[anti]thesis research

4 Jun

Lorna Simpson - Cloudscape 2004

"The solitary image of the black male figure whistling and enveloped by fog appears to be a song of departure from the charnel house of the racial sublime. But this does not mean it will disappear completely, since race and masculinity still have social meaning." -Okwui Enwezor

phase I

historical mapping

1600s

Slavery & the importance of culture maintained through musical tradition

Most of the slaves brought over did not come from cultural groups with written histories, therefore the popular way that history and culture were immortalized thru oral, music, and dance.

Spanning from all different places and spaces in Africa the ability to find commonalities among enslaved Africans was how the African American culture was formed.

Furthermore, blacks’ ability to develop a blended culture helped them to endure the harsh circumstances of slavery. [Glass 6]

Dance was a highly valued and important practice

Because of its power to bind slaves together as a community, to give them spiritual sustenance, to link them to a cherished African past, and to serve as a release and escape from oppression, it was a deeply nurturing experience that blacks kept alive. [Glass 6]

1800s

African-derived dance characteristics

As slaves continued to arrive in the US even after [1808](illegally) the African culture among African Americans was continuously invigorated. (The Slave Trade)

MASKING

African-style masking and ritual dance seemingly disappear during much of the slavery era. Despite oppressive conditions, enslaved Africans retained their cultural heritage, using masks in secret ceremonies to maintain spiritual connections and symbolize resistance. These masked dances covertly expressed emotions and conveyed messages of hope, unity, and defiance, providing communal solidarity and psychological relief.

AFRICAN DANCE CHARACTERISTICS

African movement vocabulary

moving all parts of the body
angular bending of the arms, legs, and torso, shoulder and hip movement, scuffing, stamping, and hopping, asymmetrical use of the body and fluid movement
pelvic movement/shaking of the hips - resonated with eh deeply felt African interest in the fertility of both people and land
for the African dancer, the torso was not hidden or held stiffly as a single unit of the body.
Sexual characteristics were emphasized as a representation of fertility and fertility was basic to survival

orientation to the earth

African dancers often bend slightly toward the earth, flatten their feet against it in a wide, solid stance, and flex their knees
this stance was also meant to reflect work postures

improvisation

improvisation is used as a way for dancers to make individual statements or give a new interpretation to the dance form
African dance is not static - continuously changing as a way to incorporate contemporary elements into new forms
The incorporation of European garments or masks carved to represent Europeans as a way to comment satirically on foreigners
Improvisation and adapting is key to ensure the dances survival

circle and line formation

Ring Shout

1900s - 1920s

Vaudeville

Vaudeville, was immensely popular in North America from the late 19th century to the early 20th century. It played a crucial role in shaping the modern entertainment industry, influencing theater, film, television, and even music. The term “vaudeville” likely comes from the French “voix de ville,” meaning “voice of the city,” or “vaux-de-vire,” referring to popular satirical songs from the Vallée de Vire in Normandy, France.

Origins and Early Development

Vaudeville's origins can be traced back to earlier forms of entertainment such as minstrel shows, concert saloons, dime museums, and burlesque. These forms included a mix of comedy, music, dance, and specialty acts.

Structure and Format

A typical vaudeville show consisted of a series of unrelated acts (typically 10-15) that could include musicians, dancers, comedians, magicians, acrobats, animal acts, and more. Acts were carefully arranged to create a balanced and engaging program. The weakest acts were often placed in the middle, while the strongest were featured at the beginning and end of the show.

Peak and Popularity

Golden Age (1890s-1920s) Vaudeville reached its peak during this period, with thousands of theaters across the United States and Canada.

Decline and Legacy

The rise of talking pictures (movies with sound) in the late 1920s, along with the rise of radio, began to draw audiences away from vaudeville theaters. Economic hardships of the Great Depression during 1930s further impacted vaudeville, leading to the closure of many theaters and circuits. Many vaudeville performers also transitioned to film, radio, and later television.

Influence on Modern Entertainment

The structure of vaudeville influenced the development of television variety shows, such as "The Ed Sullivan Show," and modern talk shows like Jimmy Fallon, The Tonight Show, etc. Vaudeville's emphasis on quick, punchy humor and diverse performance styles can be seen in contemporary stand-up comedy and live variety performances. Many elements of vaudeville, such as musical numbers and comic sketches, helped shape the development of American musical theater.

Black comedic archetypes

The development of Black comedic archetypes in vaudeville is a complex and multifaceted history, reflecting broader social and racial dynamics in the United States. Vaudeville, as a popular entertainment medium from the late 19th century to the early 20th century, played a significant role in shaping and perpetuating certain stereotypes.

Historical Context

Before vaudeville, minstrel shows were the dominant form of entertainment in the mid-19th century. These shows featured white performers in blackface, portraying caricatures of Black people with exaggerated features and behaviors. The minstrel tradition heavily influenced vaudeville, and many of its stereotypes were carried over.

During the vaudeville era, racial segregation and Jim Crow laws were prevalent in the United States. Black performers faced significant barriers, including limited access to theaters, audiences, and opportunities. Despite this, Black artists carved out their own spaces and made substantial contributions to vaudeville, even sometimes performing in blackface themselves to gain popularity and fame amongst white audiences.

Development of Black Comedic Archetypes

The “Coon” Character: This archetype was a direct carryover from minstrel shows, characterized by laziness, stupidity, and buffoonery. Black performers, sometimes in blackface themselves, were often forced to adopt these roles to find work. However, they sometimes subverted these stereotypes, adding layers of complexity and intelligence to their characters.
The “Mammy” Figure: This stereotype portrayed Black women as loyal, maternal figures who were content with their servitude. In vaudeville, the mammy character often provided comic relief, reinforcing the notion of Black women as nurturing but subservient.
The “Zip Coon”: This character was an urban dandy who attempted (and failed) to imitate white sophistication. The Zip Coon was portrayed as arrogant and foolish, providing a source of comedy through his failed attempts at elegance and intelligence.
The “Pickaninny”: This archetype depicted Black children as mischievous, wild, and uncivilized. In vaudeville acts, these characters were often played by young Black performers or adults in child-like costumes, emphasizing their supposed inferiority and providing slapstick humor.

Impact of Black Performers

Despite the oppressive environment and the pressure to conform to degrading stereotypes, many Black performers in vaudeville managed to achieve remarkable success and influence: One of the most famous Black vaudeville performers, Bert Williams was a pioneering comedian who broke racial barriers. He often played the “Coon” character but imbued it with a depth and pathos that resonated with audiences. Williams used his platform to subtly critique racial stereotypes and highlight the humanity of Black people. Noble Sissle and Eubie Blake a duo, known for their musical talents, helped to elevate the perception of Black performers in vaudeville. They created the landmark musical revue "Shuffle Along" in 1921, which featured sophisticated portrayals of Black life and showcased their considerable talents beyond the confines of stereotypical comedy. Known for her stand-up comedy, Moms Mabley brought a unique voice to vaudeville and later to the broader entertainment world. She used humor to address serious social issues, providing a sharp critique of racism and inequality.

Influence and Legacy

The legacy of Black comedic archetypes in vaudeville is a testament to the resilience and creativity of Black performers who navigated a racially hostile environment. While they often had to conform to stereotypes to find work, many used their talents to subvert and challenge these portrayals, paving the way for future generations of Black entertainers.

Comedy and Satire: The nuanced performances of Black vaudevillians laid the groundwork for future Black comedians who continued to use humor as a tool for social commentary and resistance.
Breaking Barriers: The success of Black performers in vaudeville helped to break down racial barriers in the entertainment industry, leading to greater opportunities for Black artists in theater, film, and television.
Cultural Impact: The archetypes developed in vaudeville have had a lasting impact on American culture. While some stereotypes persist, the legacy of vaudeville also includes the enduring influence of Black performers who helped shape the comedic landscape.

PHASE II

comedy, disruptive parody & Josephine Baker

Josephine Baker was an iconic African American performer who rose to international fame in the early 20th century, particularly for her work in Paris. Known for her vibrant personality, and dance routines, Baker's performances often included elements of parody that disrupted prevailing racial and cultural stereotypes. Her work engaged deeply with themes of "otherness" and the "black antiwill," responding to the discursive legacy of slavery’s rhetoric of white paternalism and the continuing belief in the absence of self-reliance in African Americans, as described by Patricia Williams.

Baker often played into and exaggerated the exotic stereotypes expected by European audiences. Her hyper-exoticized depictions of African "primitivism," like her famous "banana skirt" dance, functioned as satire, highlighting the absurdity of Western fantasies of Africa. By embodying and exaggerating these stereotypes, she forced audiences to confront their prejudices and the constructed nature of racial and cultural fantasies. Baker's performances in the 1920s utilized Black performative resistance as a disguise, leading to a final unmasking that juxtaposed and deconstructed the guiding rationalizations of colonialism, exposing the fallacy of an enlightened European present.

Despite the controversial nature of her performances, Baker used her stage presence to reclaim and reinterpret African American and African identities.

By confirming stereotypes to tear them apart, she challenged the notion of passive objectification and actively shaped her own image, disrupting traditional power dynamics between performer and audience.

Her work addressed the reduction of the Black female body to mere parts, stripped of agency, and through her art, she reclaimed her body and identity. Baker's legacy extended far beyond the stage; she became a symbol of Black excellence and artistic innovation, and her success opened doors for future generations of Black performers. A dedicated civil rights activist, Baker used her fame to advocate for racial equality and demonstrated the potential for racial harmony through her "Rainbow Tribe" of adopted children. Her disruptive parody and bold performances continue to inspire, highlighting her enduring impact on both the arts and social justice.

laughter & comedy

Referencing my research from Laughter & the Grotesque

In this research, I was exploring how exaggerated facial expressions from the 1920s-1940s influenced our definition of "comedy." Initially, my research began with observing social interactions to understand what makes us laugh, noting that laughter could stem from spontaneity, nervousness, or exaggerated movements.

This led me to study laughter in performance art, such as Barbara Cleveland's "The One Hour Laugh" and Antonia Baehr's "Lachen," which highlighted laughter as performative rather than inherently comedic.

Choreographic Application

Intrigued by the exaggerated expressions referenced in Cleveland's work, I shifted my focus to comedy from the early 20th century, developing tasks for dancers to perform exaggerated movements and expressions. This research revealed not only that comedy through exaggeration can transition from humorous to grotesque, reflecting the complexity of comedic performance but also that by accessing the grotesque through exaggeration there is an ability to find authentic emotional release.

Modern applications

By embracing and accepting certain comedic stereotypes black performers and entertainers were able to elevate their status in society by “playing the game.” In so doing, paving the way for a future for black people to fight for equality in the entertainment industry.

Lorna Simpson, Walk with me, 2020

phase III

EmBODYing Liberation & choreographic research

Senga Nengudi - R.S.V.P Series

Questions:

Considering dancing black bodies as the agents of social change, as case studies of identities in formation, and as avatars of ethnically inflected artistic expression.
Do dancing black bodies always dance black?
Does the black body publicly displayed, automatically become a privileged “racial” sign?

Black dance emerges from "inside the circle"—a space that protects and permits—countering the narrative of public spaces, such as concert dance, as inherently white, modernist, fetishized, and Europeanist, where public space is outside the circle. The circle permits and protects our memory of loss, symbolizing the Black Atlantic and the Middle Passage.

Double CONSCIOUSNESS | w.E.b du bois

The theory of double consciousness is a concept first articulated by W.E.B. Du Bois in his work, "The Souls of Black Folk," published in 1903. This theory describes the internal conflict experienced by subordinated or colonized groups in an oppressive society. Du Bois specifically discusses this phenomenon in the context of African Americans in the United States, but the concept can be applied more broadly to various marginalized groups.

Key Elements of Double Consciousness

Dual Identity: Double consciousness refers to the existence of two identities within a single individual. For African Americans, this means simultaneously seeing oneself through the lens of one's own Black identity and through the lens of a white-dominated society that devalues and discriminates against Black people.
The "Veil": Du Bois uses the metaphor of a "veil" to describe the separation between Black Americans and white Americans. The veil represents the barrier that prevents mutual understanding and equal treatment. It symbolizes how Black Americans are often seen only through the prejudices and stereotypes held by the dominant white society.
Internal Conflict: The theory emphasizes the internal struggle that arises from these dual identities. On one hand, Black Americans see themselves with pride and self-respect. On the other hand, they are acutely aware of how they are perceived and treated by the larger society, which often imposes negative stereotypes and systemic discrimination.
Awareness and Critique: Double consciousness also involves a heightened awareness of societal structures and their impact on one's self-perception. This consciousness allows individuals to critique the society that oppresses them while simultaneously navigating their own identity within it.

Implications of Double Consciousness

Psychological Impact: The internal conflict of double consciousness can lead to a sense of alienation, frustration, and psychological distress. Constantly reconciling one's self-perception with societal perceptions can create an ongoing struggle for authenticity and acceptance.
Cultural Expression: Double consciousness can also lead to rich cultural expression, as marginalized groups find unique ways to assert their identity and critique societal norms. This dynamic has been a driving force behind much of African American literature, music, and art.
Social Critique: The concept provides a powerful framework for understanding the systemic nature of racism and the ways it shapes individual experiences and identities. It highlights the need for societal change and greater empathy and understanding between different social groups.
Empowerment and Resistance: Despite its challenges, double consciousness can also empower individuals to resist oppressive structures and advocate for social justice. By understanding and articulating their unique perspectives, marginalized groups can challenge dominant narratives and push for greater equality.

Choreographic Applications

By understanding the double consciousness, the next set of questions helped frame how to create an embodied experience and an artistic interpretation of this duality.

How do we look at bodies/black bodies as an archive?
How does movement shift from the internal to the external?

investigating embodying liberation & healing ancestral trauma

You Can Heal Intergenerational Trauma | Dr. Thema Bryant | TEDxDelthorneWomen

intergenerational trauma | collective wound |collective liberation

collective liberation medicine: truth, self-care, community care, “fix your face,” creativity/expression, resistance, culture &spirituality

“If you want to go far, go together.”
- Dr Thelma Bryant

Choreographic Application

Understanding I am working with a diverse cast of all backgrounds, I wanted to give a frame of reference for them to understand how I was accessing my body as an archive of all this historical research and embodied liberation and how to access that embodiment for themselves.

DANCER journal REFLECTIONS

Choose one word that comes to mind when you think about what freedom feels like.

Choose three words to describe how it feels to be trapped.

Take 5 minutes to journal about a time that your freedom was taken away from you. How did it feel in your body?

Using this journaling exercise I sought to contextualize how the dancers might engage with the themes of the work. Following this exercise, we spent time internalizing/meditating on these responses and then engaging with movement improvisation. In this way, I was working to give them autonomy and agency over their bodies as an archive and how to achieve embodied liberation through that physical research.

Additional choreographic references

Music

Music, like lighting and costuming, establishes the context for my work. I aimed to use music that not only referenced early 20th-century styles but also contrasted with the movement, creating an embodied conflict for both the dancers and the audience. I chose religious operatic music to signify harmony and balance, while the movement displayed opposition and disharmony. The metronome was a deliberate choice to challenge the internal desire for freedom in movement and rhythm, representing a stark contrast to the polyrhythms of African music and dance, and highlighting the rigidity and predictability of European dance and music of the same era. Distorting or muting lyrics was my way of giving voice to the silenced voices of many black people. Conversely, hearing the lyrics in Harry Belafonte's "Freedom" symbolizes black people reclaiming their voices. This juxtaposition is further emphasized as the solo dancer stands unmoving, suggesting a future where the voices of black people are heard and felt profoundly, without the need to see them.

Costuming & sign

The costuming was an abstract nod to the fashion of the period. In world-building, I wanted to give a frame of reference for this historical context without providing a literal example. The “Please Be Seated” sign hanging around the dancer’s neck at the entrance was meant to also provide a familiar reference to early 20th-century film and entertainment. However, the choice to hang the sign around her neck symbolizes the oppression of the entertainment industry and references how black people “sold” themselves to the entertainment industry and took on these comedic archetypes as a way to disguise themselves as conforming to dismantle the stereotypes from the inside.

Film

The film was an updated version I created from my previous research into laughter and the grotesque. As audience members navigated and took their seats by engaging with cast members who sat in the audience and watched the film, it set the tone for the audience being not only a part of the world we were building but also acknowledging and engaging with their uncomfortable feelings. Additionally, it gave a frame of reference for how black bodies embody the white gaze.

documentary

Dance documentaries play an essential role in preserving the fleeting nature of live dance. Unlike other art forms that can be easily recorded through text or static images, dance relies on the movement and interaction of bodies in space. Documentaries provide a medium through which these movements can be captured and preserved. This is particularly important for dance styles rooted in oral traditions or those that evolve rapidly, as these films become resources for future generations seeking to understand and appreciate the evolution and diversity of dance.

Film is an important archival medium, given the nature of my research into the preservation of African culture and history during slavery being heavily reliant on oral tradition. Archival footage can reveal the cultural, social, and political contexts in which different dance forms develop, providing insights and nuance that text alone cannot convey. Additionally, documentaries often include interviews and behind-the-scenes footage, adding layers of context and personal narrative that deepen our understanding of the art form. Embodiment is a crucial part of this process, as it allows viewers to witness how dancers transform through their journey—observing how their bodies evolve from the start of the work to how they fully embody the research and choreography by the end. This progression not only highlights the physical and technical development of the dancers but also the deep internalization and expression of the work’s essence. By documenting performances, choreographic processes, and personal stories of dancers, these films offer a way for this deep research to be archived and shared.

Capturing movement, bodies, and voices on film brings audiences as close as possible to the experience of a live performance. Viewers can observe the intricacies of technique, the subtleties of expression, and the interplay between dancers, all of which contribute to the overall impact of a performance. This immersive experience allows a broader audience to access and appreciate dance and history, breaking down barriers of geography and accessibility. Through documentaries, dance research can be shared widely, fostering a greater appreciation for this art form and ensuring its continued relevance and vitality in contemporary culture. Additionally, by showcasing the entire creative process, from initial rehearsals to final performances, these films highlight the embodiment and dedication involved in bringing a piece of choreography to life.

sources

Artist References

Video Research

Library of Congress (2009) Humorous phases of funny faces. 8 October. Available at: https://www.youtube.com/watch?v=wGh6maN4l2I (7 Nov 2022).
Duck Soup (1933) Directed by Leo McCarey [Feature film]. United States: Paramount Pictures, Universal Pictures.
www.mca.com.au. (n.d.). The One Hour Laugh | MCA Australia. [online] Available at: https://www.mca.com.au/artists-works/works/2011.18/.
www.reactfeminism.org. (n.d.). re.act.feminism - a performing archive. [online] Available at: https://www.reactfeminism.org/entry.php?l=lb&id=12&e= [Accessed 23 Oct. 2022].

Text Resources

Fischer-Hornung, D. and Goeller, A. D. (2003) Embodying liberation : the black body in American dance. Mun̈ster: Lit (Forum for European Contribuitions to African American Studies : FORECAAST, v. 4).
Gilroy, Paul The Black Atlantic: Modernity and Double Consciousness. Cambridge: Harvard UP 1993
Glass, B. S. (2007) African American Dance : an illustrated history. Jefferson, NC: McFarland & Company.
Gottschild, B. (2016) The black dancing body : a geography from coon to cool. New York: Palgrave Macmillan. doi: 10.1007/978-1-137-03900-2.
Gottschild, B. D. (2000) Waltzing in the dark : african american vaudeville and race politics in the swing era. 1st edn. New York: St. Martin's Press.
Otto, B. K. (2001) Fools are everywhere : the court jester around the world. Chicago: University of Chicago Press.
Pittman, J. P. (2016). Double Consciousness (E. N. Zalta, Ed.). Stanford Encyclopedia of Philosophy; Metaphysics Research Lab, Stanford University.
The Slave Trade. (2016, August 15). National Archives. https://www.archives.gov/education/lessons/slave-trade.html#:~:text=The%201808%20Act%20imposed%20heavy
Woll, A. L. (1991) Black musical theatre : from coontown to dreamgirls. New York, N.Y.: Da Capo Press (A Da Capo paperback). https://plato.stanford.edu/entries/double-consciousness/#:~:text=Double%2Dconsciousness%20is%20a%20concept

Elana Goodman