TESTIMONIALS
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Kim Korzen-Varin
Director of Client Financial Services, Sunflower Services PBC Former fundraiser and coordinator at multiple NC arts organizations Wake Forest University BA, Sociology/Dance December 2025 |
"Working with Karola Lüttringhaus has been a pivotal part of my artistic life and career. I have been so fortunate to learn from and work with Karola over the past 15+ years, and I would highly recommend them as a teacher, choreographer, mentor, and boss.
Karola’s residency within my high school dance class showed me the power of dance as a means of self-expression and self-discovery. On their first day at our class, they asked us to improvise, giving us guided prompts as we moved. Though this was over 10 years ago, I vividly remember Karola prompting us - “Show me who you are.” As a young student, with barely any dance training, it was liberating to be told to move authentically and freely. I was thrilled when Karola then gave me a solo role and guided and coached me over the course of the semester. I went on to continue my dance studies through high school, college, and beyond, and still enjoy both performing and choreographing. Karola’s trust and mentorship allowed me to overcome my own imposter syndrome about my limited dance experience, and unlocked a lifelong love of movement and expression... continue reading...
As a teacher and choreographer, Karola is deeply in tune with the physical and mental wellbeing of fellow movers. Karola cautioned me about my own hypermobility and the potential dangers long before I ended up having injuries and going to physical therapy to address various issues. I’m impressed by Karola’s intelligent approach to movement, and appreciated their movement studies and workshops related to walking and other topics. As an audience member, I have been moved and motivated by Karola’s performances. With each performance, Karola creates a rich sensory landscape that I eagerly dive into. One of my favorites, adam-mah, features two performers moving in dirt over a paper floor under three light bulbs. adam-mah included audience participation, and so each iteration of the show was different. The unique, intimate moments of the show spurred reflection on how we treat the earth and each other. While working the Sarus Festival and other events I likely watched adam-mah a dozen times, but I would eagerly watch it a dozen more. Not only did I learn from Karola as a dance student, I also was lucky to work with them as an assistant for the Sarus Festival. I have seen how Karola, nearly independently, has brought a fantastic festival to life for many summers. Karola oversees logistics, content, marketing, funding, and more for the very special Sarus Festival for Site-Specific and Experimental Art. When I worked as an assistant, Karola gave me clear guidance and direction for the tasks needed to help the festival run smoothly, from transporting and assisting visiting artists, doing in person and virtual marketing, running ticketing for events, and more. Working with Karola on the Sarus Festival kick-started my own arts administration career, and I was well prepared for my roles at organizations including the American Dance Festival and Carolina Performing Arts because I already had such great exposure to what it really takes to make arts events happen. The Sarus Festival, thanks to Karola, fills a gap in the artistic offerings in Wilmington and the surrounding area. The performances by Karola and the other festival artists ignites locations around Wilmington, exposing audiences to new and thrilling experiences, and shifting understanding of where ‘art’ can be found. Karola nearly single-handedly has persevered in making the Sarus Festival possible, and Wilmington and the surrounding area are enhanced because of it! Karola has nurtured my choreography as well. After working at the Sarus Festival one year, and watching the performances of Karola and others, I was inspired to submit my own choreographed piece as well - fittingly, a piece about self-discovery called ‘The Looking-Glass Self’. I was excited when Karola supported my idea, and helped me select the right locations to bring my piece to life as part of the site-specific festival, and figure out the right staging and props. Karola asked me insightful questions about the piece, and I was grateful for their trust in me as an artist. Most recently, I was proud to be a dancer in site-specific piece ‘Alula and Keel’ in the 2025 Sarus Festival on Wrightsville Beach. Karola is a thoughtful, intentional choreographer and I appreciated having deep conversations with them about my own ‘character’s role and motivation which made bringing the performance to life more engaging. Karola was flexible in working with dancers both over Zoom and in person, and managed to form a truly excellent performance with only a few rehearsals all together in person. As with other performances, with ‘Alula and Keel’, Karola has crafted and executed a meaningful vision that comments on the shared human experience and invites further thought and reflection. I was moved to be part of this version of the piece. I hope to continue working and dancing with Karola - I always learn and grow when I get to be part of their work." |
Kim Korzen leading the Keel group as the jester (left). Photo by Tess Davila.
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"Creation Now! Tracing Gesture: Choreographing Meaning" workshop
At the 2025 Nomadic College at Earthdance, MA, USA October, 2025 |
"In a very brief span of time, Karola led us into the heart of creativity. Using the universally accessible resource of gesture, she had us effortlessly creating and composing rich material to share and expand upon."
Dana Iova-Koga Choreographer, dancer, Inkboat Inc "Karola created a dynamic and emergent environment for exploring the intersection of meaning and movement. In her class, I felt the seed of an idea bloom into a rich, expressive, and multi-layered inquiry of how core values and themes in my life could be unearthed through movement pathways."
Joe Kelly workshop participant Nature Reconnection Facilitator "At the Nomadic College at Earthdance in September 2025, I was fortunate to be part of Karola's choreography workshop called Creation Now!. I was inspired by their intuitive and wise teaching strategies that brought about invitation, sensitive listening, and diverse expression of the group's creative impulses. I think this workshop was an important part of the Nomadic College curriculum."
Kerwin Barrington workshop participant Axis Syllabus teacher "Karola's facilitation offers a natural insistence on being present with oneself and one's world in a way that is beautiful - simultaneously introspective and divine. She is able to hold space well for others in their creative processes and remind participants of the beauty of co-creating.
Working with her felt especially helpful to me as a newer artist and I can't wait to work with her again." Helena Zhao workshop participant |
"Creation Now!" workshop, working on improvisational development of movement through the tracing of gesture both kinesthetically and verbally, witnessing each other in that process. Photo Luttringhaus
"Tapestry Meshwork" (working title) at Nomadic College: Interactive performance based on an idea by Kerwin Barrington ("Tapestry of Relations"), expanded on by Karola Luttringhaus. Bringing the meshwork of relationships into space, inhabiting fascia creatively and collectively. Photo K. Luttringhaus
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Kerwin Barrington
Certified Axis Syllabus teacher BAASE, Bay Area Axis Syllabus Exchange 2025 The Finnish Hall Berkeley, CA June 2025 |
"In the summer of 2025, I had the privilege to take Karola's class The Spinal Engine: Transferring Motion Through the Pelvis at the Finish Hall in Berkeley California. The precision and depth of the anatomical information that they shared (about the sacroiliac joint in particular) still stays with me today. I learned new and exciting ways of understanding this complex area of my body and was left with a desire to know more."
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selfie in class at BAASE. Possibilities for the leg as a quadruple pendulum.
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September Krueger
Director of Lifelong Learning Cameron Art Museum 3201 S 17th St, Wilmington, NC 28412 Response to two recent projects at CAM "Traces of the Enmeshment: TheRiver Home" (collaboration with Slow Ear Ensemble) April 22, 2023 & "Gestures of Love" (part of the "LOVE" exhibit at CAM September 9, 2023 October 9, 2023 |
"Thank you again for this opportunity to bring your work to CAM!"
"In each of Karola's recent engagements at the Cameron Art Museum, she demonstrated an imaginative use of the space available. Her multimedia works combine performance with elements of audience engagement. This allowed guests of all ages to explore movement and meaning in the works in a public space, breaking away from traditional roles of performer and observer. Karola naturally integrates visual art representation into her practice. She considers objects, tools, and materials that activate her entire performance, space, and engage the audience with elements like texture, sound, and sometimes interactive components. Her recent work, Tracing Gesture, helped many aspects of love in the exhibition (Love) unfold. The piece had many gestures that asked us to think about how we love ourself, recognizing that ability to examine our own feelings deeply impacts all our relationships. She had a beautiful interweaving of text with gesture; the gesture of writing as part of her movements called to various uses of text used by artists in the exhibition. Karola's use of projections allowed for "shadow play" as a strong element in the performance. It amplified her presence in the space (both in scale and in multiplying her form), and also allowed viewers to think about our different parts or different personas we carry. We often think about dance traveling widely across space, but Karola also gave herself the parameters of 14' of projection space. It forced her to keep returning to this confined area, asking us to consider the confinement of our daily environment, our mindset, or the confines of a relationship, whether loving or not. It was a powerful experience for all of us." |
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Grant Stewart
curator of the Solstices Music Festival, Wilmington, NC review of the performance of 'ReflectionSnoitcelfer", June 10, 2023 |
Performing live at Elsewhere Salon for the Solstices II festival, Karola Luttringhaus embodied the experimental musical spirit of the Slow Ear Ensemble by freely interpreting their combination of noise and free jazz aired during the performance. She captivated the audience of more than 60 people by coordinating her performance with video of herself dancing, cleverly interspersing the realm of digital media with the undeniable physicality of her presence on the stage.
The performance was the highlight of the festival, exposing dozens of people to the possibility of what can happen when compartmentalized concepts about art and music are confronted with nonlinear movement and audible experimentation. This was truly a high mark for the underground electronic and jazz scene in Wilmington, NC, and the Solstices II festival. |
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... Pandemic break... PhD break (I finally got it after 6 years in 2024!!) ....
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Luis Adorno, review of the premiere performance of 'The Light of the Water', July 27, 2017
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The production of 'Light Of The Water’ held at Kenan Auditorium on the campus of University Of North Carolina at Wilmington was an exploration of the importance of water to us as human beings, its omnipresence, as well as the important duty we are all tasked with of protecting this life force for us and future generations. Using various mediums such as dance, video, music, and sculpture to express and discuss the importance of water , Karola and Perry made a very engaging and moving piece of art. The show I saw was performed mostly for groups from schools and the children watching it seemed to be very engaged and interested in the topic at hand. When the youth realizes the importance of water and extent of the problems our environment is facing it makes you feel better about the future but also stirs up a lot of concern that the people in charge of making decisions for our water and planets health can't seem to see what the children are all too aware of.
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CVNC review
Kate Dobbs Ariail June 25th, 2015 |
http://cvnc.org/article.cfm?articleId=7500 (for ful review of ADF, American Dance Festival performance June 25th, 2015)
'Her work, ..., always passionately declares the artist's truth, and this segment, "…Dann Von Deiner Hand," is no exception. ..., ... danced in variously-sized round "rooms" of light here and there on the stage, this piece read clearly of love, constriction, loss, death and survival. Using her well-refined vocabulary of reaching, enfolding, lifting and turning, Lüttringhaus succeeds in making the personal experience universal. Again and again she lifted Goolsby, first in ecstasy, later in terror, spinning with her, serrating the edges of the downlight circles, making the light itself into ripping sawblades that hacked all the safety from the "rooms." The lights come down on a final pietà, as Goolsby's character dies, but not alone, not forgotten.' |
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Quotes from workshop participants in the 'Dynamic Bodywork' workshop at
ASMY (Asheville School of Massage & Yoga) 2016/17 |
'Great workshop content! Very applicable to my work. Really enjoyed it!
'Thank you. I am so excited to learn, explore and experiment with this work.' 'My body feels so much better after this class. Looking forward to the 3rd course' 'This work is what I've been seeking! So inspired and excited. Grateful.' 'I love this modality.' 'New concept for me - mindful movement via awareness and vice versa.' 'I enjoyed the class and it challenged my natural direction of thinking. I was expecting more pathology and treatment but realize that it is not necessary. Taught me to be a better listener. Thank you.' 'This workshop catalyzes thought and supports integrative work.' 'Good balance of theory, dialogue and movement.' 'The instructor is very dedicated about her practice and knowledgeable about movement fundamentals and I look up to her for that. True inspiration and great person to be around!' 'Wonderful intro to a new concept of movement. Loved hands-on. ' 'Very worthwhile course. Most enjoyable and informative. Educational. Loved the class and instructor as well as the space. Brilliant! ' |
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Matt Cosper
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Top Ten List
(One of ) my favorite art experiences from 2016 Alban Elved 'adam-mah' @ Boom Festival, Spring 2016 'In a small dark chamber there are things happening in the dirt. Tracks laid out and bodies subjected to all manner of indignities. And we watch. And when we are given instructions, we do what we are told. And so we become complicit in these things. We become responsible for each other's bodies. History repeats.' |
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Quotes from participants in 'BII - The Body's intrinsic Intelligence' workshops and classes (at Salem College DANC220 and others).
2015/16/17 |
'What we did in Karola's class changed my life.'
'The course was very fun! 'I always felt great after class. This was a great jan term course. I loved it so much and I am sad it's our last day. Karola is a great teacher.' 'Intellectually stimulating from day one.' 'Really got us thinking and questioning and ultimately answering. A lot of emotional and physical effort was put into this class by both, student and teacher.' 'I have completely changed in a month. I cam into this class so uncomfortable with my body because I don;t know how to move it and now I love moving that change is 100% due to this class!!!! So happy I took this class and I would totally recommend it.' 'This class is absolutely amazing and should be a Gen Ed course. It brings us into our bodies and teaches us crucial knowledge on how to listen to it.' 'We were urged to think on a deeper level about our bodies.' 'I was able to learn in a light and friendly environment.' 'I felt respected and heard. This class is very good.' 'This week has been an extraordinary learning experience for me. I find this class fascinating and it really connects to me as a dancer. |
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Janette K. Hopper, artist, retired Director of Art Department, UNC Pembroke
April 22nd, 2016 Gray Pascal
Artist in Sculpture and Performance Art Wilmington, NC, April 22nd, 2016 Dr. Cynthia Johnson, Adjunct Professor, CFCC, Wilmington, NC, April 22nd, 2016
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About a performance of 'Hippolyta's Disappearance' at Cape Fear Community College, April 22nd, 2016
''Your performance left me speechless... It was powerful, evocative and important. A powerful comment on repression and fighting for the parts of your self that can easily be smothered in our social constructs. It is complex, difficult, and as a student there said: 'totally worth experiencing'. No one can move as you do...' About a performance of 'Hippolyta's Disappearance' at Cape Fear Community College, April 22nd, 2016 and the workshop on interdisciplinary performance art at CFCC April 22-24, 2016
To see art that really moves me is a dual, almost paradoxical event: there is the present moment in which all that seems to exist is that which streams into my eyes and ears, my heart and mind; simultaneously, I am inspired and hop through a string of moments--potential futures, working on my own creations--some new and some old ideas suddenly springing back to consciousness thanks to some simple realization or missing piece connected to the art I am experiencing. This is what I felt watching Karola perform in ('Hippolyta's Disappearance') a movement-based piece that was honest, unforced, and otherworldly. I was excited and honored to know that I would get to create a piece under her gentle guidance in a two day workshop.
Karola blends pushing one's boundaries with offering practical solutions to creative expression through technical ingenuity. This balanced approach lends itself to the formative stages of a performance art piece all the way to its ultimate execution in front of an audience. ... I am particularly grateful for the privilege of getting to move WITH Karola, as she lends the confidence that she exudes. Movement is a language in which she is fluent. About a performance of 'Hippolyta's Disappearance' at Cape Fear Community College, April 22nd, 2016
Your performance in the Studio Theatre was innovative and enlightening. I spoke with my students who attended and they stated that they had never seen anything like that. This is why it is so important to have theatrical variety like your creative show for the classes to experience.
I would highly recommend a repeat presentation! ... It would truly be a precious gift to the masses. |
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Jessica Gaffney
Theatre Instructor CFCC, Wilmignton, NC, April 22nd, 2016 |
About the performance of workshop outcomes by students, alumni and faculty with Karola Luettringhaus, at Cape Fear Community College, April 24th, 2016, Studio Theatre, Wilmington, NC.
Cape Fear Community College art faculty and students had the great fortune to work with Karola Luettringhaus to workshop their own performance art pieces. The participants had a day and a half to create pieces under the guidance of Ms. Luettringhaus, each piece incorporated movement, sound and visual elements to create a piece individual to each artist. As an audience member on the day of the performance I could not believe what the participants were able to achieve in such a short period of time, many of whom had no experience with performance art prior to the workshop. Each piece was individual, evoked an emotional response and embraced all aspects of performance. In speaking with the workshop participants after the performance I was able to grasp what an amazing experience the workshop was for the artist participants. Working with Ms. Luettringhaus was an invaluable educational opportunity.
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TRIAD City Beat
by Joanna Rutter February 24th, 2016 |
http://triad-city-beat.com/ruby-slipper-kicks-through-a-glass-ceiling/
About a performance of 'adam-mah' at the Ruby Slipper Fringe Festival ''A tangible silence hung in the dark void in the third-floor theater of the Milton Rhodes Center for the Arts on Feb. 19 as about 30 people gathered around a large mat of paper covered in dirt and pieces of trash, watching — spellbound — as two dancers writhed around in the mess, the only noises the sound of clumps of dirt hitting the floor, the crinkle of plastic bags and their heavy breathing. It was a dance performance so intense, so bizarre, |
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Ruby Slipper Fringe Festival
organizer/co-director Cara Hagan February 24th, 2016 |
http://triad-city-beat.com/ruby-slipper-kicks-through-a-glass-ceiling/
About a performance of 'adam-mah' at the Ruby Slipper Fringe Festival 'Well, it’s a Karola piece,” Hagan said. “You’re not going to see a Karola piece where she doesn’t go all in.” |
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Ruby Slipper Fringe Festival
organizer/co-director Lenise Willis February 24th, 2016 |
http://yesweekly.com/article-21026-permalink.html
About a performance of 'adam-mah' at the Ruby Slipper Fringe Festival 'As a female, it ('adam-mah') made me question why I doubt myself and why it was uncomfortable to be singled out or put in charge.' |
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Starnews online
Wilmington, NC Justin Lacey August 18th, 2015 |
http://yesweekly.com/article-21026-permalink.html
About a performance of 'adam-mah' at the SARUS Festival 2015 Us and dirt - So close, and yet so far "Adam-mah," a powerful and provocative performance piece conceived, directed, choreographed and scored by Lüttringhaus, ..., uses audience interaction, soil, simple lighting, an ambient soundscape and tremendously physical dancing to unwind the entire scope of humanity, from dust to dust. ...Though abstracted, themes of territoriality, overpopulation, pollution and a stripping of the earth's resources emerge, a testament to Lüttringhaus' thorough planning, and to the caliber and commitment of Goolsby and Lüttringhaus as performers. ...Walking into Sunday's performance, I found myself thinking, "Where can I stand where I can participate the least?" And yet, along with the other audience members, I did touch the soil. We all smelled it, and we all stepped in it. We were a part of it. It's just earth, after all.' |
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The Herald-Sun
Jun. 24, 2015 Susan Broili |
http://www.heraldsun.com/news/showcase/x110775530/Tar-Heel-choreographers-debut-at-ADF
Tar Heel choreographers debut at ADF 'German-born choreographer/dancer Karola Lüttringhaus and Rachel Goolsby Crawford perform the duet from Lüttringhaus’ 2008 “Inertia — Remembering the Holocaust.” Commissioned by UNC-Wilmington, the work had featured vignettes based on interviews with Holocaust survivors in Wilmington, ... .... the choreographer indicated that she deplores any persecution of people perceived by others as different — something that continues in the world today. What happened during the Holocaust affected this choreographer’s generation of artists — she grew up in Berlin — and continues to inform the way she makes art, she said. “We used art to work through our past. We were interested in the dark side of humanity … I am very inspired by that way of creating. I’m not afraid to lay bare some ugliness,” Lüttringhaus said. |
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Star News
Justin Lacey 2014 |
'... an incredibly physical multi-disciplinary production that breaks many conventions of traditional theatre...'
'... a powerful performance...With “A Midsummer Night’s Dream – Dissected,” Lüttringhaus set out to explore the purpose of theatre, true love and marriage by examining Shakespeare’s darker themes through a contemporary lens. .... and the audience is right there in the middle of that flux, standing, just as vulnerable.'
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Anne Berkeley
Professor of Theatre UNCW 2013 |
'Karola Luttringhaus is among the very few most outstanding colleagues and artists I have had the good fortune to work with. I saw her gifts in equal parts teaching ability, artistic talent, excellence of craft and leadership... A brilliant teacher... Her discussion about the creative process,... is the clearest and most profound I've ever heard or read.'
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Dance Magazine,
New York City. 2010 |
'A raw moment of truth...'
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Janette K. Hopper,
Artist 2015 |
' powerful.'
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The Classical Voice North Carolina
2007 |
'Marked by an unpretentious athleticism and a philosophic quality … the dances are closely reasoned sequences that exploit the physics of movement for its emotional resonance.'
Not pretty but often beautiful, Lüttringhaus' dances depend on the proud power and flexibility of the dancers' bodies – and their joint and mutual willingness to risk themselves.' |
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The Dance Insider Online Magazine
New York City 2001 |
...highly striking work... richly layered with intricate craftsmanship... thrilling moments of suspension, swing and split second timing... theatricality, execution and risk taking are superb."'
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Barbara Lister-Sink, Artistic Director, Professor of Piano, School of Music, Salem College
2011 |
I wanted to thank you and Samuel Taylor for t'he astonishing presentation of Vita that I experienced on October 2, 2011 at SECCA. It was almost overwhelming in its artistic depth, creative uniqueness and haunting beauty. The performance took me on a journey in my own mind to places as yet unexplored. The combination of your evocative visual images, Sam’s strange and revelatory electronic sounds and music, the movement-capture technology, and the extraordinary way your movements and forms flowed from one psychological “realm’ to another, all made the entire sonic and visual experience breathtaking. It was, in a word, stunning.
Please accept my heartfelt thanks for bringing such superb, cutting edge artistry and creativity on the highest level to all of us who were fortunate enough to be in the audience that Sunday afternoon at SECCA.' Gratefully yours, Barbara Lister-Sink |
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Rabbi Josh Brown
Temple Emmanuel Winston-Salem, NC 2009 |
'I want to thank you for bringing such a meaningful and impactful performance (Inertia) to Winston-Salem. ... The emotions of the performers were so pure that as I looked across the aisle at our students, it was obvious that these emotions had transferred to everyone in the room....
Overall, the performance was one that they will never forget. ... Thank you for bringing such an incredible performance to our community. Your art is a reminder of how resilient our world is and left me feeling hopeful for how future generations will remember the Holocaust.' B’shalom, Rabbi Josh Brown |
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Scott Phillips
Chair, Dept of Theatre Auburn University 2014 |
'During the residency, Karola was a blaze of energy, seemingly inexhaustible and very inspirational. The bond with our students was almost immediate, and their clear enthusiasm for both Karola and her innovative way of working was a testament to her skills as a teacher and mentor.
'...an innovative choreographer with a rare artistic imagination.' |
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William McNeill
musician, artist speaker/performer NC Humanities Council 2014 |
'Karola Luttringhaus, an artist of European sensibility, elevates dance theatre to a higher, more radical and visionary plateau. Her performances are always imbued with imagination and wisdom, her adaptations of literature meticulously researched, and her performances riveting and intellectually engaging. I left “A Midsummer’s Night Dream” under a magical spell: I was bewitched by the experience of art in all of its mystical expressions.'
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Laura Slawter
Coordinator of Cultural Events SalemCollege 2009 |
'... "Inertia - Remembering the Holocaust" was such a moving performance and we were so honored to have you on our campus for the two-week residency.
I have had wonderful feedback from both our staff and students.... We are always looking for events that will appeal to both our campus and the community, and "Inertia" certainly did. It was so wonderful that you used actors from our community for the performances - I think it introduced an audience to our campus who would have never come here otherwise. Your cast was so remarkably talented and the music and the choreography was so powerful. ... I certainly would encourage any campus who is thinking about bringing the perfromance to do it. Ourstudents, faculty, and staff all benefited greatly from having you here on campus....' All my best, Laura Slawter |
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Louis A. Kavouras
Chair, Dept of Dance, UNLV 2013 |
'Karola Luttringhaus is an artist. It is clear that she has developed a body of choreographed works that spring from a unique vision and a unique kinetic intelligence...
With Inertia, Karola Luttringhaus was able to create a project for students that allowed the sensitive and complex topic of the Holocaust in a sensitive, aesthetic, dynamic and poignant way. Simply put, the project was brilliantly conceived and brilliantly executed. it was a moment that becomes a paramount experience in a dancer's development... Karola Luttringhaus embodies exactly the proportion of knowledge, talent, ingenuity, discipline and caliber of artist we strive to bring to our institution.' |
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Michael Christiano
Curator of Education Southeastern Center for Contemp. Art 2010 |
'I want to express my gratitude to you and the Alban Elved Dance Company for the captivating production of TERRA NULLIUS, My Red Chair, performed at SECCA August 27--29, 2010. ...
The performance wrestled with these ideas (topic of home) in a way that was both conceptually rich, yet accessible. It skillfully straddled the fine line between ambiguity and universality, allowing the audience to bring their own interpretations and experiences to bear. ... The performance was truly an immersive experience. ... moving and haunting. SECCA is proud to serve as a platform for artistic exploration and I was inspired by Alban Elved’s creative drive, determination, and resourcefulness. I was amazed to see how significantly you had transformed our Auditorium space using ordinary and available materials. I was equally intrigued to see how dramatically this new work developed in just two short weeks. ... I enjoyed working with you and look forward to experiencing future performances.' Warmest Regards, Michael Christiano |
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Fereshteh Rostampour
Professor of Scenic and Lighting Design Auburn University 2014 |
'I am writing in strong support of Ms. Karola Luttringhaus and her ingenious creation of INERTIA. I think that it is a masterpiece and one of the most stunning performances I have ever seen. INERTIA was both visually stunning and emotionally disturbing. I must admit that I was frozen in my seat the entire time. She truly captured in an incredible dramatic form the terror, hatred, hope and pain suffered by Holocaust victims... As an artist and a scholar I strongly hope that INERTIA can be seen by everyone. INERTIA is more than a sophisticated and striking dance piece; it speaks to us all, regardless of our gender, nationality or religion.
I had heard a great deal from colleagues about Ms. Luttringhaus - her talent and distictive style as an artist and choreographer - before I met and worked with her. The experience of working with Ms. Luttringhaus was outstanding and invigorating for she is a brilliant artist and a fantastic collaborator. Over the past sixteen years of my career as a lighting designer, I have worked with many well known artists around the world. Ms. Luttringhaus stands out as one of the best artists/choreographers I have had the pleasure of working with... I was most impressed by the speed with which she found solutions to problems... She continuously enhanced her artistic vision by incorporating new ideas in a truly collaborative spirit. We worked extremely well together by bouncing ideas back and forth throughout the tech rehearsals and I believe the end result ('Cuentos') was dazzling. I am amazed by the degree of respect Ms Luttringhaus has for perfromance spaces, no matter how poorly these spaces are designed. She manages to work under the most challenging conditions and still comes up with striking, simple, and truly elegant work.' |
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Deborah Velders
Director Cameron Art Museum 2008 |
'Karola Luttringhaus and the ALBAN ELVED DANCE COMPANY are this museum's first resident dance company. Their work of the past year has contributed fresh energy and creative vision to the museum's creative programs. Karola Luttringhaus possesses exceptional range in her embrace of visual, choreographic and theatrical acumen - each receiving the full power of her creative focus as the company's creative director. As its executive director, she engages equally talented dancers, artists and technicians in a collective quest to communicate the beauty, humor and tragedy of human existence.
We are grateful to have the ALBAN ELVED DANCE COMPANY in our museum, and in our state.' |
