The Arts section of Sunday’s Washington Post was dominated by articles analyzing the cultural importance of the Ballet Russes and its role in European modernism. For Post dance critic Sarah Kaufman, it represented “The ascent of men, the haven for gays.”
This ballet troupe was a “tremendous force in modern art and modern mores” all the way back in the 1920s, as the focus on male dancers and the ballet's sexual sensibility could represent “one big orgy” or “a living wet dream”:
The Washington Post achieved something dubious on Monday. They attacked Herman Cain as “more style and substance” – in an article from the Post dance critic that was all about his hand gestures.
Dance critic Sarah Kaufman concluded that “Cain’s magic involved some sleight of hand. His larger-than-life physical bluster was aimed at churning up an emotional response. It didn’t prompt his audience to think so much as to cheer. As much as Cain’s speeches offered a multi-sensory experience for the audience and performer alike, they were also bodily evidence of more style than substance.”
Washington Post arts writer Sarah Kaufman, who just two weeks ago celebrated the new ballet where George W. Bush assaults women and kills them, mentioned that and other "anti-war" (not "Bush-hating") dance works as her highlights of 2006 in the Sunday Arts section:
In the past year dancers have given the term "antiwar movement" new meaning. One legacy of the bloody, intractable Iraq war may well be its role as an artistic inspiration.