by Guest Contributor Edna Nelson
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? Continue reading