Reimagining Dance History Through Personal Narratives
Dance History(s): Imagination as a Form of Study, a captivating collection curated by Thomas F. DeFrantz and Annie-B Parson, challenges the traditional, often Euro-centric view of dance history by placing the power of storytelling in the hands of practicing artists. This unique anthology invites twelve prominent dancer-choreographers, many of whom are people of color and non-male, to share their personal interpretations and experiences, creating a multi-faceted and vibrant tapestry of dance history.
From the moment you unfurl the beautiful, map-like introduction, adorned with vibrant autumn leaves, you’re drawn into a captivating journey. The book’s unconventional format, with its individually bound pamphlets, mirrors its contrarian approach to historical narratives. There are no singular pronouncements or chronological constraints here; instead, the collection pulses with an urgency and passion akin to zines or revolutionary pamphlets.
The contributors weave together a rich tapestry of dance history through diverse forms—intimate tributes, melancholic elegies, personal reflections, and even speculative fiction. Bebe Miller takes us on a personal journey, retracing her childhood route to Henry Street Settlement where she discovered the transformative power of art. Eiko Otake eloquently honors fallen dancers, including Dore Hayer and Kazuo Ohno, through poignant, direct letters. Okwui Okpokwasili celebrates the physicality of gestation and the joyful communal experience of double dutch, while Mariana Valencia lovingly catalogues her personal inspirations, from the legendary singer La Lupe to the warmth of a friend’s embrace.
While Annie-B Parson offers a playful yet knowing overview of dance history, traversing ballet, modernism, postmodernism, and the pandemic era, Maura Nguyễn Donohue poignantly reflects on the transition from dance as a communal practice to a revered art form. Her humorous account of supplementing her downtown dance career by stripping in Times Square sheds light on the realities faced by many artists.
Keith Hennessy deftly intertwines dance history with crucial social contexts, exploring the interconnectedness of AIDS, urban development, and sex work. Andros Zins-Browne delves into the potent “dance of history” by juxtaposing the incredible story of Henry “Box” Brown, who escaped slavery by shipping himself to freedom, with the tragic death of Freddie Gray, highlighting the disturbing violence woven into both historical and contemporary narratives.
Mayfield Brooks, through a whimsical Edenic fable, explores the complex relationship between humans, competition, and nature, while Thomas F. DeFrantz envisions a futuristic Afrofuturist world where dance transcends physical barriers.Javier Stell-Frésquez’s poignant exploration of Indigenous erasure and Two-Spirit identities utilizes reverse lettering, forcing readers to confront themselves and their own reflections.
But it is Ogemdi Ude’s joyful celebration of the majorette dancers at Black Southern football games that truly resonates. Ude masterfully connects the artistry and athleticism of these often overlooked performers with the celebrated techniques of renowned contemporary choreographers like Ohad Naharin, Anne Teresa De Keersmaeker, and Trisha Brown, urging us to acknowledge and celebrate the rich legacy of Black feminine movement.
This collection is not a comfortable, predictable history lesson. It is an intricate mosaic of voices, perspectives, and experiences that challenge us to rethink the very nature of dance history. While the cacophony of voices might leave some feeling disoriented, it ultimately serves as a powerful reminder that history is not a singular, static entity, but rather a constantly evolving dialogue shaped by personal experiences, cultural contexts, and artistic interpretations.