You wouldn’t be reading this if it weren’t for Deborah Jowitt. During my second year of graduate school at New York University’s Tisch School of the Arts, she graciously mentored me in dance criticism for no other reason than that I asked.
This generosity of spirit and fifty-plus years of writing about dance has made Deborah (as she is called by pretty much anyone who meets her) an almost cult figure in the arts community. Her reach is extraordinarily wide-ranging, touching budding writers like myself as well as creative luminaries from the past, present, and likely future.
From the Horse’s Mouth, a dance-theater extravaganza lauded for its storytelling, doesn’t try to quantify Deborah’s reach — that would be impossible. Over four shows and one panel that includes upward of fifty performers, dancers, critics, and speakers, it does, however, attempt to qualify her impact. Most unusual in a world where lines may be strictly drawn between roles, Deborah has kept her fingers in many pots, working as a dancer, choreographer, scholar, teacher, and writer. “A new role model” is how Ellen Graff describes her.
The setup of . . .
THREE MINUTES TO READ
TO READ THE BALANCE OF MY ARTICLE, PLEASE VISIT THE DANCE ENTHUSIAST.
Photo by Whitney Browne.