(PDF) Interview Madoka Sugai

DCANews Quarterly newsletter of the Dance Critics Association Winter 2012/Spring 2013 DCA Conference 2012 DCA Conference 2012 DCA Conference 2012 The New York School Mere Discussion In Whose Hands is of Dance Criticism Will Not Suffice the State of Dance Suzannah Friscia Mariko Nagashima Criticism? 2012 Gary Parks Scholar I entered the Alvin Ailey studio Emmaly Wiederholt T with the familiar sensation of hough many people see dance, 2012 Gary Parks Scholar an outsider looking in. I’d often the urge to commit to print, let A paused in the middle of the sidewalk alone the opportunity to publish fter attending the Dance Critics when passing by to watch the dance one’s thoughts about a performance Association annual conference classes through the building’s big strikes comparatively few. It was this in New York, I headed across glass windows. In many ways the particular “compulsion” that united the country to attend the Dance/USA glass made it look inviting, as if attending members of the DCA in annual conference that same week, I could walk in and join a class their annual conference in New York in San Francisco. One of the panels myself; but, at the same time, it was this June. The regrettable truth I attended at Dance/USA was called intimidating watching that mass of that dance criticism, as with most “The Blogosphere: Writing About and dancers (flexible, limber) stretching artistic pursuits, is born from a deeply For Dance.” The panelists, Catherine in unison, knees bending and rooted personal drive, not a search Tully (4dancers.org), Nichelle Strzepek straightening in time to the music for tangible gains, was acknowledged (danceadvantage.net), Maria Hanley that I couldn’t hear. Beautiful, but many times, especially in view of (mariasmovers.com), Tiffany Kadani intimidating. today’s market, where sweeping Braniff (dancingbranflakes.com), and The panel I was attending was cultural changes have caused many Zachary Whittenburg (trailerpilot.com), entitled “The New York School of dance criticism jobs to evaporate, are all avid bloggers on dance. In other Dance Criticism,” and its focus was particularly in print periodicals. The words, they are each simultaneously his the surge of dance criticism hap- DCA attempted to keep up with, or or her own editor, promoter, and writer. pening in New York City from the at least take stock of these shifts I want to use the blogosphere panel 1960s on. The panelists were David with this year’s conference, “21st at Dance/USA to illustrate a point about Vaughan, Deborah Jowitt, and Nancy Century Dance Writing: Multimedia, the direction dance criticism, and more Goldner, and Alastair Macaulay was Multiarts, Multitasking.” loosely dance writing, are headed. The the moderator (Marcia B. Siegel, also The keynote panel, “Dance Cover- job “dance critic” hardly exists. Almost scheduled to be a panelist, suffered a age in a Culturally Changing World,” all dance critics today work in a free- stroke shortly before the conference was moderated by Virginia Johnson, lance capacity and cannot make a living and couldn’t be there). It was the last artistic director of the Dance Theatre solely off their writing. In addition, a panel of the Dance Critics Association of Harlem, and featured choreogra- culture of bloggers has sprung up who Conference, which I had found out pher Ronald K. Brown, founder and are commonly self-edited, frequently about through one of my professors. I artistic director of Evidence, A Dance unpaid, and mostly published online. (continued on page 30) (continued on page 26) (continued on page 29) Inside this issue Letter to the Editor: On Yvonne Mounsey 3 DCA CONFERENCE 2012 20-32 Living Treasure David Vaughan 6 Senior Critic Nancy Goldner 20 Prizewinner Marina Harss 9 To the DCA: Alastair Macaulay 32 Heading Offstage: George Jackson 11 To Alastair: Robert Abrams 34 In Memoriam: Alan M. Kriegsman 13 Waltzing to Standards 36 In Memoriam: Horst Koegler 17 Reconstructing Les Millions d’Arlequin 42 In Memoriam: Beate Gordon 19 Books: René Blum and the Ballets Russes 47 Co-President’s Message T he Dance Critics Association placed in the members’ section.) the technical details of how these is making progress on several We will hopefully also be able to courses will work. On-line instruc- fronts. offer some on-line discussion of the tion is one of the hot topics right now We are working on a collabora- sessions. (see Udacity, Coursera, etc.), so the tion with the World Dance Alliance If you would like to see photos DCA will be right up there on the – Americas for our next conference from the 2012 DCA conference, leading edge. (and possibly a panel or workshop at you can use this link: http://public. This issue of the DCA News marks the Dance/USA conference). The pro- fotki.com/DanceCriticsAssociation/ the final issue edited by Mindy Aloff. gram is not set yet, but right now we dca-conference-2013/?view=roll . She has done superior work. I thank are looking at a combined meeting This photo sharing site is a new her for her service to the DCA. with WDA-A on 2-4 August 2013, in experiment, so let us know what you Robert Johnson will be taking on Vancouver. The board has been dis- think of it. Do you have photos of the the mantle of DCA News editor with cussing the concept of offering more conference to share? Let us know the next issue, and Sean Doyle will interactive workshops than in years that too. continue to layout the issues, so we past. If you want to help organize the The conference also produced are in good hands. conference, or have ideas for panels three greeting cards full of messages Finally, we have a volunteer to or workshops, please let us know. of support for the then-ill Marcia B. become the next president of the We have completed the updating of Siegel, from about 26 DCA members. DCA: Philip W. Sandstrom. There the DCA Web site (the current round Another addition to the DCA Web will be a transition, and then I will of updating, anyway). The home page site that is in the works: We have se- be able to step down. And speaking now has all of the links to the inte- cured copies in good condition of the of stepping down, we have openings rior pages and doesn’t break in some DCA News, going back to about 1989. on the DCA board, so, if you are in- browsers the way it used to. We have We have reason to believe we may be terested in helping guide the organi- found a way to dynamically display able to secure copies of DCA News zation, please contact us. recent posts from our blog and Twit- issues going back to the beginning It has been my honor to serve the ter account on the home page. of the DCA, in the 1970s. Our plan DCA. I look forward to continuing to Thanks to the excellent work of is to scan the old issues, create Pdfs, be involved as a member. ◊ Nel Shelby Productions and the and post them on the DCA web site. support of The New York Public The board has approved a pro- Robert Abrams Library for the Performing Art’s posal to develop an on-line dance

Dance Division, we have high-quality writing course. Our plan is to videos with completed releases from start with a collaboration with To volunteer for DCA, please write all of the sessions of the 2012 DCA Elizabeth Zimmer, and then offer to

. conference. We are working on get- courses by other critic-instructors ting those videos posted. Keep your on various topics (Dance and Activ- eye on our Web site. (They may get ism, anyone?). We are working out 2  DCANews Letter to the Editor Emily Hite happy childhood on her family’s T he South African-born ballerina farm outside of Yvonne Mounsey, a principal Pretoria, South dancer with the New York City Africa. She didn’t Ballet during its early years and head say too much of a major West Coast ballet school about work- for more than four decades, died on ing with Bal- September 29, 2012. She was 93. anchine. Unless During her tenure with NYCB, from she was being 1949 to 1958, she created roles in interviewed, our George Balanchine’s Nutcracker (Hot teacher, fully Chocolate), Swan Lake (Pas de Neuf), focused on the and La Valse (Fourth Waltz). Jerome present, rarely Robbins featured her as the Queen in spoke about her PHOTO: WALTER OWEN. COURTESY, NEW YORK CITY BALLET ARCHIVES, The Cage, the Harp in Fanfare, and dancing days. BALLET SOCIETY COLLECTION. the Wife in The Concert. A tall, strong She almost never and lyrical dancer, Mounsey will best invoked the name Above: Yvonne Mounsey be remembered by critics and fans of Balanchine as the Siren in for her interpretation of the sensuous while teaching. George Balanchine’s Siren in Balanchine’s Prodigal Son. Instead, she Prodigal Son, c. 1950s. Yvonne’s students remember their simply stated Left: The ballerina in 2011 teacher’s unbounded love for dancing. what needed to with her student, author Her elegance, attention to detail, and be done in that Emily Hite. thirst for adventure—with regard to moment. ballet and life beyond it—impressed How did all who knew her. Andrew Veyette, Yvonne know now a principal dancer with NYCB, so much to be says of his former teacher, “She was able to teach so PHOTO: ANNE GERMAINE just so cool.” The choreographer well the artistry, Melissa Barak, also an NYCB alum, technique, and ballet company in South Africa. To her remarks, “She wasn’t a bunhead at style of modern American ballet? last days, she oversaw casting of her all; she was an artist. She loved dance I’d credit her innocent obsession school’s Nutcracker. and she took it seriously.” Still, Barak with ballet coupled with broad life Ballet dancers, especially the fe- said, “She had fun.” experience: She entered NYCB at males, too often are labeled as muses Alongside Andrew and Melissa, I age 30, already having danced with to a genius choreographer. Yvonne trained with Yvonne for five years the Ballet Russe de Monte Carlo, in was an artist in her own right, as are before dancing with the Sacramento Europe; the Original Ballet Russe, others. I feel the historical record of Ballet and then attending college. in Australia and North America; and ballet dancer and choreographer’s Yvonne and I mutually decided that in nightclubs across Latin America, roles needs to be amended. I would write her “book.” She had where she choreographed solo num- Publishers told me Yvonne wasn’t been planning one for years.. Yvonne bers and managed her own act. Later, wanted readers to know about her she helped establish a professional (continued on following page) Winter 2012/Spring 2013 3  Letter to the Editor entire life, including her vast career, Emily Hite has published articles contains the story readers want to on Yvonne Mounsey in Ballet Review, (continued from previous page) know. Struggling between her voice The Dancing Times, and Dance Maga- and mine in her biography, I decided zine. She interviewed Mounsey for instead to begin ghostwriting her Mindy Aloff’s Dance Anecdotes: Sto- memoir, and Yvonne agreed it would ries from the Worlds of Ballet, Broad- famous enough to warrant a biog- be fine. Stay tuned for it. way, the Ballroom and Modern Dance raphy. Literary agents advised that What survives when a dancer dies, and for The George Balanchine Foun- publishers’ only possible interest if her book isn’t yet finished? Melissa dation Interpreters Archive film of would lie in what Yvonne had to teaches at her school and carries forth Prodigal Son. In 2010, she received a say about Balanchine. I’m grateful the wholesome experience she had DCA-Engendered scholarship to write to every dance historian, critic, and when studying there, from age 8 to 17. an article on activism in dance, which scholar who has included Yvonne in Andrew, who had a habit of looking ran in the Winter 2011/Spring 2012 the narrative of Balanchine’s legacy at the floor in class during his youth, issue of the DCA News. Hite danced by writing about her, filming her, or said that on her annual trips to New with the Sacramento Ballet and the printing an article or interview of York, Yvonne always would ask him Margaret Jenkins Dance Company mine. Sincere thanks to the dance if he had found whatever it was he and received her B.A. from Stanford writers and editors who have listened was looking for down there. The day University. Now living in San Diego, patiently, read drafts of chapters, and we talked, soon after Yvonne’s death, she works in marketing for a software offered honest feedback (“Only four he vowed to keep his head up as the company, teaches Yoga, and co-edits a people will read it”) and hearten- First Movement principal during blog (www.artperformancenow.word- ing support (“I will be one of them”). Symphony in C that night. “So she’ll press.com) on dance in museums. I believe the adventure of Yvonne’s know that I found it,” he said. ◊ Election Results for the DCA Board of Directors I n the recent election of new DCA Board members, 42 members participated. For Alyssa Schoeneman, 37 votes were cast in favor, 1 abstained, 2 voted against, and survey. Paper ballots were sent to those who did not have electronic access or who requested paper ballots. There are currently two open slots on the DCA board. 2 did not mark their ballot. For Mariko Nagashima, If you are interested in being considered for appointment 36 votes were cast in favor, 3 abstained, 1 voted against to the board, or would like to run next year, please con- and 2 did not mark their ballot. For Kirsten Wilkinson, tact the DCA administrator, Karyn Collins: dancecritics@ 37 votes were cast in favor, 2 abstained, 1 voted against hotmail.com. ◊ and 2 did not mark their ballot. Alyssa Schoeneman, Mariko Nagashima and Kirsten Wilkinson have been Robert Abrams elected to three-year terms. The voting concluded October DCA Co-President 2012. Most voting was via a password-protected online The Next Editor of the DCA News R obert Johnson is a freelance dance writer and the dance critic for The Star-Ledger, in Newark, New is currently writing a history of Garth Fagan Dance. Dance New Jersey gave Johnson the organization’s Jersey. He has written about dance first “Arts Advocate” award in 2005. for many publications, including daily Johnson trained in ballet with his newspapers and scholarly journals. mother, Ballets Russes dancer Nina Johnson also worked as an editor at Youshkevitch, and he holds a master’s Dance Magazine and Pointe Magazine. degree in performance studies from He has taught dance history seminars New York University. He has been and has lectured and appeared on a member of the Dance Critics PHOTO: PAUL CARICONE panels about dance. Author of “The Association for many years and has Robert Johnson, new editor of the DCA News, Living Theatre of Diana Vishneva,” in served on the DCA board. ◊ with his late, cherished, Pilsner. Diana Vishneva: Beauty in Motion, he 4  DCANews The History of DCA Janet Light Advance flyers, press coverage (in the early years it was Dance Magazine’s news section), T he idea for this document arose at a and, particularly, conference reports published in A document teleconferencing board meeting in the DCA newsletters, proved to be as essential as the entitled “Annual spring of 2004. That year’s conference, in conference brochures and, in some cases, contra- Conferences Philadelphia, marked DCA’s 30th anniversary, dicted, reconstructed, or clarified material in the And Special and those board members in attendance agreed brochures. In one case, I was unable to locate any Conferences that a small booklet listing the organization’s conference brochure at all (for the 1994 annual and Seminars board presidents and newsletter editors from conference, entitled “Improvising Our Careers”). Sponsored or Co- DCA’s inception would make an appropriate But a newsletter reported on the proceedings. sponsored by The token for the occasion. I assembled the copy, and (I felt particularly good about that one, since Dance Critics then-board president Karyn Collins, newsletter Elizabeth Zimmer had told me she once gave a Association, editor Mindy Aloff, and newsletter designer keynote address but couldn’t remember where 1974 – 2012” Sean Doyle, together produced a booklet for or when. This was it.) When I felt unsure of the has been posted distribution at the annual meeting. The contents source material, or remembered something differ- on the DCA Web of that booklet appear elsewhere on the Web site, ently—having attended many annual meetings site, among the under History offerings. myself—I got in touch with the specific confer- History options. Mindy suggested that a template list of DCA- ence coordinator. When necessary, I cross-checked sponsored annual conferences and seminars certain panels by consulting the online catalog would be one useful way to begin to consolidate of The New York Public Library if a particular our history. I volunteered to compile it. I put out a conference happened to have been recorded by the request for conference brochures, programs, and Dance Collection. any information that members were willing to As I worked my way through the newsletters, I share. I also dug through my own files and came noted announcements or accounts of other panels up with enough material to get started that took place at meetings sponsored by sister I received a windfall when a large brown organizations, such as SDHS and the Congress on envelope arrived in the mail, from Barbara Research in Dance (CORD), or colleges and uni- Palfy. It contained copies of conference brochures versities, or arts institutions—panels that had a with her notations documenting last-minute large DCA presence. I added the DCA components panelist changes at the actual meetings. An- to the document, specifying the non-DCA sponsor. other envelope arrived soon after, from Nancy When I felt my original document was suf- G. Moore, who enclosed a copy of one of the first ficiently improved to warrant a real reading, I newsletters, typed and mimeographed, and full asked four long-time members to take a look at all of important information I had not been able to or portions of what I had compiled. George Jack- locate. A telephone conversation with the late son, Marcia B. Siegel, George Dorris, and Mindy Patrick O’Connor helped me reconstruct certain Aloff all offered valuable suggestions and were details of the first few annual conferences. It generous with their time. A large number of DCA should be noted that Patrick advanced personal members responded to specific questions or read funds to help present one of these conferences specific entries. Several DCA members took notes when funds belonging to the association were for me at some of the annual meetings I could not frozen. Janice Ross, of The Society of Dance His- attend. I am grateful for everyone’s help. These tory Scholars (SDHS), was especially helpful in individuals, and others, are all acknowledged in confirming various details for me throughout the time I worked on this document. (continued on following page) Winter 2012/Spring 2013 5  The History of DCA (continued from previous page) Our Members the introduction. NYPL’s Living Treasure The initial idea was to provide a chronology that could provide future researchers with nuts and bolts David Vaughan information about DCA programs Dancer, Critic, Historian, Archivist through the years and possibly assist in obtaining underwriting for future DCA conferences. The document also I records how a group of very dedicated n 2007, when David Vaughan was documents, programs, and films (much and smart people have created and presented with DCA’s Senior Critic of which he also collected) with a devo- shaped an entity known as the Dance Award at the annual conference, he tion and precision that so impressed Critics Association. The goals are lofty was introduced by Merce Cunningham, The New York Public Library of the and the range of programs remark- then the most revered of living Performing Arts when the company’s able. Perhaps this can serve to inspire, choreographers, and by Alastair archives were presented to NYPL this as well as inform, a new generation Macaulay, then the brand-new chief year, upon the Cunningham company’s of writers, as it did me while working dance critic for The New York Times. It closure, that Jacqueline Davis, the with the material. wasn’t only collegiality and friendship Library’s executive director, and Jan I want to thank Mindy Aloff, particu- that had brought these extraordinary Schmidt, the curator of its Jerome Rob- larly, for her encouragement, judgment, introducers there: It was their esteem, bins Dance Division, felt they couldn’t and editorial eye. Any factual errors in shared by many members of DCA, let David go. the document are mine. If you wish to for David’s entire career in theatrical And so, as of this past August, he send me additions, omissions, or cor- dance, most especially his writing and has taken up residence for several rections, I’m all ears and am happy to research. hours every Wednesday on the third incorporate changes that improve the An area editor and writer for the floor of the Lincoln Center facility to text. My research material, along with International Encyclopedia of Dance, consult with anyone who has a ques- a copy of the document, will eventu- co-editor (with Mary Clarke) of the tion regarding 20th-century ballet ally be housed at The Jerome Robbins Encyclopedia of Dance and Ballet, (including the diaspora of companies Dance Division of The New York Public a professor of dance history courses following the death of Serge Diaghilev), Library for the Performing Arts at Lin- in the dance conservatory program postmodern dance, and, of course, the coln Center. To access the document, of The State University of New York Merce Cunningham Dance Company. go to http://www.dancecritics.org/ at Purchase and in the performing One Wednesday each month he will dca_conf_and_sem.html To reach Janet arts program at New York University, screen and speak about historic films. Light:

◊ author of books (Frederick Ashton (Please see sidebar.) The first screen- and His Ballets and Merce Cunning- ing, last August 29th, was of Charles Janet Light has been a DCA member ham/65 Years, now available as an app Atlas’s 1982 videodance of Channels/ since 1978 and served on the DCA board for iPhones and iPads), monographs, Inserts, by Cunningham, and of the as membership chair from 2002 to 2007. and thousands of historical essays and Cunningham company’s rarer perfor- She served as The Cincinnati Enquirer’s performance reviews, David has also mance recording of that work from the first dance critic and as a site visitor for seen—and remembers in detail—more 1993 Jacob’s Pillow Dance Festival. the NEA Dance Program, taught ballet landmark dancing than any other The DCA News caught up with history at the University of Cincinnati living DCA critic, and he articulates David at the end of his first Wednesday College-Conservatory of Music Dance his thoughts about it in impeccable stint, during which he was consulted Division, and has contributed reviews, English, inflected with dry wit. And, by a researcher working on the sub- news stories, and features to various as anyone who has worked with him ject of Cunningham and architecture dance publications. She was a Fellow at on editorial projects can attest, he goes and met with a young student from the West Coast Institute for Dance Criti- one step further: He gets it all right Boston, researching Cunningham’s cism, in 1974. in the first draft. David’s accuracy as Events. Dressed in slacks and a casual a reporter and an historian is legend. shirt, which retained their crispness As the one and only archivist for the despite outdoor temperatures hovering Merce Cunningham Dance Company, near 100 degrees, he accompanied his he arranged the company’s life in interviewer a couple of blocks north, 6  DCANews who was getting her Ballet Review off the ground: She asked him if he was PHOTO: COURTESY, MERCE CUNNINGHAM TRUST the David Vaughan whose reviews she David Vaughan, longtime archivist for The Merce Cunningham Dance Company, with the had read in Sight and Sound. And his choreographer as both perform stories from John Cage’s Indeterminacy, which accompany writing career took off: criticism and Cunningham’s How to Pass, Kick, Fall and Run. essays for Ballet Review, Dance Maga- zine, The Financial Times, the now- to the last vintage coffee shop in the second performance of The Sleeping defunct Ballet News (where he wrote area. There, over grilled cheese sand- Beauty at Covent Garden”); and wrote on dance for t.v.). wiches and iced coffee, he spoke about about dancing in the cinema for Sight His Ashton book grew out of an the borders of his expertise (“I can’t and Sound and for Sequence, a maga- essay David wrote for Ballet Review: really talk to anybody about [Martha] zine published by Lindsay Anderson, “[The critic] Don McDonagh Graham and José [Limón]”) and his a close friend from Oxford who went told me I should write a[n Ashton] ranging past endeavors. on to a career as a film director. In book. ‘Don’t wait for Clive Barnes,’ Born in England (and today possess- October 1950, David came to New York he said. I wrote to Ashton, who wrote ing a double citizenship in Britain and to study at the School of American back, ‘Now that I’m retired, I can do the U.S.), David grew up in a family Ballet, where he was a devoted pupil my own book, but if I change my mind that loved the arts. His parents partici- of Anatole Obukhov and met Cun- I’ll think of you.’” pated in amateur theatricals when he ningham, who was then teaching at David wrote the Ballet Review was a child, and his younger brother, the school, and James Waring, with essay on Ashton, and Mary Clarke, the Paul, played the clarinet in a semipro- whom he started Dance Associates, a editor of The Dancing Times, read it fessional orchestra. (Paul Vaughan, young choreographers’ collective—and and recommended him to the British who became a BBC broadcaster, has on whom David is currently writ- publisher A&C Black, which commis- chronicled his and David’s childhoods ing a book. (Later, he studied with sioned him to write a book on Ashton’s in his 1994 memoir, Something in Antony Tudor and, for many years, work. He promptly embarked on it, and Linoleum: A Thirties Education.) David with Richard Thomas.) He appeared so we have David’s go-to critical study became “a ballet-struck teenager.” both on Broadway (in John Osborne’s of Ashton’s ballets. He published his first dance review Epitaph for George Dillon) and off (The How did he become the archivist for during the early 1940s, when he was Boy Friend, The Fantasticks). After five Cunningham? briefly a student at Oxford, where he years in America and then one more “It started when I was first working joined the Ballet Club, which put out year in London, he decided he wanted as the secretary at the Cunningham a magazine, Arabesque. Soon, though, to stay on these shores. studio, in December 1959, when he David was drafted and served four and During that year in England (1955- opened the studio. I was always inter- a-half years in the British army, spend- 56), David began to contribute a series ested in dance history, in chronologies ing much of his stint in Asia, during of stories to the British periodical of works, and I learned how to be an World War II. After the war, he never Dance and Dancers; it was in this archivist on the job. When I was re- returned to university: “I was deter- series that he first wrote about Cun- searching my Ashton book, I saw how mined to dance, no matter how late a ningham. Remy Charlip, a member the archives were at Covent Garden—a starter I was.” of Cunningham’s original company, file for every performance. That’s why He studied in London with Audrey showed the writing to its subject, who [for Cunningham] I started making, as de Vos; attended ballet in the theater, invited David to take his class back in [the now-retired New York Times critic] where he lost his heart to classical New York. Then, out of the blue, David dancing (“In 1946, fatally, I saw the received a letter from Arlene Croce, (continued on following page) Winter 2012/Spring 2013 7  David Vaughan projection room is still intact.) And, gave pre- and post-performance talks before that, at the behest of John Cage, and would speak to journalists on Cun- (continued from previous page) David actually assembled the com- ningham’s behalf. For his own part, he pany’s famous 1964 world tour. Impor- did review Cunningham’s work two tant to that tour was the Foundation or three times during these years, for for Contemporary Art (FCA), a leading London’s Financial Times. “I wanted Jennifer Dunning called them, the supporter today of experimental art- people in England to know about the “legendary card files”—a card for every ists in various genres of performance work.” After that, though, no more performance, a card for every work, and media. “In 1963,” he explained, Cunningham reviews. and [a third] geographical file, where “there was the possibility of a Broad- Although David never danced with the works were performed. The Cun- way season for Merce, at the Winter the Cunningham company, he did ningham company was the first dance Garden, with support from artists. The perform—reading aloud, with John company here to have an archive.” FCA was founded for that possibility. Cage and, later, with Cunningham, the In the 1970s, Michael Scherker, then However, there were various problems, Cage text that accompanies How to the librarian for Dance Theatre of owing to a press strike.” Pass, Kick, Run and Fall. And he did Harlem, became interested in making Without newspapers, the theaters sometimes sing, cabaret standards, an archive for that company, and he went dark, as the shows couldn’t be in various Manhattan venues outside introduced David to (the late) Leslie advertised. When the strike was over, Westbeth—in an act with Al Carmines, Hansen Kopp, who gave workshops in so many shows wanted to come into with whom he had first appeared at how to preserve archives. the Winter Garden—whose stage is big Judson Church, having been a per- Then, in 1976, the Cunningham enough for dance, unlike the stages of former in Carmines’s original musicals company’s Jean Rigg secured a Na- some other Broadway theaters—that at Judson. More recently, when Cun- tional Endowment for the Arts grant there wasn’t enough room for the Cun- ningham was still alive, David would to employ David as an archivist, that ningham company. “We used the money perform cabaret standards at Cun- is, to do what he was already doing: [that would have gone to the Broadway ningham faculty concerts, accompanied collecting and organizing for posterity season] for the world tour,” David said. by Cunningham’s favorite company photos, programs, posters, video. He went on the tour as co-company pianist, Pat Richter. Among David’s It turns out, too, that David had manager, with Lewis L. Lloyd. (During many pockets of specialized knowl- other jobs at the Cunningham studio. the company’s year-long legacy world edge is the repertory of popular song, For one thing, he actually found the tour, in 2011, David accompanied the in Britain and America, from the first Westbeth studio for Cunningham. The dancers to every station stop except part of the 20th century. Music students building, an artists’ co-op, had been for Hong Kong.) David was also often might find themselves consulting him renovated by the architect Richard involved in exhibitions of art for the at the Library, too. Meier from its original purpose as company, serving as the co-curator, We ended our meal with ice cream, the home of the old Bell Telephone with Robert Littman, for the landmark and I asked him if Cunningham was Labs. (The Cunningham studio and one at Hofstra University, in 1973, and a difficult boss to work for. “I always school, on the top floor, occupied what with Germanno Celant for the great got along with Merce,” David said. “He had once been the auditorium for the Cunningham exhibition that toured liked having me around.” ◊ first tv projection, in the 1930s. The Europe in the late 1990s. David also M.A. The Dance Historian Is In David Vaughan will be in on Wednesdays from 1 to 5 p.m. Appointments are not necessary but can be made D avid Vaughan, archivist of the Merce by emailing

or by emailing David Cunningham Dance Company and author of directly at

. You can also Merce Cunningham/65 Years and Frederick request a meeting by signing in at the A/V desk on the Ashton and His Ballets, will be present on Wednesday third floor of the research center. On the last Wednes- afternoons in The Jerome Robbins Dance Division day of each month, David will introduce and screen a of The New York Public Library for the Performing rare film. A schedule of upcoming screenings and links Arts at Lincoln Center for conversations with dance to registration for these free events can be found on researchers. The Library has books, the Library has www.nypl.org. ◊ video and film recordings, the Library has reference materials, and now the Library will have a human The Jerome Robbins Dance Division of The New resource to answer questions regarding 20th-century York Public Library for the Performing Arts at ballet, postmodern dance, and the Merce Cunningham Lincoln Center Dance Company. 8  DCANews Our Members Prizewinning Marina Harss Translator, Critic, Editor A (very small) subset of dance possesses a master’s in French from critics and historians writing NYU—and one of the up-and-coming in English can legitimately dance critics of her generation. “I hyphenate their professional was planning to be an academic,” identity as ‘critic-translator.’ Marina she explained in her lilting voice one Harss—a dance critic for print and afternoon this past summer, over high online publications who speaks and tea at an Upper West Side restaurant translates from Italian, Spanish, and near her home. “But literary theory French—is one. (Her translations got the best of me, and I lost my joy. PHOTO: MARCO NISTÒ Translator and dance critic Marina Harss. of fiction and nonfiction have been I wrote a paper on Marie Antoinette published by Farrar Straus & Giroux, and the body politic, in French. It won Other Press, New York Review Books, an award, but I thought, you know, contains thumbnail word-sketches of and others.) Last spring, Marina's ‘This is complete bullshit.’” At NYU, some calendar items] and wrote ex- gifts as a translator were publicly she attended an informal seminar clusively there for two years; I treated recognized by the French-American on translation with the scholar and it like school. I went to see a lot of and the Florence Gould Foundations, translator Richard Sieburth. “I really downtown dance—and [for the GOAT which awarded her the 25th Annual enjoy this,” she realized. She began to writings] studied advance videos, at- Translation Prize “for superior translate books from various publish- tended rehearsals, read books [Please English translations of French prose ers (she translates about a book a see sidebar], built a memory bank. [in fiction] published in 2011,” an year, in addition to writing reader’s What I found exciting—loved—about award of $10,000, the largest annual reports of books that are candidates Joan’s writing is that you could see award for translation from French for translation). To supplement the the physical action through her words. prose into English. (Two awardees for family income (her Italian-born hus- David Remnick [editor of the maga- nonfiction translation split the prize band, Marco Nisticò, is a professional zine] says that she writes about ballet in that category.) The work for which opera singer, a baritone, specializing as if it were a boxing match—play by Marina won is The Mirador: Dreamed in Italian repertory and Mozart), in play. Of course, I don’t write like Joan Memories of Irène Némirovsky by Her 1999, she took a job in the checking does. As a reviewer, I’m a bit of an Daughter, an “imagined memoir” of department of The New Yorker, where autodidact in a way. At first, I didn’t the novelist, authored by her younger she was often assigned to fact-check feel I had permission from myself to daughter, Élisabeth Gille. The citation the columns of the magazine’s current give opinions; it’s part of my personal- reads: “Written a decade before the dance critic, Joan Acocella. ity not to talk of things I don’t know publication of Suite Française made And so Marina started to attend about.” Irène Némirovsky famous once more, dance performances. “At first, I’d see After two years, Marina decided she her daughter’s book reveals the what Joan would recommend,” she wanted to write more on dance inde- ambiguity in Némirovsky’s life and said, “then I started to develop my pendently, and, to think about doing work in a profound and empathetic own tastes.” Within a year or two, that, she had coffee with Gia Kourlas, way.” dance for Marina had become an ob- dance editor at Time Out New York In a keen review of the book in The session. “I read books, studied videos, and a dance critic for The New York Harvard Crimson, James McAuley audited Lynn [Garafola]’s classes Times. From this meeting, Marina calls Marina’s a “supple, graceful on Balanchine and Russian ballet learned two important things: 1) The translation.” What he doesn’t say is history [at Barnard College]. I began principal place now that new dance that Marina is a Harvard alumna writing for GOAT [The New Yorker’s of the comp lit department who also Goings On About Town section, which (continued on following page) Winter 2012/Spring 2013 9  Marina Harss (continued from previous page) writers can write with space is online; sensibility that Marina brings to in professionalism,” she said, “in gate- and, 2) It takes a long time to have a dance writing, consider her perspec- keepers, in editors, in fact-checkers— sufficiently trained eye to write about tive on Argentine tango. Although she and in people being paid so they can dance. So Marina began to diversify. was born in Exeter, New Hampshire hone their craft. In this sense, we live For print, she writes about one story (her father, himself a literary scholar- in a sad time. It’s tragic that someone a year for The Nation, she has written critic, novelist, and translator from [at The Village Voice] didn’t think that a range of stories for The Forward, the Spanish, was teaching at Phillips Deborah Jowitt, with that historical and now writes regular essays for Exeter Academy at the time), both memory of dance, was worth keeping. DanceView (based in Washington, her parents—opera lovers—are from And it’s tragic that once she was let D.C.); online, she reviews for TheFast- Argentina. “In my family, tango was go, she wasn’t replaced by somebody erTimes.com and DanceTabs (which looked down on as a nationalist art else. It’s tragic that people aren’t being replaced the recently folded Web site form dear to the Peróns,” Marina said. valued and that criticism is valued dance.co.uk). Her essays and inter- “I have sort of an inherited distaste for less and less. What I see are a number views on dance have appeared as well tango as dance, though I like the tango of excellent writers with experience in Playbill, Flaunt Magazine, Pointe, songs. Gabriel Misse, for instance, I and memory who have to write for and Ballet Review. And she continues think of more as a milonga dancer— free online. Look at Tobi Tobias, Nancy to contribute word-sketches to GOAT, a faster, rougher form that’s more Dalva. We’re in a strange moment, be- a position she shares with Brian Seib- about feet, terre à terre, with a lot of cause it’s not sustainable: writing for ert, who also serves as a dance critic wit. More like the early, playful tango free. And I’m part of it: Most of what for The New York Times. (Many of her songs of Carlos Gardel, a baritone. I I write is for free. I’m compelled to do published works can be found on her like tango songs with lots of words, it, but part of my brain says, ‘Are you Web site: http://marinaharss.word- like the patter in Rossini, and dancing stupid?’” ◊ press.com/ ) with lots of steps.” –M.A. To give a glimpse of the independent As for dance criticism: “I do believe Marina Harss Book-length Translations The Mirador: Dreamed Memories of Irène Been Here a Thousand Years, by Mariolina Conjugal Love, by Alberto Moravia, Other Némirovsky by Her Daughter, by Élisabeth Venezia, Farrar Straus and Giroux, 2009. Press, 2007. Gille, New York, Fall 2011. –Novel, translated from Italian. –Novella, translated from Italian. –Memoir, translated from French, winner of the 2012 French-American Foundation Poem Strip, by Dino Buzzati, New York Stories from the City of God, by Pier Paolo Translation Prize for fiction. Review Books Classics, 2009. Pasolini, Other Press, 2003. –Book-length graphic poem, translated –Short stories and essays, translated from Two Friends, by Alberto Moravia, Other from Italian. Italian. Press, Fall 2011. –Novel, translated from Italian. A Week in October, by Elizabeth Subercase- For Solo Violin, A Jewish Childhood in Fascist aux, Other Press, 2008. Italy, by Aldo Zargani, Paul Dry Books, 2002. –Novel (thriller), translated from Spanish. –Memoir, translated from Italian. 10  DCANews Marina Harss’s Off-the-Cuff, Incomplete Recommended Reading List Heading Offstage: Stories of the Great Ballets (George Balanchine with Francis Mason) George Jackson, Terpsichore in Sneakers (Sally Banes) One of D.C.’s Longest-Working Dance Reviewers Chance and Circumstance (Carolyn Brown) Diaghilev (Richard Buckle) Writing in the Dark, Dancing in “The New Yorker” (Arlene Croce) I Was a Dancer (Jacques d’Amboise) Amanda Abrams you get interested in dance? Dance Writings and Poetry (Edwin Denby, ed. Robert Cornfield) A slightly different version of this George Jackson: I think my Holding on to the Air (Suzanne Farrell with interview was posted on the Web site of interest goes back to childhood. My Toni Bentley) The Washington City Paper, 2 Decem- parents saw to it that I got to see dif- Diaghilev’s Ballets Russes (Lynn Garafola) ber 2011. Republished by permission of ferent forms of art and performance. the author. And I had been a child figure skater, Balanchine Variations (Nancy Goldner) and I think that sensitized me to G More Balanchine Variations (Nancy Goldner) eorge Jackson, 80, a movement values. Ballet 101 (Robert Greskovic) resident of Washington, D.C. and a former recipient WCP: When did you first start Ballerina: A Biography of Violette Verdy of DCA’s Calliope award for service reviewing? (Victoria Huckenpahler) to the field of dance criticism, Stravinsky and Balanchine: A Journey of announced his retirement from the GJ: I started ushering in the opera Invention (Charles M. Joseph) field at the turn of last year. Since house in Chicago so I could see a lot Secret Muses: The Life of Frederick Ashton 1972, Jackson has been taking in and of dance, and I started taking ballet (Julie Kavanagh) commenting on Washington dance class. This was when I started col- performances for local papers, like lege at the University of Chicago. Once a Dancer. . . (Allegra Kent) the now-defunct Washington Star The editor of the campus paper came Dancing in St. Petersburg (Mathilde and the Washington Post, as well as to me and said, “I need some dance Kschessinska, trans. Arnold Haskell) national and international ones, such reviews and I hear you’re interested Ballet Old and New (André Levinson, trans. as Dance Magazine, DanceView, Ballet in dance; can you try writing some?” Susan Cook) Review, and ballet-tanz. Most recently, That’s how I got started. I made it my Early Memoirs (Bronislava Nijinska, trans. and he’s been contributing to the online business to see what was available. ed. Irina Nijinska and Jean Rawlinson) danceviewtimes.com . The ballet companies at that time Jackson was born in Vienna, Aus- all had short but regular seasons in No Fixed Points: Dance in the Twentieth tria, but was sent out of the coun- Chicago. Modern dance was harder Century (Nancy Reynolds and Malcolm try by his parents when the Nazis to see. Martha Graham came once a McCormick) invaded in 1938. He has since lived— year for one performance, and it was Repertory in Review:40 Years of the New York and reviewed dance—in Chicago, usually sold out way ahead of time. City Ballet (Nancy Reynolds) New York, and Washington. One of Diaghilev: A Life (Sjeng Scheijen, trans. Jane the best things about Jackson is the WCP: How did you wind up here? Hedley-Prôle and S. J. Leinbach) breadth of his knowledge; he’s never Soviet Choreographers in the 1920’s (Elizabeth limited himself to one particular GJ: I moved to Washington be- Souritz, trans. Lynn Visson, ed. Sally Banes) genre—not in the early years, and not cause a very good job opened up here recently. Head to the Kennedy Center with the Food and Drug Administra- Balanchine (Bernard Taper) for a ballet performance and there he tion. My degree from the University Private Domain (Paul Taylor) is, in the audience. Stop in at an in- of Chicago is in microbiology, and I’d Merce Cunningham: Fifty Years (David formal showing of in-progress experi- specialized in parasites, and the FDA Vaughan) mental works, and Jackson is sitting needed a food parasitologist. I’d been in a rickety chair, taking notes. here a while and was writing about Balanchine’s Tschaikovsky (Solomon Volkov) Washington City Paper: How did (continued on following page) Winter 2012/Spring 2013 11  George Jackson (continued from previous page) what was going on in Washington for WCP: What do you think that was would touch on similar issues and Dance News and occasionally Dance about? expand on one topic and another in Magazine. And then both the Post and dialogue. And that is what’s missing the Star at the same time contacted GJ: The readers seemed to want right now. me—they said they needed extra it: Dance was in. Very different from reviewers, and would I review for today, and different from what had WCP: Are critics still crucial, do them? Well, I tried both; first I wrote been the case previously. In the ’70s, you think? for the Star, and then later I wrote for and then into the early ’80s, dance the Post. seemed to capture what was going on GJ: I think so. A critic is a substi- in society. It was at the forefront of tute for somebody to talk to, to test WCP: What was the Post’s cover- what people were thinking in terms of your own reactions. There are so age like then? politics, sexuality, economics, what- many people out there who go to per- ever. And the choreographers engaged formances and have nobody to talk to. GJ: Alan Kriegsman was the in those things. These days, it’s not principal critic at the Post, and there as relevant. I really don’t know why WCP: How do you feel about quit- was more and more going on here, certain arts seem to thrive in certain ting reviewing? and he couldn’t cover it all. Eventu- periods and then go into a decline, ally, during the dance boom in the and then, perhaps a couple decades GJ: My first review was published early ’80s, he had seven other people later, are vivid again. in 1950, and the time has come. I writing. Dance Place got started then, believe I can still see, hear, think, and Liz Lerman got started around WCP: What are your thoughts and feel, but one does grow slower. then. The Post at that time covered about the field of criticism today? Because of that personal change, just about every dance performance Michael Kaiser recently wrote a there is the need to guard against between Baltimore and Richmond. column for The Huffington Post misjudging such things as pacing One of the editors was a big dance about how criticism is suffering and duration. I’m not going to stop fan, so she really pushed dance because of so many online citi- writing. There are two books I have reviewers. I remember going to a zen critics, and it seems to have in mind, in fact have started. If ever performance at Eastern Market and gotten people talking. they are going to be finished, though, there were perhaps five people in the it should be now and without many audience. I wrote a long review, and I GJ: The sense of dialogue among interruptions. Regular reviewing, if opened up the paper the next day, and critics is something that’s missing. done properly, is consuming. ◊ the review of this small performance For example, when the Herald Tri- was as long as the one for a perfor- bune was in New York, two [dance] Amanda Abrams is a freelance mance at the Kennedy Center. critics, there and at The New York writer and dancer living in Washing- Times, had a sort of dialogue. They ton, D.C. 12  DCANews In Memoriam Alan “Mike” Kriegsman (1928-2012) Dance and Music Critic, The Washington Post 1966 – 1996 First Pulitzer Prize-winner in Dance Criticism, 1976 Suzanne Carbonneau cherish, devoted to the great adven- to the art forms—the performing arts ture of excavating the enigma of what and writing—that he saw himself in Delivered at his memorial service in it means to be human. I loved Mike service to. New York, Fall 2012. deeply—thought of him as a father. Mike was a seeker. In his writing, And over the past few days, as people he was not an explicator or a didact S ali Ann [Mrs. Alan Kriegsman] have shared their remembrances of or a connoisseur or a judge. He was has asked me to speak on behalf him, I have discovered that I am not after bigger game: the deeper truths of of friends and colleagues, and I alone in feeling this way. There was existence. He had a way of penetrating am feeling the weight of this charge something in Mike that made people to the essence of what he was seeing or keenly. In a fairer world, someone feel from him the kind of unalloyed listening to; he knew not to get lost in of Mike’s capacious gifts would be love and nurturing that one expects a the weeds. Always, he was after more delivering this remembrance. All of father to provide. important questions, larger meanings. us here today know the Appreciations Everyone here today will recognize His writing had the quality of the that Mike wrote for The Washington this experience: Whenever he saw any excitement of discovery—the forward Post to mark the passing of the of us, his face lit up, like the sun rising, momentum of his driving curiosity. choreographers and performers who and he would call out our names with Mike had what Sali Ann describes defined dance in the 20th century. lilting delight. How could we not love as “twin passions”—he was analytic These Appreciations were masterful, someone who loved us so much, and and soul-filled, as enamored of math- constituting some of Mike’s most who taught us to understand that ematics and physics as he was of art. inspired and sensitive work. And the we were worthy of love—teaching us, And Sali Ann points out that these knowledge that he wrote these essays in the process, that those around us engrossments came from the same in the immediacy of grief makes them were worthy of our unsparing love and place in him—from his all-consuming seem all the more remarkable. Please respect, in turn. engagement in the mysteries of exis- forgive the ways that I fail today to Mike was such a generous mentor to tence. Who are we? Why are we here? achieve something comparable for young writers, creating a community How are we linked to other people? him. of us around him, teaching us by quiet Who are we to be in this life and Judging from the outpouring of example his values of openness, great- beyond? What is the meaning of life? It expressions of love over the past few heartedness, infinite attentiveness. He is that quest that drove his art-going days, Mike is dearly beloved even by loved sharing his endeavor, taking as and his writing. people whose lives he touched only much pleasure—more pleasure—in A friend and colleague said to me a briefly, or only through his writing. seeing others succeed as he did in his few days ago that Mike never wasted a How to say what is in my heart—in all own achievements. His great desire breath. I think that she was referring of our hearts—today? was to see people thrive and be the to his endless questing, his insatiable Saying what is in the heart. That is best they could be. He did it selflessly, appetite for new art, his deep interest precisely the objective Mike spent his with not a trace of ego. in what was yet to come. He himself life perfecting. As a writer, he fear- I think in some measure this had said that this is what impelled him lessly and unashamedly plumbed his to do with his humility. Mike was the to write about dance. He loved that heart. As a person, he unstintingly most modest of men. For a person of almost everything he wrote about was gave of it. such prowess, he wore his achieve- something that the world had never Knowing Mike Kriegsman was the ments without a hint of self-conscious- seen before, and he relished the excite- great honor and privilege of my life. I ness or preening or territoriality. Mike ment of being present at the creation. have always said that Mike made me. was not ambitious in the careerist He gave me my life—the inner life I sense. His ambition was to do justice (continued on following page) Winter 2012/Spring 2013 13  Alan Kriegsman (continued from previous page) This was his fountain of youth. Mike that they had not succeeded. Artists ideal”—that Mike saw in his beloved loved the classics of course—nothing were dear to Mike. He valued them for Bach and Balanchine and in which (except Sali Ann) was dearer to him lifting the veil of mundane experience he strove to believe and to which he than Bach—but he devoted his work- and teaching us that life is filled with aspired in his own life and work. ing life to what was just being born. wonder. And Mike’s generosity as a Right up to the end, Mike was teach- Most of us who go to the theater critic is the same generosity he had in ing us. He faced his failing health with on a regular basis sift impatiently every other aspect of his life. Mike was grace, and his final illness with the through the inevitable dross. Not Mike. a gentleman and the gentlest of men. philosophical strength he had learned He used to say that his fondest wish The other night, I was looking from the artists he so admired. An- would be to write about performances, through Mike’s copy of Moby-Dick, the ticipating his death, he said that he even if they were terrible—maybe, edition he had been re-reading over was open to the idea of farewell. “It’s especially if they were terrible—with this past year. Mike annotated his a stage of life. It is life,” he said. This such insight that he would make his books heavily, with lines and symbols equanimity was what he had spent a readers sorry that they had not been and marginalia. The pages are alive— lifetime absorbing in the consolations there. The generosity of this ap- shimmering—with annotations that of art. He had known what he would proach—to find what was of interest make the page look like a dance— need for that final journey. And he had even in what is infelicitous or not fully active, and seething, and pulsing with done his work well. formed—says everything one needs to the energy of thought and feeling. In In his last illness, Mike was like know about Mike’s heart and his char- looking through his Moby-Dick, I hap- Starbuck, the condensation of the man. acter. It is all part of his sense that art pened to light on his notes for Chapter He seemed to distill to his essence. was a grand adventure. 26, “Knights and Squires,” in which And that essence was pure love. Even Mike was drawn to exploring the Melville introduces Starbuck, the chief as he struggled with his health, he outer reaches of experience. His focus mate of the Pequod. Melville describes radiated love, was ablaze with it. His was always in new forms and ideas Starbuck as very thin, “the condensa- face glowed with delight when he saw expressed by succeeding generations tion of the man”—like our dear Mike. his friends, and most particularly, his of artists—though he never mistook In Mike’s annotations, you can follow adored Sali Ann. Mike understood fashion for substance. Over the years, the waves of thought flowing through what Philip Larkin wrote: “What will his tastes didn’t harden; rather, Mike’s him as he read, the thrill that Mel- survive of us is love.” interests continued to expand and ville was giving him: “Such writing as Mike was our Starbuck, a good man broaden, as he trustingly followed this is given only to prophets,” Mike in a world of Captain Ahabs and white choreographers into the brave new inscribed in bold script across the top whales. ◊ worlds they were creating—hanging of the page. And he marked for spe- on for dear life if need be. Mike did cial notice these words of Melville: “… Suzanne Carbonneau, a professor at not think it his job to tell artists what knaves, fools, and murderers there George Mason University, a dance pan- to do; rather, he trusted artists as his may be; men may have mean and elist at the National Endowment for guides into the unknown, into the meager faces; but man, in the ideal, is the Arts, a trustee of Dance/USA, and future. so noble and so sparkling, such a grand the most recent director of the Dance The idea of a generous critic was not and glowing creature, that over any Critics Institute at the American Dance an oxymoron for Mike. He always said ignominious blemish in him all his fel- Festival, is a dance critic and historian that artmaking was immensely dif- lows should run to throw their costliest whose writings have appeared in The ficult, and that artists had to have tre- robes.” This is precisely what he did in Washington Post, The New York Times, mendous courage to put themselves on his criticism and in his life. and other publications. A fellow of The the line in public. Mike felt the ethical “Man, in the ideal”—Mike under- John Simon Guggenheim Memorial imperative to honor their courage by lined those words with such ardor that Foundation, she is currently at work on writing about them with respect—even his thick red marks soaked through a critical biography of Paul Taylor, for as he gently acknowledged the ways the page. It is this—“man, in the Farrar Straus. 14  DCANews Remembering Alan M. Kriegsman George Jackson A lan, or Mike as he’s familiarly called, was a writer with a distinctive touch. When he jumped onto topics his landings were like cushioned Russian pliés–deeply powerful yet gentle, on the mark yet thoroughly encompassing. Many have read him, but only a few know that Mike was a terrific boss. As dance critic of The Washington Post, he was also, in a sense, the editor of the others who wrote on dance for the paper. At one time, there were as many as seven reviewers (Suzanne Carbonneau, Sarah Kaufman, and Alexandra Tomalonis among them), and the paper covered just about every professional performance from Baltimore to Richmond. Not that Mike examined our texts before they went to press, but it was his judgment that matched event with reporter, suggested the review’s appropriate length, and made sure that, if there PHOTO: BILL SNEAD, COURTESY THE WASHINGTON POST was a preview, it wouldn’t be by the “Mike” Kriegsman in 1976, the year he won the Pulitzer in Dance Criticism. same person who did the review. In the early 1980s, during a miniboom based on an astute estimate of his as incendiary as lighter fluid. Leon in performances of dance from India, team member’s temperaments and Naphta is his name, and he is a char- Mike gave me those assignments skills. acter in Thomas Mann’s novel The because of my suitability: I had a car, Among things I’m grateful to Magic Mountain. He is in so many the other reviewers didn’t, and most Mike for is introducing me to a ways not like Mike that I wondered of these performances were in the far- very special critic. Let me call him what could have been the attraction. flung suburbs. After a few weeks and up, perhaps some of you know him, Perhaps it was dialectic. Naphta, I a slew of reviews, an Indian dancer too. He is in his middle years and suspect, was Mike’s mental sparring came up and told me that I seemed never seems to age. His body is all partner. ◊ to be learning about Indian dance. angles. He shaves closely, wears “I hope so,” I said. She replied: “You thick glasses in lightweight frames, George Jackson, DCA's first know, you were more interesting to and purses his lips when watching recipient of a Special Award for read when you didn’t know as much.” the stage. His laugh is intense but Service to the field of dance criticism, Well, practicality sometimes dictated of short duration. His commentary is interviewed at length elsewhere in Mike’s decisions, but often they were is steeped in irony, and his ideas are this issue. Winter 2012/Spring 2013 15  From the Writings of Alan M. Kriegsman “Ballet Choreographer Balanchine declared. His Russian accent and his personal mannerisms—the subject of Dies at 79” (excerpt from 3,434-word innumerable clandestine imitations within the company and without—lent obituary) Sunday, 1 May 1983 his presence a colorful aura that he well knew how to exploit. Yet all of the public badinage seemed a mask, a Alan M. Kriegsman, be ruthlessly demanding in pursuit role he played, to fend off any genuine Washington Post Staff Writer of perfection: The number of dancers probing of his innermost self. reduced to tears in class or rehearsal “Despite his considerable pride, he “. . .Mr. Balanchine became an was legion. When Suzanne Farrell, the was devoid of airs or pretensions. He American citizen in 1939 and re- ballerina upon whom Mr. Balanchine never adopted the title ‘artistic direc- mained thereafter vociferously proud had lavished the most generous tor,’ preferring ‘ballet master,’ with of his foster homeland. In matters creative attention in his career, an- its implication of craftsmanship and of dress, he liked the Western style nounced in 1969 that she was marry- professionalism. And if imagination and habitually wore string ties or ing Paul Mejia, a young dancer in the was the father of so many of his bal- bandanas (or ascots, on occasion) in company, Mejia was dismissed and lets, necessity was—as he never failed preference to conventional neckties. Farrell permitted to join him in virtual to point out—the mother of most. There was a conspicuous irony in his exile for five years (she returned to the He created ballets to fill the specific admiration of America and its ways— New York City Ballet and Mr. Bal- needs of the company, its dancers, he adored democracy, insisted on a anchine’s good graces in 1975). its management, its sponsors and its “no-star” system of rank and public- “In public, he was relaxed, offhand, public—for all their inspiration, these ity in his company, and ruled it in as witty, opinionated, alternately humble were works ‘made to order.’ absolute and totalitarian a fashion as and boastful. He loved to excoriate “In the archives of artistic endeavor those of the czars and commissars. He other choreographers, without naming since the dawn of Western society, looked upon the company as his chil- names, for what he considered choreo- George Balanchine has earned a dren, and they submitted to his he- graphic ‘crimes’ against composers— secure place among the elect. . . .” gemony over their lives, for the most ‘It’s so awful to see what they do to his Copyright © 1983 The Washington part, willingly and unquestioningly. Brahms Piano Concerto, the B Flat, for Post “He was also capable of being petty, example. They can’t put you in jail for even cruel, on occasion, and he could it, so people go right ahead,’ he once “All the World’s a Circus . . .” evidence of those needs and desires we have in common with the rest of the animal kingdom. “We smile or laugh in recognition of the link. We’re been (excerpt from 817-word story) shown up for what we are—not gods, but upright beasts. Tragedy works the same way, but in the opposite direc- Sunday, 1 May 1977 tion. By their nobility or idealism or aspirations, our tragic heroes—from Oedipus and Hamlet to Willie Loman or Alan M. Kriegsman, Blanche DuBois—demonstrate man’s proximity to god- Washington Post Staff Writer hood. Neverthless, it is the gulf that is emphasized. “Being human, the heroes are flawed. They sin, they err, “. . .Why do we laugh at clowns? Why do we laugh at any- they fall. We are moved to sympathetic tears because we thing—say, the proverbial burlesque comedian who drops recognize in them our own unconsummated strivings for his trousers? It seems to me the heart of the joke here— perfection. and the essence of all comedy—is the revelation of man’s “Tragedy shows us how close we can come to being gods. animal nature, and, thus, the unmasking of his preten- Comedy shows us how far we have yet to go. . . .” sions to the divine. What the pants conceal is precisely the Copyright © 1977 The Washington Post 16  DCANews In Memoriam Horst Koegler Dance Critic (1927-2012) Hartmut Regitz PHOTO: © COPYRIGHT 2012 CHARLES TANDY Horst Koegler with Ilana Landgraf during a dress rehearsal of the Bavarian State Ballet in Munich. Translated from German by Esther Kontarsky O ne of the last entries in his koeglerjournal concerns the theater, in 1964, but he was also pres- wrote the important research study New York City Ballet – and ent at all other major events of the “In the Shadow of the Swastika.” For how the 85-year-old dance critic art he had come to love so much in many years, too, he served as the takes their 2012 performance at the the meantime. Mastering the English correspondent from Germany for the Festspielhaus Baden Baden as a language like almost no other of his American Dance Magazine, for Opera welcome opportunity to look back on German colleagues, he grew to quite News, and for other magazines. his own life. “For here I must admit,” naturally fulfill the role of a mediator, This will all be greatly missed now, Horst Koegler wrote in his blog on of an apologist for that which he has along with his comments in koegler- tanznetz, in his very own, ironical termed an Apollonian art throughout journal – sardonic so very often – way, “that the Balanchine and New his lifetime. A grant that allowed him which also sometimes appeared in York City Ballet experience exactly 60 to cruise all over North America was English. Until the end, that is, well years ago, during the company’s first the foundation for numerous friend- after his 85th birthday, “oe” (as was his guest performance in Germany on the ships, which he cherished until his acronym) let his spirit sparkle, ignor- occasion of the Berlin Festwochen has last days. His experiences are reflected ing his own physical frailness, thereby virtually given me a new direction.” in countless lectures and in the two confirming the one sentence by which And – pointing to his school days monographs: Modernes Ballett in Gerhard Brunner has summed up during the Nazi Era – he calls his Amerika (“Modern Ballet in America,” the achievement of this mentor in a first encounter with NYCB, in 1952, 1959) and Balanchine und das mod- eulogy: “A life for dance.” Brunner goes no less than “a moment of initiation, erne Ballett (“Balanchine and Modern on: a baptism and at the same time a Ballet,” 1964). “Curiosity, openness, directness, wedding in light of the god of the Many publications have followed, enthusiasm, combined with generos- muses, Apollo: a reunion of both arts, and not only in Germany, where his ity are only a few of Horst Koegler’s music and dance, as equals, which writing in periodicals such as Ballett characteristic traits, and everyone forms the criterion for my notion of International, Ballett in Stuttgart and among his wider and closer circles aesthetics until this very day.” Reclam’s Ballettlexikon count among of friends may have experienced this The following year, Koegler trav- his most successful works. Even in the differently in their respective rela- elled to Stuttgart, “per mitfahrzen- Anglo-Saxon world, using his lan- tionships.” Brunner, the longtime trale” as he writes, so as not to miss guage skills, Koegler became increas- ballet director of the Vienna State the next performance of the New York ingly active. The Concise Oxford Dic- Opera, thanked Koegler for “guidance City Ballet; and, from 1960 on, almost tionary of Ballet, which he authored, throughout an entire life” and for every year he travelled to the United is today considered to be a standard “guidances/aids to orientation, which States to see NYCB as well. Not only reference. He wrote the entry “Dance, have become convictions, attitudes, did he attend the last performance Western” for the Encyclopedia Britan- of the company in the City Center nica and, for Dance Perspectives, he (continued on following page) Winter 2012/Spring 2013 17  Horst Koegler (continued from previous page) and imprintings which some of us our- punctuality as well as pithy style. Schneiders, and Manuel Torras, who selves try to transmit to the younger Without thorough preparation, he be- have died prematurely, are counted generation.” And Brunner continues lieved, textual precision and organiza- among Koegler’s protégés, as are Rich- and asks: “Doesn’t this bear great tion would be difficult, thus his credo ard Lorber, László Molnár, Hartmut comfort? Do not the dead remain alive to us younger ones. Without discipline, Regitz, Angela Reinhardt, Helmut in our hearts and minds in miracu- without an iron will, without intran- Scheier, Horst Vollmer and Jens Wend- lous ways?”—a question all the more sigence toward oneself, he would not land. We belong to the circle of those powerful, as Koegler, who died in a have been able to accomplish what he who have passed through his “school,” hospital in Stuttgart, on May 11th, was has accomplished. without it being possible to say that buried anonymously. So we’ve got them, Koegler’s mono- there is, indeed, such a thing literally Koegler also acquainted himself graphs on John Neumeier and Heinz as a Koegler-school: For that, Koegler with the object of his journalistic Spoerli, which appeared recently. We was far too undogmatic. Rather, he interest, with theater, in a way that also have the many Koegler-compen- was free enough to leave others their still proves to give the best insight: dia, which have long become indis- freedom, and that bears witness to a He became an assistant to the drama- pensable—ready-to-hand memories grandeur that is not within the reach turgy and production at the Wiener of an ephemeral art. What we do not of many colleagues. Staatsoper. However, since 1951, he have are Koegler’s memoires. The only “It has been Horst Koegler’s his- learned his profession – as do most thing we know about are his begin- torical achievement to lead German theater critics – through his daily in- nings as a ballet critic in Berlin in the dance criticism toward its first flower- volvement as an independent journal- ’50s - which can be looked up as the ings” is what Brunner says, adding ist, first in Berlin and later in Cologne, last entry in koeglerjournal - and we immediately: “The Stuttgart Ballet unimpressed by tempting offers to try owe this to the management of the miracle, so often praised, has been to do a better job than those ballet Staatliche Ballettschule Berlin. It was his achievement, too, because he directors who were not always able to they who had encouraged the celebra- recognized and valued it early on”—a cope with his criticism. tee at the ceremony to celebrate his perception that even Cranko’s suc- Whoever has known Horst Koegler 85th birthday not just by leaving the cessor, Stuttgart ballet director Reid from his Cologne times, as I have, can Koegler Library to the institution but Anderson, cannot help but agree with. imagine to what extent his move to also turning the event into a historical Like Hans van Manen, Heinz Spoerli, Stuttgart, in 1977, must have changed moment through his evocation of a few and many many others, Anderson paid him: Cologne was the time when this dance events of the post-War period. his homage to the “last doyen of the independent journalist lived his life At the same time, he shared his opin- German ballet critique” before Koegler between bed and ballet. Stuttgart, on ions about the current situation of the bid this world farewell with a French the other hand, meant for him that ballet. Can-Can, the last music played at his freedom only permanent employ- Until the very end, the bearer of funeral service. ◊ ment allows for. In Stuttgart, Koegler the Deutsche Tanzpreis 1992 did learned what no one would have not lose his pleasure in criticism. Hartmut Regitz writes: “I was born thought possible: to drive a car (occa- Until the very end, he was able to in Stuttgart, in 1943, and grew up sionally ending up in a field). He swam get excited by what he saw and did. there. I saw there my first ballets, as often as his work allowed. And, Until the very end, his curiosity about by John Cranko, in the early sixties. en passant, he discovered something events and people did not fade—and, After my studies, I 
started as a ballet that, earlier, would have caused him since he had confidence in what he critic at the Stuttgarter Zeitung. For nightmares: unfettered delight with was doing, in his aesthetic sense, some 
years, I was an editor with a nature, which he explored especially and in his writing style, he encour- radio station, then later with the Stutt- in the Black Forest – his ears covered aged others, younger ones—often and garter 
Nachrichten and the magazine by a Walkman. with overt pleasure. Gerhard Brun- ballet-tanz, in Berlin. For some years Yet he never denied his very own ner, currently the head of the degree I was 
also the editor of the ballet year nature; rather, he enjoyed it greatly. program “Executive Master in Arts books and of Reclams Balletfuerer. I He was certainly flattered by being Administration” at Zurich University, have 
published the volume Ballett in renowned in his own field as a preci- is one of those whom Koegler encour- Deutschland. Now, I am freelancing sion fanatic, a master who scared aged to write. Martin Kazmeier, Ferry again, but soon I return as an editor to the daylight out of others through Kemper, Bernd Krause, Heinz-Ludwig Tanz.” 18  DCANews In Memoriam Beate Sirota Gordon (1923-2012) Impresario, Author PHOTO: MARK STERN Bonnie Sue Stein Beate Gordon, c. 1980s, in the auditorium of Asia Society, New York. T he world-class impresario Beate Sirota Gordon died peacefully in performance lecture-demonstration equal rights and women’s civil rights) her sleep, December 30, 2012. She and a tasty tidbit from that culture’s of Japan’s postwar constitution – a was 89 years old. food group. Audiences loved these global achievement that was echoed in I worked for Beate from 1982 to 1988, presentations. Finding samosa, her book The Only Woman in the Room. at the Asia Society’s Performing Arts dumplings, or other tidbits was one of Until death, she was also a defender department in New York City. Six my jobs as her assistant – a job I did of Article 9, the “peace clause,” which incredible years, which carved my life with relish, literally. denounces war and the use of arms path. As an impresario, she was schooled I also had to find scholars and experts to resolve conflicts. These rights were in politeness, always putting the artist to write about the performing arts we something she felt strongly about and first, and, as her assistants, we learned were presenting, as BG – knowing that what she talked about most and leaves the old ways of producing. None of us the press community were not well- as part of her expansive legacy. She was had degrees in arts administration: we versed in these art forms – insisted that well aware that the current conservative learned on the job. There was a stellar each press release be accompanied by government in Japan threatened preser- team during the ’80s, which included a monograph. So many firsts happened vation of these rights, and, after a hiatus some powerful, creative women – Paula under her tutelage: Traditional groups of several years, she became vocal about Lawrence, Karen Haight, Marie Stella, from Asia toured the U.S., including the the new initiatives to keep these rights Lisa Chan, and Lynn Winters – and one first touring group from the People’s safe, Article 9 especially. A lot of her life amazing guy, Somi Roy. Beate was like Republic of China, the premiere tour was dedicated to equality of these rights. a mother to me, more than a mentor. We of dancers and musicians from the Silk She touched so many lives worldwide. never got any work done, because her Route (Uzkekistan, Mongolia, etc.), RIP dear friend and mentor. stories captivated us and distracted us Kathakali dance-drama from South from the tasks at hand. So we stayed India, Samul-nori drummers from en.wikipedia.org/wiki/Beate_Sirota late often, working on deadlines for Korea. And contemporary groups – press releases and promotion. puppet troupe Kaze-no ko from Japan, Bonnie Sue Stein is the executive In 1985, our Performing Arts Butoh master Kazuo Ohno, our own director and founder of GOH Produc- department won an Obie Award, U.S.-based Eiko and Koma, and more. A tions, an arts services organization a Special Citation for sustained list would take up all of the space allot- based in New York City, focusing on the achievement in presenting performing ted for this brief highlight of a life well creation and development of global arts arts programs from Asia, including lived. “Would you be so kind. . .” was how projects. From 1982-88, she was Program that year’s triumphant tour of the BG began nearly every request. It was Associate of Performing Arts at Asia spectacular dancing drummers from a sure way to get us to do anything that Society. With GOH, she has produced Korea, Samul-Nori. Beate, or “BG,” as needed to be done. I learned that type of arts projects in NYC, East/Central we sometimes called her,was unlike any politeness could open doors and moti- Europe, the former Soviet Union, Asia, other cultural leader, and a dying breed. vate action. Beate was like a mother to and the Middle East, including projects She spoke several languages fluently, me, to all of us. She led the crew and we in all Baltic countries, Russia, Hungary, was schooled in the proper etiquette of followed happily and diligently, support- Uzbekistan, Czech Republic, Jordan, all the countries she traveled, and was ing the groups of artists that traveled Israel, Palestine, Japan, and others. As a fearless leader, championing artists from all corners of Asia to New York City a writer, she has contributed articles on and education about Asian performing and around the country. the performing arts to Dance Magazine, arts through visceral experience. Every Beate was also responsible for writ- The Village Voice, and BAM Next Wave performance we presented had a pre- ing the 14th and 24th amendments (on Journal, among others. Winter 2012/Spring 2013 19  DCA Conference 2012 Lift the Press Senior Critic’s Address Nancy Goldner came to me of a copious grove of sing- ing birds, and in their midst a simple T hank you very very much for harmonious duo, two human souls, this recognition. It lifts the steadily asserting their own pensive- spirits. ness, joyousness.” My writing career has included And here is Forster’s response: many different kinds of situations, so “Here is adorable literature, but I thought I would talk about them this what has it to do with Op. 20? A poet’s morning. It began in a magical way. I imagination has been kindled. He has first wrote for Dance News, beginning allowed himself to wander out of him- in 1969—or ’68; I can’t remember the self, but not into Beethoven’s self, his exact date. After I wrote a brief letter presumable goal. He has evoked the to Dance News, its editor, Anatole visual images congenial to him, and Chujoy, called me and instructed though in the closing phrase there me to meet him the following day at is a concert, it is not the one he at- the Russian Tea Room. “Be there at tended, for it took place in his garden 8 a.m.,” and he gave me an address of Eden.” on West 56th Street. “Isn’t it 57th Bill was the most important mentor Street?” I asked, knowing that the I ever had; the only one, actually. restaurant was next door to Carnegie Another good thing that happened Hall. “No, 56th Street,” he said. So with Bill is that she passed on to me I went to that address and walked her reviewing post with The Christian through the door and was right in the Science Monitor. I liked this because it middle of the restaurant’s kitchen. It gave me a broader audience—but per- was wonderful, because it was like PHOTO: NANCY CRAMPTON haps too broad. Because one morning Nancy Goldner, DCA 2012 Senior Critic. being backstage, an enchanted place I was in the subway and saw a man as far as I was concerned. reading my review. I was so upset, I I next met with P. W. Manchester, got off the train. I wanted broader, who I now learned called herself by talking about. yes, but I hadn’t realized this meant the name of Bill. We ended up having Forster quotes Whitman’s com- somebody in the train. That people a discussion in which she set out a ments on the Beethoven septet: were actually reading my stuff. To me, kind of credo for reviewers. “Show the “Dainty abandon, sometimes as of writing existed on my typewriter, and dance to the reader,” she said. “Don’t Nature laughing on a hillside in the that was the only real thing. It had show how brilliant you are. Serve the sunshine; serious and firm monoto- no other, broader existence. But it did, reader, not yourself. Don’t let your nies, as of winds; a horn sounding and it was a shock. imagination overtake the material.” through the tangle of the forest, and At this point, around 1970, I started (In fact, she didn’t say “material”; the dying echoes; soothing waves float- wanting to write in a place with a that’s a postmodern word). In es- ing; piercing peals of laughter. . . .but more sophisticated audience. I sent sence, she was giving me a kind of mainly spontaneous, easy, careless— around my résumé, and The Nation morality of reviewing. I’d now like to often the sentiment of the postures of responded with the offer of a job. The read a passage from E.M. Forster’s naked children playing or sleeping. . Nation was just what I had in mind. Two Cheers for Democracy, which, . .I allowed myself, as I sometimes do, It had a distinguished back of the I think, illustrates what Bill was do wander out of myself. The conceit book—Clurman on theater, Alloway 20  DCANews on art, David Hamilton on music— Can you imagine how wonderful it Balanchine died, and that took the and there I was alongside these il- was to watch Balanchine make bal- floor from underneath me. His work lustrious names. The other thing The lets? I think that if a critic should be had become part of the rhythm of my Nation offered was space—a mini- given such an opportunity—to see the life. Living in New York and writing mum of 1,500 words. But it took me a process from the inside—he should about his new work had come in- while to learn how to use that space. grab it. Forget about what’s proper separable. Then, in early 1984, I got With Dance News and the Monitor I or not! You will learn so much. Some- a call from The Philadelphia Inquirer. wrote conventional reviews—that is, times I heard grumblings around me The paper was looking for a full-time I touched on all aspects of a perfor- that I had an advantage over other dance critic, and could I recommend mance, and that is what I did, sort critics. But sometimes seeing rehears- someone? Before I knew it, I said, I’d of, for my first Nation review. It was als became obstacles. What looked like to recommend myself. Connie about Grigorovich’s new Swan Lake, wonderful in the rehearsal studio Rosenblum, the arts editor there, said, at the Bolshoi theater. What I really sometimes fizzled on stage. And the “I was hoping you’d say that.” So off I wanted to do, or should have done, is opposite. I remember that the pas de went. focus on one aspect—in this case, his sept he added for Emeralds looked dull It was my first staff position—a real overuse of dance. When the Prince as he was making it, but on stage! It salary—and a real newspaper. One goes to the Queen Mother to receive was gorgeous, so moving. of the first things I did there was go the bow, he didn’t just walk; he did Well, I was dropped from The down to the basement to see the press grand jetés. This was silly, implausi- Nation. I’m not sure exactly why; make a newspaper in front of my eyes. ble. Sometimes, it’s best not to dance. perhaps it had to do with there being “Do you ever stop the press?” I asked. I could have expanded on this idea, a change in administration, or maybe That was my idea of romanticism. because I think it’s important and the new editors just didn’t like my One of the men said, with a slightly was common then; it’s still around. So work. Some time after, Marcia Siegel condescending smile, “No, dear, we lift writing for The Nation was a process told me to come write for The Soho the press.” That happened to some of of learning how to chose the one thing. Weekly News. I was pretty depressed my copy once, but I wasn’t there to see With The Nation, I also felt permit- about losing the Nation job, and she it, alas. ted to write truthfully. I mean, it was more or less commanded me to stop I did new kinds of writing at the understood there that most things moping and come downtown. So I did, Inquirer—news stories and features. aren’t that good, and many things and it turned out to be fun. There Like many critics, I suppose, I looked are awful. The judgmental as well as were, I think, three critics, and it was down on features. Nothing but p.r., I the descriptive were welcome at The very collegial. I had never had col- thought. But I found a way to make Nation. A wonderful thing that hap- leagues before. Also, the editor, Bob them useful. I would ask the chore- pened by writing at The Nation is that Pierce, was the best I ever had. He ographer about his general ideas of Lincoln Kirstein became acquainted made you figure out what you wanted the creative process. The one thing with my writing. He invited me to to say. I also began writing a column I learned was never to ask about watch rehearsals, which I did a lot. for The Saturday Review. They paid the pieces on the program, because And sometimes I watched Balanchine $750 a column, which was a fortune. choreographers would get very fancy, teach, though I tended to be careful Everything was going well, and and, usually, their descriptions had about that. Of course, this raises ques- then not so well. SoHo and Saturday nothing to do with what we saw on tions about whether a critic should Review folded, and I began to have a stage. It happens that two of my have an inside view. All I can say is feeling that things were closing down, favorite pieces were features. One was that these days I spent at the City something like you all must have felt Ballet were the best times of my life. about ten years ago. And, in 1983, (continued on following page) Winter 2012/Spring 2013 21  Lift the Press (continued from previous page) of Robert Weiss talking about his time The other new aspect was my rela- Reviewing can become a habit. I as the Prince in The Nutcracker at the tionship to the dance community. In returned to New York and hoped for New York City Ballet. He described New York, no one much cared what some reviewing work. I had one awful how, when he led Marie through the I wrote, because I was not writing experience with Newsday. Twice they snow, he felt like a mature man. He for the Times. In Philadelphia, I was wrote my byline as “Nancy Goldman.” wanted to protect her from the cold writing for THE paper, and the dance There are so many Jewish names that and worried about her bare foot, and community cared very much that I be begin with Gold, and I was disgusted how vulnerable she was. The other supportive. I had never ever conceived that they made that particular mis- story was also about The Nutcracker. of myself in that role, but dancers and take, and they never printed a cor- Every December I had to write a choreographers did. It threw me for rection either! So I called it quits. I feature and one year just couldn’t a loop, and it certainly hurt my ego. took stock. Why did I want to review think of something new to do. So my I was used to being respected for my dance in the first place? Balanchine! husband said, “Why not interview the work, and the paper did respect me, So I went to The George Balanchine tree?” He wrote a lot of it, and it was a but I don’t think that the notion of Trust, and together we came up with charming, charming piece. respect counted for much with much of the idea of my lecturing on his bal- News stories were impossible for the dance community in Philadelphia. lets around the country, to all those me because you had to be impartial, My most cynical thought was that companies who perform his work. The and I was always filled with opinions. all they cared about was a positive Balanchine Foundation supported it. But this brings me to the main chal- review. I heard mutterings sometimes I did that from 1998 to 2006, and I lenge of my years in Philadelphia. that I was from New York—Phila- much enjoyed it. Then the editor at The Pennsylvania Ballet was always delphians tended to be suspicious the University Press of Florida heard in trouble. They almost folded at of New Yorkers—or that I favored that I had been giving these lectures one point. There was terrific conflict ballet, or that ballet got more space and wondered if there was a book in it. between the company and the board. in the paper. Anyway, it was rough I ended up writing two volumes about The company wanted to expand; the sometimes. Balanchine ballets, and they have board wanted to keep things small In 1995 I left. There were several been quite successful. and cheap. The board never under- reasons, but the main one is that the But now I want to return to Bill stood that a ballet company was a quality of the work I was covering Manchester. One of my first reviews losing proposition financially. I once had declined. And, at that time, there I did for Dance News was a review told some of them what Kirstein said: were few new shoots springing out of of Violette Verdy in Giselle, with the “You’re in business to lose money.” the dance scene. I had become a critic Boston Ballet. It was a revelation They could not grasp this. I was for because I liked to analyze dance, I to me! But Bill didn’t use most of it, the company; I hated the board. Thus, liked to find connections between because she felt I was exaggerating, I had divided loyalties—to the paper, the responses I had to a dance and that I had entered my garden of Eden. where I was supposed to write im- the dance itself—what in the dance I have always wondered about her partially, and to the company, which brought forth my responses. There remark: Was I writing about what I I wanted to protect. So I did a lot of was no longer much to analyze in saw, or was I making it up? My most covering up, for the company often Philadelphia dance. and my own recent piece of writing is on Verdy’s made unwise decisions and had some response began to be fatigue. I was be- Giselle. I wanted to put Bill’s comment personality problems. This I kept to coming grumpy. I had had a good ten to the test. Was the praise accurate? myself. I was evasive with my editors, years with the paper, and I learned Writing it felt right to me, but I shall and this became emotionally exhaust- a hell of a lot, but it was time to stop, have to wait to see what my editor ing sometimes. and I did. thinks of it. ◊ 22  DCANews DCA Conference 2012 DCA Calliope Award: Robert Gottlieb Editor, Critic, Author, Programmer, Patron R obert Gottlieb was born in New York in 1931 and went to school there through Columbia College. In 1948, a teacher took him to the City Center to see a performance of the final season of Ballet Society, and his lifelong passion for Balanchine was ignited. Because he was at school in New York, he was able to follow the earliest years of City Ballet, experience the crucial first visit of Sadler’s Wells with Fonteyn, etc. After a couple of years at Cam- bridge University, in England, he came back to New York with wife and child, and, in 1955, went to work at Simon and Schuster, where he became editor-in-chief and during which time he edited such books as Catch-22, True Grit, Chaim Potok’s PHOTO: MICHAEL LIONSTAR Robert Gottlieb, 2012 Calliope awardee. The Chosen, Jessica Mitford’s The American Way of Death, and Doris Lessing’s The Golden Notebook. In 1968, he became editor-in-chief in 1987. In recent years, he has the Observer, and others. Last fall, and publisher of Alfred A. Knopf, performed similar functions as an he published Great Expectations: The where he edited countless books by advisor to Miami City Ballet. Sons and Daughters of Charles Dick- such writers as Toni Morrison, John In 1998, he wrote an extensive ens. He is the president of the Louis le Carré, John Cheever, Michael piece for Vanity Fair portraying the B. Mayer Foundation. Crichton, Robert A. Caro, Barbara first fifty years of NYCB, and, soon Robert Gottlieb lives in New York Tuchman, and Nora Ephron; auto- thereafter, he began writing book City (and a few other places) with his biographies by Bill Clinton, Katha- reviews for The New York Observer, second wife, the actress Maria Tucci, rine Graham, Lauren Bacall, and whose dance critic he became in close to their two children and two Liv Ullman; and dance books by 1999 (and still is). He has writ- male grand-twins. ◊ Fonteyn, Baryshnikov, Makarova, ten biographies of Balanchine and Paul Taylor, and Lincoln Kirstein, Sarah Bernhardt and has produced who invited Gottlieb to join a new three massive anthologies: Reading New York City Ballet board of direc- Jazz, Reading Lyrics, and Reading tors. For a decade or so, Gottlieb Dance. In 2011, he published Lives programmed City Ballet’s seasons and Letters, a collection of 40-odd and oversaw its marketing from his pieces written for The New York offices first at Knopf and later at The Review of Books, The New Yorker, New Yorker, whose editor he became The New York Times Book Review, Winter 2012/Spring 2013 23  DCA Conference 2012 DCA Calliope Award: Nancy Reynolds Historian, Critic, Author, Program Director N o scholar or practitioner of dancing alive knows more about the entire choreographic career of George Balanchine, from his first ballet on record, La Nuit (c. 1920), to his last, a revision of his staging of Stravinsky’s Variations for Orchestra (1982)—and none has been more generous to the public PHOTO: COURTESY, DANCE with her or his knowledge—than CRITICS ASSOCIATION Nancy Reynolds. A childhood student of the ballerina Tanaquil LeClercq; From left: 2012 a student of the Diaghilev ballerina Calliope awardees Vera Nemchinova, of the School of Robert Gottlieb and Nancy Reynolds and, American Ballet, and of the Martha standing, then-DCA Graham school and Pilates (to board member both of which Balanchine sent Ms Alastair Macaulay, Reynolds to strengthen her back); who conferred the an apprentice and then a member of awards. the corps de ballet of the New York City Ballet (1956-1961); a graduate for the multivolume International Frederic Franklin, in collaboration in art history of Columbia’s School Encyclopedia of Dance, Ms Reynolds with young dancers, reconstruct of General Studies; an editor at would have been considered a leading ballets or portions of ballets long Praeger, where she acquired and light of theatrical dance scholarship out of repertory). Ms Reynolds edited Lincoln Kirstein’s landmark even without her work for The also painstakingly developed her study Movement & Metaphor: Four George Balanchine Foundation, the Balanchine catalogue raisonné into an Centuries of Ballet; an alumna of not-for-profit sibling of The George online database, continually updated Selma Jeanne Cohen’s pathbreaking Balanchine Trust. However, it is as and accessible to anyone who logs seminar in dance history at The research director for the Foundation, onto the Foundation’s Web site (www. University of Chicago; the author and/ from 1994, that she has become balanchine.org). And she oversees or editor of indispensable reference celebrated as well as admired. As several other Foundation programs, books (Repertory in Review: 40 part of her sense of mission there, she among them The Balanchine Years of the New York City Ballet; founded The Interpreters’ Archive Lectures, with ballerina Merrill Choreography by George Balanchine: (in which dancers original to Mr. B’s Ashley and author Nancy Goldner. A Catalogue of Works—the first, 1983, works are filmed coaching younger Ms Reynolds lives in metropolitan printed version of the choreographer’s dancers in what the choreographer New York City. Her late husband, catalogue raisonné; No Fixed Points: told the coaches he wanted when the art director Brian Rushton, designed Dance in the Twentieth Century, with ballets were made) and The Archive the striking cover of No Fixed Points. Malcolm McCormick), of other bound of Lost Choreography (in which such Their son, Ehren Reynolds, an attor- publications, and of many reviews and close Balanchine colleagues and ney, currently resides with his wife, features on dance, art, and literature original cast members as ballerina Asha, also an attorney, in Seattle. for periodicals internationally; and Maria Tallchief and Ballet Russe de M.A. one of the six original area editors Monte Carlo dancer and ballet master 24  DCANews DCA Conference 2012 Remarks on Talking and Dancing Rajika Puri Yet, traditionally, dancers don’t they activate a different part of the vocalize on stage. Legendary danc- audience’s brain – a part that nor- This comment is excerpted from a con- ers have been known to take over mally takes a rest during this non- ference presentation by the author. the singing at particularly impas- verbal form of communication. Thus, sioned moments, but this was during the experience can be jarring. There M y perspective on the subject dances that didn’t involve vigorous may even be a resistance within us to of spoken language and movement. Dancers today do not this crossing of boundaries. dance is colored by the fact vocalize when they perform, even if I, myself, have often thought, “Why that the forms of dance I’m trained they prove to be amazing singers in are you talking? What does your text in, perform, and choreograph, are class, and in rehearsal. Oh, vocaliza- add to what can be seen – and heard textually & vocally motivated. tion exists, but it is usually internal. – in the music?” Beginning with our very first Don’t get me wrong, it does drive On the other hand, I’m a strong lesson, the movements we learn movement – qualitatively, rhythmi- advocate of “dance talks” before, and are fused with spoken sounds. cally, dramatically – but from the Q & As after a performance, because Basic steps, even simple footwork, point of view of the audience, this vo- these enhance the performance are accompanied by rhythmic calization is in the mind, it is silent. experience. They add information syllables like teiyum tatta teiyum My own forays into incorporat- and perspectives that deepen our taa, teiyum tatta taa ha; tat tei taa ing into performance vocal sounds understanding of the work and of the ha, dhit tei taa haa. When teachers that emanate from a dancer were creator’s intentions. ask us to practice a step in class, actually inspired by modern dance. So why not add a layer of spoken- they articulate sets of these kinds If works, like those of Pina Bausch language signification to the experi- of syllables to identify what they or Bill T. Jones – Martha Graham, ence of the art form? want us to do. Later, when we learn even, in The Owl and the Pussycat – Thus, my questions are: complex sequences of movement, were part of Western dance-theater, I *Why does one person’s narrated these too are inextricably linked thought, then why couldn’t I articu- text work and another’s grate? with the drum syllables to which late vocally on stage? . . . . ** What lines do we cross when a they would be performed on stage. So far I have spoken as a per- compelling mover starts to speak? Similarly, when we start to learn former, as someone who is obviously *** Does movement “speak for hand positions, we also learn to name convinced about the integrity and itself” - even across cultures? ◊ them: pataka, tripataka, ardha- validity of using spoken or vocal- pataka, kartari mukha. As positions ized material during a dance per- Rajika Puri, a member of DCA’s become gestures that move in space formance. But to put on my hat as board of directors, is a leading expo- and convey meaning, we accompany commentator and writer about dance, nent of Bharatanatyam and a choreog- them with chants that list their to play devil’s advocate for a moment, rapher, both within that tradition and meanings: natyaarambhe (“starting a I’d like to pose some questions about of works that extend it into modern dance”), vaarivaahe (“storm clouds”), the notion of ‘talking about,’ ‘during,’ and postmodern dance. She has also vane (“woods”), vastu nishedhane (“in- and –most of all – as part and parcel performed for other choreographers dicating things”). At a more advanced of a danced work. and directors, including Julie Taymor. level, when these gestures are used to Personally, I think that when danc- communicate ideas through move- ers enter a spoken language world ment, the jumping-off point for the during the performance of an art gestures we perform is always a piece form that employs movement as its of text, poetry, the lyrics of a song. primary means of communication, Winter 2012/Spring 2013 25  Mere Discussion Will Not Suffice (continued from page 1) Company, and choreographer Edu- focused on the continued gravita- ardo Vilaro, artistic director of Ballet tion by today’s dance writers towards Hispanico. The three discussed how online writing and the repercus- culture, as represented in dance, has sions of this trend. Leigh Witchel, multiple meanings, many of which a “perma-lancer” at The New York are currently undergoing a huge shift. Post, noted that the main difference “The way we use culture to express between online and print journal- basic experience is bleeding together,” ism is the word count. The Internet said Brown. “There’s more of a world theoretically offers writers unlimited PHOTO: COURTESY, AUTHOR Mariko Nagashima, 2012 DCA Gary Parks view now.” With this shift comes “a space, unlike the increasingly restric- Scholar. responsibility to history and to teach- tive spatial limitations of print, but ers, to share [their culture] so that “700-900 words is an attention span,” people see a reflection of themselves, said Witchel. Christine Jowers, editor don’t have old days; I remember them. of humanity.” All three panelists noted and creator of the online journal The And maybe it wasn’t as fabulous as I the difficult balancing act stemming Dance Enthusiast, agreed, though her remember them, but I do interesting from this change: Companies must site has no word limits. However, she things now. I’m happy to pay atten- program work that fulfills their ar- said: “I prefer shorter pieces, because tion to [new works], even if I find tistic vision, represents their cultural when I see a massive word count I them mediocre.” diversity, and appeals to certain audi- have to break it up with pictures so Regarding the notion that dance ence demographics, all while staying people will actually read it.” Witchel media today focuses less on criticism financially solvent. noted that the Internet can be a prov- and more on profiles and features, Vilaro spoke of the changing artis- ing ground for young writers, who Jowers said, “It’s our job to show that tic culture of the studio. “There’s a sometimes need to hash out their choreographers are people, and are in- shift in how artists work because we thoughts in long pieces to develop teresting people. Showing the human are a consumer culture and danc- their voices and ideas. aspect is how people get interested ers need to be a part of that culture,” Moderator Robert Johnson, dance in dance, because they can’t under- he said, adding that this necessity critic of The Star-Ledger, a printed stand the abstract choreography.” to participate in the larger cultural daily published in New Jersey, sug- Witchel added, “My readers could marketplace has created a “lack of in- gested that the increased accessibil- care less about dance. I have to make vestigation and exploration.” Johnson ity of the Internet makes it an easier them care, and one way to do that is commented that “dancers today don’t and perhaps even a better time to through personalities.” understand their work as service to be a dance critic. Though all three The second day began with “The their art form but as being members panelists noted that no one enters the Economics of a Dance Writer’s of an industry in which they have profession for its dependable income, Career,” moderated by critic and jobs.” The booming culture of social Robert Greskovic, dance critic at The lighting designer Philip W. Sand- media has also impacted compa- Wall Street Journal, pointed out that strom. The whole panel reiterated nies by creating, in Vilaro’s words, “there’s never a good or a bad time. that dance criticism is no way to an “opportunity to get the expanded If you can hack it, the urge will keep make a sustainable living. Elizabeth vision of the company out and ex- you going.” Greskovic also dispelled Zimmer, former dance editor for The press ourselves differently, and to get the notion of the oft-glamorized glory Village Voice, put it bluntly: “We are honest feedback and dialogue with days of dance, lending some perspec- at the nexus of the two worst-paid audiences.” tive to the current scene by saying: fields in America: dance and journal- “Dance Writing Then and Now” “I don’t believe in the good old days. I ism.” All the panelists discussed a 26  DCANews fluctuating scale of income over the dance criticism, despite its meager producing Breaking Pointe) retained course of their careers and the neces- monetary gains. “I have a deep inter- all editing rights, and, subsequent to sity of having other jobs to stay afloat est in words, a fascination with how filming, cut many scenes to heighten financially. Marina Harss, a freelance you build pictures of things in people’s drama. Sklute also gave the debate on dance writer for The New Yorker and minds. And I deeply believe in criti- the overall positive or negative effect contributor to several online publica- cism. It’s important to seek qualities of these shows a new perspective. “I tions and Web sites, mentioned her behind work, for things to be written could present another Peter Pan or additional work as a translator, while about intelligently, and to get a multi- Alice in Wonderland to draw in new Brian James McCormick, of Gay City plicity of views. It is almost a compul- audiences, or I could present Paquita News, discussed his teaching of arts sion, I don’t know why you would do it and Petite Mort in this soap opera/ writing in youth programs. otherwise.” drama format that people want to Despite the largely dismal rates of Mention of The Huffington Post see,” he said. pay for dance critics at most news out- spurred a lively interchange and On the subject of media coverage of lets, Karen Hildebrand, vice president general indignation at their policy of reality tv dance shows, Tonya Plank, of editorial for all the publications and not compensating writers while the of the blog Swan Lake Samba Girl, Web sites of Dance Media, offered a publisher profits, the tradeoff being also speaking via SKYPE, noted the glimmer of hope. Hildebrand reported greater exposure for dance, at the lack of criticism and excess of descrip- that Dance Media (the umbrella orga- expense of the dance writer. DCA tive and fan-based work. “It’s obvious nization for Dance Magazine, Dance member Jack Anderson hit the nail to us that lots of the emotions on the Spirit, Dance Teacher, and Pointe) on the head with his comments: “We shows are phony, but most viewers commissions about 40 freelance pieces love to write and perhaps we have a don’t know that and they get very each month. Hildebrand spoke of lack of gumption because we write for angry when you upset that idea,” the distinct niches for each of Dance people who don’t pay us, but we do so said Plank, citing overwhelmingly Media’s publications and how they because we love what we write about harsh and disapproving comments on are actively seeking self-motivated, and want to share that.” several of her more critical articles. enterprising writers for many types “So You Think You Can Ignore Kate Lydon, editor-at-large for Dance of articles. She also noted the increas- Dance on TV?” featured panelists Media, pointed out that her publica- ing responsibilities of writers and from several dance-related reality TV tions cover many different aspects of editors. At Dance Media, “editors are series, including Vitolio Jeune, a final- these shows to appeal to a younger expected to tweet and facebook; they ist in So You Think You Can Dance demographic. Because so many chil- are social media managers.” For many (who appeared through SKYPE), dren see these shows as actual reality, online publications, writers shoul- and Adam Sklute, artistic director “it becomes a teaching moment” for der the responsibility of formatting, of Ballet West, the focal point of the both dance instructors and dance finding photos, and writing captions. show Breaking Pointe, which just writers to explain how things really All common practice when produc- concluded its first season. Jeune and are in the dance world, said Lydon. ing a personal blog, these increasing Sklute both acknowledged that televi- Despite the general consensus requirements for commercial online sion producers care more about rat- that television does not truly educate publications signal a sweeping change ings than the dancing presented. “Pro- the public about the dance world, from the writer’s role in print journal- ducers have an agenda and will run it no one made the next logical step: ism, traditionally limited to producing how they want,” said Jeune, alluding This role should be filled by dance copy. to the many times he was asked to act critics. The unquestionable dance Also encouraging were Harss’s com- a certain way on camera. Similarly, ments on why she continues to write Sklute said that The CW (the network (continued on following page) Winter 2012/Spring 2013 27  Mere Discussion Will Not Suffice (continued from previous page) boom on television has given crit- brought things full circle with its dis- unite efforts toward a common goal. ics a rare opportunity to address an cussion of how cultural changes have Strategies such as a modernization of audience already intrigued by dance. affected critical perspective. Gold- the DCA’s image through an updated We should capitalize on this moment ner largely opposed today’s culture: Web site, a focus on creating benefits and educate them on how to view and “We’re in an age of video, which has for members, and active recruitment assess the quality of dance, instead of had a huge effect on choreography, all of the next generation of critics by lamenting how poorly the shows rep- for the bad. I don’t review anymore. increasing the organization’s visibility resent it. Jeune most closely related Those days are gone, at least for the at universities, could be easily imple- this sentiment: “I think it would make time being.” Jowitt offered a more mented and would truly move the a difference if you started criticiz- overarching perspective. “Cultural DCA forward. Though these strategies ing these shows,” he said, “and might change didn’t have a huge effect require extensive volunteer efforts make producers change how and why [on dance] in the ‘60’s,” she said. “It by both new and old members, they they choose dancers.” was more about studies of form and are not beyond the DCA’s capabil- The final panel, “The New York beauty. Then, in the ‘80’s, narrative ity. Full of esteemed members with School of Dance Criticism,” moder- came back, and there was heavy-duty unparalleled expertise in a variety of ated by The New York Times dance deconstruction as to what work was subjects, the DCA has the potential critic Alastair Macaulay, felt slightly going to be. I had to push myself to to be a strong, relevant force in the more sedate in tone. Centering on think about dance in different ways.” dance world. To become so, we must the “golden age of dance criticism,” Though the title of this year’s not only commit time and energy to specifically New York in the 1960’s conference implied a focus on current these goals, but overlook our genera- and ’70s, it featured prominent critics trends and forward motion, much tional differences and diverse cultural Deborah Jowitt, Nancy Goldner, and of the discussions, and, indeed, the perceptions and focus on our unifying David Vaughan. Though fascinating to general mood at the conference, sug- priorities: our compulsion to share our hear about how these living legends gested that the DCA remains mired love of dance with readers and with were shaped by this time period, and in and nostalgic for the past. Confer- one another. ◊ to realize how they, in turn, shaped ences should be re-energizing events our view of the field today, it often felt for collecting new ideas and cultivat- Mariko Nagashima is a dance like an insider’s club reliving days ing fresh projects. Instead, discussions writer, performer, and teacher based in gone by. They recalled a spirit of dis- glorified the ‘golden days,’ offering few Seattle. She currently writes for and covery in their writing then, attribut- solutions to move our organization manages the Web site Seattle Dances, able to the groundbreaking choreog- and art form beyond the status quo. the only site dedicated solely to dance raphy they were often among the first Dialogue and reflection are nec- in the Seattle area. She holds a B.F.A. to witness. Amidst the tracing of their essary to understand where we’ve in ballet and a B.S. in biology from the career trajectories and influences, come from and shape where we’re University of Utah, where she wrote Edwin Denby’s work and its effect on going, but, for the DCA to truly move for the Daily Utah Chronicle and re- their own surfaced several times. “He forward (and it must if it wants to ceived much of her dance training. As taught me [movement] was about a stay relevant in the dance commu- a performer in Seattle she has danced way of being,” said Goldner. “He had a nity), mere discussion will not suffice. for ARC Dance, Ballet Bellevue, and way of making you open your eyes to Action needs to be taken to bring the project 29, among others. see something instead of dismissing organization into the 21st century, as it,” said Jowitt. the conference’s title purported to do. Harking back to the conference’s The problem is not a lack of desire first forum, the final panel nicely for change but an unwillingness to 28  DCANews In Whose Hands is the State of Dance Criticism? (continued from page 1) PHOTO: COURTESY, AUTHOR Emmaly Wiederholt, 2012 DCA Gary Parks Scholar. The Dance/USA blogosphere panelists work, with little discussion of the larger are a case in point; the world of dance implications of voice in dance training, writing is irrevocably changed. choreographic development, and audi- In Alastair Macaulay’s DCA panel on ence response. Does “performance art” the New York School of Dance Criti- qualify as dance? What distinguishes cism, he spoke of a golden age in dance theater from dance? And what is the- and dance criticism from the 1960’s to ater’s legacy in dance? Tackling these the 80’s. While we can learn much from questions could have created a ripe op- that fruitful era, the unfortunate truth dependent on reviews, leftover press portunity to refocus on content instead is that those days are gone. With profes- packets, and programs for historical of publishing models. sional full-time critics nearing extinc- footage. The archival fellows from the Moderated by Philip W. Sandstrom tion, freelance writers and bloggers Dance Heritage Coalition demonstrated and with panelists Robert Johnson, are increasingly the norm. Generally how essential it is to organize and pre- Maura Nguyen Donohue, Anna Ddoz- speaking, this is a generational trend, serve materials from shows. This panel dowski, and Jennifer Edwards, “Snark with older critics who have worked at was particularly relevant to the older and Criticism” perhaps most successful- newspapers nearing the end of their generation of dance writers, with a ly bridged the gap between professional careers while younger critics who have lifetime of work worth preserving. I am critics and avid bloggers. Particularly created their own publishing platforms curious how preservation and archiving striking, only two panelists even called online are just embarking. The DCA will change in 50 years, when much of themselves critics. Despite the fact that conference straddled this generational a dance writer’s legacy will be available not all the panelists consider them- divide with panels generally geared online. selves critics, they unanimously had toward one group or the other. On the other end of the spectrum was strong opinions on the role of snark in “Preserving your Legacy as a Dance “Digital Dance and the 21st Century criticism. Most notably, Robert John- Critic” was more relevant to the older Dance Writer,” moderated by Alyssa son defended snark as a way to make generation of dance critics, while “Digi- Schoeneman with panelists Marc a review funnier and more engaging. tal Dance and the 21st Century Dance Kirschner, Jennifer Edwards, and Ryan Other panelists disagreed, determining Writer” better engaged the younger Wenzel. Kirschner, of TenduTV, stressed snark to be dismissive, lazy, and essen- group of bloggers. Listening to Senior the importance of filming performance tially a personal attack. Critics Award recipient Nancy Gold- as it can create a reference point for re- During the panel Maura Nguyen ner’s career trajectory or even the ex- views. The rest of the panel emphasized made the somewhat snarky comment periences of Calliope Award recipients Twitter, Facebook, and blog-hosting that snark seems to be a British import, Robert Gottlieb and Nancy Reynolds, sites like blogger or wordpress. Social most likely referring to Alastair Macau- we were given a glimpse into a past networking knowledge is of the utmost lay. After the conference Nguyen and I that no longer exists. It was simultane- importance to anyone today embarking were casually talking when Macaulay ously exciting and depressing to listen on a career in dance writing. came up and berated her for her com- to Goldner describe her career history. “Dance/Talk” might have bridged the ment’s lack of consideration. The whole Today it would not be possible. gap between the two paradigms, as it altercation was very exciting for me. To Hitherto attending “Preserving your sought to address the phenomenon of be honest, it stands out as my favorite Legacy as a Dance Critic,” I had not spoken word in dance. However, the moment in the conference. Here, at last, given any thought to the historical greater part of the panel was given the generational divide seemed crossed; preservation of dance criticism. How- over to choreographers Jennifer Muller content had finally trumped platform. ever, I soon came to realize that not- and Rajika Puri describing how they filmed pre-internet era dance is heavily personally have used voice in their (continued on following page) Winter 2012/Spring 2013 29  In Whose Hands is the State The New York School of Dance Criticism? of Dance Criticism (continued from previous page) (continued from page 1) When I muse on my overall experi- was eager to attend, but didn’t know that knowledge is always there some- ence of attending the DCA conference, what to expect. where, like an invisible limb. I have to two big themes come to mind. The first The panel lasted an hour and a-half, write. is that the conference was sharply and to say that it was inspiring would Still, so many of my other loves divided by those who write for a print be a gross understatement. I think have brought me into contact with newspaper and those who publish that many students interested in any the dance world: my love of Broadway mainly on online platforms. The second sort of writing or journalism would be and old movie musicals, piano lessons, is that this seemingly nonnegotiable intrigued and impressed by what each trips to the ballet with my mother, divide doesn’t really matter when of these people have accomplished. which I have enjoyed ever since I first people have strong feelings regarding Each panelist had his or her own saw The Nutcracker as a young girl. what they write about. Whether it’s story, and they talked about the specif- I didn’t even realize it was possible the role of snark, an individual dance ic interests they have pursued within to study dance without being “a real performance, or a larger issue in dance, the larger field. For example, Debo- dancer” until I got to college, but once I was reminded that the DCA is a col- rah Jowitt, one of Jerome Robbins’s I made that discovery I was hooked. lection of people who care vehemently authorized biographers, described And even though I naturally gravitat- about the state of dance and who are what it was like to have full access to ed toward becoming an English major, willing to get a little snarky, even with all of his personal files and writings I realized pretty quickly that I don’t fit each other, to defend it. while she was working on her book – a into any one discipline perfectly, and Yes, the world of dance writing is researcher’s paradise. David Vaughan shouldn’t try to. I like to approach my changing. More and more writers talked about his interests in Frederick studies from different angles, to pull are popping up online, changing the Ashton and Merce Cunningham and ideas from various disciplines and con- paradigm of who gets to write and how his writing for Ballet Review. Nancy nect them in unexpected ways. That’s it gets written. As for whether this is Goldner, author of several books on what I want to do with my interests in better or worse than the old newspa- Balanchine’s ballets, discussed her dance and writing: combine them. per structure, it seems too early to tell. lifelong passion for Balanchine. The DCA panel showed me that this In the end, though, this matters little Their conversation was especially is really a possibility – it may have when you consider what drives us to inspiring for someone like me, who been more of a possibility back in the write about dance. We’re all crazy about loves dance and is interested in ap- ‘60s, when dance criticism was at its it. And we’re strongly opinionated. And proaching it from a writer’s perspec- peak – but even today there is still a we want people to hear what we have tive. It was after I took my first dance community of committed dance writ- to say. Personal tastes and styles aside, history course at Barnard College that ers who truly care about the subject. I’m not worried about the state of dance I realized how badly I wanted to be And even though several of the writ- criticism. It’s in the hands of wholly involved in the dance world, to belong ers did arrive at dance criticism by passionate people. ◊ in some way. But there was always being dancers themselves, here they a nagging thought in the back of my spoke as writers first. Emmaly Wiederholt moved to the Bay head telling me that I didn’t belong – One of my favorite parts of the Area in 2008 to study under Summer not really – because I wasn’t a dancer. discussion was when the panelists Lee Rhatigan at the San Francisco Con- I have danced recreationally since talked about Edwin Denby, a writer servatory of Dance. She currently dances childhood, but it was always a just-for- who greatly inspired each of them. with Malinda LaVelle’s Project Thrust fun thing. My first love is, and always They discussed how Denby ap- and writes about dance for In Dance, has been, literature. I’ve known for my proached dance from different and the San Francisco Examiner, and for whole life that I want to be a writer. exciting perspectives, often comparing stanceondance.com. Even in moments of doubt or denial, his insights to unusual subjects that 30  DCANews DCA Conference 2012 Last Observations no one else had thought of. Denby also Tajah Bracy, DCA Intern space. It’s like that moment when your wrote about a wide range of dance parents ask you to help them create T genres, making connections between he Dance Critics Association a Facebook page. Initially, you may them. Jowitt described how he would returned to New York City this be thinking, “OMG!”; but the whole find something to note even in dances year for its annual conference. process of making the page is a bond- that most other critics disliked, or how The three-day event, entitled “21st ing experience. You’re welcoming them he would look at a dance in a way that Century Dance Writing: Multimedia, into a world that they don’t quite made everyone rethink it. It was this Multiarts, and Multitasking,” tackled understand, but the more you walk type of approach that all the panelists controversial issues. Some major them through it, the more you see how said they were inspired by, and, as I issues discussed were the social and much they begin to enjoy it. It’s at that listened, I realized something that cultural impacts on dance writing and moment that there isn’t any divide, perhaps should have been obvious criticism and, the biggest question, just two people enjoying the same long ago: Dance criticism is about the Does dance criticism still have value? experience. writing. It is not simply reporting The conference hosted colorful panels I believe that this is ultimately on the dance world and expressing of veteran critics, choreographers, what the Dance Critics Association is opinions; It is about presenting dance TV dance personalities, and the next all about: individuals sharing in their from an interesting and informed per- generation of dance writers, who, love and passion for dance and writing, spective, a perspective that will make ironically, don’t consider themselves navigating through this ever-changing readers understand the art in new critics. Day one of the conference social and cultural world. ways and get us excited about discuss- kicked off with a keynote panel led Now, let’s actually talk about some ing it. This is something that only a by Virginia Johnson, artistic director dancing. After all, isn’t that what we’re good writer can do. It is something of the Dance Theatre of Harlem. all here to do? On the fourth and final necessary to all art forms to help keep On the second and third days of the day of the conference, the DCA showed them alive. conference, we heard discussions of the us that they aren’t all work and no I left the Ailey Center feeling economics of dance writing, how dance play. The conference ended at Taj, a energized and encouraged to learn as writers pay the bills, the incorporation posh, Latino (on Monday nights) night- much as I can about dance and dance of words in dance, validity of dance on club in the Flatiron district of Manhat- writing, both past and present. I felt television, and much more. tan. Monday nights at Taj, organized as if I had gotten a glimpse into an The entire conference was exciting, by Talia Castro-Pozo, who generously exciting world, one where, someday, I but I found the dichotomy between gave free admission to her party to might belong. ◊ the older and newer writers the most all DCA conference attendees, include mind-stimulating. The divide was salsa lessons, live music, and a live Suzannah Friscia is a senior at clear: New-school writers discussed dance performance. As I watched from Barnard College, majoring in English how essential social media was to the second-floor balcony, two statu- and also studying dance history. She their dance writing, as they tweeted esque dancers, Mayte Vicens and Musa spent her Spring 2012 semester study- the blow-by-blow of the conference; (he only goes by one name), emerged ing abroad in Bologna, Italy. During meanwhile, veterans talked about their from the mass of swaying hips and Spring 2013, she works as an intern at transition from traditional writing for moving bodies and proceeded to dance Dance Magazine. printed publications to moving their the Argentine tango. The sultry preci- writing online. However, as much as sion of the tango was a nice change of this widened the generational gap, in pace from the “anything goes” style of some weird, Big-Bang-Theory-sort of way, it helped to bridge this imaginary (continued on following page) Winter 2012/Spring 2013 31  Last Observations (continued from previous page) Letter to the DCA salsa. The two wooed the crowd with their tantalizing tango and left every- one wanting more, and more is exactly what we got. After the performance ended we listened to the beating drums of the live band and sipped sweet moji- tos, a perfect way to end the day. ◊ Tajah Bracy is a New York City Alastair Macaulay that there was a rich American tradi- native, born and raised in the Parkches- tion of sarcasm from Mark Twain to ter area of The Bronx. Her love of the This is a slightly expanded version of Spy magazine. This, however, did not arts was encouraged by her parents, the letter received by the board of direc- interest Maura Nguyen Donohue. Nor Lesley Moody and Alvin Bracy, who tors and some nonboard members on 26 did it detain her from stating more of enrolled her in ballet, tap, and acting June 2012. her ill-founded and ill-considered views. classes at the local Boys and Girls club She made clear that snark and negativ- as a child. Her twin brother, Malcolm Dear Colleagues at the Dance Critics ity were not the same. Then, however, Bracy, also attended the Boy and Girls Association, she brought in the subject of Deborah club and played basketball for their Jowitt’s firing from the Voice. Deborah, I team. Their parents worked hard to write to confirm that I am now who was present, duly explained that instill the importance of giving back to permanently withdrawing from the she had been fired for seldom writing the community in them at an early age. Dance Critics Association. The two negatively. (Actually, Deborah lost her For many years, Tajah, along with her factors that have convinced me to do fulltime staff position in 2008. As she family, volunteered for the Department so were the very limited numbers who has written elsewhere, her departure in of Homeless Services and The Special attended the recent conference (did any 2011 from her subsequent freelance po- Olympics. In the spring of 2007, Tajah talk or panel session win an audience of sition at the Voice was prompted by edi- graduated from Monsignor Scanlan even 30 people?) and the Snark panel. torial complaints that too many of her High school and went on to study As predicted, the Snark panel il- reviews involved “cheerleading.” This is marketing at Howard University, in lustrated the DCA’s new tendency of not, however, what she said at the con- Washington, D.C. At Howard, Tajah dog-eats-dog talk, seemingly pious and ference.) When Deborah returned to her performed with the Harriet Tubman high-principled, but demonstrably hyp- seat, Maura Nguyen Donahue promptly Quadrangle step team. She continued ocritical. Although Robert Johnson was told us that Deborah had been fired for to serve her community by serving as the panel’s one voice of sanity, he could not writing snarkily enough. In other the event planner for the Howard Uni- not quench the flow of pretentious and words, snark and negativity were the versity Chapter of the American Red self-promoting malice. Andrew Horwitz, same to her when she wanted them to Cross. In the summer of 2012, Tajah Maura Nguyen Donohue, and Jennifer be - regardless of the evidence stated by renewed her love for writing while Edwards spoke of modalities and the Deborah, in which snark had not been interning for the Dance Critics Associa- horizontal nature of criticism. Andrew an issue to those firing her. tion and is currently writing articles Horwitz told us firmly, “Snark is not Jennifer Edwards brought up the for The Young Urban Voice, an up-and- an option,” only then to imply that issue of reviewing dancers’ bodies. coming magazine that focuses on the actually it was an option when he said Robert Johnson pointed out to her, with perspectives of youth. Once a month, he had written a “really well-written” some precision, that the nature of ballet Tajah discusses college life, gives culi- paragraph of snark, though he decided led one to attend to physique itself; his nary tips, and reviews. She splits her not to use it. Apparently he does not example was the straightening of the schedule between working fulltime as understand the word “option.” knee in a turned-out arabesque, which a teller for Suntrust Bank, continuing Maura Nguyen Donohue told us that cannot even be completed by some legs her undergraduate education at the she said she thought (citing Simon at all, and which places an extreme ex- University of D.C., writing articles, and Cowell) that it was a British import. posure on several parts of the anatomy. staying fabulous at 23. After college, Philip Sandstrom pointed out to her Ms. Edwards then cried, “But we can Tajah plans to pursue her passion of the extensive use of snark in France. change that!” without explaining how. culinary arts and hopes to attend Le “Well, European,” she said. Then Perhaps she thought ballet could and Cordon Bleu, in Chicago. Robert Johnson pointed out to her should be changed to suit her politics. 32  DCANews All three of these panelists (a fourth, was targeted only at the “newspaper of least as offensive as the snark they cite Anna Drozdowski, neither addressed record,” as if its writers alone practiced - and less justified. snark nor said one interesting word) snark and as if Robert Johnson, though Many of those present in the audi- spoke of snark only as if it was a bad present and admitting to writing snark, ence, by the way, assumed that these alternative to reasoned argument. was beneath their attention. Is the remarks about friendships causing Actually, after Arlene Croce had opened DCA really prepared to let this pass? snarkiness were referring to me in par- an essay with the words “On a desper- Apparently so. ticular. Nobody on the panel attempted ate night in Stockholm, one can throw I suppose I should state that I am to suggest otherwise. yourself into a canal or go to the Royal the only staff dance critic at The New My main point, though, is that the Swedish Ballet,” she then went on to York Times and that I do not believe Snark panel should never have hap- argue her case in detail; when Pauline for a moment that these high-mindedly pened. It was an automatic invita- Kael famously observed that Meryl malicious accusations apply to me. I tion to the condescending talk of the Streep is an android, it was part of a have gone out of my way in this job not self-righteous about those they mean careful and long analysis. But such to spend time with dancers or choreog- to malign. Poor Robert Johnson, by de- examples did not concern our three raphers or artistic directors (the excep- fending snark, was, of course, made to panelists. They never gave a single tion is the British choreographer Mat- look as if he was practicing a vice that instance of snark. Not did they define thew Bourne, whom I do not review), he found guiltily irresistible. it. About its application, they kept and that, when (rarely) I do meet some I was proud of my own panel later shifting ground. First, it was not an of them briefly (it’s a small world, after the same day (“The New York School option. Then it was legitimate when all), I try to avoid reviewing them for of Dance Critics”) and loved what my addressed to institutions but not per- some time - and I carry this to the point three panelists said. I notice that the formers. Then it was fine about celebri- of near-obsession. I don’t mind other three smug, aggrieved, self-congratu- ties but not about the lesser-known. critics doing so; I just think it’s better latory, slyly accusatory, and offensively Our panelists simply never thought if the chief dance critic at the Times malicious speakers I mention, Ms. the matter through. Nothing, how- is not thought of as schmoozing. So I Nguyen Donahue, Ms. Edwards, and ever, was going to stop their immense believe the panelists were speaking of Mr. Horwitz, did not stay to listen to self-righteousness. the Times’s freelance critics, in particu- what Deborah Jowitt, Nancy Goldner, Need I observe that all three of lar Gia Kourlas and Claudia La Rocco and David Vaughan had to say. We these panelists peppered their remarks - though Maura Nguyen Donahue’s must assume they could tell it would (snarkily, some thought, though I would phrasing “at least two” was designed not agree with their modalities. In say coyly) with references to “the news- to imply that Brian Seibert, Roslyn this, I think they were right; Deborah, paper of record” and to “at least two Sulcas, and/or I may also be guilty of Nancy, and David, after all, were talk- of its critics”? They did not have the this heinous sin. ing about the practice of dance criti- courage to name names, but we may I should like to know the panelists’ cism in depth and breadth, a subject assume even they were not so modal- evidence that the friendships of Gia that cannot be agreeable to the Snark ized or so horizontalized as to mean a and Claudia with certain choreogra- speakers. newspaper other than The New York phers or dancers is the direct cause of In these circumstances, it’s best I Times. any snark in their writing about others. leave the DCA altogether so that it can They said it was fine for them them- As a London theater critic for 17 years, turn into the “Let’s moan about The selves to have friends among dancers I was friends with Harold Pinter and New York Times” federation. I send my and choreographers. They managed to Tom Stoppard while sometimes writing best wishes to each of you personally, propose, however, that it is wrong for sarcastically about other playwrights. but I cannot say I wish the DCA well “at least two critics” at “the newspa- It would be idiotic to assume that my any more. ◊ per of record” to have friends among friendships with Pinter and Stoppard dancers and choreographers while caused the sarcasm (in some other Sincerely, reviewing others snarkily. The direct cases, I wrote sarcastically about my Alastair (Macaulay) implication was that friendship with own friends), but such idiocy is what some choreographers and dancers the Snark panelists want to believe. Alastair Macaulay has been the chief prompts the snarkiness about others. They were conducting, in public, a dance critic of The New York Times This extremely malicious accusation, smear campaign against The New York since 2007. cheerfully bandied around the panel, Times. Frankly, their smears are at Winter 2012/Spring 2013 33  A Response to Alastair Macaulay’s Letter of Resignation Robert Abrams, that moment. There was a way in American muckraking journalism? Co-President, DCA which he would respond that was I don’t think that snark is a foreign very snarky. The phrase snark itself import.” (There was laughter from A t the 2012 DCA conference, seemed like a British word. We have the panel here, too.) Mr. Horwitz later there was a Sunday panel some other British imports who have said, “Letterman and Spy Magazine entitled “Snark and Praise: seemed to employ snark. That didn’t was [sic] the birth of the snarky era Exploring Why We Write and For seem to come out of a practice of what in American pop culture. Mencken Whom.” This panel generated some I see as the history of American dance and Twain: their snark was aimed at controversy among some DCA criticism. Snark is a kind of lazi- those in power.” members. I will address it here, based ness. It is easy to make a dismissive If I were to pass judgment on on my careful viewing of the video of remark. Easy to state something in a the remarks of the panel, I would the panel. negative way that does come across say there was a laziness about N From my reading of the emails that as personal. Rather than writing out (i.e., “number”). It is fairly common were sent back and forth about the an argument about what is not work- in popular writing (and by “fairly panel, there were two main objections ing for you in a work, you can write common” here I mean that I have raised. The first: panelists unfairly a nasty little sentence that dismisses seen numerous instances but do not attacked certain nationalities. The all of the work. It is more efficient have the data to cite either a percent- second: panelists attacked The New to dismiss it rather than taking age or a number that could or should York Times, its writers, and/or specifi- the time to explain what not might be regarded as a problematic level) to cally the chief dance critic of The New be working. The immediacy of the say something like, “I took an unsci- York Times, Mr. Alastair Macaulay. response [with the Internet] doesn’t entific poll, but…” (insert apparent allow for a reflectivity in our writing. statement of fact about the frequency Snark, one of the subjects of the That has allowed for an increase in or percentage of some phenomenon.) panel, was almost always regarded snarkiness.” Then Mr. Sandstrom, the I think that is what happened here. negatively by the panelists, except moderator, said “The French speakers Some panelists made overgeneraliza- perhaps by Robert Johnson, but even are the snarkiest. The comparisons tions based on national origin. They his views on the use of snark were they make to work they don’t like did not have hard data on how many defined by articulated reasoning and can’t even be repeated right now. We or what percentage of British or service to the audience or readership. don’t want to offend any particular French critics use snark. Hard data, I will try to lay out the facts of what culture, but if I was to it would be like well-reasoned dance criticism, was said concerning nationalities the French.” (Then panelists laughed is difficult and expensive to produce. and, in the process, provide some of about it. Some of the laughter may They did, though, have perceived the definitions and nuance of snark have been nervous laughter. Mr. data based on national origin. They stated by panelists. At one point, Horwitz, a panelist, then followed up have read a certain number of critics, Ms. Donohue, a panelist, said “Snark with an emphatic if nonspecific ges- perhaps critics whose writing was means to annoy. I was thinking about ture and said “The French.”) A little particularly forceful and therefore snark as a specifically British import. while later, Mr. Johnson said “Snark stuck in their minds in an over- I haven’t done any scientific research is always a foreign import” (said in a represented way, who did use snark on this.” She then talked about Simon way that showed he disagreed with and who happened to be British or Cowell, on “American Idol,” as a the statement). He went on: “Snark French. Overgeneralizations are all primary example. She talked about has to come from somewhere. What too easy to make, especially in oral, “American Idol” and responsiveness about Mark Twain? What about off-the-cuff remarks. Overgeneraliza- – “responding to your work right in H.L. Mencken? What about good old tion is embedded in our language, 34  DCANews which makes it that much easier of could then be contrasted with several Mr. Horwitz was talking about dif- a trap to fall into. It is also true that specific negative examples of snark. ferences between a large publication when generalizing (which is okay if Someone could write a paper and and his own, and I don’t think the you have data to back it up), it is not include all of the proper footnotes and remark was meant or should be taken always “one person or critic, one vote citations. as a negative view of the distance (or data point)”: Sometimes critics, as Part of the problem, of course, is that large publications often try to data points, are weighted in percep- that an oral discussion moves quickly. maintain. The second comment, also tion according to their forcefulness Unlike with a video, the viewer/lis- by Mr. Horwitz, was: “I am not going or media pervasiveness. In this light, tener only has a chance to hear the to name names, but two of the major if one was willing to say that Simon remarks once. When someone makes dance critics are really close friends Cowell represented 90% of British an overgeneralization about your with the artists.” This was said in the dance criticism, it might be technical- nation’s critics, you may very well context of a discussion of whether ly true that most British critics use only hear the overgeneralization and critics should be friends with danc- snark, but I think all of the panelists not the nuance that came later. Some ers, and to dispel a myth that certain would disagree that Simon Cowell people were offended and had a right unnamed major dance critics, who represents most of British dance to be offended, but I also think we may or may not have been employed criticism, even if many of us would need to make an effort to not overre- at The New York Times, were not like to have a fraction of Mr. Cowell’s act and to be forgiving. On some level, friends with some artists. Sentiment reach or some of the money he has dance critics are a family. We are a was expressed on the panel that a made critiquing dancers (especially passionate family and we are paid critic being friends with an artist can if the money could be made without (hopefully) to have strong opinions. be positive (and while such friendship the snark). It would have been better We will have arguments and then affects criticism, the effect is complex if panelists had said something like, make up. If we don’t make up, we will and not necessarily negative), so I “I have seen a number of British or just be isolated voices, we won’t learn think the comment was intended to French critics (or American or New from each other, the quality of dance be positive and a defense of, rather York critics) use snark in ways that criticism (and writing) will decline than an attack against, the unnamed I disagree with, not that snark is as will our influence on the progress major dance critics. It is possible that an approach unique to one nation’s of the dance that we care about so a comment may have been perceived critics, and here is why I disagree much. Or, to put it another way, never as an attack, and certainly some with these particular critics.” But email drunk and, if at all possible, people who are DCA members and spontaneous oral communication never email angry, even when you some who are not may have (or likely being what it is, and overgeneraliza- have cause, because you are likely have) attacked The New York Times tion being as easy to fall into as it is, to say things you regret and insult or its critics at one time or another; it didn’t happen that way. Apology your allies. There were some nega- but it is my personal opinion that a is a normal part of discourse that is tive things said about me in the back critic has to have a thick skin, and sometimes necessary, so, on behalf of and forth that followed the panel that the bigger one’s platform the thicker the DCA in my role as president, but were out of line, but I am going to one's skin has to be. My own criticism speaking for myself, I apologize to step aside and let the comments pass has been attacked on occasion; and, those who took offense at the com- (my Aikido training helps here). while it hurt, I have kept going. One ments made on the panel. The second objection was that hopes for a mix of praise and con- That said, I think it is important panelists attacked, perhaps implicitly structive criticism, but some attacks to note that the panel also acknowl- rather than explicitly, The New York are inevitable, even if the criticism is edged the American roots of snark; Times, its writers, and/or the chief of high quality. I happen to think that so, while there were some overgen- dance critic of The New York Times Mr. Macaulay's criticism is of high eralizations, the discourse of the in particular. I was listening for this quality and have said so in print. panel evolved beyond the, admittedly carefully while watching the video. This isn’t the first time this kind of unfortunate, overgeneralizations. I I could only find two comments that situation has happened, where com- think the panelists, if they were to might be construed to refer to The ments were made, perhaps by a DCA have continued the discourse, would New York Times or its critics. At one member or perhaps by a non-DCA have refined their comments related point, Mr. Horwitz said, “I don’t have member, and tempers flared and the to national origin more carefully, and the sort of whatever that distance is arguing cycled up rather than cycled since there were positive examples that the paper of record, unnamed, down, resulting in some critics leaving of American snark cited, would have might uphold.” It is true that The the DCA in a huff. We need to find a also found positive examples of New York Times is often assumed, in way to break the cycle, for the good of British and French (and Indian and the United States, to be the paper of the organization and the field. Russian, New York and Californian, record, although The Washington Post etc.) snark. These positive examples and others might object. However, (continued on following page) Winter 2012/Spring 2013 35  A Response From the Field (continued from previous page) Waltzing to Standards: The Organic Classicism of Ballroom Dancing 15 single dances at three levels: new- Sally Hess comer, intermediate, and full Bronze in category C (contestants aged 65 T Mr. Macaulay has suggested that he emcee for the weekend reels and older). The “Single Dances” will dance critics and the DCA need a off the competitors’ numbers be followed by the Championship code of ethics. I think this is a good like a mad auctioneer, “153, rounds, which combine categories B idea. Some DCA members and I have 182, 189, 195,” calling 12 couples to (dancers over 40) and C. Although I begun a discussion about what a the floor. The air-conditioning churns have behind me a professional mod- DCA code of ethics might look like, ferociously. New satin shoes pinch ern-dance career, spanning 60 years (I including discussing codes of ethics my modern dancer’s toes, and my made my debut as The Child in Doris adopted by related organizations (see spine trembles in vertebral sequence, Humphrey’s Day on Earth in 1952), http://www.spj.org/ethicscode.asp from tail to head. I can’t distinguish here, I am an amateur and a beginner. for an example). Reasonable people excitement from terror. But, as my Timofey, a championship-winner in will disagree on the fine points of partner extends his hand in invitation Russia, Eastern Europe, and the U.S., what should be included. Most orga- (grandly, with restraint) and smiles, is the professional. We dance as a Pro/ nizations that have adopted codes of my heart swells to meet him. I curl am couple. ethics have only done so after months my fingers around his and step The day before the event, Tim of study and debate, and I expect the slightly left into his surrounding arm. graciously said to me, “When we are DCA will be no exception. Finally, The opener is a waltz. We sway in the studio, I am the teacher, you while a code of ethics can encourage gently – I receive the rhythm not are the student; but when we dance civility, it is not necessarily going to through my ears but through his body. tomorrow, we are partners.” He means prevent all slights of one critic by an- As though catching a rising wave, we are equals here, we are dancers. I other. We also may need to consider we’re off. During the next three hours, revel in the connivance. I am grateful procedures through which a slighted we will dance in 90-second segments, for his challenge and unfailing at- critic can file a grievance in a rea- called “heats,” to highly amped music tentiveness, allowing us to anchor this soned manner and seek mediation. (I left my hearing aid at home): “I encircled abandon. Our couple is and (But as worthy and useful as this Love Paris in the Springtime” is must be a singular, if we are to create may be, it needs to be done carefully.) a foxtrot; “Hernando’s Hideaway” a dynamic frame, a unit at once inti- I also feel that the extreme version signals the American tango; “Ombra mate and public. The form we embody of the approach that critics are not mai Fu” becomes a slow three-count, à offers me an opportunity to receive supposed to criticize other critics can la Peggy Lee; and the Viennese waltz and expand my small self through lead to a situation where we don’t may be Strauss or pop. Each melody another and to others – a kinesthetic know how to criticize each other is delivered within a regulated range blending of privacy and performance. civilly and constructively, leading to of beats per minute, suited to the Along with burning zeal (from some overreactions. If we practiced dance style. We are dancing according the Sanskrit “tapas”: heat, discipline, learning from each other more, we to the rules of the Closed Syllabus, effort), I bring to the floor an active might (again hopefully) end up at- American Smooth, scheduled from 9 modern dancer’s life. An unbroken tacking or being perceived to attack a.m. to 12:30 p.m. chain of company and solo perfor- each other less. This is the Empire State Ballroom mance work maintained throughout I have confidence that we will Dancesport Championship 2012, held my teaching career behind me, I break the cycle, find ways to disagree at the Crowne Plaza Hotel, on 49th continue to perform on my own and in passionately but civilly, and prosper Street and Broadway, in New York collaboration with younger colleagues. together as an organization and as a City. I’ve been studying ballroom At present, I am rehearsing with Jill field. ◊ dance for a year, and this is my first Sigman for her spring concert (http:// competition. My esteemed instructor, www.thinkdance.org). The year-length Timofey Shalnev, and I have entered project acts for me as a pendant, 36  DCANews construction of the couple that the (http://www.yagp.org/eng/rules.php) judges will observe. I attempt to reconcile memories Our performance is being assessed of my teenage swimming meets under the “Impression Judging” with my experience of concert dance system, where each couple is viewed performance; when my mother died, I relative to others in accordance with tossed, without regret, the medals and a set of criteria comprised of objective trophies that my parents had proudly and subjective elements. Points con- displayed for 40 years. A sense of sidered include posture, poise, timing inadequacy connected to concerns of PHOTO: ALLIANCE VIDEO AND PHOTOGRAPHY and basic rhythm, movements, lines, perfection lingers: Those medals were Sally Hess and her teacher Timofey Shalner, feet, interpretation, hold, together- not all first place; yet I was a beauti- in a Pro/am ballroom dancing number at a ness, musicality and expression, ful swimmer. Does winning exempt 2012 competition. presentation – “does the couple sell one from the duty to reach for perfec- their dancing to the audience … exud- tion or an aesthetic ideal? I remember physical and intellectual, to the world ing their joy of dancing and confidence seeing recently the Paris Opéra Bal- of ballroom dance. Here, too, I am in their performance?” (Lyall Brad- let’s Giselle. The corps was exquisite, privileged to dance with profession- shaw, http://fred-astaire.blogspot. and, in accord with one reviewer, I felt als, not as their grandmother but as a com/2007/03/what-do-judges-look- that “the goal is, quite simply, perfec- stand-on-your-head, roll-on-the-floor for-in-ballroom.html). And do you like tion. Onlookers will find this sublime, equal, though age restricts energy and her dress? They parallel the rules gov- curious or off-putting, according to range. When elaborating an improvi- erning the judging of Olympic sports their taste” (http://www.artsjournal. sational score, the conversation may – Ice Dancing comes to mind. Indeed, com/tobias/2012/07a-ballet-romance. turn from Wittgenstein to salt marsh- Dancesport aspires to be included in html). The notion that perfection as es. The resulting entanglements are future Olympic Games. standard might be other than globally vivifying. In dance reviews, the critic’s writ- normative is grounding. Taste mat- From Austen to Astaire, ballroom ing benefits from at least some hours’ ters; we all judge; no one is perfect, dance has provided a site for court- distance from the show and is reflec- though some yearn to be, and others ship, flirtation, and seduction. Indeed, tion as well as assessment, a pub- don’t care. I care, though I think I’d it seals the deal with the wedding lished statement open to discussion rather, I’d best, not. dance. The couple will or won’t live and retort. The writer, like the dancer, The event is exhilarating, meant to happily, but we expect that it live is vulnerable to tides of praise and be fun for the amateurs, independent long. Not so when the “bride” is a blame. In Dancesport, the judges’ de- of competitive outcome. It’s also an senior citizen, and her “pro” partner, cisions are arrived at in seconds, reg- adrenaline rush for the instructors. decades younger than she. But I see istered in the competition computer They are in this because they love no leap from honeymoon to hospital within minutes, and are anonymous. to dance. Some compete Pro/pro and bed – the dancing in this competition The numbers rating each dancer’s Pro/am, while others retire from the is not proxy sex or geriatric fantasy (I performance translate into a score pro circuit to accompany their stu- have a quarrel with neither). Hours of without commentary. The format is dents with undiminished gallantry studio dance lessons have taught me comparable for ballet competitions: and skill. They can link performance that the pair’s intimacy is not instant “The scoring system consists of two (under the rules of the Pro/am divi- and cannot be purchased. Besides, en- aspects: artistic and technical …. The sions, only the amateur is compet- dorphins flow eternal in everyone. All total score is an average taken of all ing) with careers as choreographers, the dancers have expended physical the scores issued by all judges for coaches, franchise owners or, or... and “emotional labor” (the expression that particular performance,” and the Their passion seldom dims with time. comes from sociologist Arlie Hochs- judges’ marks are entered immedi- child), in order to accomplish their ately after each dancer’s appearance. (continued on following page) Winter 2012/Spring 2013 37  Waltzing to Standards (continued from previous page) Teachers, often credentialed in several a parallel planet then roughly re- choreography of demand, remu- dance vocabularies and some in sports turned to earth, dissipates gradually neration, and hope. Good competition psychology, as well, train continu- as I blend into the mass of subway results can raise the visibility and, ously to upgrade their knowledge (my commuters. hence, the reputation of the danc- experience is with the staff of Fred Days later, I pride myself that I’ve ers, the teachers, the studio, and the Astaire Dance Studio West). They are resolved the tension between winning franchise. Technique, artistry, and eligible for separate awards within and performing, between a goal-ori- desire are channeled towards achieve- the system, and their reputations as ented sport and dance, where “move- ment. We get ribbons and medals and dancers in the field may continue to ment is its own justification” (http:// inscribed glass trophies, and booklets grow. They too, are on display. www.danceheritage.org/treasures/ to keep track of our grades and our At noon, we learn that I have nycb_essay_reynolds.pdf). I have de- winners’ photos on the Dancesport qualified for the Finals. No one, I’ve cided that I can combine both worlds, Web sites. We accumulate points from been told, gets first place on first try. so, to take my emotional temperature, one competition to the next. This At this point, I know only the basics, I access the heat lists on the competi- process ensures that dancers compete and I am dancing among people with tion’s Web site. The Singles columns at peer level and documents their years more competition experience of 1, 1, 1 cause no surge of feeling, and progress from Bronze upward. We than I. I place fourth. I should be I congratulate myself at the flatness pay to be seen, judged, and rewarded proud and happy with this result.  of my response. The following section and thus participate in a lucrative But it isn’t first, is it? Who remembers shows the championship dance grades cycle. Our competing fuels a business, a fourth-place finish at the Varna allotted me by each judge. They range a more stable and successful one, I Ballet Competition? Tim explains to from 1 to 6. I smile and mutter, “It’s muse, than the concert dance scene me that I am a new kid on the block almost not bad,” but I am not pleased. with which I am familiar. here – I will need to enter more than I lost, didn’t I? Then I notice an The Dancesport and ballet com- one competition before I rank among oozing sensation, originating behind petition fee structures are similar, the chosen. I have no history yet. my sternum and pressing sideways, with performers being responsible Tim leaves the competition as soon squeezing out air, collapsing my chest. for all entry charges, travel, lodging, as we have finished dancing. He has Pincers of failure and shame clasp and related expenses. Spectators buy to teach in the afternoon, and it’s my heart and squeeze. I recognize the separate tickets for the day and the nearly 1 p.m. I stay on to watch the complex, rearing its Medusa head: evening, when the top professionals Latin dancers, two of whom I know, Perfectionism. A stab of anger: for the compete and present solo exhibition a superb Pro/am couple – they place love of Fre(u)d! It’s still alive! dances. The audience is, I have found, first in all the dances they enter and Dancesport competitions, offered selective and enthusiastic, and one win the championship. I agree with nearly every weekend, year-in year- can hear many a fine football cheer the judges. Their dancing demon- out, across the U.S. and internation- while appreciating the presence of strates a mastery of vocabulary and a ally, are big business. A savvy orga- those who admire silently. Whatever surety of partnering, blending speed nization underlies the multifaceted prejudices I have brought initially with emotional texture into what I events (http://usadance.org), which to my ballroom dancing life, they identify as joyous maturity. When I must unfold to the minute without are fading. I pay my admission and leave the hotel, I am jolted onto Times hitch: competitors, emcees, deejays, forget about the price. Sometimes, in Square, its heat, slow crowds, and judges, scrutineers, photographers, a spasm of acute financial worry, I am traffic – my city. The sense, confirmed videographers, vendors of gowns reminded that, during my career, I by other New York ballroom danc- and shoes, hair and makeup stylists, and my colleagues have spent thou- ers, of having been spirited off to audience, all take part in a complex sands to self-produce our New York 38  DCANews From the Field Dance Criticism from the Classroom City dance seasons, supported or Henry Danton beyond its importance. not by grants and donations. I have In reading the details of Polunin’s concluded that the occasions are Henry Danton was born in 1919, in childhood and progress to his pres- comparable. Yes, participants here are Bedford, England, and danced with ent status as a dancer, I am struck well-heeled. From my own barefooted the International Ballet and the by the similarity of these with those background, I will step in happily Sadler’s Wells Ballet before embark- of another very talented young to the extent that purse and body ing on a voyage of the world after the dancer, whom I have had the oppor- permit. Second World War. He was one of the tunity to observe and get to know. Time passes; introspection does original cast of Ashton’s Symphonic I first saw Avetik Karapetyan in its steady, responsible work. Despite Variations. the Varna Competition, in 2010. I arthritis, with its imaginative scores He danced in companies across saw his first-round appearance and for decay, I endeavor to maintain Europe, the United States, Australia, was, like the other members of the the physical condition required here, and New Zealand before becoming a audience, very impressed. Attend- essential if I am to live and share teacher. At 94 years of age, he lives ing Elizabeth Platel’s classes for these dances, their lilting beauty, in Mississippi, where he continues to the workshop, which were held in sophistication, and inherent seren- teach. This comment—an example of conjunction with the competition, ity. At 70, I know in every joint that dance criticism from a teacher and and which Karapetyan took daily, I a dancer’s instrument must be a erstwhile performer—was origi- soon realized that I was watching a vehicle adequate to the fullness of nally posted on balletalert.com in very unusual dancer. Apart from the the tradition she seeks to embody. response to Julie Kavanagh’s profile fact that when a step or combina- My duty, as well as my pleasure, is to of the troubled young virtuoso Sergei tion was being shown by the teacher, dance intelligently with all my being. Polunin, who stormed out of The he would just watch quite motion- I believe that, at any age, a dancer, Royal Ballet: “A Dancer’s Demons,” less, sometimes sitting in a split on like an actor, can give her audience published in Intelligent Life (Septem- the floor, watching and absorbing. “the sense of an amplitude in mean- ber/October 2012), moreintelligentlife. He would then, without any of the ing which is the token of emotion in com/content/arts/dancers-demons . “rehearsals” of legs and hands most art.” (Edwin Denby, “How to Judge a dancer do when learning a combina- Dancer,” Dance Writings and Poetry, Karapetyan and Polunin tion, deliver a perfect rendition of Yale University Press, c. 1998, p. 97) the steps, ever accurate, impeccable T I discover in myself a need, indeed a his is a response by an ex- and faultless, and with a full under- longing, for expansive, space-eating dancer, and, subsequently, standing of all the implications of movement performed to lush melo- teacher (and a Brit to boot) the step or movement. dies, in lush gowns, lushly bejewelled. with many years in the profession, But this was not the only phenom- The wind that banishes caution is to Ms. Kavanagh’s article relating to enon. Details were added, so that blowing, even as our couple initiates the Polunin bubble. one finished up by thinking that one an exchange that is subtle, sensual, While I am in disagreement with had never seen that particular step and precise. Dance is my vocation, the present fashion of exposing the or combination done before. by definition, compelling. This is the private lives and problems of artists As the week progressed, he would time to let fall issues of perfection and in general, and dancers in par- add his embellishment or sophis- judgment. I experience the ballroom ticular, one must be grateful to Ms. ticated improvement of the steps, dances as organic classicism. In the Kavanagh for clarifying some of the sometimes much to the teacher’s end, the dancer must succumb to, and aspects of this “storm in a British be mastered by the form. ◊ teacup,” which was blown up way (continued on following page) Winter 2012/Spring 2013 39  From the Classroom (continued from previous page) chagrin, and usually to applause by themselves out of their respective With respect to their different the other dancers and those watch- countries but in very dissimilar physiques, Polunin tends to have ing the class. This was never done circumstances: Polunin in a very long, stretched, straight legs and with any sense of disrespect, rather secure and guaranteed situation, arms. My teacher’s eye detects that from his innate sense of improvisa- where he can continue his studies, Polunin’s hips are not squared to the tion. He has since told me that he is albeit maybe in a profession not of front, the result of a specific train- the despair of ballet masters, as they his choice; Karapetyan separated ing, which produces a different line. never know what he is going to do. from his family (whom he was not Karapetyan is muscular to a point The details of his life and prog- to see again for seven years), alone which would have delighted Mi- ress as a dancer, as I have come to without assistance or sponsorship, in chelangelo, and his correctly placed know them, are strikingly similar to a foreign country, with only his wits hips allow him always to easily and those of Polunin. But his reactions to allow him to survive. But Kara- naturally assume an accordant and to circumstances have been almost petyan calls his mother regularly harmonious pose, both in the air, or always dissimilar. and frequently to ask for recipes for on the ground. Like Polunin he comes from a his attempts at cooking to maintain It is said that clothes make the somewhat similar “underprivileged” a healthy regime, free of stimulants. man. Maybe they also reveal some- society, Armenia. Like Polunin, early Whereas Polunin had no opportu- thing of character. There is a dissim- life saw him on the streets and into nity to choose his teachers, to like or ilarity in what appeals to Polunin street fights. Both had mothers, who, dislike their systems, Karapetyan, and to Karapetyan. Polunin would in an effort to get their sons off the in his wanderings in Europe, eventu- appear to prefer black and loose-fit- streets, put them into other ac- ally was able to make his own choice ting, concealing not only the tattoos tivities. Polunin to gymnastics, and of teacher: that adorn his body but also possible Karapetyan to dance. “I chose Prokofieff because I defects.   Their mothers, however, seem to did not have good enough feet for Karapetyan wears the least neces- have been very dissimilar. Polunin’s Pestov.” His choice was particularly sary, skin-tight, with a preference mother appears to have had big auspicious, as Prokofieff produced for white, which allows every muscle, ambitions from an early age for her extremely strong and masculine tendon, and sinew to be seen. His son, pushing him, and, eventually, dancers. white socks, a hallmark, detail the one must suppose, being responsible The two dancers are quite dis- fast, accurate footwork of feet that for him leaving for England and the similar in physique. Polunin tends were “not for Pestov.” Royal Ballet, for a career in what to be longer and more stretched out, Both Polunin and Karapetyan was perhaps not his choice. All of a result, maybe, of early gymnastics. have languished for the past years which could account for his strained Karapetyan is shorter, stockier, with in state companies, which have their relations with his mother. Karapety- powerful shoulders, which undoubt- advantages and disadvantages. an, on the contrary, in a profession edly the street fighting helped to Polunin has been presented, per- that he liked, at the age of 17 made develop. These allow him to lift his haps over-presented, too soon in his his own decision to leave Arme- partners effortlessly. His “press lift” company and, up till now, has been nia, because, if he had remained, of his partner in arabesque makes it known principally in the tight, close he would have had to do military look as if she was lifted from above, circle of British Ballet. For which service for seven years, which would and he lowers her, with control and reason, maybe, he decided to make a have put an end to a dancing career. softly, onto pointe. This a dissimilar- change. Both, at an early age, though ity with Polunin, who must acquire Karapetyan, facing the hierarchy about three years apart in age, find this. of a staid Swedish state company, 40  DCANews From the Field Interview by Yukihiko Yoshida with Japanese ballerina Madoka Sugai took the initiative and got himself M out to international competitions adoka Sugai is the brightest all over the globe, where he earned hope of Japanese dance medals and is known to a different world. She got the first prize but equally elite public. of  Lausanne International Ballet Both are unusually talented Competition 2012. PHOTO: COURTESY, MADOKA SUGAI young male dancers, now at a turn- ing point in their careers, with much Congratulations! How would How about your favorite to be compared between them. Com- you describe your experience in choreographer? parisons have been made of Polunin participating at the Lausanne I am very attracted by Neumeier’s to Nureyev and Baryshnikov. He International Ballet Competition choreographies because they express is now to be mentored by Zelensky. as a whole? the characters’ personalities and It is to be hoped that he will have During the competition, I felt that feelings very well. a director who will not address a I could dance comfortably with my recalcitrant and rebellious 22- year- emotions by seeing the surrounding Is there any particular dancer old as ‘’darling” and not emerge as and communicating with it. that you want to dance with in a Nureyev-Baryshnikov-Zelensky the future? clone. Could you tell me what you I would love to work with various Karapetyan, I am sure, will remember from the elimination wonderful dancers! But to do so, I emerge only as Karapetyan: “I just and final rounds? need to level up my capacity so that I love to move and am happy if anyone I felt nervous at the thought that I won’t embarrass myself. watching enjoys it.” was being observed closely in those If there are, as Ms. Kavanagh rounds, even from the lessons, but I What type of artists influenced suggests, demons in dancers’ lives, remember the best that I was able to you? which live and belong in the dark- be fully conscious about my dance. I was certainly influenced by profes- ness, there must be, by the same sional dancers very much, but I was token, angels who live in the light. Why did you start ballet? also inspired by wonderful orchestral My bet will be with the angels. ◊  It was because I saw the ballet re- musicians and film actors! cital that my sister participated in. What kind of ballet dancer What did you learn from your would you like to be? teacher, Mika Sasaki? I would like to be an international I learned a lot from teacher Sasaki, dancer who impresses the audience too many to enumerate, in fact. so much that they would want to see There are still a lot to learn, though, me again. even from now on. What kind of activity would you Could you tell me your favorite like to do in the international piece and the reason? ballet scene? It would be Don Quixote or Sleeping If I become a professional dancer Beauty. I basically love classical in the future, I would like to per- pieces! form in various occasions in front of many people. Winter 2012/Spring 2013 41  PHOTO: SHIKAMA SHASHIN A moment from NBA’s recent reconstruction of the 1900 Petipa ballet Les Millions d’Arlequin. Art supervisor: Koichi Kubo. The company was founded in 1993, in Tokyo, By Eiji Kubo, Hikozou Suzuki, and Tadashi Asano. Its school is in Tokorozawa, Saitama Prefecture. NBA Ballet Company, Les Millions d’Arlequin (2 acts in total) 25 February 2012 U-Port Hall, Gotanda, Tokyo Reviewed by Yukihiko Yoshida medieval Italian play style, commedia Arlequin is miserably killed. Later, a dell’arte, creates its fantasy world good nymph shows up and resurrects N BA Ballet Company restored through scenery, dance, and mime. him. The rich Spanish man also sings to the stage Les Millions A first soloist at the Mariinsky of his love for Columbine, but Colum- d’Arlequin (1900), which Theatre, Yekaterina Osmolkina, bine and Arlequin leave. is said to be Marius Petipa’s last performed as Columbine, and another The second act is about the lovers’ theatrical work. There have been soloist at the same theater, Alexei wedding at the park. Here, one will previous attempts, such as that Timofeyev, performed Arlequin. The enjoy watching Petipa’s stylistic by Balanchine (Harlequinade), to first act takes place at a residence. beauty, which can be found in his restore this piece. The present version The father of Columbine is not fond of renowned choreography. It is also was restaged by Tetsuji Adachi the relationship between his daughter impressive to see the corps de ballet, and Alexander Mishutin, based on and Arlequin, because he wants her to which makes the scenes vivid, and the interpretation of the Stepanov marry someone from a rich Spanish the dance expression of the couple, notation of Nicholas Sergeyev, from family. Arlequin sings his agonizing effectively employing mime choreo- the Harvard University Theatre heart out. His wonderful expression graphed by Petipa. The dance move- Collection. Making use of the is the focus of this performance, but ments here, because they are based 42  DCANews on the Stepanov notation of Nicholas Sergeyev, persuasively recreate the atmosphere of the Mariinsky Ballet at the end of the 19th century. The Blog Roll performance is meaningful as a rep- Lori Ortiz may be reached at: resentation of the theatrical culture, www.readingdance.com including dance and mime, in that http://facebook.com/ReadingDance period.

“The Magical Island” was performed

as well from Act II of The Little Hump- backed Horse, an entertaining Russian ballet, originally choreographed by Arthur Saint-Léon, in 1864, to a score by Césare Pugni, and rechoreographed frequently, to various scores, by, among Lori Ortiz Dance Tabs could be the younger others, Marius Petipa, Alexander sibling of Douglas McLennan’s Arts I Gorsky, Feodor Lopukhov, and, most n my first column (in the Journal, the 13-year-old Web site recently, Alexei Ratmansky. It was a previous issue of the DCA News), with blogs on many subjects, includ- night that reminded me of the Impe- I pointed out quality dance ing dance. You can read Deborah rial Russian ballet. blogging. Last year, I had to look Jowitt’s new Dance Beat there; in The NBA Ballet Company has for it, and, in looking, I also found Apollinaire Scherr’s AJ blog Foot In reconstructed various ballet pieces, writers who were trying too hard Mouth, she continues with gener- including Dance Symphony, The for a casual approach. Now, there ous teasers for her Financial Times Greatness of Creation (1923), origi- are many inviting blogs defining reviews. She doesn’t take herself too nally choreographed by Lopukhov, the form. It’s coming of age. Among seriously. Scherr is sometimes the in Japan. The dance historian Kenji LinkedIn dance writing groups, one bold and merciful voice for my own Usui, who is an active honorary pro- called Dance Writers has a running unarticulated opinions and the gen- fessor at the Moscow Bolshoi Ballet conversation about what’s worth eral consensus on the Paris Opéra Academy, participated as one of the visiting. It’s a good place to start. Ballet: “[O]ccasionally the dancers advisors. He and NBA director Tetsuji You’ll find a little of the usual (and seem too concerned with comport- Adachi contributed significantly to sometimes necessary) self-promotion, ment and not enough with truth.” the reconstruction’s success. Thanks but the group is well moderated and, And, on seeing POB’s Giselle, she to these renewed historic ballets, we so far, relatively free of spammy ads. writes, “everything counted.” She anticipate a great future for the com- Several DW commenters recom- puts the kernels out there. No fuss. pany, the Japanese ballet scene, and mend Dance Tabs, launched in Admittedly, I’m a longtime fan the field of dance research. ◊ February by Bruce Marriott of the of the multifaceted (choreographer, Well-loved and long-running Balletco. dancer, educator, and journalist) Gus The dance critic Yukihiko Yoshida Based in London, Marriott hand- Solomons jr. I just saw the septua- is professor of Digital and Contempo- picked correspondents from three genarian riding a bike (only a few rary Performance and Digital Hu- U.S. locations, and from European months after surgery had him in manities. He is a committee member and Far Eastern countries. Marga- knee braces and performing with a of the Dance Critics Society of Japan ret Willis recently reported from St. cane). He handily chose the name and has written numerous reviews Petersburg, Tbilisi, and Houston. Solomons-says for his Tumblr blog and articles for dance magazines and The site is a container for blogs; and started with a post dated April newspapers. He has also served as a most take traditional review form, 2010. His straight-up reviews are juror for several dance competitions. for example, Marina Harss’s or Eric set in a sweet design—an orna- His published papers: “Jane Barlow Taub’s. (Taub reserves “bitching” for mental frame with inset cameo and Witaly Osins, ballet teachers another blog, outside the Dance Tabs image. He piques my interest when who worked in postwar Japan, and umbrella, called demicontretemps.) he shares on ballets, but modern is their students” (Pan-Asian Journal of Birmingham Royal Ballet principal his element. In a February review Sports & Physical Education, 2012); Matthew Lawrence started on Tabs of Donald Byrd’s choreography on “National Dance under the Rising with a touching first post on dancing Dance Theatre of Harlem, I get a Sun, mainly from articles in ‘National men. He is a holdover from Balletco; I clear opinion from him, and I’m Dance’ and ‘Buyo Geijutsu’ and activi- hope he will find the time to continue interested, having missed it myself. ties of Takaya Eguchi” (International on Tabs. The best dancers’ blogs are Going back in time, he places Kyle Journal of Eastern Sports & Physical new, invaluable sources for readers, Education, Oct. 2009). dancegoers, historians, and critics. (continued on following page) Winter 2012/Spring 2013 43  Blog Roll (continued from previous page) Abraham, Elizabeth Streb, and appeal to audiences who need a little unpopular ones. One of Potter’s re- others in his personal and insight- persuasion. views was the source of a defamation ful light. Unfortunately, it being Content experts suggest making case (unsuccessful). Her strength is Tumblr, I can’t easily direct you to a it easy for people if you are asking an inspiration. Her writing’s clarity particular review; and, in all prob- them to think. Unfortunately, TD’s and flow makes her blog effortless to ability, neither can Google. Read- enormous group of tags has no read. Is that confidence born of prose ers can find an index of his posts hierarchy, thus, it isn’t as useful for talent, scholarship, and sustained by going to a tiny link at the very searching as it could be. The staff effort in a supportive environment? ◊ bottom of the long page, where they could rethink that going forward; can also subscribe. Another small even so, to their credit, I found the Lori Ortiz is a NYC-based button at the very top allows you to blog by happenstance on Google. dance writer and designer at sign up for Tumblr and follow him. Meanwhile, TD’s collective smarts ArtandDesign. I’m afraid some newcomers, already make it a lively conduit for mobiliz- overwhelmed with memberships, ing Philly’s dance and dance writing will not. Comments, links to other community. social networks, and searchable tags I was happy to find the blog are missing. Tumblr is a popular Michelle Potter On Dancing. New platform, especially for pictures; Yorkers know Potter from her brief that’s what Tumblr staff keep stint at The Jerome Robbins Dance saying. But is it me or do the pic- Division of The New York Public tures on Solomons awkwardly stick Library for the Performing Arts, out over the right edge of the frame? where she was curator a few years The Philadelphia-based thINKing back. (Among her achievements were DANCE neatly solves the problem the memorable Cunningham exhibit of discussion and larger, commu- she organized there, with minEvents nity involvement with a Facebook in the lobby, and her intimate, plug-in, where so many potential fascinating presentation about the readers are anyway, especially NYPL’s then fledgling collection the young ones. Philly is histori- of digitized historical images.) In cally a very lively dance city, and Canberra, Australia, where Potter is TD founders Lisa Kraus and Anna now based, she won several national Drozdowski support that. They’ve honors, and the National Library taken an activist route, organizing of Australia is archiving her blog. workshops with Elizabeth Zimmer It has an enviable tag cloud where and Wendy Perron for Philly dance you can see what she has mentioned writers. thINKing coverage of local or covered and spot something of dance includes informed, critical, or interest, as well as a wide-ranging thoughtful writing that ranges from reviews section. In choosing the tag scholarship to enthusiasm. The writ- “dance critics,” I found an appre- ers may perform, choreograph, hold ciation of Alastair Macaulay. His advanced degrees in dance history comments in a Balletco interview or impressive publishing credits. reminded her about the importance However, the writing style may not of defending your opinions, even the 44  DCANews Books Thomas F. DeFrantz, Books Editor René Blum and The Ballets Russes By Judith Chazin-Bennahum prime minister of France, were very He did not want to repeat Diaghilev, Oxford University Press, 2011 much a part of Left-Bank society. except in the sense of promoting the René Blum was co-founder of the avant-garde. Reviewed by Dawn Lille magazines La Revue Blanche and One of the dance companies Blum Le Banquet, co-editor of Gil Blas, a brought in was the Ballet de l’Opéra W hen approaching the prominent literary paper, and a critic à Paris, headed by Col. Wassily de subject of art and politics himself. At the age of 20, he founded Basil. When Blum formed the Bal- – especially the actions of a publishing house that brought out lets Russes de Monte Carlo, de Basil an artist living under occupation the works of decorative artists and wanted to be part of it and, in addi- or dictatorship – it is often difficult wood engravers, was a major force tion to signing on Balanchine and to separate the collaborator from behind the Art Déco movement, and Massine as choreographers, Blum the creative artist trying to stay was instrumental in getting pub- gave him a contract as co-director alive. Then there is the scenario lished Du côte de chez Swann, the of the company, adding both their in which prominent members of first volume of Marcel Proust’s Á la names to its name. Blum put a great the intellectual/art community do recherche du temps perdu. deal of personal money into the nothing when one of their members He directed several theaters, knew venture and held the majority of the is arrested, “disappeared,” or killed. how to stage an opera, and headed stock. These issues came to mind while the first Cinema Club in France. When Blum, who did not accom- reading the book René Blum and The During W.W.I, he was in charge of pany the company on tour, discov- Ballets Russes: In Search of a Lost the safety of works of art and won a ered that de Basil had eliminated Life, about the brilliant and knowl- Croix de Guerre. Blum’s name and that of the Society edgeable French connoisseur of the In 1924, when Blum was brought of Monte Carlo from all programs arts. Among other accomplishments, to Monte Carlo as manager of the and posters, posing as the sole he was responsible for keeping alive Théâtre de Monte Carlo and made power behind the group, and then and active the ballets and personnel responsible for all the entertain- fired Balanchine, he realized he had of the Diaghilev Ballets Russes. ment, his involvement with and made a major error. The relationship Judith Chazin-Bennahum, the knowledge of dance increased. He ended in April 1935, and de Basil author, who researched heretofore and Serge Diaghilev met many left to form a different company. uninvestigated archives, has done times, due to the permanent resi- Blum, too, decided to form an- a heroic job in bringing to a larger dency of the Ballets Russes in Monte other ballet company, international public the life and work of René Carlo and the fact that they were in character and including many Blum, who was perhaps the quintes- responsible for all the choreography well-known dancers. Balanchine, sential embodiment of 20th-century in the operas. with whom he had an excellent rap- European culture up until World When Diaghilev died, in 1929, port, turned down his invitation to War I and a major force in dance Blum assumed responsibility for all join him, saying that, although a after 1925. the dance in his theater. It took him collaboration with Blum was some- Born in Paris, in 1878, Blum was two years to form a new company, thing he desired, he could not leave the youngest of five sons in an upper- the purpose of which was to keep the the United States. Fokine came to middle-class Jewish family. Three of Diaghilev repertory, with its bal- stage his old works and to create his brothers joined his father’s suc- lets by Fokine, Nijinsky, Massine, three new ones for the two success- cessful textile business, but he and Nijinska, and Balanchine; to offer ful seasons of the René Blum Ballets his brother Leon, who was to become employment to the many dancers; a noted critic and the first Jewish and to encourage new choreography. (continued on following page) Winter 2012/Spring 2013 45  Books (continued from previous page) Russes de Monte Carlo. Then Fokine the part of those who knew René French culture and life. They could went to de Basil, dancers were going Blum and were in a position to have spoken up early and saved back and forth, there were lawsuits help him? Jean Cocteau, the artist, him. But they did not; and history, against de Basil, and Blum, in poor playwright, and poet, who was part especially dance history, has let this health, was running out of money. of Diaghilev’s circle and a frequent sensitive man, with his keen intelli- Blum eventually sold the com- contributor to the Ballets Russes, gence and impeccable taste, to whom pany name and repertoire to Serge was seen constantly at German so much of 20th-century dance owes Denham and Julius Fleischmann of cultural affairs. Serge Lifar, head its existence, be partially hidden. World Art, Inc., in America. He was of the ballet at the Paris Opéra, had His biographer feels this may be due listed as the founder and shared the been Diaghilev’s last leading man to his own quiet modesty and charm. artistic direction of the new Ballet and had danced for Blum. He was Judith Chazin-Bennahum, in Russe de Monte Carlo with Mas- an out-and-out friend of the Ger- searching for his lost life, has done sine and was in New York with the mans, socialized with them, and a service – not just culturally, but company after war had broken out in even tried to Aryanize the company morally. ◊ Europe. at the Opéra. Lifar was exiled from Blum returned to Paris under the France for three years after the war Dawn Lille, a dance and cultural Nazi occupation. He was arrested but allowed to return. His published historian, has been a performer and in December 1941, in a roundup of memoirs lied about everything, in- rehearsal coach. She has taught over 700 Jewish intellectuals, and cluding Blum. internationally, headed the graduate imprisoned at Compiègne. He was And then there was Picasso. program in dance at City College/ eventually sent to Drancy and then During the occupation of Paris, he CUNY, and was a member of the to Auschwitz, where he died, in Sep- kept an astute silence and seemed faculty at The Juilliard School for tember 1942, either shot or thrown to make no commitment, neither 14 years. Her writing includes over alive into an oven, depending upon supporting the Germans nor joining 100 articles, chapters in six books, the account. the resistance nor expressing any and two entire books: Michel Fokine Neither Chazin-Bennahum nor affinity with the cultural resistors. and Equipoise: The Life and Work of anyone else can answer the ques- He just kept painting and selling his Alfredo Corvino. tion of why René Blum returned to work. In 1944, he joined the Com- Paris. He claimed it was because munist Party, which was active in his son, Claude René (a result of his identifying and denouncing collabo- love affair with the actress Josette rators. Many of his fellow artists felt France), was there and also because this decision was dictated by his fear his brother Leon was in prison, of losing his fortune. Coco Chanel and he could not desert him. Ironi- was seen at all the German parties cally, Claude died on the battlefield with her Nazi lover and after the in April 1945, and Leon survived war discreetly took herself to Swit- both Buchenwald and Dachau. zerland to escape the repercussions. To this day, no one has found the She had designed for the ballet and manuscripts of René’s memoir, one knew Blum. Review a book for the DCA News! of which was with a publisher in These four and others, who were If you’d like to write about a recent London and the other in Paris. not Jews, were not in hiding, were in publication, contact Books Editor Thomas But why was there no immediate safe positions, and knew René Blum F. DeFrantz at:

outcry from outside the prison on and his myriad contributions to 46  DCANews Reverence A fter enduring two stints by me In this issue, you’ll find much coals at previous conferences, too, by as editor of the DCA News, the information about DCA members: DCA members who disagreed with his membership will be glad to esteemed critics, administrators, views as a critic, notably during one learn that a real pro, Robert Johnson, and dancers. Some are, happily, still keynote address in which the speaker dance critic for The New Jersey Star- flourishing as writers; some have died herself got facts of dance history Ledger, will take over with the next within the past year. This issue cel- wrong while lambasting him for hold- issue. (Please see box elsewhere in ebrates their lives and careers. ing the wrong views. All of this might this issue.) I want to thank all the You’ll also find a letter of resigna- be dismissed as “inside baseballet”; writers who so patiently and with tion by Alastair Macaulay, chief dance however, the newsletter of this orga- such good spirit entertained my pesky critic of The New York Times, and a nization is about as “inside” as most editorial suggestions over these years. reply from Robert Abrams. The subject members can get, and, by my lights as My special thanks to designer Sean of it, for those who were not present at not only its editor but also as a past Doyle, so talented and patient; to the last annual conference, concerns a DCA president and board member, I Karyn D. Collins, DCA Administrator, panel there on “snark” (i.e., sarcasm) think you should know what’s going for many kindnesses; and to President in dance criticism, at which panelists on: which is, in effect, an effort by Robert Abrams, who has longed to unquestionably insulted Mr. Macaulay some DCA members, who never vol- step down from his post for years yet (and, by implication, his team at the unteered for it, to censure the critical stayed there because no one else was Times). I’d like to observe that Mr. Ma- speech of another who volunteered able or willing to replace him. A tip caulay served for years as a member much, for doing his job as a critic—for of the hat, also, to the diligent and of the all-volunteer DCA board and speaking as an individual—while respected books editor, Thomas F. De also volunteered substantial amounts permitting themselves the freedom to Frantz, and to the late John Esten, of his time to speak for DCA in New weigh in. author and erstwhile art director of York and Washington, D.C. Indeed, In the spirit of collegiality, I wish Harper’s Bazaar, who, as a volunteer, that very afternoon following the DCA well from a distance. And, once developed a template for the redesign snark panel, Mr. Macaulay himself ran again, I bow in thanks to the many of the DCA News. a panel of distinguished DCA senior unpaid writers and administrators, As someone who has worked for critics and tastefully stayed on-topic unpaid or, owing to the impecunious or with DCA for over 30 years, I also as previously announced, without circumstances of DCA, badly paid, who want to express deep gratitude to reference to whatever his feelings have been so devoted to the unwieldy, those many other organizations and were about the morning. (You can read if not, at times, unworkable ideal of an foundations who have funded and/or an account of his panel by Suzannah organization of critics. Even so, if you partnered with this one and to those Friscia, beginning on page 1.) consult, on the Web site, the full “Con- many individuals who have volun- Dr. Abrams—now DCA co-president ferences and Seminars” document, teered their time—and, sometimes, with Philip W. Sandstrom, moderator compiled by Janet Light, which details their apartments for receptions—at of the panel on snark in criticism—re- every public and intramural program DCA functions. A special call-out sponds to Mr. Macaulay’s letter in this produced by DCA since its founding in this regard goes to the late DCA issue with great care and in a steady nearly four decades ago, you’ll see co-founder Patrick O’Connor, whose tone. Given Dr. Abrams’s role here, that, in certain eras, bipartisanship affection for DCA resulted, upon his which couldn’t have been fun, he does among aesthetic opponents was not untimely death late last year, in a gift a very good job, and I urge you to read only possible but wonderful. to us from his family, which served both statements. However, what isn’t as the core for the founding of DCA’s mentioned by either writer is that Mr. With kindest regards, Patrick O’Connor Memorial Fund. Macaulay had been dragged over the Mindy Aloff Winter 2012/Spring 2013 47  Membership Dues DCANews Join or Renew Today! Editor: Mindy Aloff Design: Sean Doyle Original Design Template: John Esten (1936-2010) DCA is an international non-profit organization that relies on tax-deductible contributions and membership dues. Member categories include student, senior, voting, associate, institutional and DCA Board of Directors 2012-2013 benefactor. Voting Membership (regular and senior) is reserved for dance writers. Benefits include Robert Abrams, NY DCA's and related conferences, the DCA News, and a powerful international networking tool. (through 2013 annual conference) Student rates are applicable through the first year following graduation. Please include a copy of Philip W. Sandstrom, NY student identification. Limited membership fee assistance is available by request, based on need. (through 2014 annual conference) Return to: DCA Membership, P.O.B. 1882, Old Chelsea Station, New York, NY 10013. (Non-US Co-Presidents residents please add $15 for postage.) Questions? Please write DCA Administrator Karyn D. Collins, 318 S. Third Ave., Apt. B, Highland Park, NJ 08904. Alyssa Schoeneman, NC Voting [$50] Institution [$75] Contribution Treasurer Associate [$50] Benefactor [$100] General $ Mariko Nagashima Senior (voting) [$25] Parks Scholarship $ Secretary Senior (non-voting) [$25] Total $ Tom Borek, NY Student [$25] Joanna G. Harris, CA Name Rita Kohn, IN Address Rajika Puri, NY City State ZIP Brian Schaefer, Israel Phone/Fax E-mail Kirsten Wilkinson, DC Writing Affiliations If you would like to join the DCA board or volunteer for the DCA in some other way, New Renewal please email

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