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January 10, 2005

John Rockwell debuted as the New York Times’ new lead dance critic yesterday with a plea for “unity” in dance, and a hint of his own dance-going philosophy:

“In my own case, a much fuller and deeper immersion in loft- and small-theater dance is in store. It will be fascinating to find out how much vitality is out there. There will be determined veterans who ply their craft in annual recitals, and downy postgraduates searching, no doubt mostly in vain, for their own choreographic voice. But maybe there's more.

Just how "scenes" evolve - a whole group of artists producing similar but individual work, reinforcing one another and building momentum that transcends any one of them - remains a tantalizing mystery. Virgil Thomson uncorked one of his spontaneous one-liners when asked why a scene of expatriate Americans flowered in Paris in the 1920's and 30's. "Real estate," said he, meaning cheap rents. The same could be said of SoHo 35 years ago, which helped lure the Judson Church dance experimenters, like Ms. Brown. But such excitement must also derive from the chance coming-together of brilliant and like-minded artists. Or from flames fanned by impassioned critics.

Even if such a scene in dance evolves, or already exists, that shouldn't lessen our faith in the unity of dance. Ballet will thrive, thrilling audiences with fresh young dancers and the 19th-century classics. The established modern companies, with or without their founders, will carry on. Companies of all kinds will visit us, and it would be nice to think that we will be properly perceptive yet open to what they have to tell us. As in music, dance traditions from all over the world will inspire us.”

I don’t have anything to say about the essay (I’m waiting to see the actual dance reviews), but the folks at Ballet Alert! are raising all kinds of interesting questions.

Posted by Rachel at January 10, 2005 12:57 PM

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