ITJA Coordinator, Deidre Ensz-Mattox itja@kcactf5.org
Institute for Theatre Journalism and Advocacy
The Institute for Theatre Journalism and Advocacy (formerly National Critics' Institute) was established to assist in elevating the level of arts criticism and to provide writers the opportunity to grow at the same pace as the artists, whose work they review and interpret. The Kennedy Center American College Theater Festival sponsors workshops at each regional festival where students with backgrounds in theatre, English, and journalism write daily critiques of plays in round-table discussion sessions.
More Information Coming Soon
Please remember, in order to participate in this event you must register for the festival
BIPOC Critics Lab
The Kennedy Center American College Theater Festival is pleased to support the November 2020 BIPOC Critics Lab, developed and led by cultural critic Jose Solís. Jose has created an educational space for BIPOC (Black, Indigenous, and People of Color) who haven't been welcomed into cultural criticism, whether due to systemic oppression, lack of opportunity, or because they didn’t know they were allowed to see themselves as critics. Following the tenets of dialogue, compassion, and nurturing one’s unique voice, future critics who attend will contribute to the creation of a custom program that fits their specific needs and encourages them to pursue the path of criticism that best serves them.
In the BIPOC Critics Lab, lifelines are encouraged over deadlines, and criticism is approached through a multimedia lens, in which podcasting, audiovisual techniques, and social media are as valuable as being skilled in written essays and traditional reviews. Critics conclude their lab experience with their first paid published piece and leave with practical knowledge, tools for decolonization, and a reminder that in order to honor the culture and artforms they’re covering, they must first honor their individual voices.
The program is divided into ten master classes over ten weeks, in which critics begin by defining “What My Criticism Will Be,” and finish by having their first paid piece published in a journalistic outlet or the materials of a partner theatre company. When working with a theatre company, future critics will not be reviewing the work, but offering their services through interviews, essays covering themes suggested by the company, listicles, original podcasts, or audiovisual creations.
In the BIPOC Critics Lab, lifelines are encouraged over deadlines, and criticism is approached through a multimedia lens, in which podcasting, audiovisual techniques, and social media are as valuable as being skilled in written essays and traditional reviews. Critics conclude their lab experience with their first paid published piece and leave with practical knowledge, tools for decolonization, and a reminder that in order to honor the culture and artforms they’re covering, they must first honor their individual voices.
The program is divided into ten master classes over ten weeks, in which critics begin by defining “What My Criticism Will Be,” and finish by having their first paid piece published in a journalistic outlet or the materials of a partner theatre company. When working with a theatre company, future critics will not be reviewing the work, but offering their services through interviews, essays covering themes suggested by the company, listicles, original podcasts, or audiovisual creations.
