'I have learnt how to live…how to be in the world and of the world, and not just to stand aside and watch.'

Annabelle Lopez Ochoa’s career has impacted the industry as her work has become her voice to address issues close to heart. ‘Broken Wings’ told Kahlo's story to a new audience, who never would have appreciated all she stood for (Lopez Ochoa, 2020), while ‘Bloom’ raised an understanding of Hindu culture, and encouraged global connections (Cincinnati Ballet, 2020). Lopez Ochoa uses her work to provoke a reevaluation of emotions and intellectual sensitivity. Both ‘Requiem for a Rose’ (Lopez Ochoa, 2020) and ‘Before After’ (Fullington, 2020) pushed against the stereotypes of love and relationships. Being Columbian and Belgium (Lopez Ochoa, 2020), Lopez Ochoa felt strongly connected to the gap for the representation of Latin Culture (BWW Desk, 2019). Through her work Tiburones (Seibert, n.d.), she brought to light the media’s stereotyping and discrimination (BWW Desk, 2019). Lopez Ochoa has often chosen Latin music in her choreography (Lopez Ochoa and Traiger, 2020), and also uses the influence within her choreography.

Although her success stands unaffected by gender (Monahan, 2016), one of her global influences is on the issue of lacking female classical choreographers. She never fails to portray women as strong characters (Longley, 2018) and uses her attention to question the classical industry standards, such as the ‘archaic structure of such companies ruled by hierarchy’ (Longley, 2018). She believes more female choreographers should have the opportunity to create new story ballets as a female perspective is essential to the modern world (Longley, 2018), and has also called for a change in the classical education systems, saying girls should be encouraged to discuss and question more (Lopez Ochoa and Traiger, 2020).

Bibliography 

• Lopez Ochoa, A. (2020). Choreography. [online] Annabellelopezochoa.com. Available at: http://www.annabellelopezochoa.com/www.annabellelopezochoa.com/Choreography.html [Accessed 29 Feb. 2020].
• Cincinnati Ballet (2020). Annabelle Lopez Ochoa on Bloom. [video] Available at: https://www.youtube.com/watch?v=D_GTaw_GPLg&feature=emb_title [Accessed 29 Feb. 2020].
• Fullington, D. (2020). Before After - Pacific Northwest Ballet. [online] Pacific Northwest Ballet. Available at: https://www.pnb.org/repertorylist/before-after/ [Accessed 29 Feb. 2020].
• BWW Desk (2019). Ballet Hispánico Presents The World Premiere Of Annabelle Lopez Ochoa's TIBURONES, and More. [online] BroadwayWorld.com. Available at: https://www.broadwayworld.com/bwwdance/article/Ballet-Hispnico-Presents-The-World-Premiere-Of-Annabelle-Lopez-Ochoas-TIBURONES-A-Restaging-Of-NACI-By-Andrea-Miller-and-CON-BRAZOS-ABIERTOS-By-Michelle-Manzanales-A-20190930 [Accessed 29 Feb. 2020].
• Seibert, B. (n.d.). Ballet Hispanico. [online] The New Yorker. Available at: https://www.newyorker.com/goings-on-about-town/dance/ballet-hispanico-11-25-19 [Accessed 29 Feb. 2020].
• Lopez Ochoa, A. and Traiger, L. (2020). ANNABELLE LOPEZ OCHOA: NAVIGATING TWO CULTURES & BREAKING INTO BALLET CHOREOGRAPHY AS A WOMAN | Icons. [online] Danceicons.org. Available at: http://www.danceicons.org/pages/index.php?p=160418092334 [Accessed 29 Feb. 2020].
• Monahan, M. (2016). The agony and ecstasy of being Frida Kahlo - review. [online] The Telegraph. Available at: https://www.telegraph.co.uk/dance/what-to-see/she-said-enb-sadlers-wells-review/ [Accessed 23 Jan. 2020].
• Longley, H. (2018). I Am Woman -- Annabelle Lopez Ochoa | Penn State University. [online] News.psu.edu. Available at: https://news.psu.edu/story/537043/2018/10/02/arts-and-entertainment/i-am-woman-annabelle-lopez-ochoa [Accessed 29 Feb. 2020].