Today we’d like to introduce you to Anthony Mathis.
Hi Anthony, thanks for sharing your story with us. To start, maybe you can tell our readers some of your backstory.
I remember when the television show So You Think You Can Dance first aired. I was seven years old. Every episode, every song, every step. The longer I stared into the television, the more I felt my body wanting to replicate that feeling of “giving it your all.” Although I could not fully interpret its importance at the time, my creativity erupted whenever I found myself in an open space.
I was raised in Henderson, a small town in West Tennessee just south of Jackson. It was a rustic, close-knit community that rarely strayed from Southern tradition: say “yes ma’am,” wave to the neighbors, and follow in the Lord. Within that environment, I did not encounter much authenticity that reflected my urgency to explore. There were no dance studios or recreational classes nearby, so Bass Shotokan Karate became my first introduction to self-exploration. That setting established a foundation of discipline, structure, and perseverance, and I am grateful to have earned my first-degree black belt by 2013. Although I fulfilled expectations alongside my sister, I constantly felt eager to branch away from what was expected specifically of me.
The following year, I auditioned for my high school colorguard. Becoming the first and only male in Chester County colorguard not only challenged my social adjustment, but also demanded that I rise above the standard. Perfect. More fluid. More energy. More confidence. During this time, I faced my first real dilemma: Do I hesitate to explore out of fear of rejection, or do I risk creating unfamiliar inclusivity? My perseverance was too strong to surrender to the fear of “what if.”
Through countless hours of staging, repetition, and critique, I eventually found myself leading Music City Drum Corps into the home stadium of Vanderbilt University. From football fields to gymnasiums, and eventually to performing in Lucas Oil Stadium in Indianapolis, my marching experience supplied me with lessons I still apply every day: hold your head high and keep performing. At that point, I could not believe how far I had come in discovering dance and movement to my fullest potential, but soon I would begin developing my own personal approach to movement itself.
In 2021, I graduated from Austin Peay State University with a Bachelor’s degree in Psychological Sciences and Dance, with a focus in pre-professional health. I wanted to continue enhancing my repertoire while also building a secondary profession that acknowledged the realities of athletic demand on the body. My psychological studies broadened my understanding of systemic qualities such as language, somatics, and the ways individuals integrate within a given space. At times, I felt isolated in my creative thinking, but I found confidence as I began independently exploring my work more deeply. I trained in ballet, modern, and hip-hop while also learning how to perform from an educational and conceptual standpoint. This added an essential dimension to my artistry, one rooted not only in technical execution, but in narrative, emotion, and intention.
While in undergrad, I discovered a pole fitness studio called Katwalk Fitness. Intimate lighting, chrome poles, and enormous windows immediately pulled me in. Oddly enough, I felt my flirtatious nature begin to surface more freely. After my very first class, not only did I feel completely like myself, but I was also offered my first teaching position at the age of eighteen. I became overwhelmed by the realization that I could show people how I imagine the world. From floorwork to climbing, the 10-inch heels became punctuation marks to everything I wanted to say.
Today, I am a nationally and internationally acknowledged burlesque and exotic entertainer known as Mathis Menagerie. I have had the privilege of performing on stages including EXIT/IN in Nashville, The Triple Door in Seattle, and The Slipper Room in New York City. I never imagined that the young boy playing at the edge of the leaves would one day find himself dancing in the heart of cement.
Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
A robe, 10-inch heels, and eyelashes; this is not the average attire for a biracial male existing in the Deep South. Penny loafers never complimented me, but pleasers kissed my feet inch by inch. I discovered I carried more power behind silk than a suit, and for some, that has always been intimidating.
As artists, we thrive on the accomplishment of completing the final stroke on our canvas. Shoulders drop, lungs exhale, and the eyes become paralyzed forward, searching for meaning in what we have created. At a young age, I became aware of the subjectivity found within unfamiliar eyes, even when all I wanted to do was look away from their judgment. Yet I cannot resist the declaration of critique. I would be lying if I said there were not moments when I questioned my reason for continuing to speak against the negativity I encountered throughout the spaces I have occupied.
I often wonder: Do people intentionally victimize their ignorance for the sake of comfortability, or is there genuine curiosity beneath their perplexity?
“Fag.” “Tranny.” “Negro.” “Cross-dresser.” The list became more extensive the more I chose to express myself, both professionally and personally. As a dancer, I have found that my communication through movement is not only explorative, but often far more intentional than the complacency of my words. The more innovative I became within my movement practice, the more this discipline transitioned into how I confronted my day-to-day relationships and interactions. I believe this mentality exists within many dancers. We become so deeply encrypted within the space that our reflection in the mirror transforms into the most honest translator of who we are. Without it, we are often forced to rely on the distortions projected through the lenses of others.
The more I integrated into the performance world, the more I began noticing how social politics reflected themselves within casting, representation, and artistic accessibility. Visibility often became conditional. Authenticity became negotiable. Yet despite that reality, I continued moving. Not because I was always fearless, but because movement became the one place where I could exist without apology.
Can you tell our readers more about what you do and what you think sets you apart from others?
I currently teach at Country Fusion Headquarters in Music Valley and Iconix Fitness in Nashville Yards, where I introduce my craft to bachelorettes and students from across the globe. As an androgynous male, I am confident in my fluidity; not only in movement, but also in personality, presence, and expression. Learning to accommodate rather than intimidate has been both challenging and deeply rewarding.
Today, I am also recognized as a national and international performer, having the privilege of sharing my artistry with audiences across diverse spaces and communities. Through performance, I have learned that visibility itself can become a form of advocacy; especially for those who have never seen themselves reflected within unconventional forms of movement and expression.
Over time, I discovered that I naturally gravitate toward the feminine demographic. There is immense power in fragility and poise, yet those qualities are often inaccessible within traditional male conditioning. I have found purpose in creating protective spaces where individuals feel free to explore themselves authentically, without shame or restriction. Breaking the norm has become one of the most essential forms of support an artist can carry. Its consequences have opened possibilities for artists like myself and will continue to do so as we learn to offer ourselves grace within the chaos we cannot control, but instead repurpose into art.
For that reason, I will never stop dreaming of a world where others can feel that same sense of hope.
Is there something surprising that you feel even people who know you might not know about?
As Mathis Menagerie, I explore the idea of naturalistic observation. Witnessing an act, emotion, or idea for the very first time is such an ethereal experience to me. When preparing for a performance, I rehearse specific movements and techniques, but I rarely fully choreograph a piece. I am deeply drawn to the innovation of improvisation and believe in its authenticity to create something truly “one in a lifetime.” I study the structure of the music to familiarize my body with its rhythm and intention, then gradually disconnect from strategy and surrender to intuition.
My stage name derives from my legal last name, Mathis, while “Menagerie” captures my fascination with the animal kingdom. It does not simply function as an alter ego; rather, Mathis Menagerie has become my voice of reason; a vessel through which I navigate the multitude of personalities, energies, and environments I encounter. Through this persona, I allow intensity and unpredictability to coexist within the same body.
My tagline, “Poise to Poisonous,” embodies the open interpretation I hope audiences organically fulfill, rather than limiting themselves to expectations outlined within a biography. To me, Poise to Poisonous represents the complexity of human presentation and the understanding that all expressions of personhood deserve consideration, compassion, and space. It reflects my advocacy for inclusion across all demographics, while also honoring the tension between softness and danger, elegance and intensity, control and instinct.
Pricing:
- Private Lesson – $45.00
- Group Lesson – $40.00/person
- Event Inquiry – $100.00-500.00
- Showcase Inquiry – $100.00-500.00
- Host/Judge – $100.00-500.00
Contact Info:
- Instagram: https://www.instagram.com/mathismenagerie/
- Youtube: https://www.youtube.com/@MathisMenagerie
- Soundcloud: https://soundcloud.com/mathismenagerie?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
- Other: https://www.gigsalad.com/mathis_menagerie_nashville
