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| Annelie de Man | |
|---|---|
| Name | Annelie de Man |
| Nationality | Dutch |
| Occupation | Choreographer; dancer; performance artist; educator |
Annelie de Man is a Dutch choreographer, dancer, and performance artist noted for experimental choreography that intersects contemporary dance, visual art, and feminist performance. Her practice has engaged with institutions, festivals, and collectives across Europe, contributing to discussions in contemporary choreography, interdisciplinary collaboration, and site-specific performance. De Man's work often foregrounds embodied research, collaborative processes, and relationships with museums, theatres, and academic programs.
Born in the Netherlands, de Man trained in classical and contemporary dance traditions, studying at conservatories and academies that connect to institutions such as the Royal Conservatory of The Hague, the Amsterdam School of the Arts, and the Koninklijk Conservatorium. Her early formation included influences from teachers and mentors associated with the Nederlands Dans Theater, the Scapino Ballet Rotterdam, and the Rotterdamse Dansacademie. De Man pursued graduate study and research that intersected with programs at the University of Amsterdam and the Vrije Universiteit Amsterdam, and engaged with exchange programs affiliated with the Berlin University of the Arts, the Trinity Laban Conservatoire, and the University of the Arts London. During this period she attended workshops and residencies associated with the National Theatre, the Holland Festival, and the Edinburgh Festival Fringe.
De Man's career spans choreography, performance, curation, and pedagogy, encompassing collaborations with contemporary dance companies, museums, and arts festivals. She worked with ensembles and institutions such as the Nederlands Dans Theater, the Royal Opera House, the Stedelijk Museum Amsterdam, the Van Gogh Museum, and the Rijksmuseum on projects that merged choreography with exhibition practice. Her performances have been presented at festivals and venues including the Holland Festival, the Edinburgh Festival Fringe, the Venice Biennale, the Tate Modern, the Centre Pompidou, and the KVS Brussels. She has been associated with collectives and platforms like Dansateliers Rotterdam, Impulstanz Vienna, SPRING Performing Arts Festival, and the European Dancehouse Network. In addition to creating for the stage, de Man has held teaching posts and guest lectureships at institutions such as Fontys Dance Academy, Codarts Rotterdam, the Royal Conservatoire, and the School for New Dance Development, while participating in research networks connected to the Dutch Performing Arts Fund, the Mondriaan Fund, and the European Cultural Foundation.
De Man's choreography is characterized by formal experimentation, durational structures, and intermedial strategies that draw upon influences from choreographers and artists like Pina Bausch, William Forsythe, Merce Cunningham, and Yvonne Rainer. Her work engages with museums and visual arts frameworks, resonating with curatorial projects from institutions such as the Stedelijk, the Van Abbemuseum, and the Museum of Contemporary Art Antwerp. Themes in her oeuvre include gender and performativity as discussed in relation to thinkers and activists associated with Judith Butler, bell hooks, and Donna Haraway; embodiment and labor in relation to choreographic theorists around Sasha Waltz and Anne Teresa De Keersmaeker; and site-specificity that dialogues with practices by artists connected to Marina Abramović, Tino Sehgal, and Jan Fabre. Her practice often foregrounds collaboration with composers, visual artists, and dramaturgs linked to Music Center venues such as Concertgebouw, Muziekgebouw aan 't IJ, and IRCAM.
De Man's projects have been included in major exhibitions, biennials, and theatrical presentations across Europe and beyond. Notable presentations include performances at the Venice Biennale, site-specific works staged at the Rijksmuseum and the Van Gogh Museum, gallery-based projects at the Stedelijk Museum and Centre Pompidou, and commissions for festivals such as Holland Festival, Edinburgh Festival Fringe, and Impulstanz. She has participated in curated programs alongside artists and ensembles associated with the Tate Modern, MACBA Barcelona, Kunsthalle Basel, the Serpentine Galleries, and the Walker Art Center. Collaborative performances and installation-works were shown in contexts that brought together curators from Venice Biennale editions, directors from the Festival d'Avignon, and programmers from Staatsoper Berlin.
De Man has received fellowships, commissions, and prizes from cultural organizations and funds including the Dutch Performing Arts Fund, the Mondriaan Fund, the European Cultural Foundation, and municipal arts councils in Amsterdam and Rotterdam. Her work has been supported through residencies at institutions such as Impulstanz, Dansateliers, Centre Chorégraphique National programs, and international residencies connected to the British Council and the Goethe-Institut. She has been shortlisted and awarded prizes in choreographic competitions and festivals associated with the Edinburgh Festival Fringe awards, the Netherlands Dance Days, and the Prix de la Danse in Belgium, and honored by academic bodies linked to the University of Amsterdam and the Royal Conservatoire.
De Man maintains practices that bridge studio research, curatorial collaboration, and teaching appointments, balancing professional partnerships with networks that include choreographers, curators, composers, and theoreticians from institutions such as the Royal Conservatory, the Rijksmuseum, and the Stedelijk. She has engaged in mentorship schemes and advisory panels affiliated with the Dutch Ministry of Culture, the Performing Arts Fund NL, and European artistic networks including the European Dancehouse Network and the British Council. Her professional life is marked by collaborations with figures and organizations spanning Amsterdam, Rotterdam, Brussels, Berlin, Paris, and London.
De Man's contributions have influenced contemporary choreography's relationship with visual arts institutions, shaping dialogues between dance makers and museum curators associated with the Stedelijk Museum, the Van Gogh Museum, Tate Modern, and Centre Pompidou. Her pedagogical and curatorial work has affected generations of dancers and choreographers connected to the Royal Conservatoire, Fontys, Codarts, and the School for New Dance Development, and informed debates in forums such as Holland Festival symposia, Impulstanz panels, and conferences hosted by the University of Amsterdam. Her interdisciplinary approach continues to resonate in projects funded by the Mondriaan Fund, the Dutch Performing Arts Fund, and European cultural platforms, contributing to evolving models of performance in institutional spaces.
Category:Dutch choreographers Category:Dutch dancers