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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."
Mash-ups aren't uncommon in the dance world: Performers of varying styles have been known to share the stage, from ballerina Tiler Peck and famed clown Bill Irwin to Michelle Dorrance, who's mixed tappers and break-dancers. Likewise, collaborations between choreographers and artists from seemingly mismatched disciplines have produced magical creations, such as Alexei Ratmansky's Whipped Cream, featuring Mark Ryden's whimsical and even grotesque designs and costumes.
But the Israeli troupe Ka'et Contemporary Dance Ensemble has found success in one of the most unlikely partnerships: Secular contemporary choreographer Ronen Itzhaki creates movement for a group of rabbis.
While undoubtedly best known for her dancing, American Ballet Theatre principal Isabella Boylston has also been getting noticed for her style by Allure and Vogue—and with good reason. Her Instagram feed features a mix of on-trend athleisure wear and detailed dresses from runway designers like Valentino and Anna Sui, none of which would be complete without the makeup and hair to match. With a penchant for skin care and an ever-growing lipstick collection, Boylston talked us through some of her beauty must-haves on and off the stage.
Photo by Jayme Thornton
Before she became the 20th century's most revered ballet pedagogue, Agrippina Vaganova was a frustrated ballerina. "I was not progressing and that was a terrible thing to realize," she wrote in a rough draft of her memoirs.
She retired from the Imperial Ballet stage in 1916, and for the next 30-plus years, devoted herself to creating a "science of ballet." Her new, dynamic teaching method produced stars like Rudolf Nureyev, Alla Osipenko, and Galina Ulanova and later Natalia Makarova and Mikhail Baryshnikov. And her approach continues to influence how we think about ballet training to this day.
But is the ballet class due for an update? Demands and aesthetics have changed. So should the way dancers train change too?
For many dancers, a "warmup" consists of sitting on the floor stretching their legs in various positions. But this strategy only reduces your muscles' ability to work properly—it negatively affects your strength, endurance, balance and speed for up to an hour.
Save your flexibility training for the end of the day. Instead, follow a warmup that will actually help prevent injury and improve your body's performance.
According to the International Association of Dance Medicine and Science, a smart warmup has four parts: "a gentle pulse-raising section, a joint mobilization section, a muscle lengthening section and a strength/balance building section."
DanceBreak came roaring back to life on Monday after seven years on hiatus, and six choreographers now have the opportunity to be the next Andy Blankenbuehler. Or Joshua Bergasse, Kelly Devine, Casey Nicholaw, Josh Prince or Josh Rhodes. These stellar Broadway choreographers all got their first big shows after Melinda Atwood's musical-theater launching pad let them show the industry what they could do.
Since 2002, DanceBreak has been a sort of "So You Think You Can Choreograph" for Broadway. Although not everyone goes straight there—Mandy Moore and Mia Michaels are alumni, too—the program is meant to funnel talented choreographers to the Broadway stage by providing a platform for their work. Prince, who introduced Atwood to the cheering crowd, has paid DanceBreak the ultimate compliment, creating his own non-profit incubator for theater choreographers, Broadway Dance Lab. On Monday, he recalled the story of how he was offered the role of choreographer on Broadway's Shrek just days after its director saw the 2007 edition.
When caring for your feet or trying to make them look good, it's tempting to seek shortcuts. Bad ideas—like dangerous stretches that promise perfect lines or ointments that were never meant to go on your toes—catch on all too easily backstage.
We asked podiatrists who've seen their dance clients try it all share the habits they'd like to see gone for good.
My dance coach wants my word that I'll keep competing under his school's name for the next year and not audition. I'm 18 years old and already doing lead roles and winning medals. I love his teaching, but shouldn't I be ready to go out and get a job?
—Gil, Las Vegas, NV
How do we make ballet, a traditionally homogeneous art form, relevant to and reflective of an increasingly diverse and globalized era? While established companies are shifting slowly, Richard Siegal/Ballet of Difference, though less than 2 years old, has something of a head start. The guiding force of the company, which is based in Germany, is bringing differences together in the same room and, ultimately, on the same stage.
Claude Debussy's only completed opera, Pelléas et Mélisande, emphasizes clarity and subtlety over high-flung drama as a deadly love triangle unfolds. Opera Vlaanderen and Royal Ballet of Flanders are commemorating the 100th anniversary of the composer's death with a new production of the landmark opera that is sure to be anything but traditional: Sidi Larbi Cherkaoui and Damien Jalet are choreographing and directing, while boundary-pushing performance artist Marina Abramović collaborates on the design. Antwerp, Feb. 2–13. Ghent, Feb. 23–March 4. operaballet.be/en.
Black History Month offers a time to reflect on the artists who have shaped the dance field as we know it today. But equally important is celebrating the black artists who represent the next generation. These seven up-and-comers are making waves across all kinds of styles and across the country: