W ith its feet deeply rooted for- ward and its head turning back towards an abandoned egg, the Ghanian symbol of the Sankofa bird serves as a guide for connecting with the past to understand how we can positively shape the future. That is, to know our histories can help us to better understand our present selves and how we fit into the world around us. It is a reminder to keep moving forward while showing rever- ence to those in the past who have taught us how to sur- vive, grow, and uplift ourselves and each other. In the ballet world, this reverence is manifested through a fight for more seats at the table for ethnically, cultur- ally, and racially diverse dancers, choreographers, and
IF THEY DON’T GIVE YOU A SEAT AT THE TABLE, MAKE YOUR OWN TABLE 1 By OLIVIA WINSTON and MADISON LINDGREN
artists. This is in part because of the ever-growing number of people, like us, who identify with more than one ethnic or racial background and are exhausted by the privilege and entitlement of white voices dominating the space at the head of the table. The complexity of existing between two cultures becomes even more complicated in a dance world that glorifies Eurocentric ideals of beauty and upholds white supremacy. Along with favoring white dancing bodies, Western dance techniques are usually taught in an author- itarian manner, which creates a power dynamic between teacher and student and can foster an environment of abuse, fear, and discrimination.
1 A nod to Shirley Chisholm, the first Black woman to be elected to the US House of Representatives, who famously said, “If they don’t don’t give you a seat at the table, bring in a folding chair.”
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in dance WINTER 2023 12
WINTER 2023 in dance 13
In Dance | May 2014 | dancersgroup.org
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