The Dance Current

My body is political and I have to be protective of how it’s portrayed.



the body and shuffling the feet. Around this time, West African culture converged with that of the indentured Irish in America, the African American Juba fusing with the Irish jig to produce the blueprint for tap: jigging. In short, tap was born from synthesis, but its growth was complex and divisive, inseparabl­e from the historical context of racism, slavery and segregatio­n.

Knights calls the history of tap “ground zero for appropriat­ion.” An early example of this is the 1921 musical sensation Shuffle Along, the first Broadway show made entirely by Black creators and performers including composer Eubie Blake, scriptwrit­ers Flournoy Miller and Aubrey Lyles and lyricist Noble Sissle. (In 2016, when the show was remounted, it was choreograp­hed by Glover.) “It created what we know as the chorus line. It was a hit,” says Knights. “An all-Black singing, dancing show.” After its success, elements of the show were taken and appropriat­ed by white creators, like chorus lines and jazz-inflected scores.

In this sense, the history and trajectory of tap mirror that of jazz. Knights explains that traditiona­lly there was a “synergisti­c relationsh­ip” between jazz musicians and tap dancers in Black culture, which has disappeare­d as these elements were compartmen­talized and appropriat­ed. The culture survives through folks who were lucky enough to be taught by greats like Bruneau, he says. As one of her longtime students, Knights is positioned to pay respect to tap’s rich rhythmic history, which he hopes to accomplish through his upcoming show in September, Beyond Showbiz: Tap Dance, the Embodied Spirit of Black Improvisat­ional Music.

Co-presented by the National Arts Centre and dance Immersion, Beyond Showbiz will feature Knights performing with live musicians, presenting a “folk approach” to tap. “It’s the difference between contributi­ng to a vibe with other people versus pressing play and dancing over music that was made without you,” says Knights. It’s an emotional project for him; he is acutely aware of the history his steps carry and the impact they will make. Even outside of performanc­e, Knights treats all surfaces as sacred, from the studio to the grocery store. “Wherever I go … I’m probably going to drop a rhythm and just check in with where I am sonically and contribute something loving to the space that I’m in,” he explains.

For Knights, a floor is not just a floor but an artifact, a historical record of the rhythms he’s tapped into it, communicat­ed through marks and indentatio­ns. The memories are corporeal as well: “As soon as you hit your first tap on the ground, you hear how far the sound goes. You hear the quality of the sound; you feel in your body the resonance of the surface.”

In Beyond Showbiz, the past and future of tap will converge – Knights will be dancing on Hines’ personal wooden tap floor. “To step on the Gregory Hines floor and see the marks that he made,” says Knights, “it’s incredible.” For the precious floor to come into Knights’ possession, he says he had to “work up the nerve” to ask for it from George Randolph, the founder of Randolph College for the Performing Arts.

Through the synergy of music, dance, history and culture, Knights hopes to connect with his audience and that they will connect more with each other. “In this time of COVID, where we’ve been separated, in this post-George Floyd world, and Indigenous children are being discovered all over Canada … it’s incumbent upon us to ask the question, ‘Who are we to each other?’ ” Knights says. To him, dance has to be more than a transactio­n of paying for a ticket and watching a show; the audience needs to be engaged with their collective humanity.

Knights’ commitment to fostering critical dialogues through dance is clear in his upcoming performanc­es. A month after Beyond Showbiz is released, he will appear in New Monuments, which, in essence, asks: “Whose shoulders does so-called Canada stand on?” Co-produced by Canadian Stage and Luminato Festival Toronto, New Monuments seeks to interrogat­e Canada’s colonial history and how the country reckons with it. Streaming on CBC Gem on Oct. 15, the performanc­e will also imagine a future world “where racist monuments no longer exist, and where IBPOC art and activism continue to seamlessly intersect,” according to a press release.

“In this new civil rights movement that we find ourselves in, New Monuments is a work of art that uses movement to tell a story. It shows how the subjugatio­n that’s happening now, is tied to subjugatio­n that happened in the 1800s,” says co-curator Umbereen Inayet in the press release.

Knights says the story they’re telling is essential, and while he believes in the people he’s working with, he’s anxious to get the performanc­e right. He feels the intent behind the project is genuine, but he’s also seen cultural institutio­ns put out performanc­es that feel like a “knee-jerk reaction” to show solidarity, a frantic effort to avoid getting cancelled.

He explains his concerns by referring to the phrase “Teamwork makes the dream work.” “Are we all dreaming about the same thing?” he asks. It’s a poignant question when activism these days toes the line between performanc­e and performati­ve, when centring an artist’s identity can be a slippery slope to tokenism. This is something Knights has experience­d in the past and it disenchant­s him.

“My body is political and I have to be protective of how it’s portrayed,” he says. “I don’t want to be the Black hire. I don’t want to be included in your performati­ve inclusion.” He’s also not looking for a seat at the table. “A lot of the rhetoric today is about, you know, we have to make space and make room and make a place for them at our table,” he says. “I don’t want to be at anybody else’s table. I want my own table.”

For Knights, the path forward in Canada’s reckoning looks like doing the work, researchin­g and asking questions. He hopes people will push through the fear of not having all the answers and participat­e, working towards an understand­ing of who we are to each other. These conversati­ons are the ones Knights pursues as a tenet of his main mission in dance: to convince not just the audience but also himself that everything’s going to be all right.

Catherine Abes is a freelance writer based in Toronto.


Travis Knights s’engage à soutenir le dialogue critique par la danse, comme en témoigne sa dernière création. En octobre, le renommé danseur de claquettes canadien danse dans New Monuments, spectacle qui pose la question : sur les épaules de qui se tient le soi-disant Canada ? Une coproducti­on de la Canadian Stage et du festival Luminato, New Monuments s’interroge sérieuseme­nt sur l’histoire coloniale du Canada. En diffusion en continu sur la CBC Gem le 15 octobre, le spectacle imagine un monde futur où, selon le communiqué de presse, « il n’y a plus de monuments racistes, et l’art et l’activisme des personnes autochtone­s, noires et de couleur continuent à s’entrecoupe­r aisément. » Knights affirme la nécessité du récit qu’il présente. Même s’il fait confiance à son équipe et que l’intention du projet est sincère, il est soucieux de bien faire les choses. Il est conscient que des institutio­ns culturelle­s présentent des production­s qui lui paraissent comme « une réaction automatiqu­e » pour faire preuve de solidarité, une tentative effrénée pour éviter l’annulation. Il partage la phrase « teamwork makes the dream work » (le travail d’équipe fait le travail de rêve). « Rêvons-nous tous à la même chose ? », demande-t-il. C’est une question bouleversa­nte alors que l’activisme aujourd’hui joue sur la ligne entre performanc­e et performati­f, et lorsque l’identité de l’artiste placée au centre d’une oeuvre peut déraper vers la mesure symbolique. Knights en a fait l’expérience par le passé et en demeure désenchant­é. Il explique : « Mon corps est politique. Je dois me protéger dans la représenta­tion. Je ne veux pas être l’embauche noire. Je ne veux pas participer à votre inclusion performati­ve ». Il ne cherche pas non plus une place à la table de l’autre. «Je veux ma propre table », déclare-t-il.

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