1. lincoln center
2. this blog

only after were the NYTimes review and the village voice review.

great job!

The admiration I heard for Slow Dancing is a good example of the unmediated appreciation social dancers often have for other forms of dance. While it’s true that not everyone stopped what they were doing to watch for long periods of time(it was extremely crowded and somewhat dangerous to suddenly stand still and focus on something in the middle distance), it was clear that social dancers in general (and latin people in particular) appreciate and respect dance in all its guises.

If only the fans of ‘higher’ dancing could say the same about their social counterparts.

I hope I didn’t sound too harsh — I’ve gone all four nights so far, so I obviously really like the exhibit; am just trying to think of ways to reach that larger audience that I think Doug correctly points out some critics just don’t seem to think is even worth reaching. I DO. People who understand that good social dancing is a real art can definitely be led to appreciate the artistry of professional dance-makers; there doesn’t have to be this us / them mentality. I had the same visceral reaction to LaRocco’s write-up as you, Doug. I detected a tone of condescension toward the social dancers when she spoke of the marginalization of ballet and modern dance, and it really bothered me as someone who’s trying hard to counter ballet’s reputation for snobbery and elitism and bring ballet to the ballroom audience. One of the reasons I am so excited about this project is that it does have the potential to reach more people than those who are already avid dance fans — I feel that’s Michalek’s intention or he wouldn’t have it outdoors and free to the public. I think it’s great that it coincides with MNS — theoretically that gives it a potentially huge audience, but not if you alienate them.

I have more to say about criticism generally, but think I’ll save it for another post. It’s late and I have to go to bed now! Thanks so much for your thoughtful comments, though!

Oh and Jennifer, yes, I saw Allegra Kent and she’s really fascinating! That does not sound good about Herman… I’m looking forward to your full reviews!

I’m with you. Why should people dancing stop in their tracks to watch dancers they don’t even know move at a snail’s pace? And why don’t they make more of an effort, as you recommend, to provide background about each of the dancers?

Why didn’t La Rocco quote you and Ariel by name? And why didn’t she name the dancer who said “it was just too much to stick around” – she had to know the name of this dancer.

Why does La Rocco talk about “mournful ghosts,” “spooky magic” and “sinister” portraits?

Why does she end by saying that Michalek’s video portraits are good to study, “But study is no substitute for seeing them [the featured dancers] move through the world.” Well, there were real dancers in Lincoln Center Plaza and they were moving and having fun.

Your review strikes me as much more honest and meaningful. Plus, you give good ideas on how to make improvements. La Rocco strikes me as intent on complaining about the demise of “the art form,” not offering any constructive feedback and not giving readers a full description of what actually happened – this last item could be because of space constraints.

Did you see Allegra Kent dancing in the exhibition? I hear she was one of the dancers…

went to see Othello last night, will review it soon. Herman Cornejo sprained his ankle during his entrance (Act 1), I guess he landed his jete wrong…so Blaine Hoven stepped in for him during the 2nd and third act. More fun details coming up soon on my blog!!