more on the dance straight up saga.
this idea of the need to validate boston dance just to validate boston infuriates me. promoting mediocrity just promotoes more of it. yes, if there is work worthy of being produced it should not be excluded simply because the choreographer is from boston. but to me, dance straight up proves this is not the case. even with four choreographers, the performance was not captivating, to say the least. the last thing i would want to do is sit through four evenings instead of one. that said, i think there are choreographers in boston worthy of having an evening of work produced, they just weren't on the dance straight up program, excluding sara sweet rabidoux.
this letter makes me squirm:
To the Editor:
I’ve never replied to a dance critic’s review before; the point of such analysis is to convey that expert’s opinion. Take it or leave it. The hard part of this is that the printed word not only carries more weight than the choreography, it lasts long after the stage is dark.
The fact that I disagree with Christine Temin’s assessment of CrashArts’ Straight Up! concert at Zero Church Street is not the issue. Validating the integrity of dance, specifically dance in greater Boston, is.
From mentor Gus Solomon, Jr.’s denigration of the caliber of native artistry to World Music’s vow to not produce a mix of choreographic voices in a single concert again, the runt of the performing arts is being dismissed by those who should be its’ most nurturing advocates.
Perhaps the outreach and selection process is flawed; there are other models. For example, World Music could produce a concert of MCC artist grant recipients, or employ more than one mentor.
There is a strong suggestion that choreographers who live here are not as worthy as those ‘jobbed in’ for concerts. It is also demeaning to imply that a concert of varied choreographic voices can not be excellent. An all Bach concert is the exception, not the rule.
World Music knows the best way to build community, educate an audience and support the arts is to produce several artists’ works together. And they should be applauded for this series. The work must be of comparable professional achievement and complementary and balanced in approach. Like a fine meal with several courses, excellent ingredients, carefully prepared and presented to offer balanced and fulfilling nourishment for the body, dance also feeds the soul. The choice ingredients are growing right in our own backyards. We need to know how to fertilize and weed, and when they are mature enough to be picked.
Rozann Kraus
Founder, The Dance Complex
this idea of the need to validate boston dance just to validate boston infuriates me. promoting mediocrity just promotoes more of it. yes, if there is work worthy of being produced it should not be excluded simply because the choreographer is from boston. but to me, dance straight up proves this is not the case. even with four choreographers, the performance was not captivating, to say the least. the last thing i would want to do is sit through four evenings instead of one. that said, i think there are choreographers in boston worthy of having an evening of work produced, they just weren't on the dance straight up program, excluding sara sweet rabidoux.
this letter makes me squirm:
To the Editor:
I’ve never replied to a dance critic’s review before; the point of such analysis is to convey that expert’s opinion. Take it or leave it. The hard part of this is that the printed word not only carries more weight than the choreography, it lasts long after the stage is dark.
The fact that I disagree with Christine Temin’s assessment of CrashArts’ Straight Up! concert at Zero Church Street is not the issue. Validating the integrity of dance, specifically dance in greater Boston, is.
From mentor Gus Solomon, Jr.’s denigration of the caliber of native artistry to World Music’s vow to not produce a mix of choreographic voices in a single concert again, the runt of the performing arts is being dismissed by those who should be its’ most nurturing advocates.
Perhaps the outreach and selection process is flawed; there are other models. For example, World Music could produce a concert of MCC artist grant recipients, or employ more than one mentor.
There is a strong suggestion that choreographers who live here are not as worthy as those ‘jobbed in’ for concerts. It is also demeaning to imply that a concert of varied choreographic voices can not be excellent. An all Bach concert is the exception, not the rule.
World Music knows the best way to build community, educate an audience and support the arts is to produce several artists’ works together. And they should be applauded for this series. The work must be of comparable professional achievement and complementary and balanced in approach. Like a fine meal with several courses, excellent ingredients, carefully prepared and presented to offer balanced and fulfilling nourishment for the body, dance also feeds the soul. The choice ingredients are growing right in our own backyards. We need to know how to fertilize and weed, and when they are mature enough to be picked.
Rozann Kraus
Founder, The Dance Complex
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