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Article by Courtney Kenyon  (AL/DD Marketing/ Development Intern)

Anabella Lenzu’s grandfather decided to move to Argentina after World War II. He packed up and became a construction worker. His son, Ms. Lenzu’s father, knew construction wasn’t the life he wanted, so at age 18 he developed his own printing shop. This kind of hard work is what Anabella has used as inspiration for her newest piece. Her father and her Grandfather knew hard work, just like dance is hard work.  Anabella grew up around construction sites and her father’s print shop. She learned how to lay brick, build walls, and how to work with the printing press from watching her father and grandfather, all while dancing since the age of four. Young Anabella lived in a world of texture.

At the start of their process, Anabella and her dancer, Lauren Ohmer, began to research how to build a wall, how to lay bricks and how to mix cement. As they explored, the choreography became instructional, like the videos. As Lauren is very precise and technical with her movements, she was able to improvise like ink flowing through a printing machine. Lauren was able to become the ink, or become the texture of the sand and lime.

While improvising in the studio, between March of 2014 and March of 2015, Anabella and Lauren began to create phrases, and experiment with changing directions and trying movements backwards or upside down. This is not a piece full of miming, but it’s about the abstraction about this idea and the feeling of building a wall and the feeling of printing with real ink. This is not a piece where you will see Lauren acting out the process of any of these jobs.

Anabella tells me she “never worked this instructionally in [her] life”, however, she realized how parallel this style of choreography is to her teaching job. “Building choreography and building technical dancers is like building a wall” with all its layers. It is all a metaphor. Through this process Anabella discovered she is a very technical choreographer. She worked with every angle of this piece and would improvise different feelings and emotions for hours with Lauren, and only a minute of this work would make it to the final product. Movement is the center of this piece. When all the layers come together and everything is changing around Lauren while she’s dancing, the movement stays intact.

During their many months at Duo Multicultural Arts Center (DMAC), Lauren and Anabella had been experimenting with paper and masks but it simply wasn’t working. Once Daniel Pettrow, the director, stepped in, he had Lauren kick and rip and tear the papers to shreds to the music, and Anabella found her inspiration. She broke into tears as Daniel was able to put into movement, what she wasn’t brave enough to feel herself. Anabella is never one to get angry, so this raw emotion was quite new to her, but helped her to shape her entire piece. The next day after one hour of work she was able to set the entire piece with Lauren. Those four minutes with Daniel’s guidance sparked something in her that was exactly what she needed.

This piece is not about imitation or how Ms. Lenzu felt when she lost her father, though she can remember his movements quite clearly. This is a piece filled with personal secrets, feelings and movements that can be understood universally.

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

Choreography:  Anabella Lenzu

Direction: Daniel Pettrow

Dancers: Lauren Ohmer & Anabella Lenzu

Music Landscape: Todd Carroll

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This past week I had the opportunity to sit down with dance teacher, choreographer, and author Anabella Lenzu to discuss the development of her second book, Meaningful Gestures: Inner Thoughts and Outward Expressions. Anabella has been teaching younger generations of dance artists for over 25 years, and as she develops her creative process for writing her new book, she is bringing new depth to educating dancers.

Meaningful Gestures: Inner Thoughts and Outward Expressions is a companion to Anabella’s first book, Unveiling Motion and Emotion. While Unveiling was about Anabella’s inspirations, her highs and lows, stories of dance adventures, teaching methology, and insights, Meaningful Gestures will serve as a more direct educational guide for dancers as they discover their artistic path.

Anabella’s creative process for developing material for Meaningful Gestures displays her deep-rooted passion for educating people about dance technique and craft. Anabella has been engaging in thoughtful conversation with her students, discussing specific aspects of dance technique. This process of discussion allows for inquiry from the students. The students ask questions, Anabella answers them and together they use critical thinking to develop strong ideas. This process has been fruitful for centuries (just take a look at the ancient Greek philosophers) and is a beautiful way to impart knowledge today. As Anabella gleans from these conversations, she is able to write articles about the topics from a more personal and profound standpoint.

Anabella has written 32 articles since she began her process in October of 2014 and continues to write a new one every week and a half or so. These articles, which will later be divided into chapters, cover a myriad of topics and will aid young artists in finding their voice artistically and aid them in accessing their unique physicality. Anabella is working on visual aspects of the book this summer and is looking for models with different physiques, ethnicities, and dance backgrounds. Her husband, Todd Carroll, is supporting this portion of Meaningful Gestures, by photographing the models as they display various forms of dance technique. It is important to have dancers of different body types to display effective alignment regardless of shape, size and weight. Therefore, dancers of all backgrounds can relate to the material in the book. Further supporting the photography, Anabella is in search of an illustrator who will draw vivid diagrams of the muscles and bones, to provide imagery that is helpful for dancers to understand the inner support they are receiving from their bodies.

As Anabella continues to teach multiple dance classes a week, raise and entertain her two young children, as well as prepare her dance company for a premier of a new work this fall, the projected completion of Meaningful Gestures: Inner Thoughts and Outward Expressions is but two years away.

As a dancer myself and after reading Unveiling Motion and Emotion, I am looking forward to the completion of Meaningful Gestures. It will serve as a beneficial guide and reference, a continual resource, to deepen and understand the dancing body.

Article by Caitlin Thurgood (AL/DD Marketing/ Development Intern)

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Over 50 percent of New York City’s immigrants are women.

Despite the vulnerabilities and barriers they face, young women immigrants are making important contributions to New York City’s society and economy every day.

Thanks so much New Women New Yorkers – NWNY​, Arielle Kandel​ and Jahaida Hernandez Jesurum for the interview on your blog! An amazing Organization that we need to support!

http://www.nywomenimmigrants.org/meet-anabella-lenzu-dancer-teacher-writer-mother-immigrant/

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Dear Friends,

As 2014 comes to a close I am reaching out to you for your help in producing a new show and writing a second book. For over 24 years, I have been teaching around the world. I deeply appreciate the support you have shown me over the past 8 years of my artistic development in New York City. 2014 has proven to be another remarkable year, and 2015 looks to be even more exciting with your continued support. I can’t wait to share it with you!

In 2013, I published my first book with your continued support. After the success of my first book Unveiling Motion and Emotion, I am looking forward to creating another resource for the dance community. Unveiling has already gathered a strong following

“It is a book that I will return to again and again for inspiration about dance, art, and for general guidance about how to create a genuine, fulfilled, and fully realized life.” Veronica Hackethal

“Anabella Lenzu is a life changing teacher– now we know why” DanceReader

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It is imperative that I build quickly on my success and deliver this resource to my readers. Universities such as RAD (School of The Royal Ballet in London), K-State University, Syracuse University, and others have already picked up this resource for their school libraries and it continues to fill a niche for bilingual artists. I self published Unveiling with your support and distributed it through Amazon. I am already in conversation with a number of publishing companies as I move forward with my second book, Meaningful Gestures: Inner Thought and Outward Expression, but this process is expensive and time consuming. While my team is hard at work, I turn again to you, my invaluable friends and supporters, to help us bring our dream to fruition.

 I am writing Meaningful Gestures as a companion to my first book, Unveiling Motion and Emotion. My first book was a memoir that shared my experiences as a dance artist; Meaningful Gestures will be a deeper exploration of training, and artistic realization. My philosophy is that the journey is the destination – one must bring as much focus and energy to training as to performing. My second book explores:

Basic exercises, visualization exercises, active imagination and artistic application, technique as a philosophy and technique as a theory, body as an instrument: alignment isolations, gravity, verticality

Teaching in three languages has had a profound effect; I have found clear explanations, metaphors, and stories that communicate my approach to training.  This text will be accompanied by Todd Carroll’s photographs and drawings to illustrate the excises.  I look forward to your continued support as I move forward in this process and to sharing this resource with you in the new-year.

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I am also continuing to work on my newest piece In Pursuit of Happiness… which will be premiering in 2015 at DUO Multicultural Arts Center. I look forward to seeing you there! This show is an ongoing daily memory trip to remember and honor my dad Antonio. He was my guide, my scaffolding and a lot of fun. I miss him terribly!

“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. Memory works not like an anchor, but like a catapult. Not a memory that you just arrive at, but one that’s a launch pad.” – E. Galeano

 I have been hard at work in the studio with my dancer, Lauren Ohmer, acting and voice coach, Daniel Pettrow, and music landscape designer, Todd Carroll. While we are already deep in our process, we need your continued support to see this work fully realized.

As you know, producing a new show and creating a new book comes along with many costs; I’ve listed below how your donation will directly help us with these projects.

AnabellaLenzu_ToddCarroll_2014-1 Practice makes Perfect I:

$2,500 will cover rehearsal expenses for an entire show

Be our Graphic Designer:

$1,000 pays for the graphic designer for a book

Be our Photography Assistant:

$500 covers photography costs for the new book

Shipping out:

$250 covers shipping, postcards, and postage costs

Be our Wardrobe Assistant:

$100 pays for the fabric of one Costume

Be our Publishing Assistant:

$50 “Unveiling Motion & Emotion” printing & design cost for one book.

Practice makes Perfect II:

$20 pays for one hour of rehearsal

Donations are tax-deductible through our fiscal sponsor, The Field, a 501(c)(3) not-for-profit organization. ** If you are unable to contribute financially, we also appreciate donated goods, services and volunteers. All donors are acknowledged on our website and in our newsletters.

Please help us as we move forward with our plans for 2015!

Any donation helps us reach our goals. I look forward to hearing from you and seeing you at our upcoming events.

 As a choreographer, I celebrate, meditate, respond, protest, scream, cry, and laugh about life through dance. When I write, I have a civil, moral responsibility. I need to express ideas clearly and transparently, whereas when I choreograph, I can go into my darkest corners to explore why I dance. Putting these words on paper forces me to be honest with myself.

A Hug, Anabella

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What the critics have said about Unveiling Motion and Emotion

  • ” Lenzu has chosen—or been chosen by—dance as her investigative framework because, as her opening essay is titled, “dance underlies all that I am.” This boldly provocative collection of writing should be in every dancer’s personal library.” – 4Dancers.org, USA
  • “Most inspiring is a list of lessons she’s learned from Dance (“To witness small miracles,” To embrace change,” “To celebrate life”) – Dance Magazine, USA
  • “Her writing is visceral and filled with insights that distill from deep intense reflection and research housed in her ‘thinking body'” – Attitude: The Dancer’s Magazine, USA
  • “All in all, Anabella Lenzu’s “Unveiling Motion and Emotion” is a refreshingly vulnerable literary statement, and a great addition to your summer dance reading list.” – Heather Desaulniers, USA
  • “Whether writing, leading a class or staging new choreography, Lenzu’s mission remains the same: to foster a more mindful, more kinetic, more connected dance community — and to keep moving with meaning for years to come.” – Dance Informa, USA/Australia
  • “Ms. Lenzu has a deep and broad background in dance, and a joy in a life of dance, that comes across clearly. ” Exploredance
  • La Nueva Provincia -in Spanish (Argentina)

Televised Interviews:  

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Masters in Dance vs Professional Experience

By Anabella Lenzu

Titles are titles, papers are papers, but if you truly know your field, you know it.

It doesn’t matter what title you have. Artists feel obligated to pay approximately $40,000 dollars to enroll in a master’s in dance degree program, because they need to find stability, a home, time to research,  and learn the tools to be able to explore, develop and create their art and craft. Enrolling in a master’s program is a luxury that not everyone can afford. Do we need to participate in this system to be valued in this society?

To help illuminate (or obscure) the idea, I invited a few important personalities in the dance field to share their opinions. Join us in the debate, and let’s work for a better dance community.

What happens to the formation of dancers around the world? Is college the place where an artist forms and develops? Is it in the small academies, in the open studios, in the small companies or large dance groups? Dancers, teachers and choreographers travel the world to learn, practice and experiment, not always in the universities.

Silvana Cardell from Georgian Court University, New Jersey said: “The role of colleges in the dance field is mainly to give dance a status in the major scheme of things. This is a field where they fit scholarly work, people write, people document work. The art has a certain evolution and the university has been the one that makes archives about this work. I guess the degree is a certification, something you have to have. The Board of Education requests that anybody that teaches in Universities has to have some sort of a degree somewhere, but also you have to have the experience.”

James Martin from NYU/TISCH said: “I think  graduate schools and certainly undergraduate schools can help somebody to focus on who they are, what they can do, what they want  to do, and be able to have a  better idea of where to go and how to approach it.” 

Do you need to go to a university to be an artist?  Can you achieve excellence outside of higher education? Did Baryshnikov, Martha Graham or Doris Humphrey, to name a few, study in a university?

James Martin said: “You can get it as an autodidact. You can be an autodidact but it’s very difficult. It’s not for everyone. Not everybody can do it or not everyone has the discipline to do it. It’s limited. When you’re an autodidact, what could happen is you’re limited to what you know, who you know. When you’re in education with other people and you’re interacting with other people -then your field is so much more open in terms of what you’re going to learn and how you’re going to understand what the breadth of the field is. I’m not saying it’s impossible to be an autodidact, but it’s much more difficult and can certainly present problems.”

Amy Larimer from Lehman College/CUNY said: “The training extends far beyond college. I don’t think that four years is enough on its own but I think it’s definitely an important thing in conjunction with the training that goes on for a longer period of time.”

To have tenure in an academic environment has strong appeal. It means getting insurance, economical stability, getting a sabbatical and getting support. In New York City,  what other option does a teacher have?  At open dance studios in NYC, a teacher gets paid about $5 per student per class! Miserable.

Silvana Cardell said: “I have more problems when the university wants to hire everybody part-time so they don’t pay. That’s my problem. I feel it’s a problem because it’s using people, not that the university wants higher standards for their programs. There’s competition and that’s okay. What I have a problem with is most universities prefer to hire minimum part-time people so they don’t pay benefits – that is a bigger problem. You can fight less about that and believe it or not that is almost unquestionable. You fight about that to your superiors and they don’t do anything about it. If it is something academic, like a person that I really want they may bend the rules hire a guest artist as non-tenure for example. That’s possible at least where I work. It’s very particular with each university and I’m sure other places have different policies.”

How do we connect the real world to the academic world? Through teachers. Dance in universities is supposed to give you a taste of what is in the world by real artists who have experienced the life of a dancer!

Sara Rudner from Sarah Lawrence said: “Just because you’ve been a performer doesn’t mean you are ready to be teacher. I’ve seen that too. I don’t know what “real experience as an artist” means as opposed to unreal experience. It’s a moving target for me.”

Amy Larimer said: “ I need to become a better advocate for dance because there still are a lot of misunderstandings. People really love dance and I think that people want to be supportive.  I just think that there are a lot of misunderstandings about how dance is taught. For example, there was a modern class where we’re going to teach an extra hour and add another credit. Someone asked me, ‘But, is there enough information in Modern to warrant adding that extra hour?‘   …as if we were going to run of material or things to teach. I feel like people are willing to listen but I think that there is a little bit of learning on my part to communicate what I believe is important about dance.  I feel that I have to get a little bit better about translating that into an academic language that people will understand. There are still misconceptions about dance, and it’s deep because there is still this division in a lot of Western thought which is that the university is about the separation of the mind and the body. There’s a practical application of getting the curriculum across but there’s also this broader devaluing of body knowledge in general over mental knowledge. That comes up in general tenure and things like writing instead of practice.”

Tanya Calamoneri, PHD in dance said: “I know people who got jobs coming straight from a MFA program who didn’t have any professional experience. But, most of what I see is that the people who get the jobs have some named company on their resume.  I think that most colleges are still looking for a national reputation or at least a regional one and people don’t have that coming out of school. I don’t think it’s a good model. I don’t think you can teach if you haven’t done it in the real world. I don’t want to learn from someone who hasn’t actually tried to produce work. Teaching is one way to survive as an artist but you have to continue to produce if you’re going to do that. “

Art and artists are not disposable, like most of the things in this country. Art is supposed to work directly with creativity, values and principles of people. In part, teachers are meant to be models for the students, to show what it is to be a citizen that cares about society. Art is supposed to create citizens of the 21st century that value life, who become better people.

Sara Rudner said: “I was just talking to an Australian friend of mine who’s had years and years and years of experience as a professional and as a teacher. Her university in Australia is saying, ‘Sorry, you don’t have a degree, so we’re going to hire someone who’s ten years younger than you because they have a degree.’ This is an abusive system.” “When you enter a master’s program you are more likely to be exposed to different approaches to your field, to dance. You are more likely to be in a situation where you can have conversations. We love what we do, so we do it. Sometimes what we do is understood or accepted in our schools, but not in our art communities. That doesn’t mean we should stop doing it. “

Tanya Calamoneri said: “I think in some ways a MFA program is more valuable than a PHD if you want to make work. I think it should be a combination of MA and MFA or even a MA and PHD together that is focused on creative work. I think a PHD in dance, if you want to make work, is tricky degree to have. If you want to get hired in the PHD world, you have to want to write. I like writing and I am a decent writer but you really have to want to publish at least once a year.”

Amy Larimer: “There is a lot of be learned about our culture by the way that dance is responded to within an academic setting. I think that it teaches us a lot about what we value.”

The business of universities is selling titles. Before, a bachelor’s degree was enough, now a master’s is often not enough as some jobs even require a PHD just to apply. I understand the game, but does this really apply to the career of a dancer or choreographer? Universities are needed for preparation for real life now more than ever.

Sara Rudner said: “They think that if someone has a master’s in dance, they are more hirable and desirable than someone who had a long career. This is problematic.   You can be as committed in a master’s program as in “professional experience”. I’ve also had masters’ students who have just been dumb, passing by the opportunities.  When people come to Sarah Lawrence for their masters and ask me, ‘Am I going to get a job?’  I just say, ‘It’s highly unlikely.’ You should be studying because you want to gain some knowledge. That’s why you should be here and we will pile as much on you as we can. We’re going to be as demanding as we can.  Ultimately, it depends who the individual is, how ego driven they are, what their sense of reality is.”

Silvana Cardell said: “The degree could give you stability for later on in your life, but no one is going to give you a position just with a degree. I hire people and I see a difference between somebody that has had training, the bachelor’s degree in dance, and a master’s degree. Also to navigate the system you don’t have to fight certain things.  They mold into the system easier. I know artists that do this and artists that don’t. Once they get a job at a university and get tenure, some people don’t do anything else, but there are very few people that do this. To get hired without a degree, you have to have significant experience. I wouldn’t be able to fight getting the position full time. The system bends, but it is a problem.  The system fights me.

Tanya Calamoneri said: “John Sexton, NYU president is all about how the university is the home of the artist. It’s the new generation and about how New York should become this new home. I thought, ‘Perfect’. I’m going to get my degree. I’ll eventually teach because I’ve been out in the world working for fifteen plus years and I have something worth giving. Well, I’m sorry but there are people that are not going to get hired and the money isn’t there. They don’t really understand what the dance world needs. I think they just say, ‘Oh, we’ll get a studio and a couple of great professors.’ I also feel like they’re not really teaching people how to be  entrepreneurs or how to survive in the world.” “ I think that universities are businesses and they’ve become more and more so. I think it’s really hard for an artist to find a home in that. It could be. It’s a good place because there are people who are interested in creative inquiry and thinking, trying things, and failing. It’s a different kind of environment than the capitalistic one we live in, but it’s not that different. “

Can we teach talent? What is the role of colleges in the dance field? Is there a place for someone like you or me? If the university does not value my interest, commitment and passion for dance, who does?

Silvana Cardell said: “The universities want to say we have this one, and that one, and that one. That’s how you build universities and whoever is in universities. So, if you have an artist that has a name in the world of dance you might be able to hire them. Maybe they will be hired as a guest artist not as tenure track because the universities have this accreditation that they have.  They have to follow certain rules to keep their accreditation.”

James Martin said: “There are cases where somebody has a great deal of pedigree. Let’s say they’ve been in major companies and they’re coming from that kind of situation or they have developed themselves and developed a name for themselves as an independent choreographer but they don’t necessarily have big degrees. Those people can get hired. Those are the special instances.”

Elizabeth Keen from Juilliard said: “At Juilliard, it is not required that you have a master’s to teach, because they want people who have the knowledge. At Juilliard I would be very surprised if there is anyone on the faculty who hasn’t had professional experience. Now there are people who also have college degrees and who have master’s degrees. That is not why they are being hired. They are being hired because they know their stuff. Larry Rhodes, who runs the department, never had a degree. Ben Harkarvy who ran the department never had a degree.”

If we don’t protect the dance intellectuals, where is the state of dance headed?

Elizabeth Keen said: “I  think that you can hide in an educational system by playing your cards right, and then you pass through with half the knowledge, but I don’t think that’s good. My message is there are many roads to Rome.  Some people can go through a system and be stultified by it and another person can go through the same system and benefit from it. A certificate can mean everything and can mean nothing. If you’re hiring, each case has to be judged separately.  Some places say “You must have this, and you must have that” and there are superb teachers who don’t get hired because the particular school makes no exception for experience in the field, which is a little ridiculous.

James Martin said: “There can be people who have a really special talent and a special connection to the material and have through their own journey and their own path done a great deal of professional work, really know a lot, and have a lot of really valuable information. It’s a shame if those people get passed over but I think often it can happen. We’re trying to get our students to ask themselves the big questions about what it is to be an artist, what it means to be an artist. What is the orthodoxy of the time? How do I challenge that orthodoxy?”

Tanya Calamoneri said: “When people tell me that they want a PHD I go, ‘Why do you want your PHD?’ I think if you want to teach then great. I love to teach and I am having a hard time finding a job so, I don’t think it’s necessarily the route for everybody. I think you have to want to teach and you also have to want to publish or you dance in a major company with a major name. Beyond that, getting a PHD, in my opinion, is like a luxury at this point. I have a lot of debt and I had a great education. I have a lot of great respect for the people that I studied with and they’re not paying my bills. It’s a double edged sword having a PHD.  It’s a lot of work, so I don’t think it’s necessarily the best thing for everybody.”

I want to be part of the system that values sacrifice, work, commitment. That is why I keep going, that is why I write about it.

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About Anabella Lenzu:  Since I moved to the United States in 2005, I have been working consistently as a faculty member (Assistant Professor) and/or a Guest Artist/Teacher in more than 10 colleges and universities, including: NYU Gallatin, Sarah Lawrence College, Lehman College, Wagner College, Randolph College (VA). In fact, I have been a teacher my whole life. I founded and directed a successful dance school in Argentina for 20 years before coming to the US, complemented by teaching professional level classes and workshops in Italy, England and Chile. For more than 12 years I have collaborated as a journalist and critic for different dance and arts magazines in Argentina, Spain and USA, talking about history, critical point of view and the value of ethics, esthetics and try to promote the art in our society. I directed my own art magazine in Argentina for 3 years and I publicized my first book Unveiling Motion and Emotion in March 2013.

Sara Rudner, Director of the Graduate Dance Program

Sara Rudner, a graduate of Barnard College, was born and raised in Brooklyn, New York.  She participated in the development and performance of Twyla Tharp’s modern dance repertory from 1965-1985.  During this time she began to choreograph for a small group of dancers known as the Sara Rudner Performance Ensemble, conceiving and directing a series of dances that broke with conventional conventions, i.e., time frames, spaces and occasions.  Since 1985 Sara has continued to pursue her interest in choreography, improvisation and performing collaborating with like minded colleagues including Dana Reitz, Mikhail Baryshnikov, Russell Dumas, Christopher Janney, Patricia Hoffbauer, Rona Pondick, Robert Feintuch, Jennifer Tipton, Jodi Melnick, Anastasia Lyras among others.  She received a Bessie in 1984 and has been awarded grants from the National Endowment for the Arts, the John Simon Guggenheim Memorial Foundation and the New York State Council on the Arts.  She has been adjunct faculty at New York University’s Tisch School of the Arts, a teaching fellow at Bennington College while earning her MFA in choreography, guest faculty in composition at The Juilliard School and, at present, she is the Director of Dance at Sarah Lawrence College.  Her work for theater and opera include the production of Caryl Churchill’s “The Skriker” directed by Mark Wing-Davy at the Public Theater in New York City; “The Greeks” directed by Gregory Boyd at the Alley Theater in Houston, Texas, Peter Sellar’s production of Olivier Messiaen’s opera “St. Francois D’Assise” co-produced by the Salzburg Festival and the Paris Opera Bastille; Hector Berlioz’s “Beatrice and Benedict” directed by Tim Albery for the Santa Fe Opera; Richard Strauss’ “The Egyptian Helena” directed Bruce Donnell for the Santa Fe Opera; and Alban Berg’s “Wozzeck” directed by Daniel Slater for the Santa Fe Opera.  Sara appeared in the films “Amadeus,” “Ragtime” and “Hair” directed by Milos Foreman and choreographed by Twyla Tharp.  She also danced in Ms. Tharp’s “The Catherine Wheel.”

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Silvana Cardell,  award winning Argentinean choreographer living and working in Philadelphia, since 2002. Cardell holds a  BFA in dance from University of the Arts and a MFA in choreography from Temple University.  Her repertory has been performed in Argentina, Brasil, Uruguay, Poland and Bulgaria. She has been invited to teach and perform at major dance and theater festivals throughout Latin America, including Festival de Río de Danza Tapias de Janeiro Brasil; Festival al Solsticio de la Primavera en Capilla del Monte, Córdoba; Escuela Municipal Norma Fontenla de San Salvador de Jujuy; Centro Cultural, Salta sponsored by Secretaría de Cultura de La Nación.  She has been the recipient of the prestigious Fundacion Antorchas Prize, Argentina ( 2001). Since 2005 to 2009 Cardell has served on the faculty at University of the Arts in Philadelphia, PA, where she has been a guest choreographer (2011 and 2012).  Since 2009 she is the Director of the Dance Department at Georgian Court University, New Jersey.

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JAMES MARTIN is currently Associate Arts Professor of New York University’s Tisch School of the Arts Dance Department. Between 2006 and 2012 he held the position of Associate Chair. He has danced with Gus Solomons jr, Bill T. Jones/Arnie Zane and Company, Donald Byrd/The Group, Jamie Cunningham and Tina Croll, Heidi Latsky, The New York Baroque Dance Company, Connecticut Ballet Company, and is currently performing with Claire Porter. His choreography has also been commissioned by the Connecticut Ballet Company, the Bat Dor Summer Workshop, the American Dance Festival, the Pittsburgh-based company Bodiography, and the dance departments of NYU Tisch School of the Arts, James Madison University, Princeton University, Wesleyan University, Tulane University and most recently by Cello Point. .  His evening length work, in the fall of 2011, The Enchanted Piano had its world premiere in New York City at the Manhattan Movement and Arts Center to great critical acclaim.

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Elizabeth Keen a veteran dancer and choreographer. As a dancer, she appeared with the companies of Paul Taylor and Helen Tamiris/Daniel Nagrin.  She choreographed for her own group, The Elizabeth Keen Dance Company, which toured nationally under the auspices of the Dance Touring and the Artists in the Schools programs as well as many seasons in NYC.  She has also choreographed for opera and theater Credits include: ANIMAL FARM, TEMPEST, WINTER’S TALE (National Theatre, London); LA TRAVIATA, CARMEN (Glyndebourne); CARMEN (The Met); FIERY ANGEL (LA Opera and L’Opera Bastille); GUYS and DOLLS (Goodman Theater) and A COMEDY of ERRORS, (NY Shakespeare Festival). She has taught at Sarah Lawrence College, Princeton University, the Juilliard School as well as for The José Limón Summer Dance Workshop and Perry Mansfield in Steamboat Springs, CO. She is a graduate of Barnard College and the Sarah Lawrence Master’s degree program. Currently she is Adjunct Faculty at Marymount Manhattan College.

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Amy Larimer is a dance/theater artist whose work blends movement, sound and text and draws heavily on improvisation. Her work has been performed at festivals including:  The Crisis Art Festival in Arezzo, Italy, the NYC Improvisation Festival, the Unscripted New York Improvised Theatre Festival, the Seattle Festival of Dance Improvisation, the Comedy in Dance Festival and Dancemopolitan as well as at venues in New York City including: The 92nd Street Y, Dixon Place, DTW, HERE, Joe’s Pub, The PIT, The Tank, Triskelion Arts and The West End Theater.  She was a founding member of Nicholas Leichter Dance and toured internationally with Leichter for 10 years.  She has been lucky enough to work with Clare Byrne, Daniel Clifton, Colin Connor, Aaron Draper, Polina Klimovitskaya, Daniel McCusker, Patricia Nannon, Debra Wanner and the Bronx Repertory Company. She choreographed and performed in Beth Portnoy’s dance film “Gyre-ation” which has been presented at the Loikka Dance Film Festival in Helsinki, Finland; Dance for Reel at Emory University in Atlanta and Videomovimiento in Bogota, Colombia. She received her MFA from the University of Wisconsin at Milwaukee and recently published an article on improvisation in the Journal of Dance Education. She is an Assistant Professor and the Artistic Director of the Dance Program at Lehman College as well as the creator and director of The Raving Jaynes: Improvised Dance Theater.

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Tanya Calamoneri: Artistic Director/Performer of SOGONO, began choreographing in 1997, via her collective with Allen Willner and Krista DeNio, violent dwarf.  Based in San Francisco from 1996-2003, she was ED of Dancers’ Group, and Co-Director of both 848 Community Space and Temescal Arts Center, and was a founding faculty member of the Experimental Performance Institute at New College of CA.  She attended Moving On Center School for Participatory Arts and Research from 1996-7 (directed by Martha Eddy and Carol Swann), danced for and was company manager to Kim Epifano/Epiphany Productions (98-00), and danced for Jess Curtis (99), among other contemporary choreographers.  She was a member of the Butoh-based company inkBoat from 2000-2003, touring to Germany and within the Western U.S., working as a performer, teacher, and administrative manager with artistic director Shinichi Momo Koga.  Since 2000, she has studied Butoh intensively under Minako Seki, Ko Murobushi, Carlotta Ikeda, Shinichi Koga, Yuko Kaseki, Takuya Muramatsu of Dairakurakan, Su-En, and others. Tanya moved to New York in 2003, completed her MA from NYU’s Gallatin School, for which she wrote a curriculum to teach Butoh dance in American higher education, and helped found the live/work rehearsal and performance space Studio 111 in Brooklyn. From 2005-2007 she was a co-director of the arts service organization, The Field, in New York City.  In 2012 she received her PhD in Dance from Temple University.  She was the Project Manager of DanceMotion USA at BAM. Currently Tanya is VISITING ASSISTANT PROFESSOR at Colgate University.

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DANCEDRAMA LABORATORY WORKSHOP SERIES
http://www.AnabellaLenzu.com/workshops

Expand your craft, technique and creativity in a exclusive, personalized, tailored program. This is an opportunity for dancers to develop their potential with an emphasis on both dance and theater performance skills.

A new series of workshops start at the beginning of each month
SATURDAYS from 9:30am-1:30pm

Each workshop is divided into two 2-hour sections exploring a theme in depth. Selected applicants must commit to a four week period of intensive study in different disciplines. This workshop is intended for serious students who wish to turn their body in a sensitive, vibrating instrument of expression. Class size is limited to 10 students.

* The March Lab (March 1, 8, 15 & 22) covers Dance Technique and ALDD Repertory.
* The April Lab (April 5, 12, 19 & 26) covers Choreography and Improvisation.
* The April laboratory ( April 5, 12, 19 & 26) covers Choreography and Improvisation.
* The May Laboratory (May 3, 10, 24 & 28) covers Voice/Acting and Dance Technique.

TO APPLY: Send resume to info@AnabellaLenzu.com

IN CONCLUSION:
It is an honor for me to be able to sustain and support dancers in the delicate task of cultivating their awareness of themselves as individuals, becoming thankful for their strengths and accepting of their weaknesses. When I see a dancer on stage, I feel that every movement reveals and expresses his reason for living. As a viewer, that feeling — the vitality, the power of expression — is what attracts me to a dancer on stage. – Anabella

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Reading of my new book  Unveiling Motion and Emotion 

  • Tuesday, July 9 at 7pm at Dance New Amsterdam, 280 Broadway (entrance at 53 Chambers St.), New York  dnadance.org
  • Thursday, August 8 at 7pm at Bluestockins Bookstore, 172 Allen Street, New York bluestockings.com

READING, DANCE PERFORMANCE &  PHOTOGRAPHIC PROJECTIONS by Todd Carroll.

FREE Admission / Limited seating / Refreshments served

RSVP required: info@anabellalenzu.com

Exploring the importance of dance, community, choreography and dance pedagogy, Argentinean Choreographer Anabella Lenzu celebrates 23 years of teaching dance in a book of her writings in Spanish and English. Having opened her own dance school at 18, Lenzu recounts her experiences teaching in South America, Europe, and the US, as well as publishing an arts magazine and creating repertory for her dance company. Lenzu’s eloquent prose reveals reflections of a life devoted to dance performance and education. Photography by Todd Carroll fully documents the performances and provides a glimpse into the creative process. This book is an inspiration to dancers and teachers alike, and the first of its kind as a bilingual text on dance pedagogy.

“I invite you to submerge yourself and pursue self-knowledge because 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.”

http://www.AnabellaLenzu.com/book

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