The Final Words: Black Dancers in Higher Education Call to Action
By Camryn Eaglin
I introduced the series Black Dancers in Higher Education in February. What was intended to be three interviews turned into five — there are never too many perspectives. By interviewing Brooke, Asha, Kennedy, Moria, and one anonymous interviewee, I was able to gain a well-rounded perspective on what other black dancers experience within university dance programs. It’s notable that these experiences are in no way monolithic and have nuances. However, there are similarities and differences in the challenges these students face. Concluding this series I want to discuss these main challenges and most importantly carve out ideas that can create change.
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Some of the main challenges I observed through the interviews and from my own experiences included:
Tokenism. This is often done to minorities within a large, predominantly white structure. What happens when you are an anomaly? In this case you are because of your race. Especially when "diversity" is a current buzzword for universities and dance programs to reel in prospective students. Whether black students are being used for promotional images or as a "token" example of the exemplary black student, we aren’t always valued as individuals and artists in the day to day structure of departments.
Tokenism: “the practice of doing something (such as hiring a person who belongs to a minority group) only to prevent criticism and give the appearance that people are being treated fairly.” -Merriam Webster
Lack of diversity in style. What makes a dance style worthy of higher education? Why are ballet and modern held to high standards and treated with reverence in Western dance communities? This sends a message to POC students that styles which don't fit into European standards are not as worthy of in-depth study. This continues promoting hierarchy, where many styles stemming from POC and/or black culture are on the bottom. Through these interviews, I now see that several dance programs are attempting to make subtle changes and give students choices to incorporate other styles but it’s still not of equality, especially within dance concerts.
Typecasting and comparison. Yes, your black students are individuals. They are different dancers, with different names, and do not physically look the same. Growing up I had been consistently confused with the only other black dancers in the room. We are also easily pigeonholed and typecasted due to stereotypical ideas of our body types, look, and what we should be good at. Within a smaller institution like a university's dance department, this can happen easily.
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Below I propose steps for change to make a more comfortable and accepting environment for a diverse student body, particularly for black dancers.
Have conversations even if it's uncomfortable. I understand that every department doesn’t strive to focus on social and political topics but oftentimes our art reflects our lives, identities and experiences. Conversation can create clarity for artists, especially black dancers. We can begin feeling comfortable standing in our truth and presenting our stories on stage if we desire. I propose incorporating actual conversation with your dancers whether it’s surrounding a specific piece, current event, or just because. Convene, speak, listen and receive. This also has the ability to create actual comradery and a support structure within your department due to openness and honesty.
We can look at University of Texas at Austin's Dance Program as a potentially successful example. The dance program at UT aims to raise artist citizens, so they have regular town halls and conversations woven into their department’s routine and structure. This seemingly had a positive impact on both Kennedy and Moria, students I interviewed in this particular dance program.
Value your black and POC dancers. If you are highlighting black students in promotional imagery and advertisement, reflect on how that student is actually represented in the department. Are they getting cast in pieces? Are they given equal opportunity on stage? Are they consenting and being asked to represent diversity? Everything shouldn’t be for show. If you want a diverse group of students, value the diverse talent you already have.
Give students choices. I understand this change requires time from an administrative view, but how can dance departments begin looking at requirements and how they can be tailored to different dancers? Could there be different performance/technique tracks for the same degree? Do all students HAVE to take ballet and modern throughout their course at the university, or can other styles be held to equal importance? Also be aware of how you present other styles to students. For example, are West African dance courses getting the same respect from students, as ballet is given? Do they understand why it is important to take other techniques of dance? Explain the history.
Temple University has been offering other styles in their students' required training. In Asha’s interview she outlines that although they are required to take modern all four years, they have the choice to take ballet for just two years, African two years, along with two semesters of Hip Hop.
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Overall, most of these solutions begin with reflection and most importantly conversation. Make sure you talk to your students; don’t assume. When people in positions of power invite dialogue, it makes an environment much more comfortable for black and POC students to express themselves or concerns. Thank you all for reading! Be sure to read the five interviews if you have not already (links below).
Camryn Eaglin is a dancer and writer earning a Bachelor of Science in Dance and a minor in Broadcast Journalism from Wayne State University. She is currently an intern with Life as a Modern Dancer.
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