ABOUT THE SPEAKER
Camille A. Brown - Choreographer, educator
Camille A. Brown leads her dance company through excavations of ancestral stories, both timeless and traditional, that connect history with contemporary culture.

Why you should listen

Camille A. Brown is a prolific Black female choreographer reclaiming the cultural narrative of African American identity. She is a Ford Foundation Art of Change Fellow, Audelco Award recipient, four-time Princess Grace Award winner, Guggenheim Fellow, Jacob's Pillow Dance Award recipient, USA Jay Franke & David Herro Fellow, TED Fellow and Doris Duke Artist Award recipient.

Her Company, Camille A. Brown & Dancers (CABD), tours nationally and internationally. The repertory includes the Bessie award-winning Mr. TOL E. RAncE (2012), the Bessie-nominated BLACK GIRL: Linguistic Play (2015) and ink (2017), which premiered at The Kennedy Center. CABD's community engagement platform, EVERY BODY MOVE, inspires collective action through the art of social dance and includes initiatives such as Black Girl Spectrum, Black Men Moving, The Gathering and more.

Brown has been commissioned to create concert dance works for Alvin Ailey American Dance Theater, Philadanco!, Urban Bush Women, Complexions, Ailey II, Ballet Memphis and Hubbard Street II.

In addition to her company works, Brown brings a passion for storytelling to her choreography for Broadway and Off-Broadway theater productions. Notable theater credits for her choreography include: Tony-winning Broadway revival Once On This Island, The Emmy-winning Jesus Christ Superstar Live on NBC as well as A Streetcar Named Desire, The Fortress of Solitude (Lortel Nomination) and BELLA: An American Tall Tale (Lortel Nomination), among others.

Brown graduated from LaGuardia High School of the Performing Arts in New York City and she has a BFA from UNC School of the Arts. She is the choreographer for the upcoming Magic Mike The Musical and PAL JOEY, and she is movement director for Broadway's Choir Boy and Toni Stone.

More profile about the speaker
Camille A. Brown | Speaker | TED.com
TED Studio

Camille A. Brown: A visual history of social dance in 25 moves

Filmed:
1,390,738 views

Why do we dance? African-American social dances started as a way for enslaved Africans to keep cultural traditions alive and retain a sense of inner freedom. They remain an affirmation of identity and independence. In this electric demonstration, packed with live performances, choreographer, educator and TED Fellow Camille A. Brown explores what happens when communities let loose and express themselves by dancing together.
- Choreographer, educator
Camille A. Brown leads her dance company through excavations of ancestral stories, both timeless and traditional, that connect history with contemporary culture. Full bio

Double-click the English transcript below to play the video.

00:06
This is the Bop.
0
439
1984
00:09
The Bop is a type of social dance.
1
3014
2514
00:15
Dance is a language,
2
9109
1640
00:16
and social dance is an expression
that emerges from a community.
3
10773
3819
00:21
A social dance isn't choreographed
by any one person.
4
15238
3345
00:24
It can't be traced to any one moment.
5
18607
2565
00:27
Each dance has steps
that everyone can agree on,
6
21196
3007
00:30
but it's about the individual
and their creative identity.
7
24227
3566
00:35
Because of that,
8
29772
1155
00:36
social dances bubble up,
9
30951
1392
00:38
they change
10
32367
1167
00:39
and they spread like wildfire.
11
33558
1775
00:42
They are as old as our remembered history.
12
36962
2716
00:47
In African-American social dances,
13
41492
2241
00:49
we see over 200 years
14
43757
1748
00:51
of how African and African-American
traditions influenced our history.
15
45529
4614
00:58
The present always contains the past.
16
52329
2512
01:01
And the past shapes who we are
17
55388
2489
01:03
and who we will be.
18
57901
1592
01:05
(Clapping)
19
59517
2343
01:09
The Juba dance was born
from enslaved Africans' experience
20
63304
3147
01:12
on the plantation.
21
66475
1348
01:14
Brought to the Americas,
22
68312
1185
01:15
stripped of a common spoken language,
23
69521
2235
01:17
this dance was a way for enslaved Africans
to remember where they're from.
24
71780
4272
01:22
It may have looked something like this.
25
76076
2517
01:30
Slapping thighs,
26
84556
1167
01:31
shuffling feet
27
85747
1234
01:33
and patting hands:
28
87005
1800
01:34
this was how they got around
the slave owners' ban on drumming,
29
88829
3571
01:38
improvising complex rhythms
30
92974
2103
01:41
just like ancestors did
with drums in Haiti
31
95101
2875
01:44
or in the Yoruba communities
of West Africa.
32
98000
2648
01:50
It was about keeping
cultural traditions alive
33
104804
3117
01:53
and retaining a sense of inner freedom
34
107945
2333
01:56
under captivity.
35
110302
1253
01:59
It was the same subversive spirit
that created this dance:
36
113555
3937
02:04
the Cakewalk,
37
118191
1170
02:05
a dance that parodied the mannerisms
of Southern high society --
38
119385
3776
02:09
a way for the enslaved
to throw shade at the masters.
39
123185
3202
02:12
The crazy thing about this dance
40
126849
1951
02:14
is that the Cakewalk
was performed for the masters,
41
128824
2937
02:17
who never suspected
they were being made fun of.
42
131785
2831
02:23
Now you might recognize this one.
43
137069
2128
02:25
1920s --
44
139805
1170
02:26
the Charleston.
45
140999
1455
02:31
The Charleston was all about
improvisation and musicality,
46
145715
3751
02:35
making its way into Lindy Hop,
47
149490
2015
02:37
swing dancing
48
151529
1160
02:38
and even the Kid n Play,
49
152713
1237
02:39
originally called the Funky Charleston.
50
153974
2577
02:47
Started by a tight-knit Black community
near Charleston, South Carolina,
51
161088
4134
02:51
the Charleston permeated dance halls
52
165246
1992
02:53
where young women suddenly had
the freedom to kick their heels
53
167262
3154
02:56
and move their legs.
54
170440
1737
03:03
Now, social dance is about
community and connection;
55
177273
3658
03:06
if you knew the steps,
56
180955
1354
03:08
it meant you belonged to a group.
57
182333
1934
03:10
But what if it becomes a worldwide craze?
58
184291
2564
03:13
Enter the Twist.
59
187257
1668
03:14
It's no surprise that the Twist
can be traced back to the 19th century,
60
188949
4307
03:19
brought to America from the Congo
61
193280
1897
03:21
during slavery.
62
195201
1207
03:22
But in the late '50s,
63
196872
1213
03:24
right before the Civil Rights Movement,
64
198109
2074
03:26
the Twist is popularized
by Chubby Checker and Dick Clark.
65
200207
3731
03:29
Suddenly, everybody's doing the Twist:
66
203962
2571
03:32
white teenagers,
67
206557
1193
03:33
kids in Latin America,
68
207774
1587
03:35
making its way into songs and movies.
69
209385
2707
03:38
Through social dance,
70
212116
1187
03:39
the boundaries between groups
become blurred.
71
213327
2882
03:45
The story continues in the 1980s and '90s.
72
219196
3249
03:48
Along with the emergence of hip-hop,
73
222866
2236
03:51
African-American social dance
took on even more visibility,
74
225126
3942
03:55
borrowing from its long past,
75
229092
2226
03:57
shaping culture and being shaped by it.
76
231342
2611
04:08
Today, these dances continue
to evolve, grow and spread.
77
242364
4647
04:14
Why do we dance?
78
248020
1515
04:15
To move,
79
249559
1169
04:16
to let loose,
80
250752
1189
04:17
to express.
81
251965
1375
04:19
Why do we dance together?
82
253364
1812
04:21
To heal,
83
255200
1159
04:22
to remember,
84
256383
1151
04:23
to say: "We speak a common language.
85
257558
2498
04:26
We exist
86
260080
1151
04:27
and we are free."
87
261255
1477

▲Back to top

ABOUT THE SPEAKER
Camille A. Brown - Choreographer, educator
Camille A. Brown leads her dance company through excavations of ancestral stories, both timeless and traditional, that connect history with contemporary culture.

Why you should listen

Camille A. Brown is a prolific Black female choreographer reclaiming the cultural narrative of African American identity. She is a Ford Foundation Art of Change Fellow, Audelco Award recipient, four-time Princess Grace Award winner, Guggenheim Fellow, Jacob's Pillow Dance Award recipient, USA Jay Franke & David Herro Fellow, TED Fellow and Doris Duke Artist Award recipient.

Her Company, Camille A. Brown & Dancers (CABD), tours nationally and internationally. The repertory includes the Bessie award-winning Mr. TOL E. RAncE (2012), the Bessie-nominated BLACK GIRL: Linguistic Play (2015) and ink (2017), which premiered at The Kennedy Center. CABD's community engagement platform, EVERY BODY MOVE, inspires collective action through the art of social dance and includes initiatives such as Black Girl Spectrum, Black Men Moving, The Gathering and more.

Brown has been commissioned to create concert dance works for Alvin Ailey American Dance Theater, Philadanco!, Urban Bush Women, Complexions, Ailey II, Ballet Memphis and Hubbard Street II.

In addition to her company works, Brown brings a passion for storytelling to her choreography for Broadway and Off-Broadway theater productions. Notable theater credits for her choreography include: Tony-winning Broadway revival Once On This Island, The Emmy-winning Jesus Christ Superstar Live on NBC as well as A Streetcar Named Desire, The Fortress of Solitude (Lortel Nomination) and BELLA: An American Tall Tale (Lortel Nomination), among others.

Brown graduated from LaGuardia High School of the Performing Arts in New York City and she has a BFA from UNC School of the Arts. She is the choreographer for the upcoming Magic Mike The Musical and PAL JOEY, and she is movement director for Broadway's Choir Boy and Toni Stone.

More profile about the speaker
Camille A. Brown | Speaker | TED.com

Data provided by TED.

This site was created in May 2015 and the last update was on January 12, 2020. It will no longer be updated.

We are currently creating a new site called "eng.lish.video" and would be grateful if you could access it.

If you have any questions or suggestions, please feel free to write comments in your language on the contact form.

Privacy Policy

Developer's Blog

Buy Me A Coffee