ABSTRACT
Racial division, cultural fragmentation, and the absence of critical theory devoted to Afro-performance have contributed to the historical displacement of dance created by African-American men. This essay addresses the presence and potency of the black male body in concert dance through a consideration of: 1) strategies governing performance in the Afro-American grain, 2) critical reception of dancers and dances by mainstream press, and 3) analysis of representation as it is described by performance.
