They Will Be Missed. Two Great Dance Legends Pass in 2010.

Kazuo Ohno

1906-2010

Internationally influential Japanese dancer who founded the butoh movement and continued to perform after his 100th birthday.

It would be remarkable enough for an artist in any field to remain active into his second century, but the physical demands of dance made Kazuo Ohno’s achievement all the more astonishing. Having first performed publicly at the relatively advanced age of 43, he became, in his fifties, one of the founders of butoh, an important movement in modern Japanese dance, and went on to win international fame in old age.

So happy that I got to know her, Denise Jefferson was an American dance educator who served as the director of the Ailey School of the Alvin Ailey American Dance Theater from 1984 until her death.

Affectionately referred to as Ms. J — she was instrumental in identifying a child's potential, and mentoring myriad students as they began their journey to becoming some of the greatest dance artists in the world. “Powerful,” “technical,” “elegant,” “consistent,” “beautiful,” “fierce,” “a force of nature”— these are some of the adjectives most commonly used to describe Ailey students. They are also the words that best describe Denise Jefferson.

Is All Publicity Good Publicity?: A look at recent dance criticism.

Before you read my post you must read these two Dance critiques by NY Times writers Alastair Macaulay and Rosalyn Lucas. Justtt to make sure we're all on the same page;) 

Webster defines criticism as:

The act or art of analyzing and evaluating or judging the quality of a literary or artistic work, musical performance, art exhibit, dramatic production, etc.

In the arts world, specifically of NYC, criticism can sometimes be a tough pill to swallow. Like I mentioned before, all serious dancers are carrying around this fragile little thing called an art baby (whether we know it or not) and when someone "judges" that...it can hurt. 

And yet, it's a necessary evil.

While dance critique has been around for a long time I think its safe to say that my generation has become a witness to its current change. Alastair Macaulay has a history of raising hackles in  the NY dance world and his most recent Complexions review (linked above) has helped to push dance criticism in a very different direction. Macaulay and Lucas have written "ballsy" reviews, telling it like it is without holding back. Its gutsy, sometimes hurtful, but you have to admit...it gets our attention.

While Macaulay is making some valid points his approach is a little to harsh for my liking. Using sharp, blunt sentences, and calling Mr. Rhoden's choreography "efficiently horrid" (within the first paragraph I might add!) was an unnecessary "judgment" of the quality as opposed to "analyzing and evaluating" the work like criticism is supposedly defined as doing. For me, Rosalyn Lucas' article was harsh yes, but not in a biting way. She seemed to truly be offering an outsiders perspective on the 51st season of AADTwhose rep, as a fact, has not caught up to the 21st century.

Dance criticism should consist of a fair and honest analyzation of choreography, evaluating of the dancers, and the overall quality of the individual show and sometimes company as a whole. But at the same time realizing that a lot of hard work, blood, sweat, and tears most likely went into the show being reviewed and despite the choreographer's mishaps or shortcomings, if the company's good, the dancers have worked their asses off to try and relay the vision the best they can and a dance critic should ALWAYS respect that.