Topography of Things to Come: Ruminations on Dancing In a Black Body:
Latitude I
The main topic in this section revolves around the ‘unintended and accidental’ segregation in the world of dance. The author speaks of her body build and how it is often rejected. She even speaks of her technique and how it was incomparable to the other dancers, yet she would be casted as an ensemble member or as an understudy. She spoke of cultural appropriation with an example of the Broadway Show Swing! The show was based on music and dance moves created by blacks and however there were no blacks represented in the show. A choreographer named Pearl Lang called Gottischild for a role as a pick me up dancer because if she were casted as a performer she would ruin the “unity of the crops. “So there I was, early on in my career; aware of the barriers and boundaries that the black dancing body represented to the white dance hierarchy. But even then I saw ample evidence that does same qualities that were repulse we’re also desired. Why else would black forms of music and dance that took their shape, rhythm, and accent — color if you will — from black initiatives be the reigning soul and spirit in American culture.” A conflict that is occurring often in this chapter is the reality that we were very much desired, but somehow unwanted. In the first section she heavily discuss the struggle of racism and how it is often viewed. Most dancestors felt as if racism was a thing in the past within the community as dance. They began to develop new terms for it, political and apolitical. She believes that the black dancer’s body will be seen as a social construct and not a scientific fact. She also expands the idea on favoritism. She mentioned that favoritism can either strengthen or weed out the weak links.
Black White Dance Dancers
Several things are being questioned such as what makes a black dancer different from a white dancer and is just within the lines of movement. In this section we begin to create a border for what these things are. The term “black dance” was used to mention the color of performer not necessarily a certain style. Another thing that influenced this term was the fact that it was during the time of segregated venue. Black dance was also used to capitalized on the nationality that was usually always being ‘stolen’ same as black music. Sean Curran said, “Dance that is made by performed by a black person or a white person doing a black person’s dancing or choreography. It’s not just about who’s making it, if they’re black, or who’s doing it, if they’re black. I think it goes deeper than that.” If black dance could be defined it was be described as grounded and polyrhythmic. The reason why we hear the term white dance is because white dance is seen as the norm. Black dance technique requires more accessibility of the body whereas white dance did not. A difference between black and white audiences is the perception of the performance. A black audience would applaud a performer who went for a certain risky movement or multiple turns and fell out of it. A white audience will look for perfection and applaud out of sympathy if a person fell.
The Physical Terrain
In this chapter the ideas of black on white and vice versa is defined. The black body has been desired by whites and often seen as over sexualized. This could possibly be an effect of how blacks were showcased in the past as sexual objects, artifacts, and exhibits. “The black body has served as a screen upon which white fears and fantasies have been projected… Underneath white critique of the blackbody lurks sexual innuendo and physical danger. The geography of these desires and hatreds has been charted as one dimension of the long history of violence against black people: slavery, lynchings, chain gang, rxxe, and more.” (41) A dancer was once told that her skin was a costume as validation for the roles she performed. Ralph Lemon questioned his experience in the dance world by his talent or blackness. The complexions of blacks were often seen as exotic to some audiences. Josephine Baker took pride in her body and often performed nude. According to several analyses her talent was viewed second to her physical appearance. And even then she was often seen lightening her skin. According to Zane Booker black bodies are often compared to animals by their sense of power and strength. The qualities of white dance seem to be upright, lines, perfection, no sweat, and rows. A lot of performers stated that the natural physique of a black dancer did not match the white. It seemed as a common limitation of technique for black dancers. Ideally blacks feet, nose, butt, thighs, and hips were seen as too big. If a black dancer had technique he or she was called an “Ailey” dancer. There is always a sense of attract and repel within the general history of racism and whites versus blacks. The repel is often seen as rejection, but there will always be a sense of admiration. Another dance stereotype would be the common grounded sense of rhythm is what black dancers posses and it would also be the role they would perform. Black dancers also integrate religion while performing. Blacks were also commonly casted as the exotic performer.