Anecdotal and other reports note the obvious: classical dance audiences are aging and declining, and new work seems to have a hard time gaining consistent audiences. Many of us agreed on the need to develop audiences, and out of those conversations author Robert Bettmann, who founded a small arts magazine, Bourgeon to help artists develop audiences. But the question arises: are publications like these part of hte problem or solution in engaging new and existing audiences.
Articles Tagged as Commentary
Stephen Manes spent a year at Pacific Northwest Ballet researching his 2011 book, Where Snowflakes Dance and Swear: Inside the Land of Ballet. He recently summarized one aspect of his findings in this holiday post, which we return to in this season of giving.
Does sport have anything to do with ballet? Artistry poses infinite questions. Sport is finite. It ends. It pits two teams, or several individuals, against each other to compete for one very decided, satisfying goal: who has the most points? Who was first to reach the finish line? These aren’t questions we ask about ballet.Read and discuss this timeless and timely issue: athlecism and artistry. We want to hear what you think.
While the River to River Festival in Lower Manhattan and on Governor’s Island offers artists who participate welcome exposure to the public, these performances, sponsored by the Lower Manhattan Cultural Council and its dance-loving president, Sam Miller, were also implicated in a real-estate scheme meant to lure culturally sophisticated (i.e., wealthy) audiences into parts of the city earmarked for development, but still blighted in the aftermath of Hurricane Sandy.
Are we ignoring or squandering our 20th century modern dance legacy? As if the public agony of the Martha Graham Dance Company weren’t
enough, the tragedy of the Cunningham company’s disappearance should be a
wake-up call to all American dance companies and arts funders. Dance critic Robert Johnson examines this issue.
You might have heard the saying: “Those who can, do; those who can’t, teach.” In fact, if you’ve worked in the arts, not only have you most likely heard this, but you might also consider what I feel is the implied third part of this phrase, “Those who can’t do either, administrate.” This article is ultimately about arts administrators; read on for more.
I’d never experienced face-to-face
advocacy firsthand to gain true insight into its meaning — and outcomes.
In imagining what my first governmental advocacy meetings might be
like, I wondered: How could I be the most effective voice in
representing a diverse field of artists? Do I need to be an expert on
the issues? Ultimately, what sort of impact can I make? Read on for more from Michelle Lynch Reynolds.
As a judge in any competition, you are expected to be “objective.” But there is no such thing as pure objectivity, since we all come with our own set of past experiences. I am aware of my personal
biases and try to move beyond them, but part of the value of my — or
anyone’s — feedback is in the passionate personal response. If we know a person from our past, we see more in their
performance than if we never laid eyes on them. This is why the
American College Dance Festival Association requires that its
adjudicators be kept away from the participants — “sequestered.” Read about dancer/critic Wendy Perron's experience.
Too many of the mainstream narratives about race in the United States are stuck in mid-twentieth-century paradigms of black vs. white. The classic archetypes of the oppressor and the oppressed make for good movies, but the racial groups that feature in conversations about race today are insanely reductive visions of reality. Read on for more on this provocative topic.
Art and arts organizations are not capable of solving racism on their
own. It’s not that the arts have nothing to say about race or that
diverse cultural expressions aren’t important, but in the absence of a
clear and shared understanding of the underlying factors that perpetuate racism,
I fear that arts-centric interventions can all too often end up being
little more than a band-aid – a way to reassure ourselves that we’re
doing something important and valuable when in reality we’re really
having very little impact at all. I believe that the sooner we as a
field start framing our efforts not around “what can we do as artists
and arts administrators to promote diversity?” but rather “how does
racial injustice manifest today, what are its root causes, and how can
we as human beings most effectively be part of the solution?” the
sooner we’ll actually have something to be proud of.