Author: JoAnne Tucker

In the last blog , I reviewed this informative book.  In this blog, I will share thoughts, insights and new awareness that I gained from reading the book.  In May of 2004, I moved from New York City, leaving my role as Artistic Director and choreographer of The Avodah Dance Ensemble, a small modern dance company that I founded in 1974. I often went back to NYC, at first twice a year, enjoying catching up on some dance, especially with dance companies I already knew. Luckily, I spent the summers through 2009 in Steamboat Springs, Colorado, where Perry-Mansfield Performing Arts Camp is located.  Linda Kent, then Director of the dance program, brought many up-and-coming modern dance artists to Camp and I thoroughly enjoyed seeing performances and sometimes watching classes and rehearsals. With COVID and the move to Costa Rica, I have only made one trip back to NYC, and that was in June 2022.  Of course, over the years I followed dance by reading articles and reviews in various online newspapers such as The New York Times, paying attention to Instagram, Facebook posts, Dance Magazine and other online sources. This is not the same as being intimately involved in dance on a day-to-day basis, as I was before.  In writing this, I am amazed that it has now been just over 19 years since I made a major life change.  Reading Milestones in Dance in the USA caught me up to date in some dance trends I was not aware of and reminded me of dance experiences I hold dear in my memory.

Before getting into specifics of the book, I also want to point out that reading the book made me aware of how limited I was in exploring the full range of dance happening around me in NYC.  I stayed pretty focused on mainstream modern dance while occasionally attending a ballet performance or the latest Broadway musical. Milestones in Dance in the USA let me know about dancers, companies and trends that I had had only limited knowledge about, although they had been happening around me. There were also areas in the book where I simply had no knowledge at all about what happened in that genre of dance.

I wonder if others have experienced being passionately involved in a career and realizing (either at the time or later) how focused their attention has been on their particular niche and how unaware they have been of trends going on around them.  Having retired 19 years ago, I wanted to catch up on “new” happenings.  It is good to read a book like this and fill in some of those spaces.

I begin by sharing some information I got from the very first of the 10 chapters, “Native American Dance and Engaged Resistance.”  The chapter was written by Robin Prichard, who  begins with a dedication honoring “my ancestors, the Tsalagihi Ayeli, also known as the Cherokee . . . and the original inhabitants and stewards of the land on which I wrote this article.”  She is a choreographer and Fulbright Fellow who undertook a cross-cultural choreography project between Australian Aboriginal and contemporary Dance and has taught at several colleges in the United States and Australia.

The article opens with information she will expand on:

Native American dances are the oldest continuing dance traditions of the North American continent, containing unparalleled diversity in content, meaning and practices. . . . The story of Native American dance tells a distinctly American story of Indigenous lifeways, followed by slavery, genocide, and forced assimilation, as well as resistance and renewal.

 She points out how dance held a venerated place in North American cultures as a carrier and creator of knowledge and lifeways during the 15,000 years before European ships “ran aground on the continent.”

The fact that Native Americans use dance to resist assimilation and continue their culture is demonstrated by the concern of the federal government and the hundreds of official restrictions and bans on dance that “the federal government produced in the decades between 1880 and 1930.”

She goes in depth into one dance in particular, The Ghost Dance, describing how “it was meant to bring an end to White colonial rule and restore Native Americans, who would be joined by their ancestors to live peacefully on earth.”

Dance was not just a leisure activity; rather it served as a way “to stay Native American, to continue essential lifeways, and to survive into the 20^th century.”  In contrast she shared how Wild West Show (a category of shows) used “Indians” doing dances and horseback riding to appear as symbols of the past.

The end of this detailed and well-written chapter focuses on Powwow Dances which developed into “the largest expression of Native American culture with hundreds each year across the USA and Canada.”  She points out that “Powwow dance and music have been present at every major Native American civil rights protest of the 20^th century.”  Specific dances that are part of the Powwow are described, such as:  The Round Dance, “a social dance of friendship in which every person is encouraged to join,” and The Jingle Dress dances, which have become “visible manifestations of Indigenous healing in both Native America and Black Lives Matter protests.”

She summarizes:

Resilient and adaptable, dance reinforces social, cultural, psychological, economic, and political ideals. Intertribal dance celebrates widely shared Indigenous Institutions and values while also continuing tribal-specific dance cultures.

She ends with a poem by Alcatraz poet Cheryl Ann Payne:

            The layers and layers of concrete could not

            stop the flowing of spirit between the Land

            and her People

            We danced the Spirit back into the Land

Hannah Kosstrin’s chapter on “Dancing for Social Change in the 20^th and 21^st Centuries” stood out for me because as a choreographer I shared this desire for my work.  She begins:

When people dance with the goal of making the world a better place, they are dancing for social change.  Social action drove many choreographers in the United States of American during the 20^th and 21^st centuries. Occurring on the concert stage and in community settings, dance for social change includes: work that engages social problems to change people’s minds or inspire them to enact change; work that offers viewpoints other than culturally dominant ones; and community-based dance efforts for empowerment and liberation.

She goes on to give specific examples:

1. The workers dance movement (1920-1940’s) for workers’ rights, egalitarianism and anti-racism. She gives many examples including discussing the work of Anna Sokolow, Sophie Maslow, Jane Dudley, Charles Weidman, Pearl Primus, and Katherine Dunham.

2. Choreographing Postwar Change to “make audience members feel like they are witnesses to onstage atrocities that inspire them to take action.” Anna Sokolow’s piece Rooms is cited for how it depicts feelings of isolation and alienation.” Donald McKayle’s Rainbow ‘Round My Shoulder shows the plight of Black men on a prison chain gang.  Alvin Ailey’s Revelations is about representation and opportunity.  Some of Jose Limon’s works foreshadowed the Chicano Movement and mentored Native American students. Eiko and Koma in 1991 “embedded dances within specific sites in calls for environmental justice.” Anna Halprin and Liz Lerman used “dance practices to bring communities together mobilizing the Jewish concept of ‘tikkun olam,’ healing the world.”

3. Mobilizing Sexualities began in the 1980’s when choreographers began making autobiographical dances. “Many mobilized their gender and sexuality identities for social change through representation and collective action.” Bill T. Jones and his “first life and artistic partner Arnie Zane” were leaders in this movement. Arthur Aviles, “a choreographer of Puerto Rican heritage . . . puts dance at the center of queer social justice community building.”  Jennifer Monson and Elizabeth Streb, Lesbian choreographers, displayed queerness through how they used movement rather than themes.

4. Storytelling for Justice beginning in the 1990’s and continuing to 2020’s made pieces about historical injustices using their communities’ stories for social action. Jawole Willa Jo Zollar’s Urban Bush Women is an example of using Black Women to make pieces important to Black Women.  H.T. Chen, in the NY area, and Minh Tran in Portland, challenged anti-Asian sentiment in their work.  There are mixed-ability dance companies using dances with multiple physicalities that provide opportunities for dancers whose bodies do not fit the norm of what is thought of as the dancing body.  Three Black American choreographers, Kyle Abraham, Camille A. Brown and Jennifer Harge, create works related to the Black Experience in the 2010’s to 2020’s. Discussion of the works of two current Indigenous choreographers, Rulan Tangen and Patrick Makuakane, illustrate storytelling for sovereignty and environmental justice.  Jody Sperling, who danced on sea ice in the Arctic in 2014, is included, as well as Mexicanx-American artist Fabiola Ochoa Torralba’s work calling for climate recognition and rights of people on society’s margin.

 

This is an intense chapter filled with lots of information.  It resonated with me because I was familiar with so many of the choreographers and pieces that are mentioned, and it was interesting to see them put in this context.  I, too, found that a lot of my interest in choreographing pieces had an underlying call for social change.

The last chapter I want to share is by Joanna Dee Das: “Challenging the Distinction between Art and Entertainment: Dance in Musical Theater.”  Musical theater holds a passionate place in my heart, as I have been involved in both directing and choreographing community productions and am an enthusiastic Broadway attendee. I was curious what new things I would learn from Dee Das.

In her introduction she poses some interesting questions and states the purpose of the chapter:

If George Balanchine can create “Slaughter on Tenth Avenue” and have it called entertainment when a part of the musical On Your Toes (1936) and art when performed by members of the New York City Ballet in 1968, then we must question the root of this art/entertainment distinction.  Musical theater choreographers operate under a different set of constraints than those working in concert dance, but those constraints lead to creative work that is no less worthy. This chapter will demonstrate how race, gender, and ideas of artistic independence, originality and authenticity shape how dance is classified.

She shares how dance in early musical theater had two influences, European ballet extravaganzas that began in the US in the 1860’s and the Africanist aesthetic of Black American social and theatrical dance. The first major transformation of Broadway dance was in 1921 in the musical Shuffle Along where dance became central to the “energy and motion of a Broadway show.” There was such a reaction to this all-Black cast and all-Black creative team that The Ziegfeld Follies of 1922 had a number called “It’s Getting Dark on Old Broadway.”

Interestingly, Martha Graham in 1930 referred to existing theatrical dance as a “handmaiden of music, of drama, even of costumes and stage sets and equally obscene in their lack of artistic integrity.” Dee Das points out how this led to an inauguration of concert dance as separate from Broadway entertainment.  It was not only the dancers that expressed this division, but also critics of the period such as John Martin, Edwin Denby and Clement Greenberg.

That separation didn’t mean that ballet choreographers or concert dancers didn’t become involved in Broadway productions.  George Balanchine is one example; Katherine Dunham is another who “blurred the Broadway/concert dance, entertainment/art lines.”

In the 1940’s there were many examples of crossover between modern dance and Broadway.  Helen Tamiris choreographed Up in Central Park and Hanya Holm did Kiss Me Kate.  At the same time there was also a movement to make “ordinary jazz routine” have power.  As choreographer Robert Alton says, “I have exactly six minutes to raise the customer out of his seat.  If I cannot do it, I am no good.”

Of course, most of us are familiar with how Agnes de Mille influenced Broadway dance in Oklahoma! and Dee Das reminds us that “de Mille’s choreography in Oklahoma! furthered the plot and developed characters’ emotional arcs.”  Following de Mille, Dee Das points out that Jerome Robbins became the “standard-bearer for musical theater choreography” and he enjoyed success on both Broadway and in the ballet world.  He is known for musicals such as Peter Pan, West Side Story and Fiddler on the Roof, and for being both the director and the choreographer of shows.

In the 1970’s and 80’s Michael Bennet, Gower Champion and Bob Fosse were important figures in Broadway choreography.  Fosse followed Jerome Robbins’ pattern of serving as both director and choreographer and developed his own style, which is pointed out as a “cynical depiction of female sexuality.”  An example is given in “Big Spender” from Sweet Charity where the women “thrust their pelvises jerkily and aggressively.”

The next trend wasn’t until the 1990’s when George C. Wolfe as director, and dancers Gregory Hines and Savion Glover brought a trio of musicals that showed an “African aesthetic of tap dance and its capacity to carry history and memory.” For example, in Bring in ‘Da Noise, Bring in ‘Da Funk, “the story of the survival of “the beat,” as expressed through tap dance, became the metaphor for the Black experience in the United States . . . .”

The chapter goes on to discuss how choreographers and dancers continue to cross over between the different dance worlds.   In the very successful Hamilton, premiered in 2015, Andy Blankenbuehler created a “parallel physical score,” where dance moved seamlessly throughout the musical.  The style of movement is unique, fitting each of the scenes as “he combines various forms of hip-hop with musical theater’s ballet/tap/theatrical jazz . . . . ”

Dee Das concludes the chapter by pointing out that the question needs to shift to “how musical theater dance’s kinesthetic contributions balance with other aural and visual media to communicate with audience members and create pleasure.”

While certainly all the chapters deserve mention and held my interest, these three had particular appeal.  All the chapters in this book are well researched, and I have only given you a taste of the scholarship each author brings to their topic.  This book is an outstanding resource not only for dance history courses but for those individuals who want to explore dance in the United States from a variety of perspectives.

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