“So You Think You Can Dance” (SYTYCD) remains a prominent platform in the dance world, offering opportunities for dancers and choreographers alike. Yet, the show’s fast-paced, competitive nature often raises questions about the depth and artistic integrity of the presented work. A recent performance choreographed by Travis Wall to Nina Simone’s “Strange Fruit” perfectly encapsulates this ongoing tension. While undeniably beautiful with its fluid movements and evocative lighting, the routine sparked debate about its conceptual execution and the challenges of addressing complex social themes within the show’s format. This critique delves into the nuances of Wall’s choreography, examining its impact and raising broader questions about the capacity of “think you can dance” and similar platforms to handle weighty social issues with the necessary depth and sensitivity.
The Double-Edged Sword of “So You Think You Can Dance”
For many, “So You Think You Can Dance” serves as an entry point into the world of dance. The show undeniably broadens the audience for dance, exposing viewers to diverse styles and talented performers. It can ignite a passion for dance in young viewers and even inspire them to pursue dance themselves. However, the very structure that makes “think you can dance” accessible – its competition format, weekly eliminations, and rapid choreography turnover – also creates limitations. Choreographers are tasked with creating impactful pieces in a compressed timeframe, often within a week or less. This rushed process inherently restricts the time for in-depth research, thoughtful development, and meaningful discussion about the themes being explored within the dance. The result can sometimes be a superficial engagement with complex subjects, even when intentions are good.
“Strange Fruit”: Good Intentions, Troubled Execution
Travis Wall’s “Strange Fruit” routine is a prime example of this challenge. The choice of Nina Simone’s haunting song, a powerful anthem addressing racial injustice, immediately signaled a desire to engage with a significant social issue. The dancers, clad in costumes reminiscent of plantation-era clothing, moved with Wall’s signature liquid grace. However, the choreography and its framing within the “think you can dance” context raised critical questions. While Wall’s intention to address historical and ongoing racial issues is plausible, the execution felt constrained by the limitations of the show’s format and, arguably, by his perspective as a white choreographer tackling a deeply sensitive topic.
Navigating Perspective and Representation
The critique isn’t necessarily about whether a white choreographer has the right to address themes of blackness and racial injustice in their work. Dance, as an art form, should be a space for dialogue and response to the human experience, regardless of background. Everyone, regardless of heritage or skin tone, should be part of the conversation about race. However, the crucial point lies in the depth and nuance of that engagement. In the case of “Strange Fruit,” the concern arises from the potential for a white perspective to inadvertently simplify or misrepresent the multifaceted history and lived experiences of black communities. The compressed timeframe of “think you can dance” choreography further exacerbates this risk, potentially leading to a surface-level exploration of a profoundly complex issue.
Beyond “Fast-Food Activism” in Dance
The critique of Wall’s piece echoes broader concerns about “fast-food activism” in the digital age. In a world dominated by social media, there’s a tendency to engage with complex issues superficially, seeking quick emotional responses rather than deep understanding and sustained action. “Think you can dance,” in its format, can inadvertently contribute to this trend. A two-minute dance piece, even one addressing a serious topic, cannot provide the comprehensive engagement necessary for genuine “wokeness” or allyship. True engagement requires research, listening, learning, and ongoing commitment. The contrast is stark when considering choreographers who have dedicated their entire careers to exploring blackness in America, artists who work tirelessly, often outside of mainstream platforms, to share their stories and experiences with profound depth and authenticity.
Holding Dance to a Higher Standard
Ultimately, “think you can dance” plays a valuable role in popularizing dance and showcasing talent. It can indeed be the spark that ignites a lifelong passion for dance in young people. However, as artists and audiences, it’s essential to hold such platforms accountable for the depth and integrity of the work they present, especially when tackling sensitive social issues. Dance possesses immense power as a medium for communication and storytelling. To truly harness this power, particularly when engaging with weighty topics, requires moving beyond superficial treatments and embracing a commitment to in-depth exploration, thoughtful representation, and genuine dialogue. This critique isn’t intended to diminish Travis Wall’s talent or intentions, but rather to encourage a more critical examination of the platform and the responsibility that comes with addressing complex social commentary on a show like “So You Think You Can Dance.”
