On a sunny Saturday afternoon, I hopped on Muni to the Asian Art Museum to catch Gerald Casel’s “Dancing Around Race.” The event included a lecture by Casel, 5 site-specific performances, and a post-show discussion.
It started with a 20-minute lecture by Casel, “Dancing Around Race; Interrogating Whiteness in Dance,” which provided a framework for watching the 5 dances on the program. These dances “reflect on a year of research” – the choreographers, Yayoi Kambara, Raissa Simpson, David Herrera, SAMMAY, and Gerald Casel, participated in Casel’s year-long Community Engagement Residency through the Hope Mohr Dance 2018 Bridge Project:
“Together they interrogated the dynamics of equity in performance, specifically how the structures and systems of dance presentation are affected by race and power”
I stand in relation to Casel’s work as a white woman and I appreciated Casel’s framing as it encouraged me to consider the multiple ways in which my perspective is (always) shaded by this stance. Casel’s talk charted his journey in curating and creating Dancing Around Race. It was thoughtful, reflective, and insightful and brought into constellation questions, terms, and realities of bodies, dance, and dance-making:
- Invisibility of whiteness
- False universalism (as whiteness)
- White fragility
- Whiteness as neutral, normal, ordinary
Casel did not hold back. He voiced struggles and frustrations working on Not About Race Dance and the Dancing Around Race Public Gatherings. He stressed the need to keep naming the inequities from various standpoints. I was particularly struck by his list of major dance companies in San Francisco dominated by “white individuals.”
Casel’s framing lingered as I moved around the Asian Art Museum encountering works in Samsung Hall, the Wilbur Grand Staircase, Bogart Court and Lee Gallery. I didn’t take too many notes as I wanted to experience the dances without distraction. By the time I ended up back in Samsung Hall for Casel’s Duet X, I felt invited into a conversation that had already been happening and at the same time ongoing. Both Herrara’s It’s Always Also Me and SAMMAY’s a technoritwal asked the audience to carefully, mindfully and playfully consider their points of view, and their bodies’ views – they articulated and spoke. With all 5 dances, I noticed direct and unwavering movement modalities that clearly embodied a year of research and the persistence of work. The post-show discussion continued Casel’s opening lecture as the choreographers discussed their movement modalities, offered ways white communities can “decenter,” and considered what it means to unpack white neutrality.
A week later I found myself sitting at a university forum on black women in the academy. They began by asking: “who’s research is considered valuable?” University of San Francisco University Professor Stephanie Sears responded by explaining how her research on “how black women and girls work with and against each other to create safe space, construct identities and empower themselves” was seen as “too particular” and not generalizable enough. With “Dancing Around Race” Casel is asking us to stop generalizing dance and to value dances, dancers, and dance-makers of color for their particular stances, experiences, and perspectives. Casel, like Sears, is a researcher to watch and read.