Photo of Angel Vianna taken at the Carnival of 1929 (1929) by Unidentified photographerPortal MUD - Dance Museum
Childhood and Youth
In 1889, Lebanese immigrants Miguel and Salime Abras settled in Curral Del Rey, later Belo Horizonte. Their daughter Margarida had four children, including Angel Vianna (b. 1928), who was raised with affection and art in a provincial Belo Horizonte.
Angel grew up in an environment where art was deeply valued. At the age of 17, she studied piano with Francisco Masferrer while also exploring sculpture and dance. These three elements became the foundation of her artistic development, leaving a lasting impact on her path.
Photo of Angel Vianna at 13 years old at Colégio Santa Maria das Dominicanas (1941) by Unidentified photographerPortal MUD - Dance Museum
Studious and disciplined, Angel attended traditional schools, eventually enrolling at the Instituto Padre Machado. There, she met Klauss Vianna, her future husband and dance partner. She was also taught by Otto Lara Resende, whose classes left a lasting impression on her youth.
Photo of Angel Vianna at the Ballet de Minas Gerais (1951) by Unidentified photographerPortal MUD - Dance Museum
The Birth of an Artist
Defying her father’s watchful eye, Angel joined the Ballet of Minas Gerais.
In 1948, Angel joined the Ballet of Minas Gerais, led by Carlos Leite, hiding her love for dance from her father. There, she began her studies alongside Klauss Vianna. The group stood out in performances that helped cultivate an audience for ballet in Belo Horizonte.
Angel broadened her perspective on art, the body, and movement. In 1952, she won an award for her piece Pé da Bailarina. Her research on the body and movement would go on to deeply influence her approach to dance.
Photo of the religious wedding of Angel and Klauss Vianna (1956-06-29) by Unidentified photographerPortal MUD - Dance Museum
She married Klauss in 1955, after years of waiting for her father's approval. That same year, they founded the Klauss Vianna Ballet and School. Together, they created innovative choreographies such as A Cobra Grande, beginning a transformative path for dance in Brazil.
Photo of Angel Vianna with students from the Klauss Vianna School (1950) by Unidentified photographerPortal MUD - Dance Museum
Angel and Klauss leading their first school
In the 1950s, Angel and Klauss Vianna revolutionized dance in Belo Horizonte. They created a school grounded in movement research and an understanding of the body. In 1955, they founded the Ballet Klauss Vianna, an innovative group that brought a genuinely Brazilian approach to dance.
Angel shone as a dancer and choreographer in works like Neblina de Ouro and O Caso do Vestido. The group blended dance, literature, and visual arts, exploring new sounds and narratives. In 1962, Angel created her first choreography, marking her unique artistic identity.
In 1958, Rainer Vianna, son of Angel and Klauss, was born. Instead of yielding to the expectation that mothers should give up art, Angel continued dancing — allowing motherhood to overflow into her creative work.
The second staging of "Caso do Vestido" (1960) by IanniniPortal MUD - Dance Museum
Angel and Klauss sought to modernize dance at UFBA’s Dance School, where they studied German modern dance fundamentals, deepening their body research. In 1962, invited to UFBA, they began a new phase that transformed dance education in Brazil.
Choreography "Sanctus" (1966) by Unidentified photographerPortal MUD - Dance Museum
The Bahia adventure
In 1963, Angel and Klauss Vianna moved from Minas Gerais to Salvador, bringing new ideas to UFBA’s Dance School. They explored expressionist dance and deepened studies in capoeira, anatomy, kinesiology, and physiology. Angel also danced with Grupo Juventude Dança.
The experience at UFBA was rich, but Angel, pregnant again, suffered a great loss with the birth of a premature baby. Combined with Klauss’s struggles to express his choreographic genius, they decided to take a risk and move their lives to Rio de Janeiro.
Photo of Angel Vianna with the Nina Verchinina International Ballet (1957) by Unidentified photographerPortal MUD - Dance Museum
Determined to continue her dance journey, Angel chose to move to Rio de Janeiro, despite Klauss’s reservations. Her new path was marked by challenges and achievements, elevating her body research and transforming Brazilian dance.
Testimony by Dulce Aquino (2012)Portal MUD - Dance Museum
The 2nd staging of "Cobra Grande" with Academia Tatiana Leskova (1968) by Unidentified photographerPortal MUD - Dance Museum
Rio de Janeiro, the first challenges
Arriving in Rio in the ’60s, Angel and Klauss Vianna faced hardships. Angel danced on TV, while Klauss taught at Grajaú Tênis Clube. Amid challenges, Angel began her Body Expression work at Academia Tatiana Leskova, marking a new chapter in dance.
With their new jobs, the couple brought their family to Rio. Klauss was invited to choreograph a scene in The Threepenny Opera, marking the start of a strong connection with theater. Angel danced in the production, solidifying her influence on the Rio arts scene.
In 1967, Angel danced Giselle at Theatro Municipal alongside Rudolf Nureyev and Margot Fonteyn, marking her farewell to classical ballet. Two decades later, in 1987, she returned to the stage performing Movimento Cinco - Mulher, a choreography by her son Rainer.
Testimony by Tatiana Leskova (2012)Portal MUD - Dance Museum
Photo of the performance "Procissão dos Navegantes" (1968) by Unidentified photographerPortal MUD - Dance Museum
Theater and body training
In the ’70s, Angel expanded her research in Body Expression, teaching courses and preparing actors for theater. In Rio, she worked on plays like As Relações Naturais and Maroquinhas Frufru, helping shape the body language of productions and gaining recognition in the theater scene.
In 1972, Angel began teaching in the Music Therapy program at the Brazilian Conservatory of Music, deepening her research on body and movement. That year, Klauss suffered a heart attack, and during his recovery, Angel took on new projects, expanding her work in theater and body education.
In 1974, Angel and Klauss traveled to Europe and the USA with the Molière Award. They took courses with Gerda Alexander and visited studios of dance masters like Cunningham and Graham. This experience strengthened Angel’s body research, bringing her closer to Eutonia and body pedagogy.
Klauss and Angel Vianna during "Hoje é Dia de Rock" (1972) by Unidentified photographerPortal MUD - Dance Museum
The first school in Rio
In 1975, Angel Vianna, Klauss Vianna, and Tereza d'Aquino founded CPCAE in Rio de Janeiro. The school became a meeting point for artists and intellectuals, fostering interdisciplinary exchange and pioneering research in body language studies.
In 1975, Angel created Grupo Brincadeiras, performing dance in unexpected places like prisons, hospitals, and public squares. In 1976, they founded Teatro do Movimento, a pioneering Brazilian contemporary dance group, with shows such as Domínio Público and Luiza Porto.
Class of the Grupo Teatro do Movimento (1977) by Unidentified photographerPortal MUD - Dance Museum
In 1980, with funding cut, Teatro do Movimento disbanded. Angel continued her work with projects like Papa Highirte and the creation of Adacerj. Klauss moved to São Paulo, while Angel prepared choreographies such as Unhas e Dentes and Reflexões Poéticas.
Testimony Lourdes Bastos (2012)Portal MUD - Dance Museum
Choreography "Terreno Baldio" (1981) by Unidentified photographerPortal MUD - Dance Museum
In 1981, Angel Vianna created the choreography Terreno Baldio, winning 1st place at the III National Contemporary Dance Competition. That year, she also choreographed Pé de Pato Mangalô Três Vezes, assisted by her son, Rainer Vianna.
Angel Vianna’s bodywork became a hallmark of her teaching. In 1983, Espaço Novo – Center for Movement and Arts Studies was founded. The school became a reference for training “thinking bodies,” focusing on dance, body awareness, and movement anatomy. In 1985, it was renamed Escola Angel Vianna.
Throughout the ’80s, Angel Vianna dedicated herself to important pedagogical and artistic work, such as the technical course in Motor Recovery and Dance Therapy. During this period, she returned to the stage in the performance Movimento Cinco - Mulher.
Klauss and Angel Vianna during the time of "Hoje é Dia de Rock" (1972) by Unidentified photographerPortal MUD - Dance Museum
In 1992, Angel faced the loss of her husband, Klauss Vianna, yet she continued to influence dance in Brazil.
Testimony Vera Andrade (2012)Portal MUD - Dance Museum
In 1993, Escola Angel Vianna celebrated its 10th anniversary with an event full of performances, discussions, and exhibitions.
Photo of Angel Vianna in the solo "Inscrito" (1999) by Unidentified photographerPortal MUD - Dance Museum
Angel also created the Novo Teatro do Movimento Group and presented the choreography Kine at Panorama da Dança, highlighting the collaboration between choreographer and dancer.
Drawing depicting Angel Vianna (1999) by Martha PoppePortal MUD - Dance Museum
After the death of her son Rainer in 1995, Angel took a year off to recover from surgery. In 1996, she founded IPACEAV and organized the 1st International Meeting on the Body in Dance and Theater, promoting
In 1999, she received the Order of Cultural Merit and continued her journey of recognition with numerous awards and honors.
Angel Vianna teaching at Faculdade Angel Vianna (2009) by Unidentified photographerPortal MUD - Dance Museum
The College
In 2001, in Rio de Janeiro, after a series of efforts, the Angel Vianna College was inaugurated, offering Bachelor’s and Licentiate degrees in Dance.
Testimony Paulo Trajano (2012)Portal MUD - Dance Museum
Angel Vianna performing in the choreography "Improptus" (2002) by Unidentified photographerPortal MUD - Dance Museum
A Lady of Dance
In 2002, Angel Vianna performed Impromptus at Panorama RioArte, took part in ECUM, and was honored at the Damas da Dança event. During the Ciclo Klauss Vianna, she reflected on her legacy. Her journey continued to inspire through workshops and performances.
Between 2002 and 2009, Angel received major honors and awards, such as the Prêmio Multicultural Estadão and the Antares Recognition. Angel Vianna College expanded with postgraduate programs and partnerships, promoting new research and innovative dance courses.
In 2012, Angel was the subject of tributes and programs, including at Sesc Palladium and on Canal Brasil. She launched the Angel Vianna Archive, digitizing her story. With a career spanning over 40 years, she was honored with the APCA Award and tributes across Brazil.
Angel receiving the Order of Cultural Merit medal in 2014. (5 de novembro de 2014) by Unidentified photographerPortal MUD - Dance Museum
In 2014, Angel was honored with the Order of Cultural Merit Award, Grand Cross category, presented by President Dilma Rousseff. That year also saw the launch of A Dança é minha Passagem, a photo exhibition celebrating her long career and contribution to dance in Brazil.
In 2018, the Angel Vianna Occupation took place at Itaú Cultural in São Paulo, honoring her career and immense contribution to Brazilian Contemporary Dance.
In 2016, at 88 years old, Angel premiered the solo Amanhã é outro dia, sharing her story through an original choreography.
Performance "O tempo não dá tempo" (2018) by Renato MangolinPortal MUD - Dance Museum
At 90 years old and still performing, she created and presented the shows Amanhã é outro dia and O Tempo não dá Tempo.
Performance "Amanhã é outro dia" (2017) by Maurício MaiaPortal MUD - Dance Museum
Angel Vianna passed away on November 30, 2024
Her contribution to dance is a legacy of deep expression. With every movement, Angel not only redefined the meaning of art but also paved the way for freedom to be and to create.
Photo of a scene from the choreography "... Qualquer coisa a gente muda" (2010) by Renato MangolinPortal MUD - Dance Museum
Angel Vianna is a star that keeps shining
Her vast knowledge and experiences in dance continue to be generously shared with artists throughout Brazil.
Learn more about Angel Vianna's story
Access testimonies from other artists and materials from the artist's archive on the MUD Portal.
This story is part of the MOVER MEMÓRIAS project, awarded by the FUNARTE RETOMADA - DANCE 2023 grant.
Curation: Neide Neves
Support: Marcia Feijo and Zélia Monteiro
Project Coordination: Talita Bretas
Coordination Assistant: Rúbia Galera
Trainee: Pietra Padilha
Archivist: Murilo Armando
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