Dance and Afro-descendence
Chloé Saintesprit
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Dance and Afro-descendence
Chloé Saintesprit
Chloé Saintesprit’s practice questions the impact of dance on individuals and the position of performers from diverse backgrounds in the contemporary dance scene. For her, the meaning of dance transcends mere performance, and must never shy away from its social and political mission. Chloé explains:
From recreational-level dance classes to professional training centres, the ways dance schools are structured shapes how students learn, grow, and develop their self-esteem. Without implying that all performers of African origin have identical bone and muscle structures, I have often found that we possess anatomical features, beyond skin colour, that impact us when learning to dance. How are the “non-standard” bodies of dancers of Afro-descendence perceived by institutions that, in my view, very much enforce a “standardized” aesthetic? We must ask whether schools run by predominantly white administrators and teachers are properly equipping instructors to teach to all body types.
“How are ‘non-standard’ bodies perceived?”
The main challenge for teachers is to adapt to the full range of body types, to make sure to create a safe mental space where students feels confident enough to grow and develop. This is particularly true in dance, where our “tool of the trade” is the body. In many cases, the quest for the “perfect” body, by teachers and students alike, can be a source of mental and physical tension. Do our institutions perpetuate a vision of a “standard” body? Is there a hierarchy of bodies? A hierarchy of dances? What about diversity in the teaching staff of educational institutions? And does this impact the representation of the diversity of students’ body types?
Chloé Saintesprit holds a Diploma of College Studies (DEC) in Dance from Collège Montmorency (2016), a BA in Dance (UQAM, 2019), and a graduate diploma in management from HEC Montréal (2022). She is a cultural worker, consultant, and board member for La Sentinelle and Festival FIKA(S). Chloé is deeply involved in the artistic and cultural sector, working to enhance diversity within organizations, governance bodies, and the artistic communities represented on Montreal’s stages.
Dance and Afro-descendence
Dance and Afro-descendence
Chloé Saintesprit
Chloé Saintesprit’s practice questions the impact of dance on individuals and the position of performers from diverse backgrounds in the contemporary dance scene. For her, the meaning of dance transcends mere performance, and must never shy away from its social and political mission. Chloé explains:
From recreational-level dance classes to professional training centres, the ways dance schools are structured shapes how students learn, grow, and develop their self-esteem. Without implying that all performers of African origin have identical bone and muscle structures, I have often found that we possess anatomical features, beyond skin colour, that impact us when learning to dance. How are the “non-standard” bodies of dancers of Afro-descendence perceived by institutions that, in my view, very much enforce a “standardized” aesthetic? We must ask whether schools run by predominantly white administrators and teachers are properly equipping instructors to teach to all body types.
“How are ‘non-standard’ bodies perceived?”
The main challenge for teachers is to adapt to the full range of body types, to make sure to create a safe mental space where students feels confident enough to grow and develop. This is particularly true in dance, where our “tool of the trade” is the body. In many cases, the quest for the “perfect” body, by teachers and students alike, can be a source of mental and physical tension. Do our institutions perpetuate a vision of a “standard” body? Is there a hierarchy of bodies? A hierarchy of dances? What about diversity in the teaching staff of educational institutions? And does this impact the representation of the diversity of students’ body types?
Chloé Saintesprit holds a Diploma of College Studies (DEC) in Dance from Collège Montmorency (2016), a BA in Dance (UQAM, 2019), and a graduate diploma in management from HEC Montréal (2022). She is a cultural worker, consultant, and board member for La Sentinelle and Festival FIKA(S). Chloé is deeply involved in the artistic and cultural sector, working to enhance diversity within organizations, governance bodies, and the artistic communities represented on Montreal’s stages.
Chloé Saintesprit’s practice questions the impact of dance on individuals and the position of performers from diverse backgrounds in the contemporary dance scene. For her, the meaning of dance transcends mere performance, and must never shy away from its social and political mission. Chloé explains:
From recreational-level dance classes to professional training centres, the ways dance schools are structured shapes how students learn, grow, and develop their self-esteem. Without implying that all performers of African origin have identical bone and muscle structures, I have often found that we possess anatomical features, beyond skin colour, that impact us when learning to dance. How are the “non-standard” bodies of dancers of Afro-descendence perceived by institutions that, in my view, very much enforce a “standardized” aesthetic? We must ask whether schools run by predominantly white administrators and teachers are properly equipping instructors to teach to all body types.
“How are ‘non-standard’ bodies perceived?”
The main challenge for teachers is to adapt to the full range of body types, to make sure to create a safe mental space where students feels confident enough to grow and develop. This is particularly true in dance, where our “tool of the trade” is the body. In many cases, the quest for the “perfect” body, by teachers and students alike, can be a source of mental and physical tension. Do our institutions perpetuate a vision of a “standard” body? Is there a hierarchy of bodies? A hierarchy of dances? What about diversity in the teaching staff of educational institutions? And does this impact the representation of the diversity of students’ body types?
Chloé Saintesprit holds a Diploma of College Studies (DEC) in Dance from Collège Montmorency (2016), a BA in Dance (UQAM, 2019), and a graduate diploma in management from HEC Montréal (2022). She is a cultural worker, consultant, and board member for La Sentinelle and Festival FIKA(S). Chloé is deeply involved in the artistic and cultural sector, working to enhance diversity within organizations, governance bodies, and the artistic communities represented on Montreal’s stages.
