The Allure and Anxiety of Artistic Recognition

The pursuit of artistic recognition is a universal theme, but it takes on a particularly nuanced form within the world of dance. Choreographers, often laboring in relative obscurity, face the daunting task of not only creating innovative work but also navigating a complex network of gatekeepers – artistic directors, funders, and critics – who hold the keys to opportunity. Lauren Morrow’s novel, Little Movements, masterfully captures this tension, portraying the internal struggles of Layla Smart, a choreographer poised on the brink of a significant career breakthrough.

The excerpt centers on Layla’s initial meeting with Margot Mattenberg, the director of Briar House, a prestigious arts program. This encounter is laden with unspoken expectations and the weight of artistic legacy. Margot’s assessment of Layla’s work, referencing both its emotional resonance and its potential place within the “canon” of dance history, immediately establishes the high stakes. This pressure to define oneself in relation to established masters – Ailey, Graham, Cunningham – is a common experience for emerging artists.

Morrow subtly highlights the complexities of identity and representation within the American dance landscape. Margot’s emphasis on “Americana” as a thematic focus for the season, coupled with her specific mention of Black choreographers like Camille A. Brown and Ronald K. Brown, raises questions about the expectations placed upon artists of color to represent specific narratives or traditions. Layla’s internal monologue reveals her ambivalence towards being categorized, her past attempts to distance herself from a singular “Americanness,” and her awareness of the limitations of easy categorization.

The exchange about influence is particularly insightful. Layla acknowledges the impact of various choreographers, resisting the urge to align herself solely with any one lineage. This reflects a contemporary artistic sensibility that embraces hybridity and rejects rigid categorization. The conversation also touches upon the practical realities of the art world – the importance of funding, visibility, and the ability to “ask for what you want.”

Margot’s concluding remark, a Swahili proverb – “Haraka haraka haina baraka” (hurry, hurry has no blessing) – offers a poignant counterpoint to the pressures of the industry. It suggests that true artistic creation requires patience, dedication, and a willingness to resist the urge to rush towards success. This message resonates deeply within the context of the excerpt, reminding both Layla and the reader that meaningful work takes time and careful consideration.

Did You Know?

What role does institutional support play in shaping the artistic vision of emerging choreographers? And how can the dance world create more inclusive spaces that celebrate diverse perspectives and resist the pressure to conform to established norms?

Further exploration of the intersection of art and funding can be found at The National Endowment for the Arts, and insights into contemporary dance trends are available through Dance/USA.

Frequently Asked Questions About “Little Movements”