Stripping the Emperor

Stripping the Emperor: The Africanist Presence in American Concert Dance by Brenda Dixon Gottschild touched on issues that not only plague the American dance scene but also the social scene. In the beginning of the article she stated and anecdote where a white student asked if she could join the class although she was white. This story brought to light a lot of the self imposed boundaries our countries history of race has instilled in us. The fact that a class, at a university that is open to all paying students is thought to be closed to certain student based on their color shows that there is still a great deal of work that need to be done to eliminate racial ignorance. This incident also shows the reality of the resonating stereotype that all Blacks can dance. Not only that but it also perpetuates the belief that cultural clubs area place for those with high levels of pigment rather that an educational forum open to all in order to facilitate the discussion of multiple issues.

Gottschild also raised the reality that many forget, which is the reality that the American culture has been heavily influenced by the African culture that has been here since the first indentured servant turned slave ship arrived. There is a constant divide that many historians try to make in relation to African American culture and American culture regardless of the fact the two are deeply intertwined. From dances to national customs there is an awe that comes with seeing a African America perform a dance that is thought to be “intriguing.” From the introduction of Snake Hips to the Lindy hop, dances that all caught on and were adapted to a particular style. The reality is as much as historians and researchers try to pinpoint the differences between different demographic they actually ending up uniting them and connecting them more than they expect.


Stripping the Emperor
Mona Quarless
Dance 0163