I would like to speak about power. Not the power of a choreographer (famous or not) in the dance studio, which has been analyzed and discussed exhaustively and to useful effect here and here and here, among many other places, but the power of a respected critic in America’s leading newspaper. As the New York Times’s dance critic, Gia Kourlas writes about dance evocatively, skillfully, and yet, in the case of her April 5 Critic’s Notebook, “Finding Freedom and Feminism in Ballet. (It’s Possible.),” with a bias so profound that the piece reads as if we are living in the upside-down. Tellingly the article’s featured image of George Balanchine coaching a dancer cuts off the woman’s face. Only her body is visible.
Illustration by Daria Domnikova