Category: dance

August 28, 2013 / / community

by Guest Contributor Edna Nelson

afropunk-2013-festival-update-lead

On the first night of the Afropunk 2013 festival, there was an onstage twerk contest.

It was not on the program and happened right before Saul Williams was supposed to go on stage. It was an impromptu event that was designed to buy time and presumably build excitement. Big Freedia was playing the next day, so it is impossible for one to say that twerking was something that didn’t belong at Afropunk. Twerking, like any other dance can be a way for a person to claim power in her own body, enjoy her physical possibilities, challenge herself, expand her range of movement and feed her mind with physical knowledge. But in that moment? In that way?

Since twerking has gone viral, commentaries on the trend have focused on the roots of the dance and what it possibly means for various groups to preform it. Unfortunately, there hasn’t been enough discussion about twerking in a performative context – i.e. what kinds of spaces twerking might be preformed within and for what reason. It feels like the discussion has been more about validating or condemning twerking in a vacuum rather than giving it space to exist within the realm of dance.

Dance movement depends on a dancer or choreographers intention, and awareness combined with the effect of the movement itself. A seemingly “vulgar” posture can convey profound messages. Unfortunately black women’s bodies, and dance expression have been viewed through a white supremacist lens of projected profanity, which is something some supporters of the twerk movement may be seeking to actively oppose. How do we strive to define spaces in which we can use dance and physical expression, including twerking, in a way that promotes a world in which women are free? What does it mean when this effort is confronted with a patriarchy that is vying for the same spaces? Read the Post Twerking at Afropunk?

June 19, 2013 / / asian

By Guest Contributor Sarah Neal, cross-posted from Sociological Images

Earlier on SocImages, Lisa Wade drew attention to the tourism industry’s commodification of Polynesian women and their dancing. She mentioned, briefly, how the hula was made more tourist-friendly (what most tourists see when they attend one of the many hotel-based luaus throughout the islands is not traditional hula).  In this post, I want to offer more details on the history and the differences between the tourist and the traditional hula.

First, Wade states that, while female dancers take center stage for tourists, the traditional hula was “mostly” a men’s dance.  While it has not been determined for certain if women were ever proscribed from performing the hula during the time of the Ali’i (chiefs), it seems unlikely that women would have been prevented from performing the hula when the deity associated with the hula is Pele, a goddess. Furthermore, there is evidence that women were performing the dance at the time of Captain James Cook’s arrival in Hawai’i.

Read the Post The Evolution Of Hula: Traditional, Contemporary, And Hotel

May 15, 2013 / / Entertainment

By Guest Contributor Shae Collins

“So you’re going to twerk right?” was a common question my sorority sisters and I got when we entered a dance competition this year at our school.

Not too long ago, the university I attend welcomed its first historically black Greek-letter organization. I had the privilege of becoming a member of this sorority and was curious to see how the students of a predominately white university in a wealthy area would receive a historically black organization on its campus.

The university was widely accepting of the sorority; however, as we became more visible on the campus, we experienced much cultural insensitivity.

This year, for the first time, we participated in a sorority dance competition that raises money for charity. During the week leading up to the dance-off, several people approached us asking if we were going to twerk — as if twerking is the only style of dance a black woman can do.

Read the Post Sorority Girls Must Twerk: Cultural Demands on Black Women

By Tami Winfrey Harris, cross-posted from Waging Non-Violence

Brown Girls Burlesque performs at the New York Burlesque Festival in 2010. Image by CreatixTiara/Flickr

 

Perle Noire takes the stage at the New Orleans Burlesque Festival. Her costume: brilliant orange silk against brown skin. She glides, shimmies, and beams. To the sound of an urgent drum beat, her skirt falls, revealing silvery fringe swinging across a bared bottom. Horns. She thrusts and dances. A turned back. Full breasts and glittering pasties. The crowd whoops as she leaps and cartwheels. She beams: the performance is magnetic and joyous. It is burlesque.

A variety performance traditionally featuring striptease, burlesque has seen a resurgence in popularity over the last two decades. A bared shoulder or the shake of a hip can be sexy, sensual, and funny. But the art form is also a means of resistance. Undulating bodies can uncover histories, challenge biases and defy stereotypes. And when politicized bodies move this way–bodies still straining under the weight of racial stereotypes that stretch back to the era of slavery–it is even more insubordinate.

Read the Post Shimmying Toward Freedom

March 26, 2013 / / appropriation
February 20, 2013 / / black
February 18, 2013 / / Entertainment
December 20, 2012 / / Africa