Kathy Westwater, “an unconventional choreographer experiencing a surge of recognition” (The New Yorker) and recent recipient of the Solange MacArthur Award for New Choreography, has choreographically pursued experimental dance forms since 1996. Described as “at the limits of the human” (The Brooklyn Rail), her work responds to contemporary experience and the societal landscape in which it manifests by reimagining the body’s movement potential.
Westwater’s Bessie-nominated Rambler, Worlds Worlds A Part, co-presented at New York Live Arts by NYLA and Lumberyard, and commissioned by Lumberyard, explores pain and the body, including the pain of others. Her other major works have explored the built environments of monuments (Anywhere); landfills and parks (PARK); phenomena of war and pain (Macho); the intersection of human and animal culture (twisted, tack, broken); psycho-physical states of fear (Dark Matter); and interactive virtual environments (The Fortune Cookie Dance).
Developed in New York City, her dances have been seen at New York Live Arts, Brooklyn Studios for Dance, Temple University, Danspace Project, 92nd Street Y Harkness Center, Movement Research at Judson Church, Dance Theater Workhshop, Joyce SoHo, Franklin Furnace, Brooklyn Museum of Art, Dixon Place, Lower Manhattan Cultural Council, Performance Space 122, Brooklyn Arts Exchange, Pratt Institute, Reed College, and many parks and public spaces, among others. Her work The Fortune Cookie Dance is cited in The Drama Review and the Guerrilla Guide to Performance Art as an early example of online interactive dance and archived in the Walker Art Center’s Mediatheque Archive.
She has received commissions from Lumberyard, Temple University, Dance Theater Workshop, and Danspace Project; and awards from CUNY Dance Initiative, Dance NYC, Lower Manhattan Cultural Council, New Music USA, Foundation for Contemporary Arts, Puffin Foundation, Franklin Furnace Fund, Meet the Composer, and New York Foundation for the Arts. In 2020 Westwater will be artist in residence at both Yaddo and Snug Harbor. In 2019 she was artist in residence at Maggie Allesee National Center for Choreography; she was one of three inaugural artists in residence at Petronio Residency Center in 2018.
Westwater has been the recipient of numerous other residencies, among them, Brooklyn Studios for Dance, Temple University, Djerassi, Movement Research, NYC Department of Parks and Recreation, iLAND, Dance Theater Workshop, The Field, Rockbridge Artist Exchange, Millay Colony for the Arts, Lower Manhattan Cultural Council, and Pratt Institute. Early support for her work included space grants from 92nd Street Y and Brooklyn Arts Exchange, a fellowship from Summer Stages Dance Festival, and being named a Mellon Anchor Artist by the Joyce Theater Foundation.
Inspired by early studies with Simone Forti, Dana Reitz, and Sara Rudner, Westwater has since been described by Rudner as a “seminal artist.” In addition her own work, Westwater has danced in reconstructions of Forti’s groundbreaking works Slant Board and Huddle at Lincoln Center and Steve Paxton’s influential Satisfyin‘ Lover and State at the Museum of Modern Art. She originated roles in Historias and Familias, both by choreographer Merián Soto & visual artist Pepón Osorio, and performed them nationally and internationally, including at Jacob’s Pillow, Lincoln Center, and Dance Theater Workshop, among many other places. Historias has been recognized as an American Masterpiece by the National Endowment for the Arts. Westwater has also performed in works by Sally Silvers and K.J. Holmes.
Westwater is on the faculty of Movement Research, and serves on its Artist Advisory Council. From 2000-2019, she taught choreography, composition, improvisation, and dance history and theory at Sarah Lawrence College. Through workshops, talks, and writings she has explored the intersections of art and society at UC Berkeley, University of Michigan, UCLA, and Norwegian University of Science and Technology, among many other colleges and universities. In 2018 she presented scholarly research at the annual conference of Dance Studies Association in Malta.
Westwater received an MFA from Sarah Lawrence where she was awarded the Bessie Schönberg Scholarship, and a BA from William and Mary where she studied political economy and dance. Dedicated to advancing the working conditions of artists, as a founding member of Dancers Forum she co-authored The Compact.
photo Jae Lee
A black and white image of the artist seated in front of a white brick wall. We see her from the torso up, wearing a dark sweater, gazing back at the viewer.