By Kaija Pepper Dance criticism can be many things: a celebration, a documentation, an examination, an evaluation, boring, fun to read, biased, generous, too much like PR, with too much description, with too little description … the possibilities and pitfalls are endless. In Shaping Dance Canons: Criticism, Aesthetics, and Equity, recently published by the University
By Michael Crabb Clement Crisp, the eminent, irreverent, and some might argue outrageous late dean of British dance critics, did not believe in half measures. His freely admitted but always well-argued prejudices oscillated from one extreme to the other, even within the frame of a single review. For example, in the matter of a Tanztheater
By Philip Szporer In The slow erasure of a profession, Michael Crabb took a look at the state of dance criticism in a world of waning critical arts coverage, sparking appreciative responses from danceinternational.org readers. Below, Philip Szporer continues the conversation about how dance is covered today by introducing a sister publication offering online-only dance