Aaron Mattocks

Undergraduate Discipline

Dance

BA, Sarah Lawrence College. Performer/ensemble member: Big Dance Theatre (Annie-B Parson/Paul Lazar) since 2009, including three Brooklyn Academy of Music (BAM) Next Wave Festival premieres and Man in a Case with Mikhail Baryshnikov (Hartford Stage, 2013-14 national tour). Performer/ensemble member: Phantom Limb Company (Jessica Grindstaff/Erik Sanko) since 2011, including two BAM Next Wave Festival premieres, rehearsal director/dance captain for Sir Ryan Heffington (Memory Rings), and associate director (Falling Out). Originated roles in premieres by choreographers Ursula Eagly, Doug Elkins, David Gordon, John Heginbotham, Jodi Melnick, Stephen Petronio, Steven Reker, Christopher Williams, and Kathy Westwater. Guest artist with Yoshiko Chuma (A-C-E One), Faye Driscoll (You're Me), John Kelly (Find My Way Home), Dean Moss (some elements...), David Parker (Nut/Cracked), Karen Sherman (One With Others), and in the Bessie Award-winning immersive production Then She Fell. Workshops/special projects with 600 HIGHWAYMEN, Joanna Furnans, Shaun Irons/Lauren Petty, Courtney Krantz, Abigail Levine, and Amanda Villalobos. Associate choreographer for Annie-B Parson: Ricki and the Flash (Jonathan Demme, director); David Lang's the public domain at Lincoln Center/Mostly Mozart; and new works for Wendy Whelan/Royal Ballet, Martha Graham Dance Co., and Sadler's Wells/Elixir Festival. Publications: New York Live Arts commissioned writer, 2013-2014; Movement Research critical correspondence editor, 2012-2013; articles/essays in Brooklyn Rail, Hyperallergic, Performance Club, and Culturebot. Arts administration: company and general manager, Mark Morris Dance Group (2002-10); producer/executive director, Big Dance Theatre (2014- ); executive producer, Pam Tanowitz Dance (2015- ); project producer: Faye Driscoll, Beth Gill, Steven Reker (2014-16). Independent arts strategy and leadership consultant: 2016- . SLC, 2017–

Undergraduate Courses 2017-2018

Dance

Making It Work

Component—Spring

In this semester-long course for students completing their studies at the College, we will examine and hone the tools needed for propelling your creative work into the professional landscape. Taught from an active artist/artist manager perspective, the course will attempt to achieve fluency for all makers by providing practical encounters with key areas of budgeting and finance, fundraising and grant writing, presenting and touring, and self-producing components (including marketing, press, audience development and engagement strategies, digital and social interactions, and production administration). We will explore various dance and theatre financial models, from being an independent solo artist to starting your own ensemble. The class will be participatory, asking each student to craft project descriptions, grant narratives, and budgets for their thesis projects or other works shown in the previous semester or first year. We will develop and stage mock applications and peer/panel reviews for real-world funding opportunities, undertake group budgeting for productions that occur in each department, and develop concurrent fundraising plans and crowdsourcing campaigns. The aim of this course is to provide a greater level of competitive preparedness for graduating theatre and dance makers on the cusp of representing themselves and their work in their chosen field(s).

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