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After months of colliding with each other, our very own Niara Hardister took the initiative to assemble the most inclusive, supportive, and talented group of folks I know.

Internationally-Flexing, Izzie-Award-winning, Artistic Director of Afro Urban Society, Nkeiruka Oruche, a 15-year+ IRL & URL vibes dispenser and charlatan of Afro Urban Dance is casting for a new show that takes place at the renowned Ase-Umoja-Juju Cultural Dance Center. 

As I reflect on this year of virtual dance learning, one thing has become strikingly clear: not only are many of our young students tragically estranged from their cultural and artistic heritage, but this estrangement negatively affects their social, emotional, and intellectual development.

As a Black girlhood studies scholar, I pay close attention to picture books that portray Black girls. More specifically, I intersect dance studies and children’s literary studies in order to explore the representation of Black ballerinas in autobiographical and biographical children’s picture books.

With roots in temple ritual and salons passed from generation to generation through the hereditary dance and music community of Tamil Nadu, in post-colonial India, the practice began to attract students and performers from various backgrounds around the world as a performing art.

I love teaching Hip Hop, but I resent the assumption that it’s the only dance form I can teach because I’m Black.

But I was never formally taught how to advocate for myself—there’s no class for that. But what if I had been expected to point my feet, hold my core, and be able to speak up for myself? What if there had been language developed to approach difficult dance situations?