Defining Black Dance

Defining Black Dance

Questions for the wise and intuitive: Is it racial? Is it physical? Is it based on culture, demographic, and or geographic influences? How exactly can one begin to define black dance? Is it just the stereotypical explanations of being grounded close to the earth, structure lax, and rhythmic freedom of expression infused with culture, tradition, and attitude that ultimately gage an understanding of what Black Dance is? What does one base his or her answer or theory on when identifying, defining, and articulating what black dance is? Honestly, I am overtly perplexed by the idea in its entirety—Black Dance. Who invented it? Who is its founder and why are we not asking them? Is it the type of movement incorporated in the “dance” that makes it black? Or is the dance black when performed or choreographed by an African and or an African American dancer? Is dance “black” when performed by other ethnicities that intentionally choose to express issues within black history with their bodies? Or does the pulsating, gyrating, and historical bare feet play a role in the deciding factor? Questions I have encountered since first introduce to this idea.

When first given this article to read, I must admit I was immediately doomed by my inner instinct to mentally and emotionally remove all interest I had in knowing what this article entailed after taking note of the title, “What Is Black Dance.” I had been here before- reading and rereading pages of books that asked this question. I had questioned this question for myself time and time again. I had been given answers I agreed with as well as disagreed with. I had accepted ideas and revoked other theories that did not fit well in my mind or conform with my personal beliefs as to what BLACK DANCE IS. By now, I am exasperated by the question and perplexed by the thought of knowing that this question will possibly never be entirely answered. However, with just one statement, and more particularly, with the use and articulation of one word, democracy, Brenda Dixon Gottschild grasped my attention to yet again investigate the theory as to what Black Dance is. Elusive in her approach, Gottschild does not provide the answer. She brings to the discussion table a clever way of describing body asymmetry, hare feet, contact with the earth, knees bent and torsos pitched forward, highly articulated torsos, meaning the use of shoulders, rib cage and ones buttocks as “a democracy of the body parts.” In my opinion, Gottschild’s explanation only works and gains validity when compared with opposite forms of dance such as ballet—the traditional European art form.

The idea of Democracy and physical expression is the concept that stands out the most to me when reading “What Is Black Dance.” Democracy—defined as the free and equal right to every person to participate in a system of government, often practiced by electing representatives of the people by the people. For me the meaning of democracy, when put in dance context, has a profound impact on what is identified, labeled, and considered Black Dance. Traditionally speaking, Black Dance is performed by one who is aware of their right, need, and want to express him or herself freely—having no boundaries, physical limitations, structure, and formality. The term democracy can be taken further into context by incorporating a democracy of cultures, traditions, religious beliefs, and age (time).


What highly irritated me when reading this article is choreographer Ronald K. Brown’s approach in defining Black Dance—a theory I have heard and disagreed with before. In the words of Mr. Brown, “I think black dance is any dance done by someone of African descent, regardless of what the aesthetic is.” I have rebuked this idea ever since I first heard it spewed from the mouths of peers. To me defining someone’s type of dance based on his or her descent can become politically and ethnically confusing. His remark reminded me of the first time a close friend of mine who’s of African and European descent broke down into tears because she appeared black and her movements because of her African descent was labeled as “black” by her professor. Ultimately, she broke down into tears because with such a label attached to her movement quality, she felt as if she was not honoring her white European descendants. My question to Mr. Brown, is can a white girl from Poland dance the Black Dance? Can a Asian girl born in Korea to fully bred Korean parents raised in Southside Compton, LA or Liberty City Miami be taught and influenced by the African American girls around her dance the Black dance or does or ethnicity automatically exclude her from the factor?

For the most part, the controversy surrounding the matter of Black Dance, what it is, where it developed, and who performs it, has been an ever-developing cycle of theories, beliefs, and opinions that continue to test, challenge, and influence those who dare to confront the question “What Is Black Dance.”

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