Issue #25

From the Editors

Obviously there is dissatisfaction with the state of dance writing in New York City. While the purpose of this journal isn’t to offer any concrete solution, we believe that the...

From the Director

Rock The Boat, Baby: or, Early thoughts in the first few months of a new director’s tenure at Movement Research First of all, I can’t believe my good luck. As...

Tere O’Connor

What would it be like if choreographers and dance writers rejected their present relationship—one akin to modern divorcees, whose differing points of view on raising their children are marked by...

An Interview with Deborah Jowitt

Sarah Michelson: How did you become a critic? Deborah Jowitt: I think by accident. A friend o f mine worked at WBAI Pacifica, which was rather different then. He had...

Levi Gonzalez

To all dancers, dancemakers, and dance enthusiasts: Here’s a modest proposal for all those big ideas. I’m currently in the process of creating a zine on dance writing to fill...

Sri Louise

once a western occidentalist arrived in India to study with a pandit. the pandit began to teach him isa upanisad. "Fullness is that, fullness is this, from fullness, fullness comes...

Wendy Perron

I want to talk about writing, from the perspective of someone who has gradually been changing from someone who does mostly dancing and choreographing and a little writing to someone...

Karen Graham

I make dances. Sometimes I write my dances first. Guidelines, signposts, lifelines…as if to make concrete this elusive expression I’m attempting to express through expressively moving. The way of words,...

Kourtney Rutherford

This is the testament of a derivative choreographer and a pretty bad dancer, evidenced by the only dance review I ever got. The assassination: a mere paragraph, short and sweet—layered...

What Makes A Good Dance Critic

Miguel Gutierrez The perfect dance critic does not exist. The perfect dance critic works for the perfect arts editor, who does not exist. The perfect dance critic writes in the...

An Interview with Jack Anderson

Gia Kourlas: You became a dance critic in 1960. Did you ever study dance? Jack Anderson: Only a few lessons as a child. I hated it. Yet I loved performing....

Fall 2002 Calendar

Imagine

Where’s the non-practitioner? When it comes to writing about dance, what do experimental movement artists want? Imagine a writing that attracts artists, thinkers, practitioners in other fields to the experimental–that...

Dean Moss

The spark of nonexistence We die. But before that we accumulate absence. The passing of sensation into experience is the essence of that accumulation. Everything we do, everything we are...

Tobi Tobias

In the August 8th edition of Time Out New York, I interviewed Tobi Tobias, one of the nation’s most important dance writers, about the news that her position at New...

Kimberly Bartosik

Critical Hunger I am tired of writing unpublished letters to the editor. I am tired of the fact that the most stimulating—emotionally and intellectually—discussions I have about dance happen in...

Willa Carroll

In Defense of Dance with Nods to Words, Art, Cars, and Basketball I’m a dancer with a book fetish, and I’m jealous of those painter friends of mine who have...

Chris Dohse

I was a dancer for 16 years and a choreographer for nine before I published my first dance criticism in 1994. So, like Brenda Dixon-Gottschild, I watch dances through several...

An Interview with Robert Greskovic

Gia Kourlas : You moved to New York in 1962 to study the visual arts. Were you a painter? Robert Greskovic : And a graphic artist. I obtained what my...