Not an outsider? No worries. Train yourself to see and think like one. Let go of preconceived notions and old habits of mind. Let dance take you by surprise! Photo by Getty Images
When I first came to dance criticism in the 1970s, the professional critics were predominantly much older than me. I didn't know them personally and, as the wide-eyed new kid on the block, I assumed most had little or no physical training in the art.
As slightly intimidated as I felt at the time—you try sitting around a conference room table with Dance Magazine heavy hitters like Tobi Tobias and David Vaughan—I smugly gave myself props for at least having had recent brushes with ballet, Graham, Duncan and Ailey and more substantial engagement with jazz and belly dance. Watching dancers onstage, I enjoyed memories of steps and moves I knew in my own bones. If the music was right, my shoulders would wriggle. I wasn't just coolly judging things from my neck up.
During his tenure at The New York Times, Alastair Macaulay has not been accused of being timid. Or boring. As the newspaper's chief dance critic, he has probably been the most talked-about writer in the dance world. His raves and his pans have become their own news; his words have led to as much chatter backstage as on social media.
At the end of this year, he's passing the baton along to a new critic. (His replacement hasn't yet been announced.) Although he'll still contribute to the Times' dance section through 2019, he says he wants to spend more time in his native UK, and work on a wider variety of projects, including several books.
Before he departs from his post, we took the opportunity to ask him a few of our most burning questions, and he agreed to respond over email.
This award for dance journalism honors those who have diligently recorded ballet history. The festival's late founder, Pedro Pablo Peña, created it because he felt that without the writing of dance journalists, the history of dance would be lost, as would the future of dance.
Points should be given to the dance world for beginning to address the issue of diversity. But have we ever taken into consideration who critiques dance—and the lack of diversity in that area of our community? Or how critics' subconscious biases create barriers to the elevation of non-white artists?
Forces of Nature Dance Theatre, which performed at DanceAfrica. Photo via Facebook.
Reviews are part of the life blood of artistic sustainability—funders, agents, bookers and audience members use them as guides. Dance critics have a responsibility to the community to do, and be better, or at least have the courage to let the reader know what they don't understand.