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View, 8-20: Vichy Redux
Dance/USA Tries to Sell Tobias Down the River
By Paul Ben-Itzak
Copyright 2002 The Dance Insider
In its response to New
York magazine's firing
of one of the nation's top two dance critics and the magazine's
intention to no longer publish dance criticism, the dance community
had, for once, been pulling together. The desired goal -- judging
by the letters to New York magazine editor Caroline Miller and other
commentaries, copies of which we've received -- has been twofold:
to restore dance criticism at New York magazine, and to support
the reinstatement of Tobi Tobias, one of our most perceptive critics
and elegant writers, a genuine prose stylist who has devoted a major
portion of her working life for over thirty years to dance. So I
almost cried when the news arrived in my e-mail that an organization
called Dance/NYC is now attempting to sell Tobias down the river,
conveniently swallowing a transparent turn-around by Miller now
that the latter has changed her story to say it wasn't dance criticism
she wanted to get rid of, just Tobias. This evolution in thinking
has not only been accepted by Dance/NYC, it has been framed by the
organization as an indication that "the future is bright."
The capitulation by
Bob Yesselman, the director of Dance/USA's Dance/NYC branch and
a self-appointed leader of the dance community -- who elected you
to speak for Dance and to capitulate for us, by the way, Mr. Yesselman?
-- came Friday in a meeting of Miller, Yesselman, and dance publicist
Ellen Jacobs. According to an e-mail sent out later that day by
Dance/NYC, Miller has now pledged to restore dance criticism in
the fall -- indeed, she hasn't just pledged to restore it, she's
back-edited her reasons for firing Tobias in the first place.
On August 1, Miller
told the Dance Insider that the action was motivated primarily by
economic reasons -- a plausible explanation given the magazine's
thinning pages -- and added, "We believe that, for the time being,
the best way to provide ongoing coverage of dance is in other parts
of the magazine" besides the criticism section. This past Friday,
in a statement Yesselman said Miller has asked him to pass along
to the dance community, her thinking had undergone a miraculous
change: "I made the decision not to renew Tobi Tobias's contract
because I felt the column didn't appeal to enough of New York magazine's
readers," she said in the statement released by Yesselman. "What
we need to do is find new ways to bring the dance scene alive in
the pages of the magazine, not only the established companies but
new choreographers and dancers and companies. And we need a new
critical voice that can speak to a broader audience."
Now, you may well ask:
What changed between August 1 and August 16, besides Miller's rationale?
Well, chiefly, in the interim dancers, dance community leaders,
dance critics, university dance professors, and presenters have
been barraging Miller with e-mails, many raising the specter of
a consumer boycott of the magazine.
Let's look at a couple
of those e-mails, shall we? In fact, let's start with the e-mail
Mr. Yesselman originally suggested others send to Ms. Miller:
"The point of your letter
should not be the effect that this move will have on your own company
or career, but rather that for a magazine called 'New York,' known
world-wide for its coverage of the cultural scene in NYC, to ignore
dance in the dance capital of the world makes no sense....
"Whether you have liked
Tobi's criticism or not is not the issue -- the issue is dance coverage
in the dance capital of the world. The more voices the magazine
hears, the more possibility for a REINSTATEMENT." (Emphasis added)
And Ellen Jacobs wrote Miller:
"New York City is renowned
as the dance capital of the world; it is the Mecca where all major
ballet and modern dance companies aspire to perform. They come here
from all over the world to test their mettle, knowing that we have
the most discerning and sophisticated audiences and critics, among
whom Tobi Tobias is a standout. She is widely read and fervently
discussed by the city's culturally aware, as well by the field itself.
"
These, then, were the
parameters delineated by Jacobs, Yesselman, and others in their
e-mails to Miller: We were alarmed about the apparent elimination
of a prominent podium for dance criticism, yes; but we were also
concerned by the loss of that podium to one of dance criticism's
most informed and dazzling critics. We demanded reinstatement of
both.
Why did Yesselman and
Jacobs back down, and why do they now have the temerity to presume
to speak for all of us in relinquishing the second part of this
fight, i.e. for for the reinstatement of this major chronicler of
dance, whose criticism is so essential to the record?
Why, especially, would
they have us surrender half the fight when we appear to be winning?
It looks to me like Miller was backing down and retroactively altering
her reason for firing (officially, deciding not to renew her contract,
but a rose by any other name...) Tobias for one reason: the campaign
is working.
Look at how her stock
responses to the e-mails -- and her rationale for the firing --
have evolved as the criticism mounted and the boycott threats accumulated:
"In these difficult
times," she put it at first in an e-mail to the Dance Insider on
August 1, "every publication in America has had to make painful
choices, focusing limited resources on work that best serves its
readers." How little her readers were interested in dance was a
theme she ran out in subsequent explanations: "And it's no surprise
to anyone that the audience for dance has diminished," she told
Elaine Dutka of the L.A. Times in comments published August 2. Later,
she embellished this theme, telling another letter-writer that "every
publication in America, like all arts organizations, has had to
make painful decisions on how to deploy limited resources to give
readers what they value most."
At first, Miller insisted,
"While I have valued Tobi's contribution to the magazine, I believe
that, for the time being, the best way we can provide ongoing coverage
of dance is in other parts of the magazine." This didn't cut it
with the dance community, and as their opposition persisted, so
Miller's e-mailed explanations shifted: "Like all organisms," she
said, "magazines need to keep evolving, developing new voices and
new approaches."
And then: "Despite what
seems to be going around the dance world, we are not discontinuing
dance coverage in New York magazine. It's true that we decided not
to renew Tobi Tobias's contract. We felt we needed a change, a new
voice or critical approach that would broaden the audience for our
dance coverage, which is at this point a tiny percentage of our
readers. (If you want to attract new audiences to dance, rather
than just talk to veterans and insiders, you have to innovate.)
In the short term, until we find the right voice, we'll continue
to run previews, listings and features by other writers."
Finally, Friday morning,
after meeting with Yesselman and Jacobs, according to Yesselman,
Miller issued this statement, and asked that he share it, which
he did with the Dance Insider:
"I made the decision
not to renew Tobi Tobias's contract because I felt the column didn't
appeal to enough of New York magazine's readers. What we need to
do is find new ways to bring the dance scene alive in the pages
of the magazine, not only the established companies but new choreographers
and dancers and companies. And we need a new critical voice that
can speak to a broader audience. Until we find that person, we'll
be covering the bases with Fall Preview..., Cue previews and listings,
and upcoming features.... We haven't abandoned our commitment to
serious culture; on the contrary, what we're doing is trying to
change our approach to respond to the reality that we seemed to
be speaking only to insiders and dance veterans, and not a broader
audience. That is, after all, what we are all looking to do."
What this evolution
in Miller's explanations makes clear to me is that we are winning
this battle. Indeed, given the strong statement and threat in no
uncertain terms of a massive boycott issued by Dance Theater Workshop
director David White this week, it is clear that the momentum is
ours.
What I read from the
progression of Miller's story -- and Yesselman, who asked everybody
to send him copies of their e-mails to the magazine, was no doubt
aware of this too -- is that this was not a time to give up the
fight. What Yesselman and Jacobs read into it -- and who gave them
the right to make this decision, or to negotiate, on our behalf?
-- was: time to surrender. Blithely ignoring the obvious change
in Miller's story, Yesselman wrote of his and Jacobs's meeting with
her: "The conversation was invigorating, and her perception and
sensitivity were stimulating. I am extremely pleased to report that
Ms. Miller affirmed her own appreciation of dance and the magazine's
commitment to continuing an ongoing page of dance criticism -- but
with 'a new voice.' The future looks bright."
Why is this a capitulation?,
some might ask. After all, dance criticism at New York magazine,
if one is to believe Miller's latest explanation of her firing of
Tobias, is to be restored! Well, this is a capitulation because
from a position of rare strength, Mr. Yesselman and Ms. Jacobs would
have us retreat to the same ol' same ol: Dance, often treated like
the stepchild of the arts, will accept whatever scraps she can get.
Take away one of our leading critical voices, one of Dance's most
gifted critics and therefore most ardent advocates, and replace
her with an unspecified reviewer to be named later? In the view
of "Dance/NYC," this doesn't signify defeat, it signifies that "The
future is bright"! As Yesselman also wrote in his note accompanying
the statement he said Miller asked him to share:
"We are delighted with
this result, and hope it can serve as a model for our field to come
together as a community, and to take effective joint action to address
issues of common concern."
I for one am not delighted
with this result. Abandoning a vital voice for dance criticism --
after Yesselman has stated he would fight for it -- does not to
me represent "a model for our field," but a shame to it; and the
surrender Mr. Yesselman is so gleeful about is not "coming together
as a community," it is allowing ourselves to be divided and conquered
and deserting one of our community's most important members.
I propose that far from
being the time to give up the campaign of telling Miller what you
think of her decision, it's the time to accelerate it. E-mail Caroline
Miller, by clicking
here, and ask her why she changed her story. E-mail Bob
Yesselman and his superior, Dance/USA's Andrea
Snyder, and ask them why Yesselman bought into this transparent
evolution and abandoned his previously stated insistence that NY
mag reinstate this crucial voice. Ask them if this type of weak-kneed
"action" is what they spend their members' money on. E-mail the
presenter-members of Dance/USA and tell them you do not support
"a model for our field" that entails accepting less than we had
before, giving up a crucial voice on dance, and sacrificing a human
being. Continue to contact Miller's superiors, too, and tell them
you do not accept this resolution. Fax Alan Katz, the magazine's
publisher, at 212-583-7516, or call him (or Miller) at 212-508-0700.
If you want to send them snail mail -- or, what the heck, picket
the magazine's offices -- the address is 444 Madison Ave., New York,
NY 10022.
You can also FAX Tom
Rogers, chairman and CEO of New York magazine's parent corporation,
Primedia, at 212-745-0121. You can call him at 212-745-0100. And,
you can send Mr. Rogers an e-mail care of Laura
Brounsein, Primedia's director of corporate communications.
If you do not buy into
Miller's evolving explanations, or the solution that Yesselman and
Dance/NYC want us to accept, it is critical that you keep up the
pressure campaign on New York magazine and Primedia. Be polite,
but firm.
Perhaps now is a good
time to turn the podium over to my colleague Deborah Jowitt, the
respected senior dance critic for the Village Voice, who spoke for
many of us -- even if not for Mr. Yesselman and Ms. Jacobs -- when
she articulated what this was about:
"I was disgusted but
not surprised to learn of New York magazine's cancellation of its
dance column. Over the past few years, the editors have cut down
on the number of times Tobi Tobias's reviews appear, and I know
she has often had to argue for coverage of a dance event as major
as a season by Paul Taylor's company at City Center.
"It is yet another signal
of how publications -- swinging wildly to interpret demographics,
count Website hits, etc. -- consider dance criticism as irrelevant.
This in a city that has been considered the dance capitol of the
world!
"How sad, too, that
the magazine appears not even to realize that in Tobi Tobias it
has one of the most important and articulate dance critics working
today. I have been lamenting the shrinkage in her coverage. Now,
unless New York magazine will change its stance, her voice will
disappear, and the New York cultural community will be the poorer
for it."
There's an old Paul
Schrader movie called "Blue Collar," starring Richard Pryor and
Harvey Keitel. In this film, the employees are trying to organize
a union. The company defeats them by dividing the workers. What
has happened here is that an organization which should be taking
the long view neither realized that full victory was at hand, nor
cared enough about the person involved to finish the battle. We
should expect more from our so-called leaders. I for one am not
pleased with this decision or the capitulation. People are not just
disposable objects to be forgotten for a price. Mr. Yesselman has
found his price, and sold out.
If this decision is
allowed to stand -- if the e-mails to Miller and the threats of
reader and advertiser boycotts recede -- it sets a terrible model
for our field as one that is ready to sell out one of its most eloquent
and compelling critics for expediency. The surrender that Yesselman
would have us accept -- and this is critical, dance insider -- also
would make a statement that we as a field do not take ourselves
seriously enough to know the value of an accomplished and authoritative
critic and passionate writer like Tobi Tobias, as opposed to this
unnamed 'new voice' New York magazine would replace her with. I,
for one, am not ready to do accept this "model." I, for one, would
consider such a future not "bright," but bleak. And I, for one --
and perhaps you as well -- did not appoint Mr. Yesselman or Ms.
Jacobs to negotiate on my behalf.
Don't be fooled, Dance
Insider. Don't give up the fight. Stay strong.
P.S. As part of her
new spin, Ms. Miller has floated -- and Dance/USA has endorsed --
the false idea that this is about bringing in "new" voices, to reach
"new audiences," presumably leading to reviews of "new" artists.
Judging from some of the well-meaning but under-informed e-mail
we've received, a reminder is in order: For more than thirty years,
as critic of New York magazine and as a critic and /or editor at
publications including Dance Magazine, the Village Voice, and the
Soho Weekly News, Tobi Tobias has fervently sought out dance in
nooks and crannies where I, for one, didn't even know it existed.
To the degree that the artists covered in Tobias's recent columns
for New York magazine might be labelled "mainstream" or "only major
artists," this selection reflects the limited scope not of Tobias,
but of her editors. Not withstanding its pretensions to spunkiness,
New York magazine is, at the end of the day, a mainstream publication
more interested in the pop culture than the underground. A dance
critic for any mainstream publication must fight for space even
to get stalwarts like Paul Taylor covered, let alone other artists
her editor has likely never heard of. As well, when a critic writes
as elegantly and engagingly about dance as Tobias is able to do,
she is in effect not just proselytizing for her immediate subject,
but for the field as a whole.
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