Kritikersalong
Dance critic or cheerleaders?
Kritikersalong 2011
Dance critic or cheerleaders?
Reviews of dance art are to an increasing extent based on the engagement of the individual critic, but some critics are also more implicated. The role of the dance critic is evolving but what type of function do we want critics of Norwegian contemporary dance to carry out?
How distanced from, or in close contact with, the dance community should a dance critic be? Should the critic be a colleague or is the function of the critic best carried out by somebody with a journalism or other type of background? Should critics through their reviews guide, assess or contextualize? Is the critic writing for the contemporary dance community or for audiences – and what is the difference?