Black Dancers in Higher Education Series (Part 1 of 4)

Brooke Taylor. Photo by Ri @mariahjcf (Instagram).

 

An Interview With Brooke Taylor: Dialogue for Change and Understanding

By Camryn Eaglin

As a black dancer in higher education myself, I have constantly reflected upon my personal experiences. Existing in a space where you are different is not necessarily a bad thing; however, when there are institutional structures and societal fabrics that were not made with you in its initial vision, unique challenges can exist.

As a dancer and writer, I have so desperately wanted to explore the experiences of other black dancers within the University. So, I took the initiative to interview three black dancers from three different dance programs around the country. The intention is to amplify their individual experiences, speak their truth, and review the overall culture of black dancers in higher education. Is there a way to improve the overall experience? Have there been major strides in the right direction? Are there similarities and differences between dance programs and their relationship with black students? I aim to find some clarity and perspective.

The first interview of our series is with Brooke Taylor. She is a sophomore BFA student in the University of Michigan’s dance department. Her sophomore class has 18 dancers in total, with  two black dancers. Taylor gives us a lens into her experience thus far.

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Camryn Eaglin (CE): Why did you want to pursue higher education in dance? Why was this important?

Brooke Taylor (BT): I wanted to continue dancing especially at the University of Michigan because I knew there was a lack of representation. I felt like if I were to go into that program, I could make it better for the next black woman behind me. I also believe it’s important for black girls to see that it’s possible, that black women and black men can make a career out of dance.

CE: Does your department have professors of diverse cultural and racial backgrounds? 

BT: Yes. We have two Chinese American teachers and about three black professors. We also have one Native American professor. 

CE: Does your department expose students to various guest artists in a variety of dance styles?

BT: I feel like yes, they try to but I feel like it’s important for conversation to be had because conversation is most important. How can one grow as a human or a dancer if we are not having a real conversation about these styles, what they mean, and what they come from. So, I feel like that’s something they could do better at.

CE: What dance courses are you required to take and what other courses are available to you as a dance major?

BT: I don’t necessarily want to speak on this because I know the chair of my dance department is working very hard in limiting the white supremacy in dance. So I’m pretty sure that the University of Michigan, at least our dance department, is going under a reconstruction period. But I know in the past, the typical ballet, modern, and composition were required.

CE: Do you like the dance courses presented to you as a requirement or do you wish there was more variety and exploration?

BT: I’ve  been talking to my friend about this and we always say we wish there was more black dance. And yes, we do have Dunham and we have three black teachers but to get the real black dance experience, we have to have more styles that surround the African diaspora and those types of styles. I feel like it’s not as appreciated from white students and that’s another problem and something that just needs to be changed in dance.

 

“We celebrate risk taking, engaged learning, and entrepreneurship, with an expansive approach to the relevance of dance within culture.” - University of Michigan Dance Department

 

CE: As for dance concerts, are they well-rounded in dance styles or does your department have a very specific stylistic lane?

BT: Again, I think the dance concerts are well-rounded. Last year when Covid wasn’t happening, we had a concert entitled Latinx Expressions and it was devoted to the Latinx community. However, there was no conversation that was had on ---- Why is this important? What does it feel to be a white person dancing about the Latinx experience? Dance has to be very conversational and you always have to interchange perspectives, ideas and experience. 

CE: Does your department help explore and facilitate conversations or art about social issues like racial inequality, body image, etc.?

I am a part of Arts in Color, and that is an organization within our dance department. We really do try to cover all of these issues. We have constant conversations with our chair of the dance department, Christian Matijas Mecca. I feel like he is working towards a lot of change in the dance department; because when there was previous leadership, there wasn’t a focus on these issues. So, I believe everything is changing but there is always more that can be done.

CE: What is the environment like in your department and how you interact with one another or just the culture in general?

BT: Just to be honest, I do feel like an outsider sometimes but luckily I am an extrovert so I can manage it. I also have a friend really close to me and she is about two years ahead of me. She had really helped and supported me throughout feeling alone and throughout feeling like an outsider. Again, there is not enough conversation and sometimes students really don’t understand what’s going on and nobody wants to ask that question. And of course, they are uncomfortable conversations but they need to be had.

CE: Do you feel supported by faculty? Do you have a mentor in the program and is the person BIPOC?

BT: Yes, I do feel supported by faculty. I had to think about that. I wouldn’t say I have one specific advisor or mentor. I feel like I can truly go to all of the black teachers. I can go to my chair of the department and really tell him anything that’s on my mind and I really appreciate that. 

CE: Is there a time you felt alienated or different from other dancers in your department?

BT: Yes I have. I would say in the past, before I was dancing at the University of Michigan dance department, this feeling has caused multiple African American dancers to leave the department. Although that was discouraging to a certain extent, it made me want to fight even more, and make sure that the next black dancer feels more supported--- like they can be more successful in this department.

CE: Overall, how has your experience in higher education been thus far?

BT: My experience has been definitely different then what I thought it would be. I feel like dance at a collegiate level is just very different than what many dancers expect it to be, especially coming from a competitive world. But it's definitely been insightful.

CE: What are your goals in the future post-graduation?

BT: I’m still figuring that out but I hope to be performing in some way, shape or form. I hope to be inspiring and to be a mentor, a role model to other young black dancers. I hope  that I can just be the epitome of “Oh, I can do that too.”

Brooke Taylor. Photo courtesy of the artist.

 

Camryn Eaglin is a dancer and writer earning a Bachelor of Science in Dance and a minor in Broadcast Journalism from Wayne State University. She is currently an intern with Life as a Modern Dancer.

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Related links:

5 Questions for Camryn Eaglin, Life as a Modern Dancer Intern

Organization Spotlight: C.A.A.C (Collegiate Association for Artists of Color)

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Comments

[Charles Bradbury]

This was a very interesting and well thought out interview. It's refreshing to understand the insight and the practices these young dancers have experienced. Diversity in the arts is essential as it is in life. I look forward to the next installments in this series.

[Charles Eaglin]

Fantastic article. Great delineation of dance race