Stripping the Emperor: The Africanist Presence in American Concert Dance

Florence DiBiase

163-A

Brenda Dixon Gottschild's article delved into the permeation of Africanist styles into American dance. She attempted to classify distinct characteristics stemming from the influence of African culture. These five spheres overlapped and intertwined into a harmonious product that has so greatly influenced American culture. "We are all enrolled in this course" Gottschild asserts, whether we know it or not.

It was very helpful for me to see these characteristic styles in action through the dance of Earl "Snake Hips" Tucker. By watching a video of his performance I was able to further understand what these movements were. I really like the concept of embracing conflict. My experiences as a gymnast have played into this a little as I have learned to balance aggression, power and strength against grace, femininity, and softness. Instead of trying to fuse them into one form, I enjoy having both as part of the sport that I did as well as how I view myself as a character. I have definitely experienced polycentricism as a result of this course, and have learned to control and isolate different parts of my body that I had never previously considered. I like high effect juxtaposition because it spices up dance with undulating rhythms, moods and attitudes. I also think Ephebism is important as dance is an expression of the moving body and youth and vitality allow one to stretch and bend in very expressive ways. Finally, the expression of the cool is important, supplying composure alongside energy. I have demonstrated this again through gymnastics, a look of cool calm collection and grace upon my face as I struggled to complete an intense floor routine or fake ease on the four inch beam.

As far as Africanist styles in American ballet, I think the additions of George Balanchine to the art were improvements. While it is different to classify things as distinctly African in such a melting-pot national culture, these influences are clearly present in the works of Balanchine. He changed the counts and shifted the foci of the body lower to the ground in ballet, adding high kicks and angular arms and wrists. Two styles known to be on almost opposing sides of dance have fused into each other. This, Gottschild asserts is important to bring to light as it is, in most cases, overlooked.