Articles filed under Criticism

  • Art in a Critic-Free Zone (Part 2)


    With the demise of traditional arts coverage, is a new "Fifth Estate" on social media serving mainstream and fringe arts with critical coverage?

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  • Art in a Critic-Free Zone (Part 1)


    Some 80% of professional newspaper critics employed 20 years ago no longer make a living at their craft. How has this loss of informed criticism changed the field?

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  • Dance Criticism Needs a Paradigm Shift


    Who do critics write for? Do informed arts patrons need something different than artists? What about the artists, who decry the demise of dance criticism, yet blast the critic as ill-informed when a bad review runs?

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  • Reports of the Death of the American Dance Critic


    Like great American humorist Mark Twain, who remarked that “reports of my death are greatly exaggerated” upon hearing that a New York journal published his obituary, the same holds true for the long-reported dying art form of dance criticism. Writer Christine Jowers contends that dance criticism in America is far from dead. It is evolving. Read more in her response to a recent article in The Atlantic.

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  • How Much Arts Journalism Is Too Much Arts Journalism?


    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.

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  • Upping the Ante on Writing About Dance


    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.

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  • Ten Steps To Enhancing Dance Writing in Your Community


    Want to jump-start dance writing opportunities in your city or region? Check out these 10 tips from founder of thINKing Dance in Philadelphia.

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  • What’s the Score?


    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.

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  • Saving Our Collective Memory


    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.

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  • Sequestered


    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.

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Covering the business of dance for dancers, choreographers, administrators, dance organizations and foundations with news, commentary and discussion of issues relevant to the field.
Editor: Lisa Traiger

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