About Nina Winthrop

Nina Winthrop formed Nina Winthrop and Dancers in 1991.  Her numerous works have been presented in venues throughout New York City and Los Angeles, including Danspace Project, Joyce SoHo, Brooklyn Academy of Music, Roulette, Movement Research at the Judson Church, Toronada Theater at PS122 and The Flea Theater. Her dance films have been screened in the US and abroad.

Ms. Winthrop was the curator of Dance Conversations @ The Flea, a performance and discussion series, from 2005-2013. She also curated the dance film showcase Dance on Film/Film on Dance at Symphony Space in 2004.   She was awarded a Bessie Schönberg Choreographers’ Residency at The Yard in 2004, a Dancenow/NYC’s Silo Artist Residency in 2005, and participated in the Schönberg Choreographers Lab at DTW in 2005.  She is on the Board of Directors of Danspace Project.

In the process of creating her dance pieces, Ms. Winthrop has collaborated with a diverse group of artists, including musician/composers John Cale, Steve Sacks, Jon Gibson and Gary Lucas; set designers David Auden and Manuel Lutgenhorst; sculptor Jene Highstein; costume designers Anita Evenepoel, Lenny Steinberg, Naoko Nagata and Naomi Luppescu; filmmakers Judy Lieff, Morleigh Steinberg and Maria Antelman; and lighting designers Spencer Mosse, Peter West, Nicole Pearce, Jared Klein and Oguri, among others. 

Nina Winthrop and Dancers has received grants from New York City Department of Cultural Affairs, Asian Cultural Council, Saison Foundation, Mary Flagler Cary Charitable Trust, American Music Center’s “Live Music for Dance Program,” the Lower Manhattan Cultural Council’s “Fund for Creative Communities” and “Manhattan Community Arts Fund,” and Meet the Composer.

A graduate of Bennington College, Nina Winthrop danced with Wendy Perron, Susan Rethorst, Yoshiko Chuma, Sally Silvers and Kei Takei, with whom she toured the USA and Japan, and studied with Erick Hawkins, Merce Cunningham and Deborah Hay.



From the Press

“Ms. Winthrop showcases her refined sensibility…The details, faint and elusive, matter the most.”

– Gia Kourlas, New York Times

“Nina Winthrop offered a hysterical portrait of social maladjustment in “I’m at Sixes and Sevens.” Outfitted in debutante gowns that were disastrously askew, as if someone had just tossed them into a washing machine, Winthrop’s four wallflowers spent their time at the party, scratching and nervously grooming themselves or attempting to abduct one another, as a man’s voice recited a list of platitudes.”

 – Robert Johnson, Star Ledger

“Knockout dances…ordinary moves performed with such investment they might be sacred dance.”

– Eva Yaa Astantewaa, Village Voice

“Nina Winthrop choreographically sent people journeying in ‘Stirrings’ … These expeditions were enhanced by shimmering taped scores by Jon Gibson.”

– Jack Anderson, New York Times

“… darkly expressive presences…rigorously devised, created in collaboration with the performers and drawn from improvisation and their experiences.” 

– Jennifer Dunning, New York Times

“A stunning new piece…seductive…Prism make(s) you feel better about being human.”

– Eva Yaa Astantewaa, On & Off

“[The] dissolving freeze-frames in “et toi?” achieved a surreal beauty.”

– Lewis Segal, L.A. Times

From Our Audience

“I became lost in the story and the production and the beauty of it”

 “Evocative, seamless, moving”

”I could watch it forever.”