ABSTRACT
Dance criticism has undertaken an interesting journey from its historically significant role in establishing the very terrain of twentieth-century theater dance to the crisis in arts reviewing more generally in the early twenty-first century. As a subject of criticism, dance is often lacking documentation, opportunities for repeated viewings, textual equivalents and other associated ephemera to which writers reviewing work in other disciplines may have access. This condition has placed dance criticism at the forefront of developments across the last century and into the twenty-first, with creative critics finding progressive solutions to endemic challenges.
