Hannah Hutchings-Georgiou is a writer, the founding editor-in-chief and general arts editor of Lucy Writers, and has a PhD in English Literature from UCL. She holds a BA in English Literature from Lucy Cavendish College, Cambridge, an MA in Eighteenth-Century Studies from King’s College London and a Diploma in Fine Art from Camberwell College of Arts. She regularly writes on art, dance and literature for magazines such as The London Magazine, The White Review, Elephant, Art Monthly, The Arts Desk, Burlington Contemporary, Plinth UK, Worms Magazine and many others. From 2022-2023, Hannah managed an Arts Council England-funded project for emerging women and non-binary writers from migrant backgrounds, titled What the Water Gave Us, in collaboration with The Ruppin Agency and Writers’ Studio, which resulted in an anthology of the same name. She is also working on a hybrid work of creative non-fiction about women artists and drawing, an extract from which is published in Prototype’s 2023 anthology, Prototype 5. Read her work https://linktr.ee/hhgsparkles Follow her on Twitter @hhgsparkles and Instagram @hannahhg25
Kirsten Glass’ enchanting paintings conjure alternate realms, invoke esoteric energies and summon nocturnal beings. In this creative essay, Hannah Hutchings-Georgiou meditates on the “obverse” side of her mesmerising work and its magical channeling of all things dark.
Acclaimed author Savala Nolan talks to Hannah Hutchings-Georgiou about her latest collection of essays, Don’t Let It Get You Down (The Indigo Press), navigating interstitial spaces and identities, the ubiquity of violence to women, imagination as a vital tool to access African American history and life writing as a form of cartography for readers.
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.