(2) Criticism should point out both the good and the bad point of the artistes. No dance performance will be completely free of faults; (3) Excessive use of high flown superlatives and glowing adjectives used for an artist, does not make for good criticism. Most often it shows the sheer ignorance of the critic or his personal interest in the artiste.

(4) It is better dance critics avoid in their write-ups all personal references, malice, jealousy, unnecessary comparisons and derogatory remarks on other artistes; (5) No artiste should be personally attacked because every artiste of repute has undergone innumerable hardships and taken great pains to reach his or her present standards and if he or she fails once or twice there is no reason why he or she should be torn to shreds: this failure may be due to quite extraneous factors; (6) Art critics should be sincere in their criticism which should aim at the progress of art. It should not be used for mainly boosting or denouncing an artiste. (7) Criticism should be sympathetic, concise, apt and tolerant.

In modern times, we can confidently say that there is a bright future for all promising dancers and artistes provided they show real zeal and put in hard work, develop the power of concentration and keep sustained interest in their art. Progress in art can be bettered if there is better co-operation and understanding amongst and art critics. The artiste may be individualistic or egoist but let him be human first.