Spring Forward, the festival produced annually by the European dance network Aerowaves, brings together a selection of 20 artists from all across Europe to present their work to a professional global audience. From the 21st to the 23rd of March, Spring Forward 2024 took place in three vibrant German cities – Darmstadt, Wiesbaden, and Mainz. The festival featured 20 performances, bringing together 228 contemporary dance professionals from 47 countries and attracting approximately 1,750 local spectators across the three cities.
A key highlight of Spring Forward is Springback Academy, a unique dance writing mentorship programme, which aims to nurture emerging voices in the field of dance criticism. After a meticulous selection process that includes reviewing over 100 applications each year, 10 aspiring dance writers are chosen to join Springback Academy. The participants are mentored by a team of leading dance critics including Donald Hutera (The Times), Sanjoy Roy (The Guardian), Kelly Apter (The Scotsman) and Laura Cappelle (New York Times), the programme being directed by Oonagh Duckworth.
As a fellow member of the Springback Academy 2024 class, I had the opportunity to deepen my understanding of contemporary dance and its critical discourse. After kickstarting the year at Resolution (The Place, London), participating in Springback Academy provided another perfect opportunity to connect with a remarkable group of writers from across Europe. Thus, fueled by a strong belief in the power of dialogue, I am embarking on a mission to spark up more conversations about dance criticism. To furtherexplore the intersection of dance and writing, I spoke with Kelly Apter, dance writer and mentor at Springback Academy.
Kelly Apter is based in Edinburgh, Scotland and has been writing about dance, and the arts in general, for over 20 years. She has been Dance Editor and Kids Editor for The List Magazine since 1999 and Dance Critic and feature writer for The Scotsman newspaper since 2000. In this capacity she has interviewed choreographers and dancers across the world, and reviewed thousands of shows (including around 100 over three weeks each year at the Edinburgh Festival). Kelly has also written for Dance Europe, The Sunday Times, The Telegraph, The Sunday Herald, The Daily Record, Edinburgh Festivals Magazine, and contributed articles to many theatre and dance programmes, including several for the Dance Consortium and Edinburgh International Festival.
Daria ANCUȚA: Firstly, I would like to know more about your professional background. How and when did you first start writing about dance? Where does it fit into your current schedule and activity?
Kelly APTER: I began reviewing dance shows, and writing dance features, in 1999. I worked for an arts magazine (The List) and the Dance Editor left, so I took over. A year later, I sent some clippings of my work to one of Scotland’s national newspapers (The Scotsman) who took me on as their main dance writer (in a freelance capacity). I still write regularly for both publications, as well as the occasional article for other dance publications and dance company programmes. My relationship with dance started much earlier, however, when I was a small child. I studied many forms of dance (ballet, tap, jazz, ballroom, contemporary) from the age of 5–20, and choreographed work for my university degree. After that, I began writing about, rather than performing, dance.
D.A.: As I mentioned during our chats back in Germany, dance writing is currently a niche in Romania, but the dance scene is quite prolific. What do you think about the state of dance criticism in the UK in particular, and broadly in Europe right now? What would it take for dance writing to become more than a niche in today’s world?
K.A.: In the UK, there are fewer and fewer opportunities to write about dance in mainstream publications (newspapers and magazines) as budgets are continually being cut. For example, I used to write dance features for The Scotsman once a week, and I now write about four features a year! However, I still review most dance shows that tour to my area (Edinburgh/Glasgow) – and I’m aware of several new online sites that have started covering dance in recent years (I’m not sure if the writers are being paid, however). I suspect the situation is the same across much of Europe. I also have some concerns about the level of experience/knowledge some dance reviewers have, which can lead to shows being given very high star ratings, purely because the writer hasn’t seen very much!
D.A.: What do you consider to be the role of the critic in the contemporary dance world?
K.A.: I think it’s three-fold. Firstly, we are here to document a moment in time. Dance is such an ephemeral artform, if it’s not captured by video, it’s here and then it’s gone. Reviews are a way of charting the cultural landscape during a particular era – something future generations may appreciate. Secondly, it’s a way to appraise and assess a work for the benefit of those creating it. Not everyone reads their reviews, but if they do, they may gain some external insight into how the work has been received. And thirdly, we provide a service for theatre-goers. With so many shows to choose from, and limited financial resources, audiences can benefit from advance information before they decide what to spend their money on. This is particularly true at the Edinburgh Festival, where there are over 3,000 shows to choose from – not all of good quality!
D.A.: The format of Spring Forward is quite unique – in the 2024 edition of the festival, which took place in Darmstadt, Wiesbaden and Mainz, we saw 20 contemporary dance pieces in the span of only 3 days. Tell us some of the things you make sure to look at when watching so many performances in such a short amount of time. What makes a show you’re reviewing stand out to you?
K.A.: At the Edinburgh Festival I’ll regularly watch nine shows in a day, so Spring Forward isn’t too much of a challenge! However, it’s important to remain fresh, interested and curious for each show – the performers are doing their best, and so should you as a reviewer. When I enter a theatre, I want to feel changed – to be a slightly different person to the one who walked in. I want to be entertained, first and foremost, but I also like to have my assumptions challenged, my ideas about the world tested. Most of all, I want to FEEL something. I’m also looking for technical ability but more importantly, I’m searching for a sense of authenticity, that the performers really believe in what they’re doing.
D.A.: What does being a Springback Academy mentor mean to you? How do you approach your work alongside the emerging dance writers taking part in the programme? What is one thing you learned along the years from this process?
K.A.: I love being a Springback Academy mentor. Firstly, because it means I get to see all the fascinating, enjoyable (occasionally frustrating) dance performances at the Spring Forward festival. But I also love working with new writers, helping them to shape their reviews and refine their language to be the best they can be. The main thing I’ve learned over the years, is that although I may be their mentor, there are also many things the emerging dance writers can teach me.
D.A.: What would your advice be for someone who is just starting to write about dance? Tell us some do’s and dont’s not only for writing, but maybe also for peacefully coexisting alongside artists in the dance world. What do you think is the secret to a healthy artist-critic professional relationship in today’s world?
K.A.: Firstly, I would say it helps if you have an interest in all types of performance. I may have a preference for more contemporary work, but I’ll happily watch a large-scale ballet, dance theatre production, or commercial dance – I just love movement in all its forms. A little bit of research about the piece/choreographer can help but always go with your gut when formulating an opinion (if other people are loving it, it doesn’t mean you have to). Make sure your copy is clean (no spelling or grammatical errors), that you find an interesting way to talk about the performance (it’s not just the show that should be entertaining), and always meet your deadlines (or you may not be asked back). Reading your work out loud to yourself can help check for errors and ensure your sentences have ‘rhythm’. As for the relationship with dancers/choreographers, try not to make your criticism personal – they are real people with egos, so tread gently. There are ways to express your disappointment with a show without attacking the personnel responsible for it.
Words in Motion: KELLY APTER on Dance Writing and Nurturing New Voices at Springback Academy
Publicat în: Teatrul azi nr. 11-12/2024
Rubrica: internațional
Spring Forward, the festival produced annually by the European dance network Aerowaves, brings together a selection of 20 artists from all across Europe to present their work to a professional global audience. From the 21st to the 23rd of March, Spring Forward 2024 took place in three vibrant German cities – Darmstadt, Wiesbaden, and Mainz. The festival featured 20 performances, bringing together 228 contemporary dance professionals from 47 countries and attracting approximately 1,750 local spectators across the three cities.
A key highlight of Spring Forward is Springback Academy, a unique dance writing mentorship programme, which aims to nurture emerging voices in the field of dance criticism. After a meticulous selection process that includes reviewing over 100 applications each year, 10 aspiring dance writers are chosen to join Springback Academy. The participants are mentored by a team of leading dance critics including Donald Hutera (The Times), Sanjoy Roy (The Guardian), Kelly Apter (The Scotsman) and Laura Cappelle (New York Times), the programme being directed by Oonagh Duckworth.
As a fellow member of the Springback Academy 2024 class, I had the opportunity to deepen my understanding of contemporary dance and its critical discourse. After kickstarting the year at Resolution (The Place, London), participating in Springback Academy provided another perfect opportunity to connect with a remarkable group of writers from across Europe. Thus, fueled by a strong belief in the power of dialogue, I am embarking on a mission to spark up more conversations about dance criticism. To furtherexplore the intersection of dance and writing, I spoke with Kelly Apter, dance writer and mentor at Springback Academy.
Daria ANCUȚA: Firstly, I would like to know more about your professional background. How and when did you first start writing about dance? Where does it fit into your current schedule and activity?
Kelly APTER: I began reviewing dance shows, and writing dance features, in 1999. I worked for an arts magazine (The List) and the Dance Editor left, so I took over. A year later, I sent some clippings of my work to one of Scotland’s national newspapers (The Scotsman) who took me on as their main dance writer (in a freelance capacity). I still write regularly for both publications, as well as the occasional article for other dance publications and dance company programmes. My relationship with dance started much earlier, however, when I was a small child. I studied many forms of dance (ballet, tap, jazz, ballroom, contemporary) from the age of 5–20, and choreographed work for my university degree. After that, I began writing about, rather than performing, dance.
D.A.: As I mentioned during our chats back in Germany, dance writing is currently a niche in Romania, but the dance scene is quite prolific. What do you think about the state of dance criticism in the UK in particular, and broadly in Europe right now? What would it take for dance writing to become more than a niche in today’s world?
K.A.: In the UK, there are fewer and fewer opportunities to write about dance in mainstream publications (newspapers and magazines) as budgets are continually being cut. For example, I used to write dance features for The Scotsman once a week, and I now write about four features a year! However, I still review most dance shows that tour to my area (Edinburgh/Glasgow) – and I’m aware of several new online sites that have started covering dance in recent years (I’m not sure if the writers are being paid, however). I suspect the situation is the same across much of Europe. I also have some concerns about the level of experience/knowledge some dance reviewers have, which can lead to shows being given very high star ratings, purely because the writer hasn’t seen very much!
D.A.: What do you consider to be the role of the critic in the contemporary dance world?
K.A.: I think it’s three-fold. Firstly, we are here to document a moment in time. Dance is such an ephemeral artform, if it’s not captured by video, it’s here and then it’s gone. Reviews are a way of charting the cultural landscape during a particular era – something future generations may appreciate. Secondly, it’s a way to appraise and assess a work for the benefit of those creating it. Not everyone reads their reviews, but if they do, they may gain some external insight into how the work has been received. And thirdly, we provide a service for theatre-goers. With so many shows to choose from, and limited financial resources, audiences can benefit from advance information before they decide what to spend their money on. This is particularly true at the Edinburgh Festival, where there are over 3,000 shows to choose from – not all of good quality!
D.A.: The format of Spring Forward is quite unique – in the 2024 edition of the festival, which took place in Darmstadt, Wiesbaden and Mainz, we saw 20 contemporary dance pieces in the span of only 3 days. Tell us some of the things you make sure to look at when watching so many performances in such a short amount of time. What makes a show you’re reviewing stand out to you?
K.A.: At the Edinburgh Festival I’ll regularly watch nine shows in a day, so Spring Forward isn’t too much of a challenge! However, it’s important to remain fresh, interested and curious for each show – the performers are doing their best, and so should you as a reviewer. When I enter a theatre, I want to feel changed – to be a slightly different person to the one who walked in. I want to be entertained, first and foremost, but I also like to have my assumptions challenged, my ideas about the world tested. Most of all, I want to FEEL something. I’m also looking for technical ability but more importantly, I’m searching for a sense of authenticity, that the performers really believe in what they’re doing.
D.A.: What does being a Springback Academy mentor mean to you? How do you approach your work alongside the emerging dance writers taking part in the programme? What is one thing you learned along the years from this process?
K.A.: I love being a Springback Academy mentor. Firstly, because it means I get to see all the fascinating, enjoyable (occasionally frustrating) dance performances at the Spring Forward festival. But I also love working with new writers, helping them to shape their reviews and refine their language to be the best they can be. The main thing I’ve learned over the years, is that although I may be their mentor, there are also many things the emerging dance writers can teach me.
D.A.: What would your advice be for someone who is just starting to write about dance? Tell us some do’s and dont’s not only for writing, but maybe also for peacefully coexisting alongside artists in the dance world. What do you think is the secret to a healthy artist-critic professional relationship in today’s world?
K.A.: Firstly, I would say it helps if you have an interest in all types of performance. I may have a preference for more contemporary work, but I’ll happily watch a large-scale ballet, dance theatre production, or commercial dance – I just love movement in all its forms. A little bit of research about the piece/choreographer can help but always go with your gut when formulating an opinion (if other people are loving it, it doesn’t mean you have to). Make sure your copy is clean (no spelling or grammatical errors), that you find an interesting way to talk about the performance (it’s not just the show that should be entertaining), and always meet your deadlines (or you may not be asked back). Reading your work out loud to yourself can help check for errors and ensure your sentences have ‘rhythm’. As for the relationship with dancers/choreographers, try not to make your criticism personal – they are real people with egos, so tread gently. There are ways to express your disappointment with a show without attacking the personnel responsible for it.