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Preserving a Legacy or Slowly Destroying It?

Have you noticed the shifting landscape of a lot of dance companies? Personally, I have engaged in conversation that has caused me to make very interesting observations about professional dance and "company looks".  It may not mean much to everyone but the look a company presents is their introduction to the world. Before great choreography and even beyond snatched, lengthened and limber bodies, the look of a professional dance company also encompasses its vision and legacy. So, naturally, I was shaken to my core to hear Dallas Black's board president stand on their decision to terminate all of its main company dancers. I have shared before, my divine experience with receiving wisdom and knowledge about what it would take to be a professional dancer. I was 13 years old and had just cut out that famous "tilt jump" photograph of Linda Celeste Sims (an Alvin Ailey legend) to tape inside of my agenda book. It was in that moment I began to formulate the importance of
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When Is A Great Time To Dance In Truth

 Is there room for the greatest form of empowerment being that of truth? Quite often I think about my unique perspectives. I am a black women in dance, primarily, classical ballet, while also being a founding dance major of my former university and  Magna Cum Laude graduate of that university, which is an HBCU. 

That was a lot. Reread if needed. I definitely had to. 

We realize that social media and various personal platforms play a significant role on the psyche and confidence of a people. Groupthink can kick into high gear when you are that woman so many people advocate for within dance. You check every "box". Yet, somehow, you find the recurring forms of black women in dance empowerment to be oddly cyclical and a huge proponent of black woman isolation within the art. If someone was were to say "Raise your hands if you are a black woman in ballet because I want to share the recent social news with you. I want to empower you within your career.", I'd raise my hand. But, although I look like the "black ballerina", I don't believe a lot of what is shared is healthy for the mentality of a minority in this art form. The going narratives seem to perpetuate the segregation of one race from the majority, leaving me to feel the charge of blaring a liberating truth while ditching the "victim mentality". 

 I just want to dance. 

People can feel that, you know? Those who simply want to dance instead of dancing through the formations of regurgitated history that should be a banner and stepping stone for us. Unfortunately it is often willed as a weapon of hierarchy and entitlement. Do you want to dance? I've shared it over and over that the history of black dance leaders and legends (since I'm being specific) already lends itself to a place in history where we can now thrive without "race leading". What do I mean by that? Everything we accomplish or do stemming from our dark skin, people being racists toward our dark skin, our hair, ancestors and the history of heinous, demeaning and embarrassing treatment. 

If we're talking about the work, race does not matter. In 2020 I was forced to think deeper and arrive at intellectual and introspective thoughts concerning the effects "race leading" has within the industry of dance, theatre and entertainment at large. This is a topic I am constantly exploring and adding verbiage to. As I live out personal encounters and witness others' around me, I am inspired to empower dancers to live, think and dance victoriously.


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