Ever since john Martin (b. 1893; d. 1985) first reported on changes in American concert dance in the first part of the 20th century, the NYT has been a national and international standard bearer of dance criticism. To be mentioned in the NYT is a major boon to presenters, funders, choreographers, performers and anyone in dance.
The NYT influence translated into socio-economic power within the American concert dance world because what it says about dance often contributes to opinions about who gets funding, who gets presented, and who is promoted.
Few instances of public criticism of dance reporting in the NYT appear. Yet, as I hope to analyze, we need this criticism now more than ever.