Kate Mattingly has taught and written about dance for two decades. Her writing about dance has been published in The New York Times, The Village Voice, Dance Research Journal, Dance magazine, Pointe magazine, and many other journals and publications. She has served on nominating committees such as the New York Dance and Performance “Bessie” Awards and was invited by the National Endowment for the Arts in Washington DC to serve on the Dance Panel determining funding for U.S. companies, choreographers, and schools. She received her undergraduate degree from Princeton University and her Master’s of Fine Arts degree from New York University’s Tisch School of the Arts. In May of 2017 she will receive her doctoral degree in Performance Studies from the University of California, Berkeley.
Last month, on May 21, more than 300 people rallied at the Utah State Capitol to protest the growing numbers of bans on abortions. A large banner, held by three people at the top of the stairs inside the rotunda, stated “Stop the War on Women.” So far […]
Queerness is essentially about the rejection of a here and now and an insistence on potentiality or concrete possibility for another world.” — José Muñoz How might writing about a queer (an adjective) festival queer (a verb) ideas and expectations surrounding arts criticism? What if the writing resisted […]
Even though John Cranko chose the title Onegin for his ballet based on Alexander Pushkin’s verse-novel, I find its power resides in the dancer playing the role of Tatiana. It is her transformation, from withdrawn and innocent to forthright and assertive, that makes the story so compelling. For this reason, […]
Anyone who enjoys being hugged, or enjoys giving great hugs, knows that friendship is as much felt as spoken. In the newest production by Ririe-Woodbury Dance Company, a collaboration with Flying Bobcat Theatrical Laboratory inspired by the Red Fred Project, this is made abundantly clear. Words intermingle with […]
While George Balanchine’s “Jewels” may be best known as the first full-length abstract ballet, I find its magnificence resides in other features: its brilliant display of ballet’s history and the ways dancers and music convey different moods or atmospheres. Ultimately, I find the three sections of “Jewels” speak […]
When Sarah Longoria, director of Municipal Ballet Co., stepped to the microphone last night to thank Fisher Brewing Co. for hosting their performance of “The River Speaks Plainly,” she mentioned it was “the first ballet they’ve ever had here.” She admitted that the company hoped to perform this piece […]
The second weekend of Ballet West’s National Choreographic Festival features three pieces created by women: Jennifer Archibald’s “Myoho,” performed by Cincinnati Ballet, Robyn Mineko Williams’s “To Clear,” performed by Charlotte Ballet, and África Guzmán’s “Sweet and Bitter,” performed by Ballet West. Like the first weekend of the festival, each choreographer presents a different approach […]
The second weekend of Ballet West’s National Choreographic Festival features three pieces created by women: Jennifer Archibald’s “Myoho,” performed by Cincinnati Ballet, Robyn Mineko Williams’s “To Clear,” performed by Charlotte Ballet, and África Guzmán’s “Sweet and Bitter,” performed by Ballet West. Like the first weekend of the festival, each choreographer presents a different approach […]
