Hannah is the founding editor-in-chief of Lucy Writers and edits all Arts sections (Art & Design, Books, Dance, Creative Writing and Theatre especially). She completed her BA in English Literature at Lucy Cavendish College, Cambridge, and has an MA in Eighteenth-Century Studies from King’s College, London. She is currently studying for a PhD in English Literature at UCL and teaches undergraduate students in the department. Her doctoral thesis explores the use and representation of the human body in the work of Mary Wollstonecraft and her circle. Hannah was Dance, Art and Books editor for London Student from 2017-2018. She regularly writes for online magazines, journals and blogs, such as The London Magazine, The Arts Desk, Club des Femmes, The Cusp, The Modernist Review, Women: A Cultural Review, The London Journal, BSECS Criticks, the Journal of Eighteenth-Century Studies and London Student. She was shortlisted and came second in the BBC Radio 4 Today Programme Student Journalist of the Year Award 2018 (for criticism). She is passionate about using art and literature to encourage young women and marginalized groups to find their creative voice. Hannah has co-run a creative writing workshop for women for several years, as well as a feminist reading group. She writes about contemporary art & culture, in particular visual art, dance and fiction. For more information, contact: hannah.hutchings-georgiou.16@ucl.ac.uk | tweet to @hhgsparkles | follow on Instagram via @hannahhg25
In collaboration with École des Sables, Sadler’s Wells and Tanztheater Wuppertal, this new production of Pina Bausch’s The Rite of Spring is brilliant, brutal and now more relevant than ever, writes Hannah Hutchings-Georgiou.
Body Politic’s latest production, THEM, brilliantly foregrounds the stories of three sufferers of misogyny and sexual violence, and pushes us to confront our own cultural indifference towards such abuse.
Desires rage and sexual tensions are let loose in Tanztheater Wuppertal Pina Bausch’s sublimely smart and ever-relevant classic, Kontakthof, at Sadler’s Wells.
In this creative ‘Christmas’ essay, Hannah Hutchings-Georgiou reflects on the power and therapeutic potential of drawing in her own life, the artistic practise of Louise Bourgeois, and Jean Frémon’s new text Nativity (Les Fugitives).
Millais’ painting, Ophelia, continues to inspire viewers and critics alike, but what if the heroine came back from the watery grave she was condemned to? Here, Hannah Hutchings-Georgiou considers the return of Ophelia in the artwork of Jada Bruney and Rolake Osabia, and the music visuals of Christine and the Queens.
Award-winning author, Yvonne Battle-Felton, talks to Hannah Hutchings-Georgiou about her exceptional debut, Remembered, her journey into academia and writing, her courageous women characters, and the inspiring maternal figures in her life.
Faith Ringgold’s striking painting, #19 US Postage Stamp, 1967, captures the complexities of the Black Power movement in 60s America and the white supremacist structures African Americans were subject to. But it serves as a metaphor for our times too, writes Hannah Hutchings-Georgiou.
Serendipity’s BHM Live showcases work by some of the best choreographers from the dance world to date. But these breathtaking performances should be seen every day, all year round, not just during Black History Month, writes Hannah Hutchings-Georgiou.
Dada Masilo gives us a Giselle for the twenty-first century; a heroine we identify with and a phenomenal production that makes us feel, writes Hannah Hutchings-Georgiou.
Artists 4 Artists prove that they’re at the forefront of dance innovation and theatrical talent, with their double bill of Christopher Reyes’ Sean and Kloé Dean’s Man Up at the Laban Theatre.
MADHEAD is the latest phenomenal dance production to come from Olivier Award-winning choreographer, Botis Seva, in collaboration with dancers from the National Youth Dance Company. Here, Hannah Hutchings-Georgiou discusses its themes of generational (dis-)connection, inner conflict and the power of young people.
