Meet the Writers: Anna Drozdowski

Anna Drozdowski

What would your parents say about your work in the arts?
My mother has recently stopped asking me how my dance recital went.  Though she can’t explain what the heck I do, she taught me to do it with full commitment and a (mostly) full capacity to pay my rent.  A+ parenting.  I still mail her the newspaper when my name is in it.

Finish this sentence “Good dance…..”

Makes me sit at the edge of my seat, greedy for more.

Finish this sentence “Good writing…”
Makes me want to go slowly, to make it last.

What is the TD project really about, in your experience?

In a word:  understanding.   In a few more: challenging, asking, questioning, furrowing, laughing, growing, spell check and oxford commas.

Which part about TD is challenging, scary, difficult?

There is that funny little thing called responsibility–to the project, to our collaborators, to the artists, to the community, to the funders.  And to my personal voice and values.

How has TD affected your other dance-related work?

Live performance is a moment in time, caught only by those who were there and missed by most.  Writing often feels concrete: so final, so very fixed by comparison.  In many ways, TD has reinforced my appreciation of the real-time experience; both in the theater and in our monthly gatherings where the exchange of ideas is happening between living, breathing bodies.

How/when did you learn to type?
Age 15–with a cardboard shield over my fingers to prevent cheating and encourage a respectable 75 words-per-minute.   The teacher played pop songs and I rhythmically plunked out “O o O a A a U u U” while (unsuccessfully) trying to catch the eye of the soccer player at the next terminal.

What is your “desert-island” publication?

The book I’ve read more than any other is Bridge to Terabithia by Katherine Paterson.  It was as profoundly moving in the third grade as it is today.

If you were to write a dance love-letter, it would be to__________.

This question is confusing (and I drafted it!).   I don’t think that I’m asking myself to dance a love letter.   I also don’t think I’d recommend attempting that unless you’re in a movie from 1980 where all dance montages are forgiven.  Love Letter?  At the moment, I’m particularly enamored with super-tight, well rehearsed and unexpected unison.  Yep.  So simple.  So satisfying.  Only slightly embarrassing to admit, but you can’t help it.   Just like a love letter should be.

Share this article

Anna Drozdowski

Through Ladybird, Anna Drozdowski embarks on international projects in organizational development, mutual understanding and research–most often in dance. She is a staff writer, editor, and co-founder of thINKingDANCE.

PARTNER CONTENT

Keep Reading

The Willis in a Red Mansion?

Ziying Cui

The Challenge of Chinese Ballet

At center stage, Baoyu, dressed in flowing white robes, leads a semicircle of female dancers dressed in pastel, Han-style costumes. The dancers extend one leg in high arabesque-like lines while holding delicate props such as fans and round silk fans, creating a symmetrical and airy composition reminiscent of classical Chinese painting. Behind them is a large golden backdrop textured like aged parchment. Red calligraphic Chinese characters are written across it, associated with the supernatural framework of the story. A circular opening in the center of the backdrop reveals a cool blue background, evoking the moon or an otherworldly portal. The stage lighting highlights the dancers’ flowing sleeves and soft colors—peach, pale green, yellow, and ivory—suggesting the youthful elegance of the family's girls.
Photo: The National Ballet of China

Science and Dance in Creative Conversation

Jen George

Science in partnership with dance yields collaboration and contrasting forces.

Two dancers wear black costumes, and the lighting is low and shadowy. One dancer lays face-up on the stage with arms softly outstretched to the sides and their chest lifted off the floor, legs bending at the knees. The other dancer sits, gazing downwards at them. Dancers: Sayer Mansfield, Marla Phelan
Photo: Tim Richardson