Gottschild's article grabbed me with its opening anecdote about a white student being unsure about whether they belonged in a class about black dance. I asked myself the very same question before taking "Africa to America". I have since come to the same realization as Gottschild - that African influences affect everyone whether or not they are aware of it. These influences are not something someone consciously chooses but are ingrained in dance, music and popular culture.
To isolate these influences, Gottschild lays out five characteristics that are defining of Africanist presences: embracing conflict, polycentrism/polyrhythm, high-effect juxtaposition, ephebism, and the aesthetic of cool. All of these characteristics are illustrated by the dancing of Earl "Snake Hips" Tucker, and are contrasted with European ballet conventions. I have seen evidence of all five in the dancing that we have done, but I think I have failed, so far, to capture the calculated carelessness of the asethetic of cool - I look like I am working too hard.
Gottschild continues by showing her reader how these characteristics occur in American ballet especially in the works of Balanchine. Balanchine incorporated movements and rhythms from black dance to create an American style of ballet distinct from the European variety. I thought it was very interesting that Balanchine sent some of his dancers to study with Dunham to allow them to move more freely. Although ballet is considered to be the most pure of the European dances, Gottschild shows that it incorporates these Africanist influences.
Martin Breu
Dance 163
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