There is urgency in understanding the place of Black art forms in the struggle for equality and justice.
This essay examines two concert dance pieces on the Gulf Wars: Kevin Iega Jeff’s Church of Nations (1991) and William Forsythe’s Three Atmospheric Studies (2006). While both are works of protest, they draw from different aesthetic traditions: the Black aesthetic and postmodern aesthetic, respectively. In an effort to think through the relationship between aesthetic form and the political, the essay explores what is at stake in such a comparison. “Aesthetic Form and the Political” is the complementary essay to “The Ekphrastic Body: Wayne McGregor’s Woolf Works,” Dance Chronicle 42, no. 2 (2019): 143–69,relevant.