ANISA Dance Production is centered around the artistic work of choreographer and ballet master Anisa Hasson Abas. For over 30 years, Anisa has produced dance performances that mix dance styles from around the world. With a background in Yemeni folklore and Russian ballet, Anisa has incorporated Swedish contemporary dance into a fusion of dance and theatre, often working with themes directed towards younger audiences.
Anisa Abas was born in Aden, Yemen. Dance influenced her at a early age and when Anisa was 6 years old she was chosen to do theatrical dance in children television programs in Aden. It was clear what Anisa wanted to do when she was older and as a teen she studied yemeni folklore at the institute of Art in Aden. She soon joined the national dance group of Yemen, where she toured both in Yemen and abroad during the years 1978-1982. During her time with the company she was awarded “Best dancer in Aden” in 1981 and 1982.
When she was chosen for a scholarship, she travelled to Moscow to study at the Lunacharsky State Institute for Theatre Arts (GITIS) for a Degree of Master of the fine art and the future profession as a ballet master. After graduating, she worked as a choreographer in Moscow before moving to Västervik, London and finally Stockholm where she is based today.
Important work by Anisa include recent dance productions Carnival of the animals (2015), Våren (2013), Petra och Vargen (2012) as well as Cobra, Light Through Darkness, Andalucia, Kilimanjaro and Ashtar. Anisa also gives lectures and workshops in Jemenic folklore.
With a background in Yemeni folklore and Russian ballet, Anisa has incorporated Swedish contemporary dance into a fusion of dance and theatre, often working with themes directed towards younger audiences. By combining dance styles, movement language and music in a delicate and subtle way, we are introduced to a world where words are not the primary communication channel. Using choreography where all movements are woven together into a perfect language, which is understood by all viewers regardless of age, background and culture, the dance can live and develop in its own right even without music. One might say she uses movement, the same way an artist uses the brush.