Dance, Ethnicity and Gender: A Cultural History of Phoenix Dance Company 1981- 2001
Lead Research Organisation:
York St John University
Department Name: Fac of Arts
Abstract
This research investigates the cultural history of Phoenix Dance Company between 1981-2001. The significance of the contribution of Phoenix Dance Company in the context of British dance history and in the wider history of contemporary dance has largely been overlooked but this study will establish the achievements of Phoenix Dance Company and ensure that its history is recorded.
The importance of attempting the task of narrating the complexities of Phoenix's history is confirmed by Catherine Ugwu's (1995) comments about the lack of recognition of black artists and the preconceptions of what their work should be. Whilst the Company's reputation was legendary there was very little acknowledgement of their achievements within the dance texts of the 1990s or more recent writing. This study will reframe aspects of British dance history through an interrogation of issues of gender, ethnicity and class in relation to Phoenix Dance Company.
The Company was unique in a number of ways both within contemporary dance and the wider artistic cultural contexts in Britain. Firstly, the Company members were in their teens when they formed in 1981 and gained recognition very early in their careers through an established television arts programme,
The South Bank Show, in 1984. Secondly, they were skillful performers but had not received the usual formal three year dance training. Thirdly, they were based in the north of England at a time when the majority of dance activity was located in London. In addition, they were Black British men, who had known each other from childhood and came from a tight-knit community, working in an art form which was associate with femininity (Adair, 1992).
All of these features were unusual for a dance company and contributed to a story of success which gained mythical status. Through a discussion of the Company members' backgrounds, influences on their work and their sense of identity together with an analysis of Company documents and critical responses I will demonstrate the complexity of the factors which affected this Company's work and indicate both the reasons for and the problems involved in their success.
The importance of attempting the task of narrating the complexities of Phoenix's history is confirmed by Catherine Ugwu's (1995) comments about the lack of recognition of black artists and the preconceptions of what their work should be. Whilst the Company's reputation was legendary there was very little acknowledgement of their achievements within the dance texts of the 1990s or more recent writing. This study will reframe aspects of British dance history through an interrogation of issues of gender, ethnicity and class in relation to Phoenix Dance Company.
The Company was unique in a number of ways both within contemporary dance and the wider artistic cultural contexts in Britain. Firstly, the Company members were in their teens when they formed in 1981 and gained recognition very early in their careers through an established television arts programme,
The South Bank Show, in 1984. Secondly, they were skillful performers but had not received the usual formal three year dance training. Thirdly, they were based in the north of England at a time when the majority of dance activity was located in London. In addition, they were Black British men, who had known each other from childhood and came from a tight-knit community, working in an art form which was associate with femininity (Adair, 1992).
All of these features were unusual for a dance company and contributed to a story of success which gained mythical status. Through a discussion of the Company members' backgrounds, influences on their work and their sense of identity together with an analysis of Company documents and critical responses I will demonstrate the complexity of the factors which affected this Company's work and indicate both the reasons for and the problems involved in their success.
Organisations
People |
ORCID iD |
| Christy Adair (Principal Investigator) |