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Notable Choreographic Works (+ Links):
Camille A. Brown is a dancer, choreographer, and director from Jamaica, Queens, New York. Her dance journey began at Bernice Johnson’s Cultural Arts Center, where she first developed a passion for movement. Alongside her love for dance, Brown shared a deep appreciation for musical theater with her mother, which led her to attend the prestigious LaGuardia High School of Music & Art and Performing Arts. Later, she earned a dance scholarship to the renowned Alvin Ailey American Dance Theater.
During her early years as a dancer, Brown faced challenges with body image, which she has openly discussed as a barrier that hindered her from securing the roles and building the connections she aspired to. However, her drive and determination grew in her junior year when she began working with inspiring choreographers like Ronald K. Brown, marking a turning point in her career. She was invited to his company, EVIDENCE, waiting in line for The Lion King auditions, a moment that catalyzed her professional growth and commitment to her craft.
Brown’s choreography is deeply influenced by social dance traditions and movement derived from the African diaspora, drawing inspiration from how people in her community, particularly those from her birthplace, interact with one another. This focus on social dance and cultural expression is central to her exploration of identity, particularly within communities that have endured historical trauma and sacrifice. In works like “Gramercy Park”, Brown delves into the experience of a Black man living in America, examining how he is constantly judged and stereotyped based on his appearance.
To create a sense of authenticity, Brown began the creative process for “Gramercy Park” by interviewing her Black male dancers, using their insights to accurately capture the lived experience of the character. She emphasizes the importance of seeing and hearing her dancers.
Her choreography weaves together West African dance forms and vernacular movement styles to provide direct responses to the social questions facing society. Through these forms, Brown gives voice to complex themes of race, identity, and belonging, creating a powerful platform for reflections.
I resonate with Brown’s decision not to adopt an alias; her acknowledgment of the pressure to shrink oneself to make room for others is something I deeply relate to. I also connect with her use of Black vernacular dance, as it is a key element in my own choreography. Like Brown, I aspire to have a career that spans across various artistic fields, allowing my creativity to flow freely and make an impact in every medium I explore.
MLA Bibliography
“Camille A. Brown: Essay.” Jacob’s Pillow Dance Interactive, 23 May 2022.
Camille A. Brown, www.camilleabrown.org/. Accessed 8 Nov. 2024.
Sarachan, Risa. “Choreographer Camille A. Brown: A Queens Girl Who Now Creates Dance
Everywhere.” Forbes, Forbes Magazine, 19 Jan. 2019.
Scott-Flaherty, Caedra. “Could Camille A. Brown Become the First Black Woman to Win a Tony
For Choreography?” Observer, 12 June 2024.