The Unseen Battle: Female Arts Critics Confront Systemic Sexism in Germany and Britain
📷 Image source: i.guim.co.uk
A Ballet, a Dog, and a Stark Reminder of Sexism
How a Hanover Incident Exposed Deep-Rooted Bias
When a male critic compared a female dancer’s performance to a 'dog in heat' during a Hanover ballet review, it wasn’t just tasteless—it was a glaring example of the sexism female arts critics face daily. Arifa Akbar, writing for theguardian.com on August 18, 2025, unpacks this incident and its broader implications. The remark, dismissed by some as a joke, reflects a culture where women in arts criticism are often undermined, sexualized, or outright ignored.
Akbar, a seasoned critic herself, points out that this isn’t an isolated case. In both Germany and Britain, female critics routinely encounter belittling comments, unequal opportunities, and a lack of recognition compared to their male counterparts. The Hanover incident is just the tip of an iceberg that has been floating in plain sight for decades.
The Numbers Don’t Lie
Gender Disparity in Arts Criticism by the Data
While the Hanover ballet comment sparked outrage, the systemic issue runs deeper. Studies cited by Akbar reveal that male critics still dominate major arts publications, with women accounting for less than 30% of bylines in some leading outlets. This imbalance isn’t just about representation—it shapes the narratives around art itself.
Women are more likely to review 'soft' topics like fashion or theater, while men dominate 'serious' critiques of film, literature, and classical music. This division reinforces stereotypes and limits the scope of female voices in shaping cultural discourse. The lack of diversity isn’t just unfair; it impoverishes the arts by narrowing the range of perspectives.
The Everyday Microaggressions
From Condescension to Exclusion
Akbar’s piece highlights the subtle yet pervasive ways sexism manifests. Female critics are often interrupted in panel discussions, their expertise questioned, or their reviews dismissed as 'too emotional.' One critic recounted being mistaken for a publicist at a gallery opening, while another described how her male colleague was automatically assumed to be the senior writer.
These microaggressions accumulate, creating an environment where women feel unwelcome or undervalued. The result? Many talented critics leave the field altogether, further perpetuating the gender gap. As Akbar notes, 'It’s not just about the big, ugly incidents—it’s the death by a thousand cuts.'
Why This Matters Beyond the Arts
The Ripple Effect of Gendered Criticism
The underrepresentation of female critics isn’t just a niche issue—it affects how art is consumed and remembered. When women’s perspectives are sidelined, entire genres and artists are overlooked. For example, female-led films or feminist literature often receive less coverage or are pigeonholed into 'women’s interest' categories.
This bias extends to the canon itself. Historically, male critics have shaped which works are deemed 'important,' leaving many female artists out of the conversation. Akbar argues that diversifying criticism isn’t just about fairness; it’s about correcting a skewed cultural record.
The British and German Contexts
Similar Struggles, Different Landscapes
Akbar draws parallels between Germany and Britain, where sexism in arts criticism takes slightly different forms. In Germany, overtly sexist remarks like the Hanover comment are more common, while in Britain, the bias is often subtler—manifesting in who gets hired, promoted, or invited to high-profile events.
Both countries, however, share a reluctance to address the issue head-on. Editors often dismiss complaints as oversensitivity or claim the gender gap is 'just the way things are.' Akbar challenges this complacency, pointing to grassroots movements and independent platforms where female critics are reclaiming space.
The Role of Institutions
How Media Outlets Perpetuate the Problem
Major publications bear significant responsibility for the status quo. Akbar notes that many outlets still rely on old-boy networks for hiring, rarely commissioning women for high-profile reviews. Even when women are hired, they’re often paid less or given fewer opportunities to advance.
Some progress has been made—outlets like The Guardian have implemented diversity initiatives—but these efforts are often piecemeal. Without systemic change, token gestures won’t suffice. Akbar calls for transparency in hiring, blind review processes, and quotas to ensure equitable representation.
The Power of Collective Action
How Female Critics Are Fighting Back
Despite the challenges, female critics aren’t waiting for permission to be heard. Akbar highlights collectives like 'Critics of Colour' and 'Women in Criticism,' which provide platforms for underrepresented voices. Social media has also been a game-changer, allowing women to bypass traditional gatekeepers and build their own audiences.
These efforts are slowly shifting the landscape. Younger critics, especially, are less willing to tolerate the old norms. As Akbar puts it, 'The next generation isn’t asking for a seat at the table—they’re building their own.'
What Needs to Change
Concrete Steps Toward Equity
Akbar’s article isn’t just a critique—it’s a call to action. She outlines practical steps for addressing the imbalance: mandatory diversity training for editors, mentorship programs for emerging female critics, and accountability measures for outlets that fail to improve.
Readers, too, have a role to play. By supporting female critics—whether through subscriptions, shares, or simply amplifying their work—the public can help shift the balance. As Akbar concludes, 'The arts belong to everyone. It’s time the criticism did, too.'
The Road Ahead
Why This Conversation Can’t Wait
The Hanover incident may have sparked the conversation, but Akbar’s piece makes clear that the issue is far from resolved. With the arts world still reeling from pandemic-era cuts and the rise of AI-generated content, the stakes are higher than ever.
If female critics continue to be sidelined, the industry risks losing not just talent but credibility. As Akbar warns, 'A culture that doesn’t reflect its audience is a culture in decline.' The time for change isn’t tomorrow—it’s now.
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