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SAVE THE DATE: FRIDAY, June 2nd, 2017 at 7:30pm
at IDACO FESTIVAL in NYC.

I will show a 15 minute excerpt of a new choreographic study entitled “No more beautiful dances”.

Come and see the beginning of what will be a larger solo show I’m working on as part of my MFA thesis.
“No more beautiful dances” wrestles with the ideas of exploration, introspection and reframing a woman after becoming a mother, and being an inmigrant. 
Through real and fantastic characters, Lenzu’s dance theater piece uses spoken word, music landscapes and photo projections to tell a personal vision of femininity, and 
what it means to be a woman today.
Choreographer and Dancer: Anabella Lenzu
Video Projector Design: Todd Carroll
Costumes: Jennifer Johanos.
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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!

 

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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 info@anabellalenzu.com

Choreography by Anabella Lenzu
Direction: Daniel Pettrow
Dancers: Lauren Ohmer, Dina Denis, Sydney Ruff-Wong, Graham Cole & Anabella Lenzu

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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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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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