To every dance critic,
When the choreographer receives a critic, hearts race and skin crawls. Your words break hearts and bring in paychecks. Your words matter as much as our bodies and movement does.
Artistically yours,
Choreographers
This past week, I read page after page of dance criticism. I have watched careers fail and rise. I have experienced the heartbreak or excitement of upcoming artists. I have seen dance criticism laugh at historical, genius choreographers.1 The dance critic that demands extreme judgement is not creating literary work, but is publishing opinionated hullabaloo. How does anyone hold the right to tear down a piece that required an immense amount of time, effort, and money? Critics often fully destroy pieces that well established artists create because "they can take it."
Well established artists still hold their art a piece of themselves. When Martha Graham began to age, critics began to compare her current work to her past work. Instead of comparison, critics could have acknowledged a new era in her work. Past work does not bind to the expectations of the critic. Her creative process does not need outside negativity.
I believe that the critic should highlight the strong points of the given work and suggest questions for the choreographer to ponder. The critic should tell the potential audience the intriguing sections of the piece. Art is definitely subjective. However, the individual can see the piece in their own light. The choreographer can continue to question and progress their work. The critic should serve as the medium for the audience and choreographer to see through.
1- Review by Gregory King on Bill T. Jones' Tramontane
(http://thinkingdance.net/articles/2016/10/16/3/Bill-T.-JonesArnie-Zane-Company-Dancing-Oral-Histories/)
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