wong, Todd Carroll on March 9, 2016| Leave a Comment »
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.
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.
Posted in Anabella Lenzu/DanceDrama, argentinean choreographer in nyc, Dance, Education, todd carroll photography, Unveiling Motion and Emotion, tagged Anabella Lenzu, Anabella Lenzu?DanceDrama, Argentina, Argentinean Choreographer, Courtney Kenyon, Dance Performance, Daniel Pettrow, In Pursuit of Happiness, Lauren Ohmer, The Alchemical Theater Lab, The creative process, The Creative Process vs. The Grieving Process, The Grieving Process, therapeutic, Todd Carroll on October 5, 2015| Leave a Comment »
Article by Courtney Kenyon (AL/DD Marketing/ Development Intern)
When Anabella Lenzu began this process in March of 2014 after the passing of her father, she had no idea what the end result was going to be, or what the product was going to become. Anabella began to ask herself how she was going to get to the heart of what she was feeling. So she began to write, and reminisce. With the material Anabella was able to come up with, there could be four or five more shows to include everything.
The creative process is quite different from the grieving process, however there are times where we find that they intertwine. When Anabella began working on this piece the two were tightly connected. The show was therapeutic. She began writing down stories, some important with strong moral endings, some bittersweet or light hearted. She wrote anything and everything even if it was painful, because this was what she wanted to give to her dad. As the process continued however, Anabella found that the two were no longer connected. Though she creates for herself because she needs to feel it, the work is not just about her, but it’s about anyone who has suffered loss. The show became less therapeutic and Anabella soon approached it technically. As she worked, the piece became about generosity. She became aware that there would be people watching the piece and wanted to give them a way to cope with something they might be going through personally.
Anabella and I spoke of the short time she lived in Italy between 2002 and 2005. She remembers the mourning dances. These were rituals that dated all the way back to Ancient Greece. Female dancers or actors of sorts would come and dance around the home of a family who had just lost someone, similar to an exorcism. They would try and cure the family’s grief by helping them to understand life and death. In Pursuit of Happiness has become Anabella’s own contemporary mourning dance, and she has really enjoyed exploring ‘the function of dance as a ritual’ the way it was used in ancient Italy and Greece.
Another therapeutic piece of this endeavor was the music. The tracking for the show is comprised of some of Anabella’s father’s favorite songs, environmental sounds, and a few other special sounds. One of the special sounds you will hear in the performance is a short song that Anabella’s father taught to her when she was just a young girl that you will hear a recording of her trying to teach it to Lauren, her dancer. Another special soundbite you might catch is the sound of her father’s printing press. Anabella was able to travel to Argentina and record the many sounds of her father’s shop. So what you hear is not just a door shutting, it is the door of his shop shutting, and it’s his printing press, and it’s his paper running through the machines. It gives the piece a much more authentic feel. It was a very ‘tangible way to document his printing in the show’.
Make sure you come see In Pursuit of Happiness Friday October 23-Sunday October 25 (8pm shows) at the Alchemical Theater in NYC. Limited seating! You can purchase your tickets online. https://web.ovationtix.com/trs/pr/951784