In dance journalism, my primary interest is in the critical. Critical as in engaging in thoughtful analysis, and critical as in crucial, significant. I want to create dialogue (within myself/between others) around what is happening on stage, how it communicates, and why it matters, contributing to the scholarship surrounding this vital art form. I believe critical dance writing is an essential support structure to a healthy dance ecology. For me, it is an act of love.
Beginning as a staff writer for SeattleDances in 2012, I took up the mantle as Editorial Director of the organization in 2016, managing a team of 7-10 writers and spearheading the DanceCrush program, an annual platform for recognizing the accomplishments of dance artists in Seattle that ran 2016-2020. As a freelance author I have been a regular contributor to SeattleDances, City Arts Magazine, and Dance International Magazine, and have published pieces in Seattle Magazine and PublicDisplay.Art. In 2022 I was awarded a fellowship at the Eugene O’Neill Center for Theater, where I studied criticism writing with faculty from the New York Times, Chicago Tribune, The Washington Post, and many others. My understanding of dance comes from a lifelong dedication to the field, including a degree in dance from Mount Holyoke College and a 15 year professional performance and choreographic career.
Selected Works
Bebe Miller Company, ‘In a Rhythm’ at On the Boards
‘Shot’ is Living, Breathing Political Art
From the Editor’s Notebook: August
DanceCrush Spotlight: Britt Karhoff
Full list of published pieces at SeattleDances
Kaitlin McCarthy 