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Together We Dance

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Elliot Pinkney’s mural depicts dancers from Africa, Southeast Asia, and Latin America. The dancers, divided into three sections by vertical bands, stand in front of blue or orange backgrounds. Blue and orange are opposites on the color wheel; complimentary colors that exist harmoniously and amplify the richness of the mural when placed together. In this sense, Pinkney’s color scheme may aim to evoke a similar sentiment regarding the depicted cultures. A thick red horizontal band situated beneath the dancers stretches across all three sections. Despite the division of these dancers both literally— the vertical columns that place them apart— and figuratively— their geographical and cultural differences— they share the same stage. They stand equal in the presence of one another, existing harmoniously, and holding claim to their own culture’s unique beauty.

Pinkney's mural emphasizes movement: straight dashed lines behind the dancers accentuate the curved nature of their bodies, and no figure stands straight. This depiction of dance, specifically of those considered minorities in the United States, extends the narrative of Pinkney’s mural. In the case of Black Americans, whose bodies have been forced into stillness through atrocities such as slavery and police brutality, scholar Harvey Young notes that the depiction of Black movement signifies “the Black body [choosing] to perform itself for itself.” Situated in a country long known for its mistreatment of minorities, Pinkney’s mural is not only a celebration of multiculturalism, but a depiction of individual agency and triumph despite racial oppression.

Written by Sophia Pelaez c/o ‘24

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  1. Elliot Pinkney Curtis Fletcher

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