Anna Kisselgoff lectures about appreciating dance

Liza Darwin Guest Writer

“Dean of Dance” and chief New York Times dance critic Anna Kisselgoff, gave a multimedia presentation on appreciating dance on Wednesday, Nov. 8 in the Frances Daly Fergusson Dance Theater. The 30-year Times veteran prefaced her presentation with a disclaimer before she began her critique of the clips, videos and slides. “I am not a frustrated dancer, as most dance critics are expected to be,” said Kisselgoff.

Kisselgoff studied ballet for 13 years, and has reviewed everything from Michael Jackson to ice dancing at the 1988 Winter Olympics. She said, however, that it is her love of the art form as a whole that has maintained her interest in dance.

According to Kisselgoff, an open mind and ability to offer constructive criticism are two of the most important qualities of a dance critic, and she encouraged her audience to use these tools when viewing dance performances.

She added that by being prejudiced, a critic shortchanges both the readers and the critic. “People have a tendency to say, ‘this isn’t dance’ if they see something unique,” said Kisselgoff.

Kisselgoff exercised her open mind about dance during the 1970s, 1980s and 1990s, when choreographers experimented with unusual styles of movement.

“These decades changed the way you look at dance today,” noted Kisselgoff.

Because dance is constantly in flux and everyone views performances differently, she emphasized that it is impossible to call only one idea or style correct; even single performances vary over time.

Kisselgoff remarked that she reviews the ballet Swan Lake every few years because it is never the same. “I don’t go to see Swan Lake for the ending,” she said. “The changes in cast and variations in choreography make it unique.”

Kisselgoff noted several times that dance today is not at its peak. She reasoned that this is partly due to the fact that “all the great choreographers are dead,” although she admitted that dance does not rely solely on individuals.

Choreographers are constantly searching for new styles of movement, and the current style is changing from purely expressive movement to storytelling, according to Kisselgoff. She commented that more dancers are choreographing confessional pieces. However, Kisselgoff also warned against performers becoming too self-centered.

Kisselgoff is widely revered among journalists as representing the top of her field. According to voicesofdance.org, she studied French history, Russian, and journalism and worked as a cultural news reporter and dance critic before being named chief dance critic for The New York Times. In terms of Kisselgoff’s international notoriety, Queen Margrethe II of Denmark named Kisselgoff a Knight of the Order of the Dannebrog, and the President of Iceland personally named her to the Order of the Falcon. She was also named a Chevalier of the Order of Arts and Letters by the French government.

Kisselgoff left The New York Times earlier this year, but still works as a contributing writer.

Kisselgoff advised Vassar dance students to appreciate what they learn in the classroom, but also to learn to think differently.

“All the virtuosity we see today didn’t begin in the classroom,” said Kisselgoff. She argued that dance is technique, but is also a representation of one’s own creativity and identity.

As a final note to Vassar dancers, Kisselgoff quoted her favorite choreographer Martha Graham: “I don’t want to be understood, I want to be felt.”