If All The Critics Are Gone, What Happens To Explaining New Dance?

For the most part, dance criticism as we have traditionally defined it is vanishing, probably forever. And no amount of verbiage on how pointe shoes are made or what a dancer eats for breakfast is going to help audience members — not to mention future historians — understand what is happening onstage in today’s dance. “This means that dance is becoming another item in the experiential supermarket, a thoughtless art without a memory,” Mainwaring writes. “As emerging choreographers come onto the scene — and there’s some very substantive work being made today — it remains unclear as to who will have either the expertise or the outlet needed to discuss the importance of these developing artistic voices.”

American Ballet Theatre’s New Skunkworks

“In the studio we’re so often created on,” David Hallberg, the American Ballet Theater principal who dreamed up the workshop, said recently. “I really wanted to give the dancers a chance to have a more inclusive part in the creative process.” Mr. Hallberg first introduced the idea of a choreographic workshop in 2010, but after a few tries it didn’t stick and he was too busy with his international career (and a major injury) to help keep it going. Now, he’s determined to make the Incubator a yearly fixture at Ballet Theater.

After Seven Seasons, Jessica Lang Dance To Shut Down

While Lang’s career as a choreographer has been going well, things (mostly money) for her company have been as difficult as for any small, independent dance troupe. “You have to raise so much money, the smaller companies don’t have enough staff, and Jessica was running the company for the last seven years without a day off,” said Lang’s manager. The group will disband in April, after completing a final tour.

The English National Ballet’s Artistic Director Says Ballet Is Changing With The MeToo Times

Tamara Rojo: “In the past, the ballet master was an almost godlike figure. You did what he said and there was no room for conversation. Certainly at the ENB, that’s not the case. We encourage dancers to have opinions, ask questions and contribute to the process. The work is good because it’s the work of everyone in the company.”