HustleMania: Today we got a chance to talk with Ayo Janeen Jackson, the DEIJ Program Manager at The Joyce Theater Foundation. We are discussing her 4 part series for Black History Month called “Dandyism in Dance.” Ayo, thank you for taking the time to share with us today.

Ayo Janeen Jackson: Thank you. I've learned so much through this. The project was kind of personal, but also to create awareness about lost dance histories through the Joyce Theater Foundation. I connected with Mia Shapiro at New York Public Library of Performing Arts and they were exquisite, like chef kiss. I felt like everything was so divinely led. Looking forward to sharing some of what I learned with you today.

HustleMania: That is amazing, we are ready to take the journey with you. Let get into it! Can you elaborate on how Dandyism has historically influenced the representations of Black men in American dance and entertainment, particularly in contexts like Minstrelsy, Vaudeville, and the Harlem Renaissance?

Ayo Janeen Jackson: The two examples that I used during minstrelsy and vaudeville were two people who went against the grain of what they should have been doing. First was Master Juba. He was born in 1825. During his career he rarely dressed in blackface because his dancing was so superior that he was in competition with some of the famous white dancers of that time, namely John Diamond. That's how Master Juba was making his money. He rose to fame from Little Five Points, performing at one of the famous dance halls named Almack's. He truly defied what a Black entertainer was permitted to perform. Second example I discussed was George Walker. He was born in 1872 in Lawrence, Kansas. Started dancing in medicine shows, then eventually evolved into a dandy in the original sense. Walker and his longtime performing partner Burt Williams exchanged the roles of who should be in Blackface. He was darker-skinned and Burt Williams was lighter-skinned. They thought it was funny to switch the roles of Burt being in blackface and George being a dandy, which in fact was the reality. George rarely went in blackface and was playing on the unconscious bias of the audience, thinking, “oh my God, that's so funny, a black person who has actual money.” At the time Williams & Walker were making around $130,000/year, which is around $3.2mm today. Williams & Walker were recreating funny moments but also creating a superiority in performance without blackface. Dandyism was the flair, the bravado and the virtuosity that offset them from racial stereotypes of minstrelsy and further into vaudeville that continued the blackface expression. Master Juba and George Walker were two outliers of these movements. As black people, they were not necessarily forced to do blackface. So I think that's what stands out as the influence of the black man in American dance. During the Harlem Renaissance there was a whole new aesthetic. Alain Locke wrote a book called "The New Negro." It articulated a time during the Great Migration when people were coming north and shedding their southern styles, adopting the dandy style, redefining themselves. They were recreating the idea of what a Negro is, what a black person is. It was the new Negro. They were now performing in clubs without blackface. They were performing at places like the Cotton Club even though it still remained segregated. It offered them the ability to dance in luxurious clothing, dance without the repressiveness of blackface. I'm in awe of the transition that happened during that time.

HustleMania: Those examples really highlight individuals who are navigating a difficult environment, while at the same time becoming trailblazers in their field and community. In what ways do you see the legacy of Dandyism impacting modern dance forms, such as ballet and contemporary dance? How do these influences manifest in today's performances?

Ayo Janeen Jackson: The last blog post “Pomp and Circumstance" I wrote is about Dance Theater of Harlem and how Arthur Mitchell took the ideas that stemmed from the Harlem Renaissance about this “New Negro” and incorporated it into ballet. Arthur Mitchell danced for New York City Ballet. He started there in 1955. And in 1969, I believe, he created Dance Theater of Harlem. This was after hearing about Dr. Martin Luther King's death and having experienced the Civil Rights Movement. He was so inspired to create something for dance, something for himself and for black people in classical ballet. He wanted a ballet named The Firebird for the company, with music from Igor Stravinsky. The choreographer was a white British choreographer (John Taras) who really liked working with Dance Theater of Harlem. He said because there's so many elements that are fantastical. He said they (DTH) believed in what they were doing. That belief was necessary in order for the piece to work and that the dancers believed in it. The costumes were by Jeffrey Holder and if you know who he is, you know he is a dandy in his own right. Jeffrey Holder was a very noble, eccentric, grand dancer. He was a person who was a multidisciplinary artist. He was an actor, dancer, and choreographer. He designed the costumes so that it looks like they were dripping off the bodies. Almost like a bejeweled look that fit perfectly on each dancer. I also talk about HBCU (Historically Black Colleges and Universities), Marching Bands, specifically the drum majors. Black people have used this luxuriousness and this pomp and circumstance as forms of resistance. They have engaged and redressed themselves with these two very American forms of military bands or military marching bands like the ROTC. They recreated them in a way that fits the body, the aesthetic of the style of movement that is happening. The drum majors are leading the entire band, sometimes these bands are hundreds of people. They come out and they seem like they're just floating on air because of the way that they’re moving. The halftime shows at HBCUs have really become noteworthy. The drum majors have these huge tall hats, they're made out of leather and bear fur. They have a signature move that they do where they roll back and bend over backwards, touch the ground with the top of their hat. To have this flexibility and the music playing, it's a whole production. One notable figure for the HBCU was Dr. William P. Foster, who innovated this technique of bringing musical selections, dance, and a theme into creating what is know considered the aesthetic for Black marching bands. He also set up a degree program. So there is an underlying essence and support, not just a performance. This is serious business. Pomp and circumstance has been going on for centuries. There were black militias since the colonial era. During the Civil War, the Union Army’s black brigades had bands. Same thing in World War I and II, such as the Harlem Hell Fighters, the 369th Infantry. Black essence can be found in the creative spirit to wear a uniform, but to wear it with flair and pizzazz, you know, a little razzle-dazzle, a little extra.

HustleMania: It is extremely amazing to see how many different scenarios are influenced by dandyism and in the black community specifically, creating new trends that become part of the norm in dance and performance. How do you believe uncovering these hidden narratives of Black men in dance can foster a deeper appreciation and understanding within the community, especially among younger audiences?

Ayo Janeen Jackson: Uncovering these stories, it gives me a little bit more insight of what I can achieve personally. When I know that in the midst of the Jim Crow era they were building and creating degree programs! During the Civil Rights Movement, Arthur Mitchell had an idea to create an all-Black classical ballet company. These men were visionaries, and if we don't know about them, we'll never have this diversity of narratives within the Black story. When only a few narratives are told it fosters this false sense of success and what we think Black excellence should be. We only see certain people are allowed fame and that's not the truth. When you parallel your life to somebody who is "Black excellence” and they fall, your identity can shift because of that. That’s why we have to focus on more diverse narratives, then we're able to find role models or examples of how we still can succeed.

HustleMania: Couldn’t agree more. Role models that not only look the same but have shared experiences is key for continued growth in the community. Looking ahead, what do you envision for the future of Black representation in dance? How can current and future artists draw inspiration from the stories and themes explored in this series?

Ayo Janeen Jackson: There are quite a few filmmakers that are doing this. Film is so important for this. We need more films about dancers in Dance Theater of Harlem, the tap dancers who are inspired by Master Juba, Black performers on Broadway can learn about George Walker. He started a business for Black entertainers to be in community and learn from each other, know each other, and receive business acumen. That is a catalyst for change, catalyst for expansion of these ideas and catalyst for this knowledge so people can feel their success is not measured by one person's successful story. They can feel more comforted by the fact that they're able to do something and achieve greatness. Even when there isn't a lot of support, they will be able to succeed.

HustleMania: Such a true statement. Reinforcement in documenting the history is key to not only sharing the story for the next generation, but to learn how to continue to move forward and achieve more. In what ways can the exploration of Dandyism and its historical context serve as a catalyst for emerging Black artists in the dance community? What messages do you hope they take away from these narratives?

Ayo Janeen Jackson: The way Black people use survival tactics and turn it into a culture is outstanding. This might sound controversial, but one example is the way that Black people have made poverty look like luxury. People want to emulate these things that Black people have used to survive. We're a very strong community of people and we're able to transform. Nikki Giovanni had an interesting quote regarding this. "Style has a profound meaning to Black Americans. If we can't drive, we will invent walks and the world will envy the dexterity of our feet. If we can't have ham, we will boil chitterlings; if we are given rotten peaches, we will make cobblers; if given scraps, we will make quilts; take away our drums, and we will clap our hands. We prove the human spirit will prevail. We will take what we have to make what we need. We need confidence in our knowledge of who we are.” At the end of the day, it is a willingness to have a diverse group of people and everybody's able to be heard. I'm not just talking about Black people but many cultures and races. Success and progress is having an array of different voices and ideas.

HustleMania: Creating culture and traditions that stem from adversity are always the strongest. Learning how you got somewhere and where to go next is the key to growth. Thank you so much for taking the time to share with us today. So beautiful to share your knowledge and experience with Black History and dance in America. I encourage everyone to read your 4 part series which is linked below to dive into some of the topics we discussed with more detail. This was truly an enjoyable experience.

Ayo Janeen Jackson: Thank you so much. I really enjoyed this as well.