The Evolving Canon: How Arts Funding and Identity are Reshaping American Choreography
The pressure to define oneself within a historical lineage – “the canon” – is a familiar anxiety for any artist. But for a new generation of American choreographers, particularly those from underrepresented backgrounds, that pressure is amplified, and increasingly tied to the demands of funding and institutional validation. Lauren Morrow’s upcoming novel, Little Movements, offers a compelling glimpse into this dynamic, portraying a choreographer navigating expectations around ‘Americana’ and her place within the Black dance canon. This isn’t just a fictional dilemma; it reflects a real shift in how artistic merit is perceived, funded, and ultimately, remembered.
The Rise of Identity-Based Funding and Artistic Categorization
Margot Mattenberg’s insistence on categorizing Layla Smart’s work as “Americana” – and then subtly, yet pointedly, referencing Black choreographic giants – highlights a growing trend in arts funding. While initiatives promoting diversity and inclusion are vital, the excerpt reveals a potential pitfall: the expectation for artists of color to consistently address themes of race and identity in their work. This expectation, while often well-intentioned, can be limiting, forcing artists into pre-defined boxes and potentially overshadowing the nuances of their artistic vision. As the National Endowment for the Arts reports, funding for minority-led arts organizations is increasing, but often comes with implicit or explicit thematic expectations.
Beyond “Revelations Redux”: The Burden of Representation
Layla Smart’s self-deprecating remark about not being able to “crank out a Revelations redux” speaks volumes. Alvin Ailey’s Revelations remains a cornerstone of American dance, a powerful and enduring work. However, the expectation that subsequent Black choreographers must continually respond to or emulate its success creates an undue burden. It implies that their artistic value is contingent on their relationship to this single, albeit monumental, piece. This pressure isn’t unique to dance; it echoes across artistic disciplines, where artists from marginalized groups are often asked to represent entire communities or historical traumas.
The Influence of Multiple Lineages: A Postmodern Approach
Smart’s internal monologue – acknowledging influences ranging from Ailey and Cunningham to Graham and Bausch – is crucial. It demonstrates a postmodern sensibility, recognizing that artistic inspiration is rarely linear or confined to a single tradition. The most exciting choreographers today aren’t simply replicating existing styles; they’re synthesizing diverse influences to create something entirely new. This blending of traditions is particularly evident in the rise of hybrid dance forms, incorporating elements of hip-hop, contemporary, and traditional African dance, for example. This fluidity challenges the very notion of a rigid “canon” and opens up space for a more inclusive and dynamic artistic landscape.
“Haraka Haraka Haina Baraka”: The Importance of Patience and Investment
Margot’s Swahili proverb – “hurry, hurry has no blessing” – offers a vital counterpoint to the pressures of immediate recognition and thematic expectation. True artistic innovation requires time, space, and sustained investment. The excerpt subtly underscores the power dynamics at play: Margot, as the director of a well-funded institution, holds the keys to Layla’s success. This highlights the critical role of arts funders in fostering a supportive environment where artists can take risks, experiment, and develop their unique voices without being constrained by external pressures. Long-term grants, residencies, and mentorship programs are essential for nurturing the next generation of choreographers.
The Future of the Canon: Decentralization and Diversification
The concept of “the canon” itself is undergoing a re-evaluation. Historically, it has been dominated by white, Western artists. However, a growing movement is advocating for a more decentralized and diversified canon, one that recognizes the contributions of artists from all backgrounds and traditions. This isn’t about erasing the past; it’s about expanding our understanding of artistic excellence and acknowledging the richness and complexity of human expression. The future of American choreography lies in embracing this multiplicity, celebrating innovation, and providing equitable opportunities for all artists to thrive. What are your thoughts on how arts institutions can best support a truly inclusive and dynamic artistic landscape? Share your perspective in the comments below!