I’ve spent a lot of time worrying and writing about what is ballet and have grown tired of reading crossover choreographers say that their works are “firmly rooted in the classical tradition” when they don’t even give a nod to “the classical tradition.” I haven’t worried about modern dance because I believe at the center of its identity is that it must reinvent itself with every generation. Each generation has a right to do what it wants. So what does it want in 2012?
Articles Tagged as Criticism
January 03, 2012 · 3 Comments
November 15, 2011 · 6 Comments
What is the role of a dance critic? That’s a question I’ve been asking myself for a couple of weeks now, ever since reading an article on the front page of The Washington Post’s Style section in mid-October. The piece, by the paper’s chief dance critic, Sarah Kaufman, confirmed a hunch I’ve had for a while: Kaufman is making an occupation of not writing about modern dance.
September 22, 2011 · 3 Comments
Why the self-imposed exile from dance classes? Why is the world of the studio off limits to those critics who write about dance?
Perhaps then, teaching dance-lovers the importance of entering the conversation may be a better project to undertake. Dance writing, whether it appears online or in print, begs a response from the community. With the advent of new media, dancers, choreographers, and dance enthusiasts have more opportunities than ever to share thoughts and opinions and so sustain their field.
June 01, 2011 · By Deborah Jowitt · 27 Comments
After more than 40 years, the dean of American dance critics, Deborah Jowitt, has written her last review at The Village Voice. Here are the reasons why.
January 14, 2011 · 2 Comments
Critics are not there to serve the dance community or particular artists. They are there to join in—lead, maybe, in a dominant paper—a wider conversation and shared enthusiasm about the art form.
September 10, 2010 · By Peter G. Kalivas · 2 Comments
Criticism and critique are based on personal standards and opinion. Opinion is fine, of course. However, when you apply your standard to others, at best, you should arrive at “like” and “don’t like” rather than “wrong” or “right.” Someone’s impression or perception of a subject reinterpreted through their art can be appreciated, unappreciated, liked or disliked, but can’t be wrong.