{"id":4,"date":"2011-07-05T22:40:55","date_gmt":"2011-07-06T02:40:55","guid":{"rendered":"http:\/\/www.artsjournal.com\/dancebeat\/?page_id=4"},"modified":"2011-07-07T13:32:16","modified_gmt":"2011-07-07T17:32:16","slug":"deborah-jowitt","status":"publish","type":"page","link":"https:\/\/www.artsjournal.com\/dancebeat\/deborah-jowitt\/","title":{"rendered":"Deborah Jowitt"},"content":{"rendered":"<p>I entered the dance world as a performer, moving from my native California to New York to become a member of the company run by Harriette Ann Gray. During the 1950s, few modern dance companies functioned full-time. My friends and I jobbed around: Sophie Maslow was choreographing the Chanukah Festival; Pearl Lang needed a tall dancer for a week at Jacob\u2019s Pillow; Doris Humphrey was auditioning people for Juilliard Dance Theater. . . . My life (if not my income) got more stable when I became a founding members of Dance Theater Workshop\u2014then a kind of 1960s cooperative, where we choreographed our own works and performed in those of our colleagues in a small, funky loft on 20<sup>th<\/sup> Street.<\/p>\n<p>My first stab at dance criticism came on a weekly panel show, \u201cThe Critical People,\u201d at WBAI. I found I had an appetite for the job. In 1967, I went straight from a summer spent dancing in musicals in tents all over the northeast to writing for the <em>Village Voice<\/em>, alongside the remarkable Jill Johnson. During my forty-four year career there, I also wrote for other publications, lectured, taught, published books, and continued to perform and choreograph off and on. \u00a0I guess I\u2019m in it for life.<\/p>\n<p>Anyone looking for more information can find me at deborahjowitt.com. Anyone wanting to contact me can send a message to <a href=\"mailto:dj2@nyu.edu\">dj2@nyu.edu<\/a>. And you\u2019re invited to leave a comment on this blog at my new online home.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>I entered the dance world as a performer, moving from my native California to New York to become a member of the company run by Harriette Ann Gray. During the 1950s, few modern dance companies functioned full-time. My friends and I jobbed around: Sophie Maslow was choreographing the Chanukah Festival; Pearl Lang needed a tall [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"class_list":{"0":"post-4","1":"page","2":"type-page","3":"status-publish","5":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/dancebeat\/wp-json\/wp\/v2\/pages\/4","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/dancebeat\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.artsjournal.com\/dancebeat\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/dancebeat\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/dancebeat\/wp-json\/wp\/v2\/comments?post=4"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/dancebeat\/wp-json\/wp\/v2\/pages\/4\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/dancebeat\/wp-json\/wp\/v2\/media?parent=4"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}