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Reaching Back While RICE UNIVERSITY The African American Dancing Body: A Site for Religious Experience through Dance By Shani Diouf A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE Master of Arts APPROVED, THESIS COMMITTEE Claire Fanger Associate Professor Co-Director of MA Studies Elias Bongmba Professor of Religion, Harry & Hazel Chavanne Chair in Christian Theology, Department Chair Niki Clements Watt J. and Lilly G. Jackson Assistant Professor of Religion, Allison Sarofim Assistant Professor of Distinguished Teaching in the Humanities, Director of Undergraduate Studies for the Department of Religion HOUSTON, TEXAS April 2021 Abstract African American religious dance is not a topic previously explored in detail beyond dance that has historically existed in the church within the confines of Christianity. However the African American religious experience is not limited to Christianity and is inclusive of various religious practices extending beyond the church and thus required deeper exploration of what constitutes an African American religious experience, especially as it relates to dance. In an effort to explore this, careful exploration of the Ring Shout was necessary as a tool in discussing the evolution of the African American religious dances. Using the Ring Shout as a lens for viewing subsequent dances of the diaspora within my thesis, I acknowledge it as the first African American Religious dance with special emphasis being placed on its purpose and function as a form of communal action and way of achieving oneness by the practitioners, ultimately laying the foundation for subsequent dances. I also include interviews that I conducted with dance practitioners of different dance genres about their perceived notions and personal experiences of what makes a dance religious. I ultimately arrive at a definition of African American religious dance that is neither aligned with Christianity or any other specific religion but is instead representative of the communal identity of being Black in America and a visual movement manifestation of the wrestling of what that engenders. I ultimately assert that African American religious dance can be both inclusive of secular dance and a religious experience simultaneously. 2 Acknowledgments I am immensely grateful for this opportunity to confront questions both academic and personal that I have been wrestling with for some time within the confines of my thesis here at Rice University. I am grateful for each and every professor that I have had the opportunity to study with in the Department of Religion. I have been challenged academically in ways that I did not imagine and for that I am grateful. I would like to thank the members of my committee; Professor Elias Bongmba thank you for meeting with me and never hesitating to answer my questions and for always having recommendations for me, and even allowing me to borrow books from your personal collection. Professor Niki Clements I so appreciate you creating space within the 19th Century History & Methods Course for me to consistently explore how the topics may relate to dance. Professor Claire Fanger thank you for listening and becoming genuinely interested in my research in an effort to assist me and for constantly challenging me with questions and feedback. I am forever grateful. I would also like to thank Professors who while not on my committee have contributed to my learning and research in immeasurable ways; Professor Nicole Waligora - Davis whose course in the English Department - Blackness - introduced me to many previously unexplored authors ultimately assisting me in constructing a solid framework for my thesis and Professor Tony N. Brown in the Department of Sociology who introduced me to the concept of Black Sociological thought. I also give special thanks to the dance practitioners who, understanding the importance of my research, allowed me to interview them and answered each question that I had in detail and with patience. Finally, I would like to thank my family and friends who have supported me 3 by listening to me talk through much of the content, praying with and for me, and when needed giving me space to sit with my work. I am forever grateful. 4 Table of Contents Introduction. Setting the Stage .............................................................................................. 6 Defining African American Religious Dance ................................................................................... 11 Chapter 1: Ring Shout: Embodied Aesthetics: Reaching Back and Moving Forward ............... 18 1.1 Contributing Interview: Tamara Williams ................................................................................ 24 Chapter 2: Reimagining Performance in the Context of Performative Death and Suffering .... 33 2.1 The Performative in North America ......................................................................................... 33 2.2 Embodied Aesthetics in West Africa ........................................................................................ 40 2.3 Contributing Interview - Germaine Acogny .............................................................................. 43 2.4 Contributing Interview – Gideon Alorwoyie............................................................................. 49 Chapter 3: Musical Influence ................................................................................................ 52 3.1 Contributing Interview – Ricco D. Vance .................................................................................. 54 Chapter 4: Experiencing Religion in the Body ........................................................................ 57 4.1 Contributing Interview – Chris Thomas.................................................................................... 63 4.2 Hip-Hop Choreography and Religious Experience .................................................................... 71 Conclusion ........................................................................................................................... 73 5 Table of Figures Figure 1. Students at The University of North Carolina Charlotte performing William's choreography of the Ring Shout ................................................................................................... 32 Figure 2. Thomas dancing in the Cypher at The Red Bull Dance Your Style Event ....................... 70 6 Introduction. Setting the Stage Honoring both African and European needs, enslaved Africans found ways to shift weight from heels to toes, to insides and outer edges of the feet, moving the feet in various directions, turning toes and knees in and out, sliding, gliding, shuffling, stomping the feet-without ever crossing them or lifting them from the ground. On top of this they articulated the torso and limbs in counter rhythms and different directions, adding syncopations and improvised movements throughout the body. Thus, they were not breaking white Protestant rules-not dancing in a European sense! What they were doing, in an exquisite example of acculturation, was inventing a new dance form! -Brenda Dixon Gottshchild, The Black Dancing Body: a Geography from Coon to Cool What is African American religious dance? While terms like Black dance or African American dance have been used in academic discussion for some time, much of the conversation around African American religious dance focuses on dance in churches or performed in a Christian context, referencing both the historical dance called the Ring Shout, a dance performed by enslaved Africans moving in a counterclockwise circle, or the Shout, a contemporary development of the Ring Shout that does not take place in a circle in the same way the Ring Shout does but is still associated with religion through church settings. Consideration of the Ring Shout – which I will further examine in Chapter 2 -- is necessary here, not only because it was the earliest form of African American religious dance,1 but also for understanding what constitutes an African American religious experience. Both the Shout and the Ring Shout are referenced as “religious” in the context of Christianity, but a broader perspective is necessary since the African American religious experience is not limited to 1 Barbara S. Glass, African American Dance: An Illustrated History, (Jefferson, NC: McFarland & Company, Inc 2012), 32 7 Christianity. Can secular dance in the African American community serve the same purpose as the Ring Shout? My undertaking has both academic and personal implications for me and is in part centered around researching the importance of the Ring Shout specifically for several noted connections to the religious influence in contemporary dances that I have observed in my practice as a dancer, choreographer, and teacher in diverse performance spaces throughout the diaspora. My thesis, while focusing a significant amount of attention on Saidiyah Hartman’s Scenes of Subjection to aid in my investigation into why and how African American performance was affected by enslavement, also draws in part on historical recollections of experiences of the enslaved and historical and contemporary reflections on the Ring Shout, the first African American religious dance. However I am especially interested in the way contemporary African and African American dancers view their own techniques and experiences. Thus in part I draw on interviews with dancers which were meant to elicit reflections on their relation to dance experiences, their sense of their own
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