By Feyikemi Poitier, Florida State University
In working on my documentary project focused on Black contemporary dance in Paris, I am eager to further develop a range of research and professional skills that support both academic inquiry and creative expression. Specifically, I aim to deepen my ability to synthesize multiple sources of information—from academic texts to lived experiences shared through interviews and performances—and use this synthesis to offer a nuanced understanding of how different dance styles such as vogue, jazz, and krump coalesce into what we recognize as Black contemporary dance.
As a researcher and artist, I am particularly excited to build upon my skills in ethnographic research, such as participant observation and conducting interviews. Taking classes in Paris has allowed me to embody the movement vocabularies I am studying, which enriches my understanding of each style not only intellectually but also physically and emotionally. Observing how different styles are taught and performed has helped me identify patterns, overlaps, and divergences that speak to the cultural specificity and global adaptability of Black contemporary dance.
One key professional skill I am cultivating is digital fluency, particularly in the realm of multimedia storytelling. Using tools like Final Cut Pro, I am learning how to piece together visual, auditory, and textual elements to convey a story that is both engaging and academically rich. My equipment—including my iPhone camera, attachable microphone, and portable tripod—has become essential in capturing high-quality footage in often fast-paced or informal environments, such as dance rehearsals and impromptu performances.
At Florida State University, I have access to a number of invaluable resources that are supporting my work. My mentor, Professor Kehinde Ishangi, has been instrumental in helping me navigate both the academic and cultural aspects of this project. Her background in Black contemporary dance, as well as her experience dancing professionally in Paris, provides context and guidance that directly informs my research methodology. FSU’s library and digital archives also serve as crucial resources for accessing scholarly work on dance, diaspora, and performance theory, allowing me to ground my observations in established research.
Beyond FSU, the city of Paris itself is my greatest resource. The diversity and vibrancy of the dance scene here offer daily opportunities for learning and discovery. I have attended performances and taken classes in a range of styles—including vogue, jazz, and krump—which has allowed me to see how these forms are being integrated and adapted within the context of Black contemporary dance. Conducting interviews with instructors and artists from these genres has been eye-opening, providing firsthand insights into how they view their work as part of a broader cultural and artistic lineage.
This project also builds directly on my previous experiences and knowledge as a Black dancer and choreographer. I have long been interested in how dance functions as a form of cultural preservation, resistance, and innovation within the African diaspora. My previous training in various Black dance traditions has given me a foundational vocabulary, which I am now expanding through this immersive, international research. Moreover, the project has pushed me to consider how my choreographic work might incorporate elements from these diverse styles in ways that are both respectful of their roots and responsive to contemporary contexts.
At this stage in the project, one of my biggest areas for improvement is cross-cultural communication, particularly due to language barriers. Many of the instructors and dancers I am working with speak limited English, and I have found it challenging at times to communicate my questions and intentions. While I have relied on translation apps and nonverbal cues, I recognize that learning more basic phrases and conversational French will greatly enhance my ability to connect with my subjects on a deeper level. To address this, I plan to dedicate time each week to learning and practicing French, focusing on vocabulary and phrases relevant to dance and interviews. This not only shows respect for my collaborators but will also allow for more nuanced and meaningful conversations.
Additionally, I want to improve my ability to critically analyze the footage I am gathering. Capturing material is only one part of the process; understanding how to interpret and contextualize that material within the broader themes of my project is essential. I plan to work closely with Professor Ishangi during the editing phase to refine my analytical lens, ensuring that the final documentary does justice to the complexity and richness of the stories being told.
Ultimately, this project is expanding my experience not just as a dancer and researcher, but as a cultural storyteller. It is teaching me how to navigate the intersections of art, scholarship, and activism—how to use dance not only as a form of self-expression but also as a medium for education, representation, and dialogue. By continuing to refine my research methods, communication skills, and technical capabilities, I am confident that I will emerge from this project with a more holistic understanding of Black contemporary dance and a deeper commitment to preserving and amplifying its voices.
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