filled the room. An older Black woman danced across the stage and encouraged us to grab instruments and join in. There were performances by Ballethnic Dance Company (ballet), Tap Rebels, and CiCi Kelley (hip hop/street dance). As I watched these perfor- mances and heard words of gratitude and honorees’ acco- lades, it dawned on me how many Black women were in the room: in the audience, pre- senting on stage, being lifted up among their colleagues. For decades of hard work. Would I be one of them one day? I’ve been a dance artist since I was a child. Dance moved from hobby to profession—from my praise dance beginnings, to my cur- rent roles as teacher, choreog- rapher, artist resource manager, podcast producer and more. As I’ve learned about the business side of dance, I’ve found more women to be impressed by. Black women founding and leading com- panies. Making waves in the community. I picture my name in lights one day, just like them.
The crowns that the OGs labored for placed squarely on our heads. AS BLACK WOMEN, our crown is essential to our self image. I looked around the room and saw a diversity of crowns: braids, locs, curls, perms, twist-outs, sew-ins, Afros, presses and waves. Hair as dynamic as our goals. A question was asked by WOCA director, Kaisha S. Johnson: “What are your dreams and what do you need to make them a reality?” Dreams ranged from hiring a photographer, to creating a youth program, to expanding a physical space, to creating podcasting networks. Some dreamers had their needs met right there in the room. Others exchanged busi- ness cards and promises to connect for resources. It was a moment of connection and community. Minds coming together to conceive and build an arts community that can rise to its fullest potential. As I was leaving the confer- ence, filled with pride at such an awesome display of culture and leadership, I won- dered again to myself, “Will
WHEN I HEARD Women of Color in the Arts (WOCA) would be holding a forum within the Dance/USA conference, I knew this was my chance to meet other Black women working in white-centered spaces, looking to put down roots and raise voices. WOCA dedicates itself to trans- formational change in the arts sec- tor. During the forum we lifted up one another’s work, reflected on the Dance/USA conference experience, unpacked the experience of being a woman of color in a predominately white industry. The room was 99% Black women. It felt like a homecoming. There was a moment when a rap battle broke
out and almost everyone started beatboxing, laughing or hyping up the women on each side of the room. This room held the types of women I’d seen throughout my entire life: The OGs—the groundbreakers who took those first steps into ballet when society was telling them nobody wanted to see them. The Troublemakers—women who brought our heritage to the stage front and center and didn’t take no for an answer. The Next Wave—my peers, women who are showing our creativity onstage and at the heads of tables. And bringing our sisters with us.
I be one of these dynamic wonder women that lead the way and make a change in our community?” I’m definitely on my way there. Bay Area native ANDRÉA SPEARMAN is an administrator, choreographer, performer, teacher, and student of modern-based movement with over 20 years of experience. Her company A. Spearman & Co . is a con- temporary fusion dance company where artists are trained in ballet, jazz, hip hop, modern, cultural dance, photography, live vocals, poetry, acting, directing, producing and more. Currently Andréa produces and hosts, The Black Landscape podcas t, a series of conversations that spotlight Black people doing significant work in the SF Bay Area.
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In Dance | May 2014 | dancersgroup.org
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