Diverse artists, white audiences

​How is cultural criticism affected by relatively homogeneous critics?

In recent years, the performing arts have become more diverse due to increased internationalisation, more performing artists with different ethnic backgrounds, and a greater breadth of gender expressions on stage. Unfortunately, the critics themselves do not reflect this development.

Can a white, middle-aged man review a performance with a black, young woman? What are the consequences for an artist to be misread – and never be reviewed by someone with the same background? And if we turn things around: Can an artist demand to be reviewed by a certain group of people or to be interpreted in one particular way? Is not the power of art precisely the universal humanness?

The award for Criticism of the Year will be awarded after the interview.

SUPPORTED BY
The Fritt Ord Foundation