Queering Cultural Forms

October 14, 2024

BY SNOWFLAKE CALVERT

Note: This article was first published in Stance on Dance’s fall/winter 2024 print issue. To learn more, visit stanceondance.com/print-publication.

Queering Cultural Forms is a groundbreaking initiative within the Queering Dance Festival*, dedicated to advancing intersectional Queer artistry, practice, and conversation. Founded in 2019, the Queering Dance Festival is by and for LGBTQ+ movement artists. Through performances, events, workshops, and more, QDF highlights the artistic work and issues on the minds of the Queer, Trans, and gender-nonconforming dance community in the San Francisco Bay Area. Produced by the QDF Steering Committee, a nonhierarchical collaborative of Queer dancers, QDF presents dance through a Queer lens, elevating the work and diverse voices of local LGBTQ+ movement artists from all backgrounds. Queering Cultural Forms took place on May 3-18 at Bandaloop Studios and offered free public events that served the LGBTQ+ community and its allies, providing a platform where traditional cultural dances are explored and enriched through a Queer lens. Hosted in Oakland, CA, the festival is a beacon of inclusivity and celebration for BIPOC Queer communities.

The program was born from hearing the stories of friends from different cultures being kicked out of their respective cultural dance groups for being Queer and Trans. All that my friends wanted to do was dance and exist as themselves. But when a person is part of a diasporic people and wants to be in community, getting rejected due to homophobia and transphobia can be extremely painful and isolating in a world that already discriminates against them. It hits even deeper with the realization that one’s culture had Queer and Trans people fully interwoven into it pre-colonization, often since time immemorial. At the Queering Dance Festival, we wanted to contribute to those conversations and provide space for these dances to continue in a positive way.

Queering Cultural Forms has been widely embraced by the community. The program provided a crucial space for Queer and Trans dancers who often face cultural isolation and discrimination. For example, LGBTQ+ individuals in Mexican culture frequently encounter rejection from Ballet Folklorico groups due to homophobic and anti-Trans sentiments. This festival offers a sanctuary where they can heal from past traumas and celebrate their cultural artistry. Testimonials from participants highlighted the transformative power of these workshops, which offered both a sense of belonging and opportunities for personal and artistic growth.

The Panel Discussion

The series began with a moderated panel discussion featuring five diverse Queer and Trans practitioners whose traditional dance styles are from their respective cultures. These culture bearers, deeply connected to their communities, explored how LGBTQ+ identities deepen traditional dances. The panelists discussed the intersection of Queer experiences with cultural dance forms, sharing insights and personal stories that highlighted both struggles and triumphs.

Listening to their personal stories and experiences highlighted both the similarities and differences in their journeys. Much of what was shared resonated across cultures, particularly the struggle to carry on cultural traditions without succumbing to societal and community pressures to conform to heteronormativity.

For instance, it was eye-opening to learn about the situation in Nigeria, where being LGBTQ+ is illegal. Queer and Trans people there face violence from cultural, religious (particularly Christian), and political spheres. The Nigerian panelist, specifically discussing the Igbo tribe, emphasized that before conversations about queering Nigerian dance can occur, there must first be an open dialogue about being LGBTQ+ in Nigeria. Despite the Igbo language traditionally lacking gender assignments and some traditional deities having Queer and Trans attributes, openly being LGBTQ+ remains a significant challenge.

In contrast, South Asians seem further along in these discussions, yet they also continue to face homophobia and transphobia within their broader communities. This juxtaposition reveals the complex layers of acceptance and resistance within different cultural contexts.

The Armenian panelist shared that Queer and Trans Armenians face discrimination when they seek to engage in traditional Armenian dance. They noted the irony that, despite Armenian traditional dance being on the UNESCO List of Intangible Cultural Heritage, and the Armenian people’s history as genocide survivors, there is still resistance to allowing fellow Armenians to continue their cultural practices simply because of their LGBTQ+ identities.

The Mexican panelist spoke about how religious abuse sometimes permeates Folklorico dance circles. Both overt and subtle attitudes towards LGBTQ+ Mexicans in these communities often project shame and fear, preventing all genders and sexualities from feeling safe to dance. Many just want the freedom to wear what they want—a dress or pants—and dance with the partner of their choice. However, despite a deep pride in their heritage and cultural dance forms, many Queer Mexicans feel unsafe and isolated within their own communities.

A big takeaway for me is the understanding that when it comes to queering one’s cultural dance form, it can sometimes mean holding space for one’s self and holding space for others to exist in one’s culture as one’s full authentic self. Watching the panel, it was clear that even with the barriers, there have been many triumphs. This is very healing, not just for me and other participants but for future generations within our cultures to also have a safe space or, at the very least, conversations they can build on no matter their gender or sexuality. Holding space for our authentic selves to dance is medicine.

Workshops

Following the panel discussion, the program offered a series of workshops led by the panelists. These workshops were more than just dance classes; they were healing spaces where participants could engage in joyful movement practice, candid dialogue, and community building. No one created new movements or roles. It was about just giving participants the opportunity to dance wearing whatever they wanted and with whomever they wanted. The workshops aimed to minimize the risks of racism, homophobia, and transphobia, creating a safe environment for BIPOC Queer and Trans dancers to thrive. Participants learned traditional dances through a Queer perspective, allowing them to strengthen their connection to their culture while celebrating their LGBTQ+ identities.

Coming from the panel discussion, I not only gained insight into the personal histories of the panelists teaching these workshops but also felt privileged to be part of their healing journey, which in its own way, served as a form of medicine for me. Walking into the Queering Folklorico workshop made me feel incredibly proud to be Mexican. For the first time, I felt a sense of inclusion and support in carving out a space for us LGBTQ+ Mexicans. Growing up, I never felt included in Folklorico dance because I knew I wouldn’t be allowed to wear the flowing ribbon dresses, and I only ever wanted to dance with the boys. Throughout this workshop, there was something very magical about not just dancing for myself but for all of us LGBTQ+ Mexicans who have never had the opportunity to dance so freely without the fear of homophobia and transphobia.

I also took the Queering Armenian Dance and Queering Bhangra workshops. Being witness to beautiful Queer and Trans Armenians and SWANA dancing so freely with overflowing joy was powerful to witness. Armenians have survived so much, and to have a place provided for Queer Armenians to fully express themselves within their culture while also witnessing cultural preservation was very powerful. Immediately following this workshop was the Queering Bhangra workshop, which felt like a Punjabi family party. This was our largest attended workshop. We even had straight allies attend the workshop to show support and have fun with the rest of us. I didn’t realize the need for these types of spaces until I began hearing more personal experiences. The strength and encouragement towards one another to be brave and proud of who they are as dancers in their culture was inspiring, to say the least.

The fourth workshop that I did not attend was called Embracing Authenticity. This workshop was a closed container for people of African descent and their allies (parents, partners, besties, and support). The workshop description was as follows: “Is it safe to be Queer and African? Have you ever pondered the link between illegality, queerness, spirituality, and pride within our displaced bodies? How do marginalized and displaced individuals navigate fear, comfort, power, and agency within themselves? This workshop delves into exploring and transmuting energy within both physical and social bodies, processing the noise and channeling energy into resilience and empowerment. We will use the mediums of breath, movement, and sound for this exploration.” Hearing all the positive feedback on this workshop was so beautiful. It highlighted the need for a space like this, not just for Igbo Nigerians but for other people from the African diaspora as well. The choice to make this workshop a closed container was out of respect for the delicate, nuanced conversations that need to be had around being Queer and Trans dancers from African countries.

The festival shed light on the common struggles faced by Queer and Trans dancers across cultures. Many have grown up in hostile environments that pushed them toward heteronormativity, leading to cultural isolation and mental health challenges. However, Queering Cultural Forms also celebrated the joys and victories of these dancers. The workshops and panel discussions helped to foster breakthroughs in understanding and acceptance, allowing participants to feel seen and valued within their cultural and Queer identities.

Looking Ahead

Looking ahead, the Queering Dance Festival aims to continue expanding the Queering Cultural Forms program. Plans for future events include more diverse workshops, broader community outreach, and increased accessibility (QDF’s programming is free, close to public transportation, ADA compliant venues, and provides ASL interpretation, audio description, etc.). The goal is to reach even more BIPOC Queer communities, offering them a space where their cultural and LGBTQ+ identities are celebrated and integrated.

Queering Cultural Forms is more than a workshop series; it is a transformative movement that redefines traditional cultural practices through the lens of intersectional Queer experiences. By providing a safe, inclusive space for Queer and Trans dancers of color, the program fosters community, healing, and artistic excellence. It challenges and enriches traditional cultural narratives, ensuring that future generations can live full, authentic lives.

Call to Action

If you are interested in learning more or getting involved with Queering Cultural Forms and the Queering Dance Festival, visit our website or follow us on Instagram @queeringdancefestival. Join us in celebrating and supporting the vibrant intersectional artistry that makes our communities stronger and more inclusive. You can also instigate these conversations within your own community and host your own workshop for your people. Even if it’s just you in your living room, never stop dancing as your full authentic self.

*The Queering Dance Festival is a program of Shawl-Anderson Dance Center. It is produced and operated by the non-hierarchical Queering Dance Festival Steering Committee.

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Snowflake Calvert (she/her) is a Yaqui and Tzotzil Two-Spirit artist, dancer, drag performer, and filmmaker. Her artistry serves as a platform for political, social, and cultural activism, notably within the LGBTQ+ community. Snowflake nurtured budding talents as owner of The Dance Zone Studio. She co-produces Seeds and Sequins, collaborates with The TRY Project, is a board member for Shawl Anderson Dance Center and Stance on Dance, and is on Queering Dance Festival’s Steering Committee. Her filmmaking includes co-producing, writing, and acting in “Chaac + Yum.” She is working on a new dance project called Neanderthal Land Acknowledgement.