Meet the Dancer Who's Redefining What it Means to be Disabled
In Rachid Ouramdane's Tenir le temps, Annie Hanauer articulates the choreography with unforced precision, her natural demeanor and smooth transitions the perfect fit for Ouramdane's undulating, abstract patterns. Few seem to notice that there is something slightly different about her: Hanauer was born missing part of her left arm, and now has a prosthetic one.
Hanauer, 30, has achieved what many thought impossible for a performer with a disability: a thriving career in the mainstream dance world. After performing with the UK's Candoco Dance Company from 2008 to 2014, she is now an in-demand freelancer, and a tall, striking presence in the works of contemporary choreographers Emanuel Gat and Ouramdane.
Born in Minnesota, Hanauer started taking a range of classes at a local studio when she was 10. Both her family and dance teachers were supportive: "I was never excluded," she says. "It was recreational, but when I got to the age of 16, I was taking class every night."
Still, pursuing a college degree in dance was far from an easy decision. "I remember having a crisis when I was accepted, saying, 'Am I ever going to get a job, because I've got one arm, you know?" she remembers dryly. The dance department at the University of Minnesota welcomed and nurtured her, and the curriculum helped widen her horizons. "I was the first person like this that they'd ever taught," she says. "It was probably a challenge for them, but we got a lot of individual attention."
In Rachid Ouramdane's TORDRE. PC Patrick Imbert.
In college, she also learned to work around issues linked to her disability. Partnering proved especially complex, although improvisation helped in the long term. "My strategy was to just do it to the best of my abilities, like every other dancer," she says.
The faculty prepared her for the challenges she would likely face in the industry: "I was ready to struggle through and have seven day-jobs," she says. During her senior year, she spotted an audition notice for Candoco, which bills itself as a "company of disabled and nondisabled dancers." They offered her a permanent contract, and the day after her graduation, Hanauer found herself moving to London.
The diverse repertoire of Candoco introduced Hanauer to European contemporary dance with creations by the likes of Hofesh Shechter, Rafael Bonachela and Nigel Charnock. The company was also invited to perform at the Beijing Olympics in 2008, and at the Paralympic Games in London in 2012.
In Rachid Ouramdane's TORDRE. PC Patrick Imbert.
In 2014, Hanauer decided to "stretch her legs" and go freelance. "I wanted to keep growing as a dancer and to see how I would be received as a performer in a different context," she says. Gat and Ouramdane, who had set works on Candoco, soon called, and she now regularly commutes between London, where she lives, and France, where both choreographers are based. Hanauer has been part of three creations with Ouramdane, including TORDRE, a "double portrait" tailor-made for her and another woman. In 2016, she appeared in Gat's SUNNY, where her serene confidence and movement quality were highlights in the fluid group sections.
Prejudice is still part of Hanauer's experience, however. Partners sometimes offer to change choreography before she's had a chance to try it. "You have to be really in touch with your own body, and clear about what you need," she says. Reactions to disabled performers have also frustrated her in the past. "People are surprised that I'm not clunky or awkward. The level of discourse about disability is not super-complex. Either it's shocking, or a novelty, or else it's 'They're so noble.' "
Hanauer knows her success story is fairly unusual, and believes inclusive companies are still relevant and necessary: "The dance world is still very restrictive. In the UK, there is more of a historical conversation about this because of Candoco and others, but there's a lack of opportunities for dancers with disabilities." She now teaches regularly, and is exploring work of her own with three dancers and support from Candoco and London's The Place. "I still wonder if the industry is ready for me," she says with a laugh. "You just have to keep going and try to change people's minds by doing it."
Showing choreography at a major venue in New York City is a goal and milestone for many dance artists. Yet when such an opportunity comes their way, choreographers frequently find themselves scrambling for time and technical resources to give their work that professional shine. What they end up performing may not have the polish they intended. "Far too often artists are arriving at their presenting house and the piece isn't ready," says Adrienne Willis, the executive and artistic director of Lumberyard Contemporary Performing Arts, an organization that helps dance artists develop new work.
Back when Lumberyard was known as the American Dance Institute and operated out of a strip mall in Rockville, Maryland, it pioneered its Incubator program to whip new pieces into shape, kind of like the "out-of-town" tryout model for theater. Several of the artists it supported ultimately brought their shows to the Brooklyn Academy of Music, one of New York City's most prestigious venues, which quickly recognized the positive influence of the Incubator on performances.
Since Thanksgiving is finally here, it's officially time to talk Nutcracker. With countless productions taking place between now and Christmas (and even some through the new year), we've been keeping tabs on Instagram to check in on rehearsals. Whether you're obsessed with all things Sugar Plum Fairy or the snow scene is more your speed, we've got your first look at the holiday classic.
We have a feeling even the Boston Ballet dancing bear couldn't keep up with second soloist Lawrence Rines' tricks in Russian.
For the past 3 years, choreographer Stephen Petronio has been reviving groundbreaking works of postmodern dance through his BLOODLINES project. This season, although his company will be performing a work by Merce Cunningham, his own choreography moves in a more luxurious direction. We stepped into the studio with Petronio and his dancers where they were busy creating a new work, Hardness 10, named for the categorization of diamonds.
'Tis the season to have some fun in the kitchen. If you want to get more creative than simply baking another pumpkin pie, try these Nutcracker-themed treats—created by and for dancers. These recipes from former Boston Ballet and Joffrey Ballet dancers were first published in Dance Magazine's December 1990 issue. Today, they're still guaranteed to turn any holiday party or dressing room into a true Land of the Sweets.
We always figured that stretching made us more flexible by loosening up our muscles and joints. Some of us, ahem, might have even tried to fall asleep in our middle splits to get our stubbornly stiff inner thighs to let go.
But it turns out that might not actually be how stretching works.
A new review published in the Scandinavian Journal of Science & Medicine in Sports suggests that increased flexibility actually comes from your brain growing more used to the tension.
Everyone knows that training is the cornerstone of a successful career in dance. But as a dance educator, I also take comfort in the fact that high-quality dance training helps shape students into genuinely good people (in addition to creating future artists, which is a wonderful goal in itself.) These are the lessons dance teaches that help make students into better humans:
Improvement Takes Commitment Over Time
In my tap courses at Cal State University, sometimes students are shocked when they can't learn something quickly. In today's world, we're used to getting fast results. You need an answer—Google it. You need to talk to someone—text them. The cooking channel wants your dinner to be easy, the physical trainer wants your workout to be five minutes, Rosetta Stone can have you speaking Mandarin in an hour.
It's no secret that affording college is a challenge for many students. And for dancers, there are added complications, like the relative lack of merit scholarships that take artistic talent into consideration and the improbability of a stable salary to pay off loans post-graduation. But no matter your budget, a smart approach to the application process can help you focus less on money and more on your training.
According to Drexel University performing arts department head Miriam Giguere, figuring out the kind of financial assistance a school offers is just as important as navigating what kind of dance program you want. Here's how to incorporate finances into your decision-making process:
When dancers get injured, they often think they should eat less. The thought process goes something like, Since I'm not able to move as much as I usually do, I'm not burning enough calories to justify the portions I'm used to.
But the truth is, scaling back your meals could actually be detrimental to your healing process.
With her fearless demeanor onstage, it's easy to see how Washington Ballet apprentice Sarah Steele attracted the keen eye of former American Ballet Theatre stars Julie Kent and Ethan Stiefel. Promoted mid-season from the studio company by artistic director Kent, Steele was cast by Stiefel as the lead in Frontier, his world premiere for The Washington Ballet, this past spring. For the space-themed piece, Steele donned a black-and-white "space suit" onstage, exhibiting dual qualities of strength and grace. Most evocative about Steele's dancing might be her innate intelligence—she was accepted to Harvard on early admission, and plans to resume her studies there in the future. But first, she'll dance.
Lots of college groups do stepping—a form of body percussion based on slapping, tapping and stomping—but Step Afrika! is the first professional dance company to do it. They are currently at New York City's New Victory Theater, presenting The Migration: Reflections on Jacob Lawrence, a show based on the painting series by Harlem Renaissance artist Jacob Lawrence about The Great Migration of the 1900s, when millions of African Americans fled the Jim Crow South and traveled by train to the North for a better life. The Great Migration transformed the demographics of the country, and Jacob Lawrence's paintings became famous for their bold color and evocative power.