“So You Think You Can Dance” (SYTYCD) remains a cultural touchstone in the dance world and beyond, igniting conversations about the art form’s accessibility and impact. For many, the show represents a gateway to dance, opening doors for aspiring artists and introducing the beauty of movement to a wider audience. However, the very nature of competitive reality television presents inherent challenges to artistic depth and meaningful social engagement. This tension is precisely what fuels the ongoing dialogue surrounding SYTYCD, particularly when the show attempts to tackle complex social issues. Last season’s routine choreographed by Travis Wall to Nina Simone’s “Strange Fruit” serves as a potent example, sparking debate about the show’s capacity to handle sensitive topics with the necessary nuance and depth. The choreography, while visually striking with its fluid movement and evocative lighting, ignited a critical discussion about intention versus impact, especially considering the historical weight and cultural significance of “Strange Fruit.” This controversy underscores a fundamental question: So You Think You Can Dance Will truly evolve beyond entertainment and become a platform for profound artistic expression and responsible social commentary?
My own history with SYTYCD is layered and complex. From attending live tour performances to admiring the talent of past contestants, I recognize the show’s undeniable influence. It provides invaluable opportunities for dancers and choreographers, propelling careers and bringing dance into mainstream homes. Yet, a persistent concern lingers: does SYTYCD prioritize spectacle over substance, potentially compromising the artistic integrity of dance in its pursuit of viewership and dramatic narratives? The accelerated production schedule, a hallmark of the competition format, is a key factor in this debate. Choreographers are tasked with creating multiple routines under intense time constraints, often within a week or less. This rapid “learn-dance-eliminate” cycle inherently limits the time available for in-depth research, thoughtful development, and meaningful discourse surrounding the choreography itself, especially when tackling sensitive subject matter. The focus inevitably shifts towards quick impact and emotional resonance, potentially sacrificing the deeper exploration and understanding that complex themes demand.
Travis Wall’s “Strange Fruit” routine brought these inherent tensions to the forefront. While Wall’s intention to address themes of racial injustice through dance is commendable, the execution sparked significant criticism. The choice of music, Nina Simone’s haunting ballad “Strange Fruit,” a song deeply rooted in the African American experience and the horrors of lynching, carries immense weight. Coupled with the visual choices, including costuming that evoked plantation-era imagery, the routine entered fraught territory. While acknowledging that dance can and should be a response to societal issues, and that artists of all backgrounds can engage with themes of race, the crucial question becomes one of approach and depth. The critique isn’t necessarily about who is telling the story, but how the story is being told, and whether it’s being given the time and space to resonate authentically and responsibly.
Even if we set aside the specific choices made in Wall’s choreography – the costuming, the musical selection, the movement vocabulary – the fundamental issue remains: can a topic as historically and emotionally charged as blackness in America truly be explored with the necessary depth within the confines of a week-long creative process for a reality TV show? The compressed timeframe inherent in SYTYCD’s format raises concerns about the potential for superficiality, even with the best intentions. It risks reducing complex narratives to easily digestible, emotionally charged moments, potentially sacrificing nuanced understanding for immediate impact. This isn’t to say that powerful moments can’t be created within these constraints, but it necessitates a critical examination of the depth and responsibility with which these moments are crafted and presented.
The ending of Wall’s piece, featuring a handshake between the darkest-skinned male dancer and a white female dancer, further fueled the discussion. While some interpreted it as a call for unity, others saw it as a simplification of complex racial dynamics, potentially centering a white perspective in a narrative that demands centering Black voices and experiences. The critique highlights the tightrope walk choreographers face when addressing social issues on a platform like SYTYCD. There’s a risk of performative activism, what some term “fast-food activism,” where complex issues are addressed in short, easily consumed segments, often amplified by social media’s echo chambers. In this landscape, the crucial steps of research, deep engagement, and sustained dialogue can be overshadowed by the demand for immediate, impactful content.
It’s essential to acknowledge the countless choreographers who dedicate their entire bodies of work to exploring Black stories and experiences in America. Artists like Kyle Abraham, Camille A. Brown, and Okwui Okpokwasili, along with collectives like Urban Bush Women, represent a lineage of dance makers who delve into these narratives with profound depth and artistic rigor. These artists often work outside the mainstream spotlight, tirelessly crafting performances that demand sustained engagement and reflection. When a two-minute piece on a platform like SYTYCD, created within a compressed timeframe, goes viral and sparks widespread conversation, it raises questions about the nature of attention and impact in the current media landscape.
Ultimately, dance serves as a powerful medium for responding to the human experience. Travis Wall’s “Strange Fruit” choreography, viewed through this lens, can be seen as an attempt to engage with themes of racial injustice, however imperfectly executed. While good intentions are a starting point, they are not a substitute for rigorous research, deep understanding, and a commitment to responsible representation. SYTYCD, with its massive platform, has the potential to elevate dance as a vehicle for meaningful social commentary. However, realizing this potential requires a critical examination of its format, its production constraints, and a conscious effort to prioritize depth, nuance, and authentic engagement with complex narratives. So you think you can dance will truly grapple with these challenges, and evolve into a space that fosters both artistic excellence and responsible social dialogue, remains an open and vital question for the future of the show and the broader dance community.
