Eight BIPOC Choreographers Your Students Should Know

Okwui Okpokwasili in her Bronx Gothic. Photo by Izzy Zimmerman, courtesy Okpokwasili

Historically, BIPOC (Black, Indigenous, people of color) artists have often been erased from dance history.

Whether conscious or unconscious, this omission has created a cycle of not acknowledging, writing about or remembering the work of BIPOC artists, which often means dance history curriculums are taught as if these BIPOC artists never existed.

Many dance educators attempt to diversify their curriculums by including artists like Alvin Ailey, Arthur Mitchell and José Limón, which is a good starting point. But it is by no means comprehensive.


Often, this happens because educators themselves have only been taught about a few BIPOC dancers and artists—I know that much of my knowledge of dancers of color came from my own research outside of school.

Educate yourself about these eight artists of color past and present, mostly from the postmodern and dance theater genres, so you can educate your students about them. (And for a list of even more BIPOC artists to teach your students about, click here.) As teachers, we have the opportunity—and the responsibility—to stop the cycle of erasure and one-sided history to give our students a fuller understanding of dance history.

Bebe Miller (1950–today)

Bebe Miller interweaves dance, video, writing and other media to create postmodern work that interrogates the human condition. Miller's work pushes the boundaries of codified movement, incorporating gesture and pattern.

Blondell Cummings (1944–2015)

Experimental choreographer Blondell Cummings was best known for her work Chicken Soup, which is based on her childhood experiences in the kitchen with her grandmother. Cummings' work blends culture, history, identity and experimentation, seamlessly blending abstraction (a realm still today dominated by white artists) and the concept of "the personal is political," or speaking from one's personal experience as knowledge. Cummings also performed with postmodern legends Yvonne Rainer and Meredith Monk.

Gus Solomons jr (1938–today)

As a dancer, Gus Solomons jr has worked with everyone from Martha Graham to Merce Cunningham to Pearl Lang to Donald McKayle. With a background in architecture, Solomons was known, as a choreographer, for his ability to shape bodies in an analytical way. Now 82, Solomons continues to dance, and is also a teacher, a writer and an occasional puppeteer.

Miguel Gutierrez (1971–today)

Miguel Gutierrez is an experimental choreographer, writer and singer. Though his work often explores his Latin and queer identities, he's been outspoken about how abstraction shouldn't belong just to white artists.

Okwui Okpokwasili (1972–today)

Okwui Okpokwasili is a choreographer, performer and writer best known for her Bronx Gothic (which was profiled in a documentary of the same name) and Poor People's TV Room. Her raw, exposed style often focuses on the lives of women in the African diaspora, and incorporates nontraditional spaces, installations, writing and sound.

Paloma McGregor (1974–today)

Paloma McGregor is a Caribbean-born choreographer and arts organizer. Her work amplifies Black voices, stories and histories through dance and community organizing. She co-founded Angela's Pulse and is also the founder of Dancing While Black, both of which focus on community building, art making and uplifting the Black dance community. McGregor has also danced with Urban Bush Women and Liz Lerman.

Ralph Lemon (1952–today)

Ralph Lemon is a choreographer, dancer, director and writer who creates experimental dance and installation work. Lemon's cross-disciplinary performances intermingle visual art, sound, movement and text. One of his most famous works, How Can You Stay in the House All Day and Not Go Anywhere? includes film, science fiction and the intergenerational knowledge of a 102-year-old sharecropper.

Shen Wei (1968–today)

Shen Wei is a Chinese-American choreographer and painter, known for blending Asian traditional dance and Western contemporary dance, and for cleverly incorporating visual art into his work. Students may be familiar with one of Wei's most famous works: The opening ceremony at the 2008 Beijing Olympics.

Teachers Trending
Alwin Courcy, courtesy Ballet des Amériques

Carole Alexis has been enduring the life-altering after-effects of COVID-19 since April 2020. For months on end, the Ballet des Amériques director struggled with fevers, tingling, dizziness and fatigue. Strange bruising showed up on her skin, along with the return of her (long dormant) asthma, plus word loss and stuttering.

"For three days I would experience relief from the fever—then, boom—it would come back worse than before," Alexis says. "I would go into a room and not know why I was there." Despite the remission of some symptoms, the fatigue and other debilitating side effects have endured to this day. Alexis is part of a tens-of-thousands-member club nobody wants to be part of—she is a COVID-19 long-hauler.

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Teachers Trending

Annika Abel Photography, courtesy Griffith

When the murder of George Floyd in Minneapolis last May catalyzed nationwide protests against systemic racism, the tap community resumed longstanding conversations about teaching a Black art form in the era of Black Lives Matter. As these dialogues unfolded on social media, veteran Dorrance Dance member Karida Griffith commented infrequently, finding it difficult to participate in a meaningful way.

"I had a hard time watching people have these conversations without historical context and knowledge," says Griffith, who now resides in her hometown of Portland, Oregon, after many years in New York City. "It was clear that there was so much information missing."

For example, she observed people discussing tap while demonstrating ignorance about Black culture. Or, posts that tried to impose upon tap the history or aesthetics of European dance forms.

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Studio Owners
Courtesy Tonawanda Dance Arts

If you're considering starting a summer program this year, you're likely not alone. Summer camp and class options are a tried-and-true method for paying your overhead costs past June—and, done well, could be a vehicle for making up for lost 2020 profits.

Plus, they might take on extra appeal for your studio families this year. Those struggling financially due to the pandemic will be in search of an affordable local programming option rather than an expensive, out-of-town intensive. And with summer travel still likely in question this spring as July and August plans are being made, your studio's local summer training option remains a safe bet.

The keys to profitable summer programming? Figuring out what type of structure will appeal most to your studio clientele, keeping start-up costs low—and, ideally, converting new summer students into new year-round students.


Find a formula that works for your studio

For Melanie Boniszewski, owner of Tonawanda Dance Arts in upstate New York, the answer to profitable summer programming lies in drop-in classes.

"We're in a cold-weather climate, so summer is actually really hard to attract people—everyone wants to be outside, and no one wants to commit to a full season," she says.

Tonawanda Dance Arts offers a children's program in which every class is à la carte: 30-minute, $15 drop-in classes are offered approximately two times a week in the evenings, over six weeks, for different age groups. And two years ago, she created her Stay Strong All Summer Long program for older students, which offers 12 classes throughout the summer and a four-day summer camp. Students don't know what type of class they're attending until they show up. "If you say you're going to do a hip-hop class, you could get 30 kids, but if you do ballet, it could be only 10," she says. "We tell them to bring all of their shoes and be ready for anything."

Start-up costs are minimal—just payroll and advertising (which she starts in April). For older age groups, Boniszewski focuses on bringing in her studio clientele, rather than marketing externally. In the 1- to 6-year-old age group, though, around 50 percent of summer students tend to be new ones—98 percent of whom she's been able to convert to year-round classes.

A group of elementary school aged- girls stands in around a dance studio. A teacher, a young black man, stands in front of the studio, talking to them

An East County Performing Arts Center summer class from several years ago. Photo courtesy ECPAC

East County Performing Arts Center owner Nina Koch knows that themed, weeklong camps are the way to go for younger dancers, as her Brentwood, California students are on a modified year-round academic school calendar, and parents are usually looking for short-term daycare solutions to fill their abbreviated summer break.

Koch keeps her weekly camps light on dance: "When we do our advertising for Frozen Friends camp, for example, it's: 'Come dance, tumble, play games, craft and have fun!'"

Though Koch treats her campers as studio-year enrollment leads, she acknowledges that these weeklong camps naturally function as a way for families who aren't ready for a long-term commitment to still participate in dance. "Those who aren't enrolled for the full season will be put into a sales nurture campaign," she says. "We do see a lot of campers come to subsequent camps, including our one-day camps that we hold once a month throughout our regular season."

Serve your serious dancers

One dilemma studio owners may face: what to do about your most serious dancers, who may be juggling outside intensives with any summer programming that you offer.

Consider making their participation flexible. For Boniszweski's summer program, competitive dancers must take six of the 12 classes offered over a six-week period, as well as the four-day summer camp, which takes place in mid-August. "This past summer, because of COVID, they paid for six but were able to take all 12 if they wanted," she says. "Lots of people took advantage of that."

For Koch, it didn't make sense to require her intensive dancers to participate in summer programming, partly because she earned more revenue catering to younger students and partly because her older students often made outside summer-training plans. "That's how you build a well-rounded dancer—you want them to go off and get experience from teachers you might not be able to bring in," she says.

Another option: Offering private lessons. Your more serious dancers can take advantage of flexible one-on-one training, and you can charge higher fees for individualized instruction. Consider including a financial incentive to get this kind of programming up and running. "Five years ago, we saw that some kids were asking for private lessons, so we created packages: If you bought five lessons, you'd get one for free—to get people in the door," says Boniszewksi. "After two years, once that program took off, we got rid of the discount. People will sign up for as many as 12 private lessons."

A large group of students stretch in a convention-style space with large windows. They follow a teacher at the front of the room in leaning over their right leg for a hamstring stretch

Koch's summer convention experience several years ago. Photo courtesy East County Performing Arts Center

Bring the (big) opportunities to your students

If you do decide to target older, more serious dancers for your summer programming, you may need to inject some dance glamour to compete with fancier outside intensives.

Bring dancers opportunities they wouldn't have as often during the school year. For Boniszewski, that means offering virtual master classes with big-name teachers, like Misha Gabriel and Briar Nolet. For Koch, it's bringing the full convention experience to her students—and opening it up to the community at large. In past years, she's rented her local community center for a weekend-long in-house convention and brought in professional ballet, jazz, musical theater and contemporary guest teachers.

In 2019, the convention was "nicely profitable" while still an affordable $180 per student, and attracted 120 dancers, a mix of her dancers and dancers from other studios. "It was less expensive than going to a big national convention, because parents didn't have to worry about lodging or travel," Koch says. "We wanted it to be financially attainable for families to experience something like this in our sleepy little town."

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