Beyond the Stage: How Dance Education is Cultivating the Next Generation of Leaders
Nearly half of Americans feel disconnected from their communities, a statistic that underscores a growing need for skills beyond traditional academic disciplines. But what if the key to fostering engaged citizens, innovative thinkers, and effective leaders wasn’t in another textbook, but in the movement-based learning of dance? Amara Tabor-Smith, an award-winning performer, choreographer, and educator at Stanford University, isn’t just teaching dance steps; she’s pioneering a new model of higher education that views the arts as a crucial incubator for societal change.
Reimagining Dance Education: From Performer to Changemaker
For decades, dance programs in universities have primarily focused on training students for professional performance careers. Tabor-Smith challenges this conventional approach, asking a fundamental question: how can dance education equip students with the skills to become impactful leaders in any field? Her work, deeply rooted in what she terms “Afro-now-ism,” explores the intersection of past, present, and future, using movement as a vehicle for critical thinking and social awareness.
“Everything is connected,” Tabor-Smith explains, highlighting the holistic nature of her teaching philosophy. She emphasizes collaboration, welcoming student questions – even those she doesn’t immediately have answers to – as opportunities for mutual learning and growth. This approach acknowledges the evolving dynamic between educators and students, recognizing that younger generations bring fresh perspectives and keep teaching relevant.
The Body as Knowledge: Disrupting Traditional Learning
Tabor-Smith’s courses, such as “Conjure Art 101” and “Moving the Message: Reading and Embodying the Works of bell hooks and Audre Lorde,” are groundbreaking in their approach. They move beyond intellectual understanding, actively engaging the body as a crucial component of learning. This challenges the Cartesian idea of “I think, therefore I am,” embracing Audre Lorde’s assertion that “I feel, therefore I can be free.”
By prioritizing embodied knowledge, Tabor-Smith’s pedagogy fosters a deeper, more nuanced understanding of complex concepts. Students aren’t simply memorizing theories; they’re experiencing them through movement, developing empathy, critical self-awareness, and the ability to articulate ideas in powerful, non-verbal ways. This skillset is increasingly valuable in a world demanding emotional intelligence and adaptable problem-solving.
Afro-Now-ism and the Revival of Cultural Memory
Tabor-Smith’s artistic work, exemplified by pieces like “Revival: Millennial reMembering in the Afro NOW,” demonstrates the power of dance to connect with cultural heritage and address contemporary issues. Created in honor of the 50th anniversary of the Committee on Black Performing Arts (CBPA), the piece explores the cyclical nature of history and the importance of remembering the past to inform the future. As BlackPast.org details, the CBPA emerged from the Black student activism of the 1960s, providing a vital platform for Black artists and voices.
As Artistic Director of the CBPA, Tabor-Smith is committed to revitalizing its legacy, including the relaunch of the Black Arts Quarterly journal. This commitment to preserving and amplifying Black artistic expression is a cornerstone of her work, demonstrating the power of the arts to challenge dominant narratives and promote social justice.
The Artist-in-Residence Model: A Blueprint for Innovation
Tabor-Smith’s position as an Artist-in-Residence at Stanford University provides a unique space for experimentation and innovation. This model, which allows artists to create work while simultaneously teaching and mentoring students, is gaining traction at universities nationwide. It recognizes the value of artistic practice as a form of research and knowledge creation, fostering a dynamic exchange between theory and practice.
Balancing creative work, teaching, and caregiving (for her 96-year-old mother) requires exceptional time management skills, a challenge Tabor-Smith embraces. Her experience highlights the importance of intentionality and prioritization, lessons she imparts to her students.
Looking Ahead: The Arts as Essential Infrastructure
Amara Tabor-Smith’s work isn’t just about training dancers; it’s about cultivating a generation of leaders equipped to navigate the complexities of the 21st century. By valuing embodied knowledge, fostering critical thinking, and embracing cultural heritage, she’s demonstrating the transformative power of arts education. As universities grapple with preparing students for an uncertain future, the lessons learned from Tabor-Smith’s innovative approach offer a compelling vision: the arts aren’t a luxury, but essential infrastructure for a thriving society. What role do you see the arts playing in shaping future leadership?
