Black dance in the United States from 1619 to 1970

Published in 1971, Lynne Fauley Emery's *Black Dance in the United States from 1619 to 1970* arrived at a crucial moment, offering a comprehensive historical survey where little existed before. From the forced migrations that brought diverse African dance forms to American shores, through the brutal realities of slavery where dance persisted as both resistance and survival, to its evolution in minstrelsy, vaudeville, and the burgeoning concert stage, Emery traces a lineage with exacting detail. She meticulously documents the ways in which African aesthetics—rhythm, polycentricity, improvisation—were adapted, suppressed, and ultimately revitalized within the American context, providing a bedrock for future scholarship.

Emery’s strength lies in her diligent archival work and her commitment to contextualizing dance within the broader social and political landscape of each era. She does not merely list names and dates; rather, she explores the *conditions* under which Black dance developed—the legal restrictions, the economic pressures, the racial prejudices, and the enduring spiritual and communal impulses. This approach allows readers to grasp not only the 'what' of Black dance history but also the 'why' and 'how,' illustrating its resilience and adaptability in the face of systemic adversity. The early chapters, detailing the origins and forms of dance within enslaved communities, are particularly illuminating, dispelling common misconceptions.

The narrative progresses through the post-emancipation era, examining the rise of professional Black performers, the problematic but influential presence in minstrel shows, and the eventual emergence of Black choreographers and companies aiming for artistic recognition beyond entertainment. Emery highlights key figures like Bert Williams and George Walker, and later, Katherine Dunham and Alvin Ailey, demonstrating their pioneering efforts to legitimize Black dance as a serious art form. Her discussion of the Harlem Renaissance’s impact on dance and the gradual shift towards a more self-aware, culturally specific modern dance vocabulary is insightfully rendered, emphasizing the ongoing struggle for artistic autonomy.

Despite its many strengths, the book, by virtue of its publication date and ambitious scope, occasionally suffers from a certain compression in its later chapters. While the early historical periods are explored with commendable depth, the post-1940s—a period of immense innovation and diversification within Black dance—sometimes feels more like a survey than a deep dive. One wishes for more sustained analysis of individual choreographers and companies, particularly as modern and postmodern dance began to flourish; the narrative, at times, sacrifices nuanced artistic critique for the sake of chronological breadth. This is not a fatal flaw, but rather an indication of the vastness of the subject matter Emery bravely tackled.

Ultimately, Emery’s *Black Dance in the United States from 1619 to 1970* remains an indispensable volume. It is a testament to the enduring power of cultural expression and a powerful corrective to historical narratives that frequently erased or marginalized Black contributions. Her careful scholarship laid the groundwork for countless subsequent studies and continues to serve as a vital reference point for dancers, scholars, and anyone interested in the indelible impact of Black artistry on American culture. It is a book that demands respect not only for its content but for its pioneering spirit.