White American Dance

1674 Words 7 Pages
How could one possibly express the emotions which lie deep within the soul of a person? Is it viable to bring these feelings of pain, joy, shame, and confusion to the surface without vocally explaining them? Absolutely. Since the beginning of time, dance and rhythmic movement have been used to personify the intangible which resides within the mind and soul of one’s entity. Understanding this, the idea that dance as an interpretive art form comes as no surprise. Just as marching and writing are used to release pent up energy, so is dancing,

Black people have been dancing since the beginning of time. It seems as though this has been a key part of heritage from the time written history was developed. For centuries, this rhythmic expression of
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White America only knows how to appropriate from other cultures because, without this act of violence, white America would cease to have any other motives to accomplish. As recent as the past 50 years, black queer people have redefined dance in so many ways. Whether it is from theater/performative dance to ballroom, to trendy moves, or even interpretive dance, we have been at the forefront for constantly metamorphosing the dance scene. What white America does not know is, this need to express ourselves is deep-rooted in the pain we endure every day, the pain they inflict upon us. It is a mere mockery for them to steal our culture and reenact it in such a way where we have to watch and feel invalidated by our struggle. For one, if they are going to copy us, at least make sure they do it right and not make a fool out of our art. Nevertheless, I suppose that is what happens when the only culture you have is mimicry (even parrots and mockingbirds do a better job at this imitation). Through it all, we will persist and continue you break boundaries just as we have been doing. For white supremacy is long from being defeated and black expressionism is also long from becoming a stagnant …show more content…
As Lorde once said “Art is not living. It is the use of living”, Sky exemplifies this quote. Their style of “afro-futurism” is completely breathtaking, but equally revolutionary. For years, Sky has worked tirelessly to articulate their art in such a way that it not only has become a major part of their life but also another means of persevering in this world. Sky “combines physical feats with dance to illustrate the breadth of her inspirations”1. Through acrobatics and aerials, Sky personifies black queer art with every performance they take part of. To mention just a few of their accolades, Sky is the artistic director of the Topsy-Turvy Queer Circus, which was featured in the National Queer Art Festivals for three consecutive years (starting in 2013). They also just finished a four-month residency which comprised of a “solo multidisciplinary performance and visual art show” called “Angel’s Manifesto”. In Oakland, CA, where Sky resides, they teach aerial, pole, and acrobatic classes for all people, but more importantly for fellow queer and trans* people of color. India Sky, to me, is a pioneer in the work they do for our fellow black queer siblings. The works of art I will be analyzing are called “Strung Out Between Beginnings and Endings”

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