African American Dance : where performance and art intersects
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In his poem “She of Dancing Feet Sings”, Countee Cullen expresses his desire to dance and live an exuberant, passionate life despite the consequence of being seen as sinful. This is the same motivation which illuminated the art of the Harlem Renaissance, whether the consequence of sinfulness was in the eye of the artist or their family or, more likely, the eyes of white onlookers. African American dance in this time period is powerful and expressive, without any restraint. In many ways the art feels raw and unpolished, but this is only a byproduct of the same phenomenon Hurston describes: “the Negro is restrained, but succeeds in gripping the beholder by forcing him to finish the action the performer suggests.”
Leaving some aspect up to interpretation and understanding creates an air of personality and humanity which is lost in the more “prestigious” white counterparts. It takes an entirely different type of skill to move your body in a certain way and to truly dance. For many white artists at this time, dance is seen as discipline and performance, but African American dance is the pinnacle of freedom. Cullen greatly desires the love and happiness which comes with surrendering, or finding, one’s self in the art.
This contrast between performance and expression is also illustrated in “The Harlem Dancer” by Claude McKay. McKay uses this poem to depict the dehumanizing nature of performance art. His interpretation of the dancer is one laced with respect, contrasting from the behavior of the audience. The audience sees the dancer only for her body and are unable to see the emotion and person behind her movements. Whereas, McKay shows her inner pain and humanity. McKay also highlights the difference between performance and art in the way the dancer is not fully in the art. The art is not only lost in the audience's lack of respect, but also in the dancer's distant emotions and struggle through the performance. This illustration of an art form disrespected further pertains to Hurston’s ideas: art lies in the eye of the onlooker, and when they lack a level of nuanced understanding and depth, the art goes misunderstood.
This debate surrounding art has remained prevalent throughout history. Is art in the eye of the beholder, or is the intention behind a piece what ultimately awards its meaning. Hurston examines these questions while simultaneously explaining the unique and powerful characteristics of African American art. African American dance traditions have greatly impacted not only the culture and people of the time but the art form as a whole. Dance has grown more expressive and more diverse through both the dancers themselves and the authors such as Hurston, Cullen, and McKay who have written about its significance.
McKay, Claude. The Harlem Dancer. Poets.org, Academy of American Poets, 2025, https://poets.org/poem/harlem-dancer
Cullen, Countee. She of the Dancing Feet Sings. Poets.org, Academy of American Poets, 2025 (or the year given on the site), https://poets.org/poem/she-dancing-feet-sings
Hurston, Zora Neale. The Characteristics of Negro Expression. 1934. Americans in Class, AmericainClass.org, https://americainclass.org/seminars11-12/artnewnegro/NegroExpression.pdf
Hi Olly, Your blog does a great job analyzing African-American dance as an art form and in terms of its cultural impact. Your point about white onlookers seeing dancing as sinful brings to mind the weaponization of Christianity to justify the enslavement and oppression of African-Americans. But you also mentioned dancing as freedom--not only because it is an expression of their culture, but because it is in defiance of rules which, intentionally or not, put African-Americans in a box.
ReplyDeleteHi Olly! I think your explanation of how Hurston, Cullen, and McKay each approach the idea of dance was very well thought out. The way you described African American dance as something rooted in emotion rather than strict technique showcases Hurston’s point in an unique perspective. Your discussion of “The Harlem Dancer” stood out to me too, especially the idea that the crowd completely misses the performer’s inner life. Overall, amazing work!
ReplyDeleteHi Olly, I really enjoyed reading your post and the connections you made with African American dance and African American poets/poetry. In this class we have seen that many African American artists make their art not in a way that prioritizes everyone but as a way of self-expression with prioritization of the self. And it is because of this unapologetic self-expression that draws us to African American arts, although white art might be prized for its exactness and sharpness, one cannot help but stop and stare at the "soul" exhibited in black art, which is a point you yourself make.
ReplyDeleteHey hey!! I think this is such an interesting topic to connect to Black art since it shows up repeatedly throughout the pieces of literature we read. You represent Hurston's points in a really insightful way and I find the question posed at the end so thought-provoking. I think it really is a combination of both how people perceive a piece of art combined with the thought and motives behind the art itself that gives it meaning, as well as the effect it has on people.
ReplyDeleteHi Olly! Your analysis of African American dance insightfully highlights its beauty by framing it as a symbolic expression of emotion and freedom as opposed to discipline. I also appreciate how you delve into the dehumanizing side of dance through Claude McKay’s “The Harlem Dancer.” This contrast between liberation and objectification adds valuable nuance. Awesome post!
ReplyDeleteOlly, I liked your choice in including specific snippets from Hurston's anthropological analysis. Her distinct writing really embellishes your analysis well! I think it's interesting how dance became an outlet for true expression. While not immune to outside criticism, its "unconventionalism" created an art form that required an empathetic viewing of their livelihood to be understood.
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