Before #BlackLivesMatter: A Timeline
Weidman leading a rehearsal of Lynchtown. Photo by John Daughtry, Courtesy DM Archives.
Charles Weidman’s Lynchtown depicts a mob hunting an outsider and surrounding him like vultures, an experience that Weidman himself witnessed as a child. The piece was part of a larger suite of works entitled Atavisms.
How Long Brethren? (1937)
Helen Tamiris choreographed a suite of eight pieces called Negro Spirituals, a protest of the discrimination against African Americans. The most famous was How Long Brethren?, which shed light on the lives of unemployed Southern blacks.
Strange Fruit (1945)
Pearl Primus’ Strange Fruit is a commentary on the panicked culture of lynching as seen through the eyes of a woman who witnesses the brutal event.
A two-part work about lynchings in America, Katherine Dunham’s Southland premiered in Chile, shocking the American embassy. It had only one other performance, in Paris. The U.S. government denied funding for future works by Dunham for her negative portrayal of the U.S. at the height of the Cold War.
Rainbow ‘Round My Shoulder. Photo by Rosemary Winkley, Courtesy DM Archives.
Rainbow ‘Round My Shoulder (1959)
Donald McKayle’s dramatic masterwork reveals the frustration of oppression and aspirations for freedom of a chain gang toiling in the American South.
Blues for the Jungle (1966)
A signature work that came to the stage in the Civil Rights era, Eleo Pomare’s Blues for the Jungle shed light on struggles like the Harlem riot of 1964.
Ceremony of Us. Laurie Gruenberg, Courtesy DM Archives.
Ceremony of Us (1969)
Following the Watts race riots in Los Angeles, Anna Halprin choreographed Ceremony of Us. She developed choreography for dancers from Studio Watts, an African-American arts organization, and separately for her all-white dance company, the San Francisco Dancer’s Workshop. The groups came together for a short rehearsal period before performing.
Alvin Ailey created Cry for “all black women everywhere—especially our mothers.” Judith Jamison, who originated the role, wrote: “She represented those women...who came from the hardships of slavery, through the pain of losing loved ones, through overcoming extraordinary depressions and tribulations...she has found her way and triumphed.”
Deep South Suite (1976)
Dianne McIntyre’s Deep South Suite shares realities of the 1940s South, set to Duke Ellington’s music.
Creole Giselle. PC Leslie E. Spatt, Courtesy DM Archives.
Creole Giselle (1984)
Frederic Franklin’s restaging of Giselle for Dance Theatre of Harlem sets the work in antebellum Louisiana, where Giselle can’t marry Albrecht because of her family ties to slavery.
Last Supper at Uncle Tom’s Cabin/The Promised Land (1990)
In this three-hour work, Bill T. Jones, then known mostly for pushing the avant-garde, dealt directly with his black heritage, confronting slavery and racism.
Minstrel Show (1991)
Donald Byrd created Minstrel Show in light of the slaying of Yusef Hawkins, a Brooklyn teenager killed by a white mob. Byrd reworked the piece in 2014 as The Minstrel Show Revisited after Trayvon Martin’s death and George Zimmerman’s acquittal.
Bring in ‘da Noise, Bring in ‘da Funk (1996)
Savion Glover’s musical revue showcased a history of African-American men from slavery to present day (the mid-’90s), with numbers like “The Chicago Riot Rag,” “The Lynching Blues” and “Slave Ships,” as well as a parody of Shirley Temple and Bill “Bojangles” Robinson.
Invisible Wings. PC Alan E. Solomon, Courtesy Jacob's Pillow
Invisible Wings (1998)
Joanna Haigood’s site-specific Invisible Wings is set on the grounds of Jacob’s Pillow, illuminating its history as a stop on the Underground Railroad.
Come home Charley Patton (2004)
In the third part of The Geography Trilogy, Ralph Lemon focused on various sites from the Civil Rights period, with a recording of a James Baldwin lecture about race.
Walking with Pearl (2004–05)
Jawole Willa Jo Zollar, founder of Urban Bush Women, created an homage to Pearl Primus in Walking with Pearl...African Diaries and Walking with Pearl...Southern Diaries, which received a New York Dance and Performance Award (Bessie).
Mr. TOL E. RAncE (2012)
Camille A. Brown’s Mr. TOL E. RAncE looks at intolerance and the modern dance minstrelsy.
What did we miss?
Share which dance works about racism and social injustice have spoken to you. Write to us on Facebook or Twitter @Dance_Magazine.
Social media has made the dance world a lot smaller, giving users instant access to artists and companies around the world. For aspiring pros, platforms like Instagram can offer a tantalizing glimpse into the life of a working performer. But there's a fine line between taking advantage of what social media can offer and relying too heavily on it.
If you think becoming a trainee or apprentice is the only path to gaining experience in a dance company environment, think again.
The University of Arizona, located in the heart of Tucson, acclimates dancers to the pace and rigor of company life while offering all the academic opportunities of a globally-ranked university. If you're looking to get a head-start on your professional dance career—or to just have a college experience that balances company-level training and repertory with rigorous academics—the University of Arizona's undergraduate and graduate programs have myriad opportunites to offer:
Yes, we realize it's only August. But we can't help but to already be musing about all the incredible dance happenings of 2019.
We're getting ready for our annual Readers' Choice feature, and we want to hear from you about the shows you can't stop thinking about, the dance videos that blew your mind and the artists you discovered this year who everyone should know about.
On August 19, 1929, shockwaves were felt throughout the dance world as news spread that impresario Sergei Diaghilev had died. The founder of the Ballets Russes rewrote the course of ballet history as the company toured Europe and the U.S., championing collaborations with modernist composers, artists and designers such as Igor Stravinsky, Pablo Picasso and Coco Chanel. The company launched the careers of its five principal choreographers: Michel Fokine, Vaslav Nijinsky, Léonide Massine, Bronislava Nijinska and George Balanchine.