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 Criticism
Want to jump-start dance writing opportunities in your city or region? Check out these 10 tips from founder of thINKing Dance in Philadelphia.
Good dance writing informs potential audiences
about interesting dance in their midst, helps acquaint presenters and
funders with artists’ output to frame artists’ work within a wider
cultural, artistic and socio-political context. With shrinking space for dance coverage at traditional media outlets, new forms are taking hold. Learn how a collaborative community-based effort to publish high-quality dance writing is taking hold in one city. Lisa Kraus, founder of thINKing Dance, reports.
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.
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.
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.
Dance can be an intimidating art form for many, audience development leaders and presenters often hear from patrons or prospective patrons who are hesitant to attend modern dance concerts. Whether you find dance to be a familiar country, or worry you won’t “get it” and will be out of the cultural loop, read on. Here are some helpful guideposts from Jacob’s Pillow for seeing, discussing, and appreciating dance.
January 03, 2012 · 3 Comments
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?
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?