Summer Creative

For the past few weeks myself and two colleagues have been in the process of making a work about our experience of being black women. We have been interested in experimenting through movement our black female identity.  During this past semester we took a course called Black Dance Continuum, which considers the black continuum in American dance as it has developed in the United States from the antebellum era to the present. During the course, we noticed the absence of black female choreographers and their stories in the history of black dance. So this summer we have come together to add our experiences to the continuum of black dance. A poem by Danielle Horton, Letter To My Future Daughter, have been words that have guided this process. The link to the poem is below.

Letter to My Future Daughter…

By the end of the summer we hope to complete this process with a video presentation. Here is a first little draft of the process within the studio.

 

‘No matter how far a person can go, the horizon is still way beyond you’ – Zora Neale Hurston

The end of my first year of graduate school has come to an end and I’m reflecting on the experiences these last ten months have brought me. I began this journey unsure of myself, my abilities, and my place in graduate school. Transitioning from an undergraduate program to a graduate program was a hard shift, but doubts surrounding my age and professional experiences took a tool on me mentally. Luckily, I was blessed with a cohort that was supportive, and we helped each other through this transition into graduate school. Over this first year I’ve accomplished so much and gained confidence in my artistic practice, and gained lifelong friends.

One major hurdle I’ve overcome this year is my fear of public speaking. Unlike undergraduate classes, most classes are discussion based and require verbal interactions. For me, this format was equivalent to me hanging from a cliff by my finger tips. I felt so exposed and vulnerable every class. I was also nervous when it came to discussing theorist such as Foucault, Butler, and Lepecki (still don’t entirely understand it really). But as the semesters progressed and I became more IMG_0181comfortable with the class structure, it was easier to engage in conversation. Along with learning to extract the information that is important and relevant to my interests rather than trying to understand Phenomenology in one week. Along with participating in class discussion, we were required to present creative projects which I enjoyed, but also I had to lead the lecture which I absolutely didn’t enjoy before I experienced it. When preparing to lead the lecture I realized I had knowledge and a unique perspective that I could bring to the material. This assurance in myself allowed me to lead both lectures with confidence (and even get a job well done from my professor!). Having these moments to lead and put my ideas in the forefront assisted me when I was a panelist at the International Association of Blacks in dance conference. When myself and fellow colleagues spoke about our insight into graduate school as black women, I wasn’t nervous at all. Reflecting back, I’m appreciative of the times I’ve been pushed out of my comfort zone over the course of this first year. Without that guidance, I wouldn’t have been able to develop my voice in or beyond the classroom.

Over the course of this year I’ve had the opportunity to perform, make, and collaborate with some awesome humans. I began the year in a work made by Crystal Michelle Perkins, Lush Departures, which challenged me physically and mentally the entire process. Working with her reinforced my interest in community building within the making process, as well as my love for rigorous big dancing. My participation in this work led me to be rehearsal director for the excerpt of the work performed at the International Association of Blacks in dance as well as working closely with Crystal (SHE IS GOALS). I was also able to perform a collaborative study from a composition class in the Winter Concert. As well as collaborating with two 2nd year MFA students beginning the process of their thesis projects. My year has been jammed packed, but I’ve enjoyed every opportunity to work creatively with professors and fellow graduate students(also helps me think about what my project may be, yikes!)

With the knowledge I’ve gained in the many facets of this graduate school journey I’ve begun to think more deeply about my research interests. I began my first year heavily focused on the Harlem Renaissance, but now I’m thinking more about the black women/artist place in society and dance. I recently wrote a paper, Reclaiming, Restoring, Reimagining: Cardi B, which was centered around the hyper sexualization of black female bodies in popular culture. I argued that Cardi B uses her body in performance, specifically her music video Money, as a site of personal agency, reclamation of sexuality, and the evolution of black female bodies in popular culture. While writing this paper I realized my passion for the black women, her story, and the ways in which she portrays herself creatively.

As I continue these next two years of graduate school I’m excited to continue to transform as a human and artists. This first year alone has shown me that there are no limits to my success, and I dictate my future. With the next year of grad school new challenges will appear such as project proposals, funding, and just general stress of life. However, being able to see the progress I’v already made, and having the support of faculty, my cohort family, friends, and my partner, the possibilities are limitless.

IABD EXPERIENCE

The last week of January I was fortunate to the attend the International Association of Blacks in Dance conference in Dayton, Ohio. The conference consisted of masterclasses, panel discussions, and performances ranging from middle school students to professional companies. Myself and three of my colleagues presented a panel called ‘Schoolin’ Life,’ a discussion about navigating Graduate School at predominately white institutions (PWI). We each spoke about our individual research goals and past and present projects. Individuals in the audience asked us questions allowing us to share our personal encounters to give context to the life of Black Graduate students at a PWI. I was grateful to be able to share and give advice to people of color who want to join the community of Black scholars.

Also while attending the conference myself and several BFA students performed in the collegiate concert. It was exciting to be dancing for a theatre full of people supporting and cheering you on the entire piece. This performance opportunity was also a chance for me to be the rehearsal director for the work, while also creating a deeper sense of community between myself and the undergraduate students.

Overall, attending IABD filled me mentally, spiritually, and physically. Interacting, networking, and performing with my Black family in dance encouraged and strengthened my love for this beautiful art form. I’m excited to visit this conference for many years to come.

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The Big 5-OH

Over the course of two weekends and eight shows, I was a part of the 50th Anniversary concert for the department of dance at The Ohio State University. It was such a pleasure to be immersed in the rich history and culture of this department I’m now included in. The concert was divided into fours works depicting the elements of space, flow, time, and weight. The work I performed in not only pushed me physically, but mentally and emotionally as well. The movement was vigorous and required attention to rhythms and the connection between the ensemble. But simultaneously, she was challenging our mental capacity of linking ourselves individually and as a collective to the lineage of the department. Even though this is only my first semester at OSU, I feel a strong attachment to those who came before me. Taking time during rehearsal to look at archival materials and see the work we are making now is built upon the principles and values of those that came before us was satisfying and enjoyable.

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I , Too, Sing America: The Harlem Renaissance at 100

Today my best friend and I visited the Columbus Museum of Art to view the special exhibition on the Harlem Renaissance. I myself was super excited because of my extreme interest in this specific time period and the hope and development it created for Black people after the Civil War. The name of the exhibit ” I, Too, Sing America” is from the opening line of a Langston Hughes poem I, Too. In this poem he announces the place of himself and Black Americans as citizens and creative people in this country. The exhibit itself navigates the creative activities that began in Harlem and spread across the United States in the coming years. The exhibit also focuses on Columbus specifically during the Harlem Renaissance and how that artistic movement in the north influenced the mid-western creative scene.

During my visit I came across some valuable books, artists, and activists that will assist in the development of my MFA project. I’ve been filled with so many ideas and I’m looking forward to my continued research into this beautiful time for the Black American. Here are some highlights of my trip! Enjoy!

P.S. THE MUSEUM HAS FREE ADMISSION EVERY SUNDAY!

https://www.columbusmuseum.org

 

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Local Dance Showcase

Last night I had the pleasure of attending a lecture/performance demonstration at the Lincoln Theatre. Assistant Professors Crystal Michelle Perkins and Dr. Nyama McCarthy-Brown gave us an inside look into their research areas and the influences of identity, life experiences, spirituality, community involvement, and race interact with their creative and scholarship practices. The night began with both women performing a small duet together. Seeing them both perform in their movement styles allowed me to see a new layer of them that isn’t always seen in the classroom/studio setting. Both women moved with grace and drew me into the intimate duet.

After the duet finished Dr. McCarthy-Brown showed a small video about the creative work she does with her son that speaks to the themes of being a single Black mother raising a Black son. Her work focuses closely on her relationship with her son and the exploration his life growing up as a Black man in America. The scholarship side of Dr. McCarthy-Brown’s research is about inclusive pedagogy for a diverse world. She read an excerpt from her book speaking to the personal experiences she faced in the dance studio and how they shaped her outlook to learning dance. I thoroughly enjoyed how open and vulnerable she made herself in order to speak on these topics. In my opinion, someone showing that they have dealt with certain problems makes it easier for others to connect with them. Dr. McCarthy-Brown allowed us into her life experiences and creative process so we could understand the intentions and meanings behind her research.

IMG_2820Next Professor Perkins presented two excerpts of choreographic work she created for Dayton Contemporary Dance Company. Along with video presentations of the work, she had two company members demonstrate some of the movement to give us background information on specific gestures, hand positions, and musical choices. I’ve been working with Professor Perkins this semester for the 50th Anniversary Dance Concert at The Ohio State University, so we’ve conversed about some of the African diaspora influences in her work. However, being able to see the physical representations of it through the company members and the films shown I was able to clearly see those references and how they all work together.

Overall, I enjoyed attending this lecture/performance demonstration. This showcase allowed me to visually see the creative and academic work that my professors are making. This experience has built upon my idea of research and all the possibilities within it. Research isn’t just limited to academic writing, it involves choreographic works, film-making, community outreach, and so much more. The many choices and paths that can be taken in the world of dance makes me love it even the more.

 

The Black Experience: Black Performance Theory

Black Performance Theory

Thomas F. DeFrantz and Anita Gonzalez collaborate on a collection of writings that capture the essence of black performance. Spanning the fields of music, dance, and theatrical performances, this book focuses on the understanding of performance using historical references and the connection of one’s identity to their lineage and environment.

Black performance theory is a culmination of writings that articulate the necessity of black performance decoding. Speaking to the individuality of blackness in an evolving world, the essays navigate the complexities of the black identity while unraveling the web of politics, history, and power that comprise black performance. They analyze the work of Zora Neale Hurston and her theories of black performance methodology linking the individuality of contemporary choreographers to their spiritual Africanist practices. Whether depicting the black movement as spaceships, the use of activism art, or the invigorating music of Little Richard, this gathering of artists and scholars creates a place to meld analytical and personal experiences of black performance.

Chapter five of Black Performance Theory, uncovers the world of theatrical lynching’s and the retaliation of African-American authors and playwrights to maintain an upstanding image of their race. Despite the horrendous tragedies that were showcased, “creative work produced during adversity is not solely a response to outside sources; it is an attempt to safeguard community perspectives” (DeFrantz 2014, 88).  Using life experiences as art, writers performed, rejecting negative portrayals viewed during theatrical lynching’s, and uncovered the proof of black humaneness and success. Using the stage as a platform for enlightenment, not just entertainment, allowed for strategic intervention of black artist’s and the examination of cultural realism.

Theorizing black performance is a complicated task, yet is necessary to understand the black experience thoroughly. Black Performance Theory summons fascinating thoughts about the conception of the identity and its desire for belonging or finding oneself. It also shows how black performance is directly linked to personal sensations and the sense of community involvement that dictates creative choices.

 

 

 

 

References

DeFrantz, Thomas, and Anita Gonzalez. 2014 “Black-Authored Lynching Drama’s Challenge to Theater History.” Black Performance Theory, edited by Koritha Mitchell, 87-98. Durham: Duke University Press.