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The DancePreneuring Studio

The DancePreneuring Studio

De : Annett Bone: Creative Strategist
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The DancePreneuring Studio is the place where dance inspires life and business. Each session ties the art of dance with your life and business with stories, strategies and tactics from people who are not only dancers and/or choreographers, but also entrepreneurs. This podcast is for people that want to look at their lives and businesses from a different perspective, and specifically from the perspective of the dance world.© AnnettBone.com, DancePreneuring.com Art Direction Divertissement et arts du spectacle Développement personnel Economie Management et direction Réussite personnelle
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  • My Body is My Country: Anabella Lenzu on Motherhood, Immigrant Identity and Dance as a Political Act

    My Body is My Country: Anabella Lenzu on Motherhood, Immigrant Identity and Dance as a Political Act
    Aug 25 2026
    You take your chances — actually, you don't take chances. You make choices that feel right for you. And so you're building up yourself, you're constructing yourself. -Anabella Lenzu Photo above by Todd Carroll Session Summary Ten years after her first appearance on the podcast, Anabella Lenzu returns for an in-person conversation recorded in her New York City studio — and the growth since is staggering. In this episode, Anabella traces the eleven-year journey behind her second book, Teaching and Learning Dance Through Meaningful Gestures, born from kitchen-table conversations with students while she breastfed her newborn daughter and shaped, years later, into a manifesto on technique, energy, and the body as an instrument of expression. She opens up about the panic attacks that shadowed the book's final years, the making of her deeply personal work Listen to Your Mother — a piece exploring immigrant motherhood and artistry that she performs alongside her own twelve-year-old daughter — and what it means to lead the American Dance Guild into its seventieth year as its president. Along the way, the conversation moves through dance history, AI and the irreplaceable friction of live performance, and what Anabella calls the responsibility of being "the connector" between generations of artists. Takeaways from this session: The book took eleven years because translating the stage into words is its own art form.Anabella began recording conversations with students and interns over lunch at her home — starting with questions, not a manuscript — because she believes writing, unlike podcasts or tutorials, leaves space for the reader to complete the puzzle rather than handing them a formula.Prolific output can sit right alongside real struggle.While finishing the book, premiering a new show, and stepping into a national leadership role, Anabella was also privately navigating panic attacks — a reminder that outward accomplishment and inner difficulty aren't mutually exclusive, and that naming the struggle is part of the artist's excavation."My body is my country" — motherhood, immigration, and the stage as the one place to be seen.Listen to Your Mothergrew out of interviews with thirty immigrant mother-artists in New York City. Anabella now performs alongside her daughter Fiamma, teaching her the family's Argentine repertory and telling her that the stage is often the only place an immigrant artist feels fully visible.Leadership, for Anabella, means being the bridge between generations.As President of the American Dance Guild, she launched the first-ever Dance Book Fair, expanded a summer intensive preserving techniques from disappearing modern dance lineages, and is digitizing decades of archival material — all in service of what she calls ADG's role as "the window to the past, but the doorway to the future."Energy is the first stone of performance — before technique, before muscle.Anabella teaches that understanding your center of energy, your intention, and your awareness of who's watching is the true foundation of performance craft; without it, movement is just muscle on display, not communication.AI is a tool, not a replacement for friction.Anabella and her husband, who teaches AI at the university level, experiment with it at home — but she's clear that art requires the unpredictability, imperfection, and human connection that only live performance and real friction can offer. Featured Links and Credits: Teaching and Learning Dance Through Meaningful Gestures— Anabella's second bookAnabella Lenzu's websiteAmerican Dance GuildLa MaMa Experimental Theatre Club— whereListen to Your Motherpremiered in 2024Peridance Center— site of ADG's annual Modern Dance Intensive Other episodes of interest: Session #214: How to Be A Better Dance Artist with Anabella Lenzu Session #204: Balancing Between Life and Ballet with John Lam Session #203: Diversity and Inclusivity in Dance Connect with Annett Instagram: @annettbone Leave a Comment Where do you feel most 'at home' in your own body? I would love to hear your comments! : )
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    58 min
  • From Broken Ballerina to Storyteller with Susan Priver

    From Broken Ballerina to Storyteller with Susan Priver
    Mar 18 2026
    The poetry that I felt in dance began to percolate in another way, so I could express it through language and still use my body. Session Summary A body built for ballet, broken by it, and rebuilt through language, acting, and yoga. In this conversation, Susan Priver traces her path from the School of American Ballet and classical companies like Cleveland Ballet to a devastating firing at 24 that shattered her identity and plunged her into profound depression. She shares how acting training at the Actors Studio, method-based sensory work, and eventually Harold Pinter’s The Lover gave her a new choreography for her inner life, letting her translate the “pure poetry” she once found only in dance into voice, language, and character. Along the way, yoga, art modeling, and teaching became lifelines, helping her live in a body that no longer looked like a ballerina’s while she slowly reclaimed her artistry as an actor and author of the memoir Dancer Interrupted: A True Exposé of a Ballerina’s Fall from Grace. Takeaways from this session: When ballet is your whole identity, being fired feels like erasure.Susan describes being let go from Cleveland Ballet in her mid‑20s during the Reagan-era funding cuts as a trauma that froze her in time, triggering a “very, very deep depression” and a sense of being utterly unloved and without identity beyond dance.​Art doesn’t die when one form ends—it changes shape.Initially more fluent in movement than words, Susan spent years in acting training learning to connect her “sensitive instrument” to the music of language, eventually discovering that the same inner poetry she once expressed in ballet could live inside a character’s body and text onstage.​Sex, Lies and Harold Pinter taps her dancer’s sensuality in a new way.In The Lover, Susan plays Sarah, a wife who keeps her marriage alive through ritualized erotic role‑play, using her dancer’s awareness of sensuality, timing, and physical presence to navigate Pinter’s razor‑edge of fantasy, danger, and desire—without literally dancing. Bongos, ritual, and Pinter’s precise language become the score she moves through.​​Yoga became a bridge between the “fallen” ballerina and the emerging actor.In her late 20s, after her father’s death, stalled auditions, weight gain, and hair loss from alopecia, Susan turned to yoga to manage anxiety, befriend her non‑dancer body, and quiet the “constant negative chatter” that told her she was no longer enough. That practice eventually led to teaching, where she discovered a new voice guiding others into their own bodies.​There are ways through a “fall from grace” for dancers.For dancers who feel their career is over, Susan advocates reaching out—through therapy, movement practices like yoga, mentoring, or education—to translate kinesthetic and emotional intelligence into other forms: teaching, choreography, community programs, other art forms, or entirely new professions. She highlights colleagues who became painters, community dance leaders, and arts educators as examples of what’s possible beyond the stage. Featured Links and Credits: Sex, Lies and Harold Pinter at The OdysseyDancer Interrupted: A True Exposé of a Ballerina’s Fall from Grace– Susan’s memoir of ballet, loss, and rebuilding a life in acting​School of American BalletSusan on Instagram:@susan_priverPhoto above by Jeff Lorch Other episodes of interest: Session #240: When Movement Becomes Medicine with Arianne MacBean Session #239:In the Pull of Gravity: Ballet Preljocaj, Fatigue, and Finding Presence Through Non-Attachment Session #098: How to Overcome Body Image Issues Connect with Annett Instagram: @annettbone Leave a Comment Let me know your reflections, what resonated most about Susan’s journey from ballet’s brutal perfectionism to Pinter’s unsettling intimacy, or any questions you’d love me to ask her in a future follow‑up.
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    36 min
  • Six Weeks Seventeen Voices: Dance at The Odyssey 2026

    Six Weeks Seventeen Voices: Dance at The Odyssey 2026
    Jan 5 2026
    Art is always speaking about issues because it's about humanity and empathy and visions. Session Summary

    Dance holds our everyday stories and wildest questions—and when curated intentionally, an entire city moves differently. Barbara Müller-Wittmann shares how her 2017 "risky experiment" grew into LA's largest independent contemporary dance festival: 17 choreographers, 6 companies, 6 weeks of boundary-pushing work across two stages.

    A Few Key Takeaways
    • Barbara's curation process: staying connected with artists, blending returning favorites with fresh voices for cohesive evenings.​
    • Stories driving selections, from family puppets to social justice via Dancing Through Prison Walls—art as humanity, empathy, visions.​
    • New expansions: dance films from Dare to Dance in Public, workshops, interactive experiences to feel dance "in all its forms."​
    • Qualities that make her say yes: work that touches, surprises, melts the heart—beyond technical skill.​
    • Simple artist visibility tips: email curators, invite to rehearsals, share short videos—she watches every one.​
    • Audience magic: loyal subscribers who attend everything, declaring "I didn't know dance could be this in LA."

    Featured Links and Credits

    • Dance at The Odyssey 2026


    Other Episodes of Interest Session #202: 10 Constant Things in Dance, Life and Business Session #184: Letters to Dance Session #106: Lessons from The Last One Connect with Annett

    Instagram: @annettbone Share what speaks to you about this episode.

    Leave a Comment

    Let me know your reflections, questions, or favorite moments from this episode!
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    20 min
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