BIOGRAPHY

Anneke Hansen is a choreographer, performer, and teacher based in new york city who primarily presents dance works through her company, Anneke Hansen Dance. A graduate of Sarah Lawrence college, her work has been presented in NYC by the chocolate factory theater and as part of the la mama moves! Festival, draftworks at Danspace Project, Movement Research at Judson Church, dance conversations @ The Flea, and at University Settlement. Hansen has been international guest artist-in-residence at Dance House in Dublin, Ireland, Universidad de las Americas in Puebla, Mexico, and her company has enjoyed creative residencies at Rockbridge Arts Exchange in Virginia, and Vermont Academy in Saxtons River, VT. The company's work has been featured at the Big Range Dance Festival in Houston, TX, among other venues, and her site-specific work has been performed in NYC parks and abroad in Washington D.C. and Amsterdam, the Netherlands.  Anneke Hansen Dance has received funding from LMCC’s Manhattan Community Arts Fund, NYFA’s BUILD grant, and the Puffin Foundation. As a performer, Hansen has had the pleasure of dancing for New York choreographers Sara Rudner and Susan Rethorst, and for Australian choreographer Russell Dumas, among others. A student of anatomy, she served as assistant to master anatomist and neuromuscular educator Irene Dowd. In addition to teaching dance in both the US and abroad, Hansen maintains a practice as a private movement instructor in NYC and has taught anatomy at several area colleges. www.annekehansendance.com


ARTIST STATEMENT

I make dance that is driven by a deep faith in human intelligence as a physical manifestation, by a certainty that committed, rigorous movement and the communal labor inherent in the creation of a dance creates meaning and connection for performer and audience alike. Heavily rooted in the somatic experience of the dancers both in rehearsal and performance, my choreography seeks to create a sympathetic kinesthetic response in the audience.

My work is a series of physical and formal investigations of our experience as sensitive, intelligent creatures in a world that seems to prioritize the fast and the slick; it is in direct opposition to a culture of rapid creation, disbursement, and assimilation of information. My creative process is slow, on-going, and relationship driven. A dance takes much of a year to develop, and time spent in the studio (by myself or with dancers) is intensive.

I come from a tradition of deeply embodied practice, tracing my lineage to Twyla Tharp, Trisha Brown, Merce Cunningham and others via years of immersive work with Sara Rudner, Russell Dumas, and Susan Rethorst. Honoring and building upon this lineage, concepts are played out and examined through thorough physical investigation and analysis. Over the years, I have developed an on-going studio practice. Whether or not a production is in preparation I consistently spend time in the studio working out physical challenges, technical issues, and developing dance material. I consider this portion of my process to be devoted to research and investigation. Outside of the studio, I collect things that speak to me artistically: images, pieces of music, snatches of conversation, sentences, concepts. I go to performances, exhibitions, read, and travel with my eyes and ears piqued to gather inspiration or to note harmonies or dissonances that seem relevant. As production draws closer my studio practice ramps up and the composition of a work is determined using the elements crafted during the research/development phase.

I know that multiple minds are greater than any single one and so, while not collaborative in a traditional sense, I ask my dancers to bring themselves to the process in their entirety and I strive to understand each one’s point of view regarding a developing work. Without the dancer’s agreement, artistry, and comprehension the dance would not exist. I say this because I wish to clarify my point of view about the dancer as collaborator. They are interpretive and generative artists in the process without adding choreographic material or decisions. They are specific and not interchangeable presences contributing, via the working process, elements of themselves to the work.  

Together, we are a genius.