JJ Janikis; Response 2: Black Dance and the White Audience

Brenda Dixon begins her commentary by posing several questions that affirm the conflict in the definition of black dance. She asks: “Must the Black choreographer make aesthetic/ artistic adjustments when choreographing works targeted for White, rather than Black, audience?” In this statement Dixon later emphasizes the separation and fusion of Black in White dance to a public audience and the difficulties of expressing a cultural continuity. In addition, using dance as a language helps identify a means of defining Black dance in the context of Black origins. Understanding the Black aesthetic helps deepen the understanding and importance of the Diaspora of Black dance in the United States.
The separation of Black and White dance further encourages an unequal division as an art form. However, the distinction of Black dance emphasizes a Black aesthetic and a connection to a racially segregated culture and history. In contrast, Black/White fusion dances in America such as tap, jazz, and disco underline the need to accommodate to an audience. While this fusion incorporates the combination and assimilation of two cultures, it also undermines the originality of the art. Therefore, there is hegemony of White dance over Black dance.
The language of dance is universal and is understand regardless of cultural barriers. Dixon explains, “dance is not one language, but many languages” (12). Therefore, like any spoken language, dance can speak to its people and communicate a story. In this context one can learn to speak the “languages” of both White and Black dance. Like an opera in a foreign language one can appreciate the spectacle as an art form regardless if they understand all the words.
Continuing to look at separation and fusion of Black dance encourages a more clear definition of dance in the United States. I strongly believe that art should speak to an audience. One should not be limited in their language based on beliefs about what is appropriate. Do choreographers still feel the pressure to assimilate to the needs of an audience?

JJ Janikis
DANC 163