Faculty Profile Gabrielle Lamb

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    Gabrielle Lamb

    Gabrielle Lamb



    Gabrielle Lamb is a Princess Grace Award-winning choreographer based in NYC, where she directs Pigeonwing Dance, described in The New Yorker as "eccentric...playful...curious". Her work has also been presented by the Royal Winnipeg Ballet, American Ballet Theatre, Whim W’him (Seattle), Ballet Collective (NYC), Ballet Austin, Ballet Memphis, and the Sacramento, Milwaukee, and Kansas City Ballets. Ms Lamb, a 2020 Guggenheim Fellow, has won choreographic competitions at Hubbard Street Dance Chicago and Milwaukee Ballet, as well as the Banff Centre's Lee Award and a New York City Center Choreography Fellowship.  In 2018 she was Grand Prize Winner of the S&R Foundation's Washington Award.

    A native of Savannah, GA, she trained at the Boston Ballet School and was a longtime soloist at Les Grands Ballets Canadiens.  In 2009 she was invited by Christopher Wheeldon to join his company Morphoses in NYC. Her performing repertoire also included new creations by Mauro Bigonzetti, Pontus Lidberg, and Shen Wei, as well as leading roles in existing works by Balanchine, Kylian, Naharin, and Duato. She was described by DANCE Magazine as “a dancer of stunning clarity who illuminates the smallest details—qualities she brings to the dances she makes, too".

    Class Description:

    In my ballet class I emphasize coordination as the basis for holistic, connected movement.  From the beginning of the barre, rhythm and alignment create the base for healthy and efficient center work.  Placement of the spine and pelvis facilitates functional rotation from the hips.  Clarity, speed, and articulation are of key importance. My style is a synthesis of what I have studied of the Russian, French, and American techniques, but dancers are challenged to make interpretive choices regarding musicality, phrasing, and focus.  I am presently in my final year of the 4 year Professional Training Program in the Feldenkrais Method.  This unique method of somatic education has given me greater clarity about organic biomechanical patterns, and has enriched my teaching of classical and contemporary dance.

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