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Journal of Dance Education

ISSN: 1529-0824 (Print) 2158-074X (Online) Journal homepage: https://www.tandfonline.com/loi/ujod20

The Need for Culturally Relevant Dance Education

Nyama McCarthy-Brown

To cite this article: Nyama McCarthy-Brown (2009) The Need for Culturally Relevant Dance
Education, Journal of Dance Education, 9:4, 120-125, DOI: 10.1080/15290824.2009.10387396

To link to this article: https://doi.org/10.1080/15290824.2009.10387396

Published online: 18 Mar 2011.

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The Need for Culturally Relevant
Dance Education
Nyama McCarthy-Brown, M.F.A.

Abstract and yet cover course objectives and district, state,


There is a need for culturally relevant teaching and national standards? In this article I will share
in dance education. Many dance teachers have personal experiences that have heightened my cul-
heard the buzz words “culturally relevant teaching tural sensitivities, provide suggestions and specific
methods.” Yet these dance educators acknowledge strategies for dance teachers who desire to become
that the “dance culture” is not always synonymous more inclusive, and discuss the importance of our
with “culturally relevant.” This paper examines role in preparing students who are acknowledged
the issue of culturally relevant teaching methods and celebrated for their unique contributions to
in dance education and makes suggestions for de- society and who possess the skills to acknowledge
velopment in this area. The author reflects on the and celebrate those who are different from them.
impact traditional dance training and hierarchy Personal Racial Experiences Have
can have on students. While many students of color Transformed Me as an Educator
adapt to and accept this system, there are countless
others who are turned-off by the exclusive approach There are many specific incidents and events
of their dance instructors, therefore never fulfill- that have informed and shaped my teaching phi-
ing their potential as dancers. What impact, then, losophy. However, the pivotal epiphany occurred
does the traditional dance training process have on during a trip I took to South Africa in 2002. There
students of color, their artwork, and consequently I met an African dance lecturer, Vusi Ngema. I
their teaching methods? This article explores these was particularly interested in his experience with
issues and offers practical teaching strategies. In Western dance training methods and how he felt
addition it presents questions for reflection on the they devalued him as a dancer. He shared with
classification of cultural “social dances.” me his story of being “discovered” and schooled
in modern dance by Western trained, Caucasian

M
any educators agree that diversity should South Africans. Somewhere in his experience,
be embraced in the classroom and dance Ngema received the notion that he “was nothing
classes should be culturally relevant, but (not a dancer) up until” he received European-
what does that really mean? How is one inclusive based dance training. He was left with the impres-
sion that he was not accepted as a dancer until
he began to study western dance styles. As an
Nyama McCarthy-Brown, M.F.A., is a doctoral
African, dance is a vital component of Ngema’s life
Student at Temple University and a teaching artist
with Dancing Classrooms Philly and Settlement
and culture, and he identified himself as a dancer
Music School in Camden New Jersey. long before he was introduced to western dance
forms.1 Dance is a cornerstone of many cultures
Correspondence: Nyama McCarthy-Brown, M.F.A., in Africa throughout the African diaspora. Within
809, North 16th Street, Philadelphia, Pennsylva- such cultures dance is integral and is used to mark
nia. 19130; nyama@tempele.edu.
life events such as birth, coming of age, seasons,
120
Journal of Dance Education Volume 9, Number 4 2009 121

harvest, marriage, and death. Hearing the story of that ballet and modern dance techniques are. They
Ngema allowed me to see my teaching methodol- do not go to class several times a week to study the
ogy in a different light. In my desire to produce dance form. They live the dance form, from making
technically proficient and competitive students, I up dances on the block, to teaching younger siblings
neglected to nurture the movements rooted in my and dancing with their elders, to the expanded
students’ culture. gestural body language of the culture. What is at
As a teacher working in inner-city public schools stake for these students is a connection to their
since 1999, I heard the buzz word “culturally rel- identity and culture. In privileging my aesthetics
evant” all the time. Yet, inspired by the interview of dance in my curriculum, students were placed
with Ngema, I felt I had to dig deeper to discover in a position to choose. If they chose the dance I of-
how “culturally relevant teaching” was applicable fered that devalued the dances of their culture, how
to dance. I sought to connect the lessons learned would that impact them later in life? Should they
in South Africa to my teaching methods. Similarly, not pursue dance as a profession? How might their
I wanted to provide my students with the tech- cultural connections be altered? I was planting a
nique that I had struggled to achieve throughout seed that could be extremely damaging. I began to
my years studying dance. Technique had been a compare my teaching situation to the experiences
gatekeeper and was esteemed by my teachers as described by Ngema.
the answer to becoming the best dancer possible. I Many of my students of color who reflect their
wanted to teach my students what I had learned. I identity, culture, confidence, prowess, and joy
thought if I instilled the prevailing value for tech- through dance had been rejected in dance and,
nique in my students, I would provide them with oftentimes, throughout the educational system. I
access into the world of dance (as if they were not legitimized my bias with statements like, “You al-
already a part of the world of dance). What I did ready know hip-hop, so we will work on things you
not realize at the time was that to instill technique don’t know so well.” In the same breath, however,
as the pinnacle of achievement served to devalue I would say, “No one ever completes training. You
the culture of dance to which many of my students can always develop more—there is no perfect plié.”
were affectionately tied. I never considered how My aesthetic judgments served to devalue what my
such values if embraced by my students would af- students inherently brought and suggested to them
fect their connection to their culture and family. that there was a superior dance form that should
be studied and embraced. These are Euro-centric
Transition in Thinking aesthetic judgments I developed over 25 years of
I was invited to build a dance program in a new experience as a student as well as a teacher. In
school for the arts in Atlanta, Georgia. Although my recognizing the generative cycle in which I found
program was developing in the area of technique, myself, I made the decision to overhaul my peda-
a number of the high school students who had en- gogy as well as my value system.
rolled in the school to study dance were dropping While many students of color adapt to and ac-
out of the program and switching to other majors. cept this system, there are countless others who
So I asked myself, “Why would kinetically intel- are turned-off by the exclusive approach and never
ligent movers, who entered a school for their love meet their full potential as dancers. What impact
of dance and were previously engaged in the art does the traditional dance training process have on
form, now suddenly disengage?” They had come to students of color, their artistry, and in turn their
the school with high esteem for their dancing; they teaching methods? Certainly I have found myself
felt: “Dance!—now this is something I can do.” Yet, perpetuating many of the same practices used by
after hours of awkwardness at the barre, they felt my instructors, not even realizing how alienating
dance class was another place in school where they the teaching methods may have been.
did not measure up. Often I have heard my students talk or com-
As I looked deeper into the situation, I made plain that I “don’t like” and “won’t let them do”
the connection that pedagogy matters. My goals hip-hop or listen to “their” music. In honesty,
had been to develop a prominent dance depart- I don’t have an affinity for hip-hop, and most
ment and to prepare students for college auditions. teachers teach to their affinity. Nevertheless,
Consequently, I focused upon ballet and modern, when working with my Latino students, I always
the traditional and time-honored dance techniques. encouraged them to share their dances, and I
This may have been interpreted by my students was quick to allow them to perform a Mexican
as a rejection of their cultural backgrounds. Social Folkloric Dance piece in our dance concerts. At
dance, for example, hip-hop, is a major part of these the same time, I begrudgingly allowed students
students’ lives, not isolated from them in the way a quick hip-hop number here or there. I thought
122 Journal of Dance Education Volume 9, Number 4 2009

that because I am a person of color, I was above Dance and dance education relishes a long
discriminating against others. Yet, I stood as a and note-worthy history of teaching cultures
gatekeeper, not allowing my students to explore through dance. Dance educators such as Margaret
and share their culture because of personal bias H’Doubler,4 Brenda Dixon, Sarah Chapman Hilsend-
and the pop culture stigma that painted much of ager, Richard Kraus,5 and Judith Lynne Hanna6 have
hip-hop as negative. I was a part of a bias and hi- written about this at length. It is a staple of many
erarchy that was exclusive and limiting. My train- dance programs throughout the nation. However,
ing was reflected in my expectations, critiques, little has been written about how to approach dif-
and evaluations of my students. I was unaware ferences in cultures and races within the classroom.
that by ignoring and denying them their unique I am not proposing teaching multiculturalism and
and cultural voice, I was doing harm when my cultural understanding through dance; that is a
intentions were to do good. Today I work against common aspect of the dance education curriculum.
favoring any one aesthetic over another and am For example, African, Latino, or Polish dances might
conscientious to promote students’ study of and be taught to students in order to satisfy what some
connection to dances from their own culture. I educators believe to be multicultural exposure. While
no longer see it as an accomplishment when my this method may indeed expose students to differ-
students choose Western dance forms over their ent dances, it does not give them tools to apply their
own cultural movement genre. The “and, both” culture in creative, artistic ways. My interest is in
philosophy is promoted instead of the “either, or” a teaching methodology that is culturally sensitive
approach. and responsive to the diverse classrooms of the 21st
Century. It is not enough to teach students about
Strategies for Inclusiveness: Everyone diverse cultures, as if culture could be marginalized
is Welcome into a topic, unit, theme, or content subject. Students
I would like to encourage dance educators to look must learn how to relate to different cultures. As
at these experiences from a new vantage point. educators we can model the desired behavior and
Learning is stifled in a space where individuals provide students with the tools to include diverse
do not feel welcome. Everyone has an entry point; cultures into their lives. Explore culture in your
and if the paradigm is circular rather than linear, methodology in addition to your content.7
then all entry points are valid and valuable. My The educator should facilitate the learning ex-
new philosophy became: meet the students where perience for all students; this is always inclusive
they are—accept their movement vernacular; ac- of establishing and cultivating the class culture.
cept their culture; accept them. Do this through Teachers can address culture directly by creat-
the implementation of teaching methodology that ing a culturally responsive classroom or studio.
serves not simply to deposit movement vocabu- Culturally relevant classrooms are not solely for
lary into students’ movement vernacular, but to diverse communities. Classrooms that appear to
co-construct a dance that values the individual’s be homogeneous also benefit from this approach.8
own movement style. Wherever that style comes It is students who are in homogeneous settings
from, we can expand upon that base to teach and who are the most disadvantaged when it comes to
learn new techniques. Instead of requiring students understanding people from different backgrounds
to overcome, or even deny their origins, I want to because they have the least exposure to other cul-
provide them with tools to work with their origins. tures. Culturally responsive teachers:
In Dixon Gottschild’s Digging the Africanist
• Include culturally relevant material;
Presence in American Performance, she calls for
• Learn the culture and communication styles
“more practices to emulate as multicultural mod-
of their students;
els.” And she added the words of Molefi Asante:
• Make cultural expectations explicit;
Our nation could be unified by bona fide multi- • Create a class culture that incorporates other
culturalism because the occasion for past griev- cultures and establishes new customs;
ances to continue to wound would be lessened, • Openly dialogue about the impact of stereo-
should African Americans have even some of types in dance; and
their needs for power sharing fulfilled.2 • Reflect on culture in the classroom.
If students are placed in a position to share their Culturally relevant material is essential to
culture and movement, they will feel a sense of providing opportunities for students to see them-
empowerment and value.3 This is the place where selves in the content material.9,10 Not only does
I can meet students and then offer them new expe- this material assist students to make real world
riences and techniques within the world of dance. connections, but it also offers students the chance
Journal of Dance Education Volume 9, Number 4 2009 123

to identify with the content. In Widening the Circle, opposed to implicit directions. For example, instead
Klug and Whitfield had this to say about teaching of saying, “Would you like to sit down?” Say, “I need
Native American children: you to sit down now.”12
This is a generalization that is often accurate.
Teaching in a way that relates to students’
On the other hand, there are African-American
lives does not mean that we no longer worry
students who respond well to implicit directions.
about what students need to pass state assess-
For example, I am an African American woman
ments tests. What it means is that we teach for
who was raised in a Caucasian household and did
understanding by incorporating culture and
not use the communication style thought to be
language into our planning for students…we
typical of African Americans. Although you can
do not have to completely rewrite curricula;
learn about diverse communication styles from the
rather, we have to extend the curricula to em-
literature,13-15 you must be cognizant that there are
brace the lives of Native students and their
exceptions to generalizations; and as the teacher,
communities.11
you will have to explore your students’ specific
State and national standards are observed but special ways to communicate through observation
should not be observed at the expense of one’s and trial and error. Over time teachers can develop
culture. If the cultural heritage and national stan- a skill for identifying differences in communication
dards conflict, then the national standards have to styles and become efficient in accessing students’
be reevaluated. ways of communicating and learning.
As dance educators we sometimes do not see It is not enough to identify the communication
how we can provide culturally relevant mate- culture and style of your students. Teach students
rial in our dance classes. Think of the materials your communication style so that they will also
provided during class: movements, music, videos, have the tools to navigate in multiple settings. Ex-
performances, costumes, and props. From what plicitly explain inappropriate behaviors and how
culture do the materials come? If you teach content such behaviors are perceived by different cultures.
from a Eurocentric culture, look for ways you can Explain to students that when you say, “I invite
provide representation from other ethnic groups. you to take a seat,” or “let’s move across the floor,”
Share the history of the five Native American Bal- you mean “sit down now,” or “everyone must line up
lerinas from Oklahoma. Critique a piece by Ballet and prepare to go across the floor.” If you feel it is
Hispanico, or challenge students to compare and a sign of disrespect for dance students to leave the
contrast Dance Theatre of Harlem’s Creole Giselle classroom without applauding or shaking your hand,
with the classic Giselle. Explore the works of the tell them. Explain that this handshake is a ritual.
Korean Ballet Theatre or the innovative ways Ask students to describe rituals in their lives so
in which Alonso King has expanded ideas about that they can understand and relate to these dance
contemporary ballet. Assign students to create a class rituals. Let students know how their behavior
ballet piece to non-traditional music, or challenge is assessed and perceived in the dance culture. How
students to choreograph a hip-hop piece to classical else will they know if it is not explicitly stated?16
music. Once a week teach a ballet barre to popular
music that students enjoy. An innovative teacher Dance as a Culture with Rituals and
can find ways to incorporate culturally diverse and Customs
relevant material into the course of study without Dance has a culture all its own. Dance students
compromising course objectives. need to understand this culture and how to navi-
gate within it while still feeling their personal
Communicating Across Cultural culture is acknowledged and valued. This is done
Barriers through explicitly explaining the culture of dance:
There are communication nuances in every culture. what are the sacred rules understood by dancers?
Culturally responsive teachers recognize these Teach them studio rules: street shoes, food, and
differences and seek to educate themselves on the drink are not allowed in the studio; barres are
communication styles of their students. There is not for leaning on; hair is to be secured away from
no “one size fits all” manual that can be used to the face. Teach them acceptable standards for
learn about cultural nuances in communication. training such as the system of wearing warm-up
Literature can provide generalizations about dif- attire. Explain to them that the privilege may be
ferent cultures. However, it is important that you awarded by age, ability level, company status, or
do not stereotype students while learning their other measures. Additionally, to attain inclusive-
communication styles. For instance, many African- ness, incorporate new cultural traditions for the
American students respond to explicit directions as studio or classroom.
124 Journal of Dance Education Volume 9, Number 4 2009

Create a unique classroom culture for all of defined as thinking about one’s practice and be-
your students. In this way all students will be ginning to see it in a new way. The opposite of
on an even keel. Develop class rituals to begin or reflection is ‘the mindless following of unexamined
end class, or make transitions during class that practices.’”19Teachers learn when they reflect upon
might pull from the cultural practices of diverse the following: the way they interact with students,
cultures. For example, I may close my ballet class their word choices, their grouping of students, and
with a révérence in a circle that draws from African their response to conflict and achievement in the
cultures. Students enter the circle one by one to classroom. Additionally, when teachers study the
perform a movement from ballet class while the cultural clashes in the classroom and any mis-
students forming the circle celebrate the dancer in understandings due to different communication
the center through a syncopated movement. Some styles, it illuminates ways to promote student
may argue, “that’s not a ballet class.” In that case achievement and better understanding.
give students a traditional ballet class as well as In thinking about our word choice, we should
a modified ballet class—add to their experiences. consider what else is being suggested when hip-
Through the creation of a class culture including hop is defined as a “social dance” and modern as
new customs, you create a culture that includes “concert” dance. How do dance educators fit into the
and belongs to each class member. No longer will perpetuation of the dance hierarchy? Is it impos-
students who feel outside the dance culture feel sible for hip-hop to be concert dance? If so, what
outside your class culture. When you are construct- does that say about the work of Rennie Harris,
ing your class culture, think of the words of Henkin, or the Alvin Ailey American Dance Theatre that
“who’s invited to share?” in your space, and “who performs Harris’ choreography in part two of “Love
are the outsiders?”17 of your class culture. It is im- Stories?” Are these now social dancers? Are hip-
portant to teach students the culture of dance, but hop dancers not technically trained? If it is not a
this should not be done in a manner that devalues. technique, then are all people inherently proficient
To exclude or not see your students’ culture is to in hip-hop? Some dance educators believe “ballet is
exclude and not see your students. the foundation of all dance.” Does that mean that
Another method of building a unique class cul- proficient hip-hop dancers have a foundation in
ture is to incorporate the idea of rituals and tradi- ballet, or that they are not proficient hip-hop danc-
tions. I have found that taking a moment to make ers without a foundation in ballet? What is being
a ritual of honoring my students or a student has suggested about the value of different genres of
gone a long way in building class esteem. Likewise, dance? In addition to their customary pedagogical
a ritual of honoring the teacher has value. When tools, dance educators need to reflect upon their
you teach students how to honor you and your work, role in instilling a value system of dance through
you teach children how to honor themselves. the language they use with their students.
Discrimination is pervasive throughout our
society, and the world of dance is not exempt. Implementation
Acknowledge the stereotypes that people of color, Changing your classroom culture is similar to
women, physically challenged, mature, short, or changing your diet. It cannot be done in one day
overweight dancers face in the field. There must be and would be overwhelming to do even in one school
dialogue about the impact of stereotypes on danc- year. Yet, little by little, you can incorporate some-
ers. Without these conversations, students move thing new into your class culture until it becomes
into the world of dance without a full understand- first nature to you and your students. Then you can
ing of the obstacles that they will face. Provide an add something else. It may begin by simply show-
opportunity for students to discuss these issues in ing an interest in your students’ movement. Learn
dance. Inform them as well about the many dance about their movement affinities. Ask your students
pioneers like Liz Lerman, Jawole Willa Jo Zollar, to teach you a dance that they enjoy. Just as it is
and Ananya Chatterjea, who are committed to rewarding to teach students dances you enjoy, pro-
producing work which breaks through barriers vide them with the same experience and reward.
for all kinds of typically marginalized people. “[P]
retending that gatekeeping points don’t exist is to Significance
ensure that many students will not pass through We as educators have the opportunity to enhance
them.”18 the learning experience of our students. Why not
construct a deliberately inclusive culture for dance?
Reflections The significance of incorporating a new dance
Teacher reflection is one of the most powerful training culture is unknown. I have encountered
tools in improving pedagogy. “Reflection has been countless people of color who have shared stories
Journal of Dance Education Volume 9, Number 4 2009 125

of feeling uncomfortable in the traditional dance all been invited to dance.


class environment and report leaving out of frus-
tration. Their departure has made them invisible. References
Many professional dancers of color will say that 1. McCarthy-Brown N: Interview with Vusi Ngema,
they were able to adapt well to the dance culture lecturer at the University of Cape Town. July 2002,
because they focused on technique, the rigor of the Cape Town, South Africa.
content, and moved forward. The problem is that 2. Gottschild BD: Digging the Africanist Presence
there were dancers who were unable to adapt to in American Performance. Westport, Connecticut:
the dance culture, who never realized their full Praeger, 1996, p. 131.
potential in dance. One cannot know the number 3. Glasser S: Choreographic politics: theatrical repre-
of students who were alienated through the dance sentations of the body. Conference proceedings from
training experience and never reached their full- Congress on Research in Dance, December 2-4, 1999,
potential or possibly left dance altogether. What is p. 87.
certain is that as we move into the 21st Century, 4 H’ Doubler M: Dance: A Creative Art Experience.
dance educators must examine the pedagogy that Madison, WI: University of Wisconsin Press, 1957.
has been used in the past and look for ways to 5. Dixon B, Hilsendager SC, Kraus R: History of the
incorporate more inclusiveness in the present. Dance in Art and Education. Englewood Cliffs, NJ:
How can we create classrooms that celebrate and Prentice Hall, 1991.
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the traditions and specialties of dance? It can be paign, IL: Human Kinetics, 1999.
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Diversity Connecting Curriculum to Students’ Lives.
Conclusion Portsmouth, NH: Heiemann, 2001, pp. 14-15.
As dance teachers we want the best for our stu- 11. Klug BJ, Whitfield PT: Widening the Circle: Cultur-
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watch them develop as dancers, but most teachers dren. New York: RoutledgeFalmer, 2003, p.152.
also seek to develop the person. Personal identity 12. Delpit L: Other People’s Children: Cultural Conflict
is integral to cultural affiliations and the feeling in the Classroom. New York: The New Press, 1995,
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culture. It is not enough to speak about diversity; of Culture in the Teaching-Learning Process. Boston:
we must model the behaviors we want our students Pearson, 2005.
to embody. We must show students how to create 15. Greenfield PM, Rothstein-Fisch C, Trumbull E,
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