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https://hyperallergic.com/865503/the-black-choreographers-dancing-toward-justice/

The Black #Choreographers #Dancing Toward #Justice
Hannah J. Davies January 10, 2024

..."Since it began over a decade ago, the Black Lives Matter (BLM) movement has celebrated the literal movements of its participants. People protesting killings of Black people have not only marched in the streets; they have krumped, twerked, vogued, and resurrected the electric slide of the ’70s and ’80s in often impromptu responses to the emotions underpinning their demonstrations. Black choreographers, in turn, have woven the grief, anger, and sadness of the BLM movement into formal concert dance: Choreographer Kyle Abraham presented “Absent Matter” in 2015, just two years after the acquittal of Trayvon Martin’s killer, George Zimmerman, ignited BLM and one year after the police killing of Michael Brown in Ferguson, Missouri. A work of fluid and athletic gestures, Abraham’s performance took its cues from hip-hop, ballet, and politically minded anthems like Kendrick Lamar’s “Alright.” In 2016, David Roussève’s “Enough?” — with an accelerating choreographic phrase danced to a soundtrack of Aretha Franklin — asked whether dance can be a sufficient medium for considering the brutality often inflicted on Black people.

Now, eight years later, that question is being answered in the affirmative on major dance stages around the United States. Choreographer Jamar Roberts’s “Ode,” a somber and sensuous dance first performed in 2019 as a response to gun violence, was restaged for the Alvin Ailey American Dance Theater’s 65th anniversary in December. Last May, Chanel DaSilva’s “Tabernacle” premiered at the Dallas Black Dance Theatre, fusing Afrofuturism, hip hop, and African dance in a direct response to BLM. And last fall, as part of the French Institute Alliance Française’s (FIAF) Crossing the Line festival, the French-Malian choreographer Smaïl Kanouté’s “Never Twenty One” made its New York debut, its title borrowed from a BLM slogan. A trio of dancers whose bare arms and torsos were emblazoned with words like “death,” “negro,” and “PTSD” engage in movements akin to mortal combat onstage, punctuated by moments of kinship, in homage to people of color killed through gun violence in the US, South Africa, and Brazil before they had reached their 21st birthdays.
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Dr. Shamell Bell, a dancer, Harvard lecturer, and one of the founding members of the Black Lives Matter movement in Los Angeles, explained to Hyperallergic the importance of rooting such pieces in lived experience and “[reaching] out to the people that you’re supposedly wanting to bring attention to.” Having begun her career dancing on the streets as a youth activist, Dr. Bell now works on performance pieces that, like “Never Twenty One,” play with the conventions and traditions of vernacular Black dance genres to shine a light on difficult topics.
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“Dance is a healing modality,” Dr. Bell added. “And we need to heal ourselves in order to heal this world.”
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In the same way that popular dance can offer a sense of hope and resistance at protests, there is a cathartic quality to Kanouté’s work. Despite the frequent choreographed clashes among the three men on stage, “Never 21” was infused with a sense of truly owning and embracing Blackness and Black joy in its many forms. Kanouté explained that he draws particular inspiration from Black communities living in cities like Johannesburg and Rio de Janeiro, whose joy often exists side by side with danger and precarity.

“They have to create their own identity, their own music, their own dance, because they don’t know if tomorrow they will still be there,” Kanouté said. “In that kind of atmosphere, you create powerful things.”...

The Black Choreographers Dancing Toward Justice

“Dance is a healing modality,” choreographer Dr. Shamell Bell said. “And we need to heal ourselves in order to heal this world.”

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