ABSTRACT 
 

 

 

 

 
 

 
Title of Thesis: 

 

MI VIDA, IN RHYTHM: RESISTANCE AND 
INTEGRATION OF AN AFRO- HONDURAN 
IMMIGRANT IN THE UNITED STATES 

THROUGHT TAP DANCE 
  

 Gerson Noé Lanza Ruiz,   
Master of Fine Arts: Dance, May 2024 

  

Thesis Directed By: Assistant Member, Kendra Portier, Theater, 
Performance Studies and Dance. Special 

Member, Kate Ladenheim, Full Member, Sara 
Pearson, Theater, Performance Studies and 
Dance, Associate Member, Robert Keith 

Chester, American Studies  
 

 
 

This article focuses on Mi Vida, in Rhythm, which premiered on October 12, 2023, at the 

Clarice Smith Performing Arts Center. This performance is an autobiographical account of my 

experience immigrating from Honduras to the United States. At the heart of this production lies 

the art of storytelling, brough to life through the combination of live music, dance and spoken 

word. The performance draws heavily from the experiences of Afro-descendant peoples in 

Central America and the United States. It is steeped in the cultural traditions of the Garifuna, an 

afro-indigenous people of Honduras, incorporating their language, dance forms of resistance, and 

everyday choreography. The performance aims to capture the evolution of communication 

tactics, identity, and coping mechanisms of Afro Latinoe/xs as we navigate the challenges of 

realizing the American dream. 



  

What follows are brief personal accounts that serve as guide to essential artistic 

discoveries that sparked my curiosity. These curiosities eventually mold my artistry in percussive 

dance, particularly tap dance. With that, I formally analyze specific segments in Mi Vida, in 

Rhythm, that serve as reservoir of knowledge for movement and sound exploration. Ultimately 

my scholarly research dwells in three different topics; First the term Blackness as descriptive of 

one's ethnicity, race, or both, and the movement practices unique to their demographic and 

diasporic thread. Second, the understanding of historic privileging of Eurocentric perspectives 

within higher education. Third, the necessity to highlight Afro-Latinoe/ experiences and dance 

forms within dance curriculum. The article concludes by highlighting my contributions as an 

artist, instructor, and creative collaborator steeped in the artistry of bodily percussion practices 

and the intersectionality of Black cultural terrain and immigration paranoia.    

 

 

 

 

 

 

 

 

 

 

 

 

 
 



  

 
 

MI VIDA, IN RHYTHNM: RESISTANCE AND ASSIMULATION OF AN AFRO- 
HONDURAN IMMIGRANT IN THE UNITED STATES THROUGHT TAP 

DANCE  
 

 

 
by 

 
 

GERSON NOE LANZA RUIZ 

 
 

 
 
 

Thesis submitted to the Faculty of the Graduate School of the  
University of Maryland, College Park, in partial fulfillment 

of the requirements for the degree of 
Maters of fine Arts: Dance  

[2024] 

 
 

 
 
 

 
 

 
 
 

Advisory Committee: 
Professor Kendra Portier, Chair 

Kate Ladenheim 
Sara Pearson  
Robert Keith Chester 

 
 

 
 
 

 
 

 
 



  

 
 

 
 

 
 
 

 
 

© Copyright by 
Gerson Noé Lanza Ruiz 

2024 



 

  ii 

Dedication 

 
 

I dedicate this to my beautiful mother, Blanca Nusly Ruiz Arriola who sacrificed the 

unthinkable to provide me and my sibling, Karla Melendez, Alexzyk Lanza, Misael 

Lanza, a chance to pursue our dreams.  

 

 
 

 
 
 

 
 

 
 
 

 
 

 
 
 

 
 

 
 
 

 
 

 
 
 

 
 

 
 
 

 
 



 

  iii 

Table of Contents  

 

Abstract ……………………………………………………..………………………...i 

Dedication …………………………………………..…..…………………………….ii 
Table of content …………………………………………………………..……….....iii 

Chapter 1: From Nada to Something  

To dance is to be FREE……………………………………………………….1 

Introduction ………………………………………………………………...2-6 

Primer Encuentro……………………………………………………………6-9 
Tap Dance and Academia: Challenges and Advocacy …………………. ..9-23 

 
Chapter 2: Garinagu and Resistance ………………………………………..……23-32 
  

Mascaro & Tap dance ……………………………………………………32-35 

Chapter 3: Choreographies of Labor………………………………………..……35-40 

             
Segundo Encuentro ……..……………………………………………….40-44 

  

Chapter 4: What is the American Dream? ……………………………………….44-52 
 

Conclusion…..……………………………………………………………………52-55 
 
Bibliography……………………………………………………………………...55-58 

 



 

 

1 
 

Chapter 1: From Nada to Something  

To Dance is to be Free 

Hay gente abajo decía mi madre, Blanca Nusly Ruiz, as a dance   
 

Afraid to carry my tap shoes in my 
back pockets because of the glaring 

metal.  

Paranoid to street perform 
without a permit. Hesitant to drive 

outside, Harlem, Washington heights, and el barrio after dark.  
I have a 

college degree, speak multiple, 

languages, traveled the 
world…………am a mentor, a son, a 

brother, a tap dancer.  
And for some reason none of 

this seems to matter.  

 
This system 

of fear attempts to strip me of my 
power, but I won’t let it. I carry 

on a legacy, I carry on a tradition 

Born in slave plantation, nurtured in jazz, 
 rooted in song and the blues.  

 
Tap dance is 

My universal voice, I 

can resist and protest and fight 
without saying a word. I can 

empower my brothers aqui en los Estados Unidos, Honduras, Chile, El Salvador, 
Ghana,  

Colombia, Costa Rica,  

Ukraine, Palestine, China, Puerto Rico, Ethiopia,  
 

 To be a man is to be 
strong, to be a black man is to be 

powerful  

 
To dance is to be 

free.  
 
 



 

 

2 
 

Introduction 

 

As an Afro-Honduran immigrant in the United States and a tap dance 

practitioner, I focus my work on converging traditional folklore dances of the Afro 

indigenous people of Honduras with percussive dance found within the legacies of 

Black American vernacular dance and Jazz. I believe that tap dance is well equipped 

to speak on the histories of migration. Merging such dance forms such as tap dance, 

body percussion, and Mascaro (a traditional Garifuna/Afro-indigenous folklore 

dance) I demonstrate the value of the African-Diaspora’s inherent ability to utilize 

dance and live music to resist, protest, and heal. 

In these chapters, I seek to achieve three goals: 1. Reiterate that Blackness is 

an expansive term and should engage with Afro-Latinidad as a vital part of its 

diaspora; 2. Promote the inclusion of Afro-Diasporic studies in dance and 

performance studies curricula in higher education; 3. Create an evolving artistic 

platform that challenges systemic oppression and nurtures diversity within dance 

education and performance research. 

As a researcher and educator, I approach Blackness with an eye towards 

inclusivity, specifically Afro-Latinidad, as a significant contributor to the diaspora 

and Black culture. Despite sharing a skin color, people of African descent possess 

distinct languages, traditions, culinary practices, and dances unique to their 

demographic and diasporic thread.  

 

 

 



 

 

3 
 

In my performances, I draw upon my experiences and cultural upbringing to 

offer audiences a glimpse into the mundane choreographies enacted by my 

community. These choreographies include crop harvesting, washing clothes, and 

other everyday movements. 

Mi Vida, in Rhythm   is exemplary of this choreographic strategy. The piece 

presents a world of music and dance in which a live band made up of steel drums, 

piano, and upright bass plays a tropical fusion of Caribbean and Jazz music. The 

sounds fill the air, and you can feel the Rhythm as the performance commences. As 

the music plays, you hear voices in the Spanish and Garifuna languages that transport 

you to Honduras. I meticulously crafted sound texture when choreographing to create 

a noticeable progression, aiming to captivate my audience and complement the 

soundscapes already at play. 

At The Kogod Theater at the Clarice Smith Performing Arts Center, the 

performance was not a proscenium show, but an immersive experience. The unique 

design allowed you to partially see the dance but fully hear it, offering a fresh 

perspective. The scene transitions from a backyard in Honduras to a New York City 

bar and, finally, a jazz club in Harlem, keeping the audience mirroring my own 

journey with immigration and how movement practices were an essential aspect of 

navigating it. The gradual upward shift in height and the activation of three spaces 

over a metaphor for upward mobility towards the American Dream. 

As the story's protagonist, I embarked on a movement journey, from barefoot 

to soft shoe to tap dancing and lindy hop. The choreographic choices were guided by 

musicality, merging Mascaro, modern dance, sand dance, tap dance, and lindy hop. 



 

 

4 
 

But the core of Mi Vida, in Rhythm, lies in its improvisation. The performers in the 

work (Isabella Grady, Lleyton Beinhaker, Charlene Cowan), used musical rhythmic 

patterns with unassigned movement, allowing us to find our own voice in the dance. 

This element of spontaneity and creativity is inspired by dances of Central America 

and the African Diaspora, and thus are a key part of the performance.  

The movement is rooted in my childhood, reflecting playful moments among 

siblings (everyday choreographies) while performing chores (choreographies of 

labor). It progresses into metaphors of instability and tenderness that characterized 

my adolescence once I left Honduras.  As the performance gains momentum, the 

rigor and effort of choreography and improvisation increase. The work concludes 

with virtuoso tap dancing on top of a piano in the jazz club environment, jumping 

twenty feet in the air, and landing into a split; symbolizing arrival, confidence, and 

agency in my own narrative. 

As a percussive artist, and scholar my work utilizes methods of storytelling to 

disrupt the monolithic clumping of Central Americans to encourage dialogues rooted 

in cultural multiplicity. The term cultural currency, defined by George Watley is to 

“understand how culture and its manifestations are forms and have systems of 

exchange” 1. Watley’s theory supports culture performance on legitimacy as forms of 

exchange. Take for example, "Bring in 'da Noise, Bring in 'da Funk," 2 (1996), a 

musical directed by George C. Wolfe and choreographed by Savion Glover. The 

show tells the story of Black history in the United States from slavery to the present, 

 
1Watley, George. 2011. “The Cultural Currency of Afro-Caribbeans in Northamptonshirec. 1960–

1990.” Midland History 36 (2): 245–61. https://doi.org/10.1179/004772911x13074595849158 .  
2 Wolfe, George C. 1996. “Bring in 'Da Noise, Bring in 'Da Funk" .” Broadway Musical. New York, 

 Performing Arts Library . 

https://doi.org/10.1179/004772911x13074595849158


 

 

5 
 

using tap dance as the central art form of expression. Through exploring themes of 

the transatlantic slave trade, the Great Migration, industrialization, riots, and modern 

conversations on the Black experience in hip-hop and inner-city culture, the 

production serves as a reminder that cultural currency informs and sparks creativity. 

In other words, performance inevitably serves as a form of exchange between 

performer and viewer.  

In her book titled The Archive and the Repertoire, scholar Diana Taylor 

provides valuable support to my research by highlighting the significance of studying 

performance as a means of exploring the cultural memory and preserving a variety of 

aspects such as stories, traditions, culture, and diaspora. Her insights emphasize the 

crucial role of performance in keeping the collective memory of a society alive and 

relevant, and offer a valuable perspective on the importance of understanding the 

cultural context of various performances.3 

 Mi Vida, in Rhythm , is fueled by cultural memory base on the immigrant 

experience, the multifaceted understanding of Black cultural terrain, and 

decentralizing Eurocentric dance aesthetics in higher education institutions.4 I have 

learned in the creation of this performance that by embracing and welcoming my 

identity, the term intersectionality can become a gateway of expression anchored to 

push agendas of empowerment and advocacy through performance.5  My 

 
3 Taylor, Diana. 2003. The Archive and the Repertoire : Performing Cultural Memory  

in the Americas. Durham: Duke University Press. 

 
4 Davis, Crystal U. Dance and belonging: Implicit bias and inclusion in dance education. Jefferson, 

NC: McFarland & Company, Inc., Publishers, 2022.  
5Melina Gerdtz, Demarginalizing the Intersection. Intersectionality of Race and Gender a Brief 

Historical Outline of the Development of and an Introduction to the Meaning and Modern Relevance 



 

 

6 
 

understanding of cultural currency brought to light a production that honors culture, 

history, and the Black Latino experience in The Unites States.  

Tap dance has impacted my life in numerous ways. It has surpassed all my 

expectations in providing me with a sense of belonging, mentorship, companionship, 

and a community of like-minded individuals. As you read this paper, you will come 

to understand that tap dance has never been a mere hobby for me. Since the 

beginning, it was a lifeline that offered hope during my formative years as a young 

adolescent, navigating a new world filled with an unfamiliar culture, languages, and 

much more. For me, tap dance continues to be the key that unlocks superpowers.  

 I am committed to researching the African diaspora in Latin America and developing 

a culturally relevant curriculum by advocating for addressing the current prevalence 

of educational neglect and misrepresentation regarding Black dance studies. 

Primer Encuentro 

 

For the past twenty-three years, I lived at 116th between Lenox and 5th Ave, 

my home since I immigrated to the United States as a child. However, tap dance 

loomed in my mind long before I moved to this country. Our family home is modest 

and simple, with just enough amenities to live comfortably. Our home is located al 

costado sur del centro de salud, al lado de la pulpería “Los Gemelos”, la casa 

número seis. All seven houses on the strip faced east, making every sunrise magical. 

Witnessing the sun piercing the sky over the cordilleras de Gracias Adios was 

breathtaking. 

 
of the Intersectionality Concept as Coined by KIMBERLÉ W. CRENSHAW (München: GRIN Verlag, 

2020). 



 

 

7 
 

I vividly recall the hot sun beating down on my navy blue uniform as I walked 

home from Jardin de Niños San Antonio. Every day after school, I eagerly looked 

forward to sitting on the couch and turning on the television, making the walk seem 

like an eternity. With every step, my old black leather shoes, whose soles were nearly 

flat from overuse, collected another layer of dust step by step. In the afternoon, my 

father and I would sit in front of the TV, cruising through channels to find something 

to watch before continuing with our daily chores like harvesting corn, beans, or 

cleaning the house. My mother had sent us a TV for Christmas from La USA. You had 

to look closely to make sure it was a TV. The elaborate wooden carved molding all 

over gave it a square shape, and it was as tall as my brother at ten years old. The 

gray glass screen was a third of the size of the entire composition that made the TV, 

and it had two knobs on the side that labeled a few channels— thirty rotations. Every 

rotation of the knob sounded like a metronome, loud and annoying after a few 

rotations. No one else in the block had the privilege and luxury of having a parent 

living in the United States who constantly sent home goods like furniture TV’s. 

As my dad turned the channels, we stumbled upon Pinky y Cerebro, Johnny 

Bravo, Canal 5, Caballeros del Zodiaco, Dragon Ball Z, and noticieros. After a 

steady beat from knob rotation, we always landed on Sesame Street, which became 

our ritual every afternoon after he finished teaching middle schoolers and met with 

me at home. Sesame Street provided valuable learning lessons. Each episode 

included various teachings on love and friendship while introducing literacy and 

cognitive skills. I fondly remember learning the alphabet and performing simple math 

beside my dad while enjoying the show. 



 

 

8 
 

A particular episode left a lasting impression on me. On the screen were two 

tall, handsome Black men standing at equal heights with perfectly shaped afros. Their 

attributes mirrored one another with facial hair, beautiful smiles, and athletic bodies 

reminiscent of a cross-country runner. They were dressed in earthy bright colors that 

complimented their brown skin: shades of purple, orange, and green, well fitted for 

their athletic physique. The two men were explaining the concept of nearness. One of 

the men peeled away and circled the other, with their feet making sounds similar to 

drums - one beat after another in a steady rhythm. Over a few musical measures, this 

man traveled away from the other, and at his arrival, said, "This is far," 

demonstrating a basic understanding of distance.  

I was both confused and intrigued at the same time. Although I did not 

understand the complexities of his moving body and the sounds of music he was 

projecting with minimal effort, there was an understanding within me that I could not 

explain. Witnessing this duo reminded me of the drum circles, punta, and Mascaro 

that my tios danced during Christmas in el pueblo. I had knowledge of dance and 

percussion and their sonic vibrations, which have been ingrained in my body for 

generations. However, I was unaware these art forms could be combined into one 

moving expression. 

It was on Sesame Street that I first saw a tap dance. The gentlemen in that 

television episode were the Hines brothers, Maurice and Gregory Hines. Although I 

knew nothing about tap dancing or the Hines Brothers, I knew that their feet made 

music, and their bodies glided effortlessly throughout space like a dance. This brief 

episode was my first glimpse at the magic of tap dancing. 



 

 

9 
 

Tap Dance and Academia: Challenges and Advocacy 

 Brenda Gottschild, in her book "Diggin the Africanist Presence in the 

American Performance," abstracts how tap dance has served as a model for the 

advancement of postmodern dance. Gottschild examined tap and jazz giants Jimmy 

Slyde, Savion Glover, Charley Parker, and others to shed light on the aesthetics of the 

cool, meditative performance state stemming from the grassroots of Black culture. 

She writes that "rhythm tap dance offers a strong attitudinal modeling for postmodern 

dance. Its cool, laid-back energy is a mirror in the “no skill, few accents, unhurried 

control' principles as an aesthetic by postmodern dance." 6 According to Gottschild, 

the Africanist presence has contributed to Eurocentric dance forms. Gottsdchild’s 

motive is not to debunk the roots of post-modern or modern dance, but to delve into 

the hidden contributions of Black aesthetics in American performance. 

Tap dance is an American art form that offers tools to improve a dancer's 

musicality and stage presence, and sonic awareness. Its unique combination of 

auditory elements (creating rhythmic patterns with the feet) and visual movement is 

what sets tap dance apart. Gregory Hines, tap dancer and revolutionary of the 

entertainment industry says, "One of the great things that separates tap dance from 

everything else is that you see the body move and hear the body move. Tap dance is 

not just dance; it is also music.”7 The rhythm and the moving body work 

harmoniously to forge melody, stories, and, ultimately, a form of communication.  

 
6 Brenda Dixon Gottschild, Digging the Africanist Presence in American Performance : Dance and 

Other Contexts(Westport, Conn.: Praeger, 1998). 

 



 

 

10 
 

 The African diasporic terrain of performative arts and pedestrian movements 

has always been connected to Earth.  West African traditions that extend from the 

Yoruba emphasize access to the ground.8 I view this earth bounding experience as the 

access to sonic vibration that resonates from the soles of my feet to the crown of my 

head. The phrase “To know where you are going, you must know where you are 

coming from” is significant for every tap dancer. Tap dancing is an art form deeply 

rooted in history and tradition. To truly understand and appreciate this dance style, 

one must thoroughly know its origins and evolution.   

The elements of music and movement in tap dance are inseparable. Tap dance 

has evolved and developed its unique style by incorporating elements of jazz 

improvisation, musical feels of swing, and the freeform of be-bop. It has been 

nurtured by the Black population within the United States as an expression of 

resistance and preservation of Black culture, making it an African American art form. 

In the last three years, while actively participating in modern dance classes, I have 

noticed a disconnect with the music in the room. As a practitioner in a sounding body, 

I am always invested in how the music informs my moving body. Although I may not 

be able to execute a bound high kick with grace like my counterparts, my sense of 

rhythm and timing is superior to most in the room because of my awareness of sound. 

This awareness has been developed through tap dance music training, traditional west 

African, and lindy hop.   

 
8 Stearns, Marshall, and Stern, Jean. Jazz Dance; A History of American Vernacular Dance .( NY: Da 

Capo Press, 1994) pp.14-15 
 
 



 

 

11 
 

By studying the work of past tap legends such Sammy Davis Jr., Bill 

“Bojangles” Robinson, Jeni Legon, John Bubbles, Dianne Walker and modern 

contributors such as Dormisha Sumbry-Edwards, Chloe Arnold, Michelle Dorrance, 

Derick Grant, Jason Samuel Smith and many others, we can fully appreciate and 

understand the technique, rhythms, and musicality, improvisation and choreography 

that define tap dancing. Moreover, this awareness of rich history helps to inform one's 

artistic vision and goals, seamlessly appreciate the art form's potential, and strive to 

push the boundaries of what is possible. Today, tap dancing continues to evolve and 

innovate while paying homage to its rich history and cultural heritage. 

In the 2013 film "Tap or Die," Derick Grant, a performer and educator, 

explains that tap dance is an instrument. He says that when you tap, sounds are 

constantly coming out, so it's essential to be responsible for the sound you produce. 

Otherwise, it's just noise. 9  Like a band percussionist, every tap dancer’s movement is 

designed to achieve perfection in tone, volume, and clarity, with the goal of 

contributing to the musical composition. This means that tap dancers are and need to 

be trained like any other musician. They must understand musical bars, structures, 

and feel, such as medium-time swing, twelve-bar blues, or an afro 12/8. Tap dance 

combines mathematics, sounds, movement, listening, ensemble, accompaniment, and 

solo performance.  

For a percussive artist, the dual curiosity in sonic and movement innovation 

requires an immense amount of grit and a lifelong journey. In a promotional video 

showcasing his tap shoes in collaboration with Bloch, Jason Samuel Smith urged 

 
9 Jackie Paré, “Tap or Die ,” November 22, 2014. 



 

 

12 
 

performers and educators to avoid becoming complacent, as settling into a routine can 

hinder growth and progress.10 As artists, it is crucial to remain receptive to fresh ideas 

and novel techniques to evolve and cultivate our unique dance identities. Pursuing 

graduate studies was my way of forging my identity and exploring uncharted 

territory, both with my artistry and wanting to become a published author. Being an 

immigrant, personal complacency is rare. Nonetheless, after numerous years serving 

as an instructor of dance, as well as performing nationally and around the world, I 

surveyed the dance field I identify with. What I found rare was a tap dancer attending 

graduate school. Which I understood because a few (if any) programs cater 

specifically to tap dance or African diasporic dances. Nevertheless, I have been 

willing to take the leap and allow my practice to treasure risk, inevitably to evolve. 

Having spent a decade working full-time as a performer and instructor fully 

immersed in creative practice, returning to school was a dream come true. I knew that 

by pursuing this journey, I would have access to a consistent creative movement and 

intellectual practice backed by resources in technology, space, and creative minds 

who, like me, were looking for professional and artistic expansion. I was eager to 

represent my community in higher education and bring discussion about the greats of 

the dance such as Gregory Hines and the union that exist between tap dancers and 

jazz musicians.  However, the transition to becoming a full-time student was 

challenging.  

 
10 BLOCH Dance USA, “Jason Samuels Smith: BLOCH (Inspired By) [HD],” www.youtube.com, 

2010, https://youtu.be/DNMgGksUpfc. 

https://youtu.be/DNMgGksUpfc


 

 

13 
 

First and foremost, I questioned how the program would welcome a 

percussive artist into what seemed a strictly modern dance program. Would the 

curriculum be flexible enough to accommodate my needs as a percussive dancer? 

Would there be a dance studio with a wooden floor where I could collaborate and 

explore new ideas? How would the faculty support my endeavors to create 

provocative work without bias? 

During my first year in graduate school, I found it challenging to navigate the 

best way to ask for assistance, as this was unfamiliar territory for me and the 

University of Maryland. In the United States, many dance programs concentrate on 

modern dance and Eurocentric styles, often at the expense of Black diasporic 

techniques.11 Nyama McCarthy-Brown, a dance scholar and practitioner, has devoted 

much of her research to integrating Black dance into educational spaces such as high 

schools and universities. McCarthy-Brown's approach is centered on honoring the 

evolution of dance pedagogy by embracing culturally relevant methods. This 

approach emphasizes diversifying curricula by shifting away from Eurocentric norms 

and moving beyond viewing modern or ballet as the foundation of technique. 

In her article, "Decolonizing Dance Curriculum in Higher Education, One 

Credit at a Time”,12 McCarthy-Brown examines the mission statements of over one 

hundred universities to measure their true commitment to inclusive faculty and forms 

of dance expression in their dance department.  She concludes that only a few 

 
11 Nyama Mccarthy-Brown and Takiyah Nur Amin, Dance Pedagogy for a Diverse World : Culturally 

Relevant Teaching in Theory, Research and Practice  (Jefferson, North Carolina: Mcfarland & 

Company, Inc., Publishers, 2017). 
12 Nyama McCarthy-Brown, “Decolonizing Dance Curriculum in Higher Education: One Credit at a  

Time,” Journal of Dance Education 14, no. 4 (October 2, 2014): 125–

29, https://doi.org/10.1080/15290824.2014.887204. 

https://doi.org/10.1080/15290824.2014.887204


 

 

14 
 

universities “walked their talk.”  The reality of dance programs is that it can be 

challenging to overcome decades of monocultural aesthetics, programming, and 

curricular structures.  

Although universities nationwide are trying to diversify curricula, the model 

remains largely the same for two reasons. Firstly, courses from the African diaspora 

or Latin America, such as traditional West African dance, tap dance, bachata, 

salsa, jazz, and composition, are considered elective courses and are not prioritized in 

training. Secondly, there is a lack of Afro-Diasporic and Latinoe/xs educators in the 

room to drive this agenda and a deficiency of primary resources to tap into this wealth 

of knowledge. In support of McCarthy-Brown’s research, it is time to give these 

marginalized art forms the platform, space, and resources to flourish and gain the 

academic legitimacy they deserve.13 

The University of Maryland's description of the Master of Fine Arts in Dance 

program states that "the program provides modern dance techniques each semester 

and welcomes entering graduate students whose dance backgrounds are not modern-

based."14 This initiative has drawn a new population to the program. Having attracted 

non-traditional practitioners, the program must adapt its traditional methods to meet 

the needs of the new comers. These questions continue: who is best suited to mentor 

the upcoming student? How can we guide their success in the classroom and 

movement studio? How is curriculum pushing their scholarly practice in performance 

 
13 Nyama McCarthy-Brown, “Decolonizing Dance Curriculum in Higher Education: One Credit at a  

Time,” Journal of Dance Education 14, no. 4 (October 2, 2014): 125–

29, https://doi.org/10.1080/15290824.2014.887204. 
14 University of Maryland website, https://tdps.umd.edu/academic-programs/mfa-dance 

https://doi.org/10.1080/15290824.2014.887204
https://tdps.umd.edu/academic-programs/mfa-dance


 

 

15 
 

studies? What guest artists can be invited to challenge and push the margins of 

modern dance training?  

While I faced numerous obstacles, the biggest challenge was needing a studio 

space with a wooden dance surface. I cannot overstate the importance of this. Without 

a proper dance surface, a percussive artist can’t hear rhythms with accuracy or 

modulate expressive sonic dynamics. While curious about modern dance, I wanted to 

focus my practice and scholarship on tap dance and the union between music and 

movement. Upon my arrival, I quickly realized that there was an absence of a 

movement space where I could feel grounded and complete in choreographic and 

movement endeavors.  

My sounding body research is guided by the curiosity of sound layering. 

Sound layering involves the stacking of various sounds that originate from the 

movements of the human body. I utilize different textures/surfaces to enhance tonal 

quality. These textures could be anything from sand and newspapers to the 

reverberation of raw materials. The addition of these textures brings about contrast, 

dynamics, and vibrancy to the layered sound. When experimenting with external 

elements in percussive dance, I pay particular attention to how the “sounding body” 

interacts with the surrounding textures and space.  

Although tap dance is traditionally danced on hardwood, there are sound 

dynamics worth investigating. Soft surfaces tend to produce softer tones while harder 

surfaces create sharper and brighter sounds. For percussive dance, a soft surface can 

absorb the quality of sound. For instance, Marley flooring, which is made of 

controlled-slip plastic vinyl, has a soft quality that mutes the sounds. In return, a hard 



 

 

16 
 

surface such as maple wood flooring provides a sharper quality sound. In my 

advanced practice in musical composition generated from the sounding body, I find 

the range of exploration peaks at a hard wooden surface.  

My "moving body" is influenced by the interaction between my "sounding 

body" and the surface I am on. For instance, when I dance on surfaces with sand, it 

affects my body mobility differently depending on whether the flooring is soft or 

hard. Leather sole shoes are usually worn when dancing on sand surfaces because 

they provide support and musical pitches based on the interaction between the shoe 

and sand. When moving on top of sand, I often find myself negotiating my weight 

and head-to-tail relationship, which requires more rigor. However, the musical notes 

become lengthened, and others sharp in their attack, similar to a trumpet. For 

example, Tap dance master Howard “Sandman” Sim keen ear for music making 

allowed him to unluck new sound textures when dancing on sand.  



 

 

17 
 

Figure 1 Gerson Lanza is dancing on top of the bar in Mi Vida, in Rhythm, extending his body horizontally, 

resulting in the lengthening of a musical note using sand as a sonic texture. 

 

Despite obstacles, I noticed change at the University of Maryland’s with my 

contributions as a student, Instructor of Record, practice professional. Notable 

achievements include: 1) procuring a Gerstrung portable sprung floor designed for 

percussive dance, 2) showcasing the musical versatility of tap dance by 

accompanying multiple modern technique classes, 3) collaborating with peer graduate 

students to explore choreographic tools for modern dance rooted in percussive 

movement , 4) expanding the tap dance curriculum to offer intermediate and advance 



 

 

18 
 

classes, 5) providing performance 

opportunities for percussive expression, 

and mentoring over 80 undergraduates in 

theory, movement-based courses, and 

performance over three years. 6) highly 

regarded international performances 

opportunities including notable space 

such as New York City Center, George 

Mason University, Montgomery College, 

Strathmore Music Hall, Howard Theater, 

and Wagner Theater across the Theater, 

Dance, and Performance Studies ( TDPS) department, 8) first-ever collaboration with 

the jazz ensemble and the UMD Choir, 9) I was a guest on numerous podcast 15 and 

television episodes nationally & internationally pushing forward my efforts to bring 

visibility to The University of Maryland efforts to diversify its dance curriculum.16 In 

short, I  opened new networks between the University of Maryland the percussive 

dance community and the world at large.  

 
15  Kelly Christ. Hadero, Meklit, Movement: The Washington Post January 31, 2024, 

https://www.washingtonpost.com/dc-md-va/2024/01/31/best-concerts-dc-february-2024/ 

16 The Movement LIVE, “Listen: How Local Tap Dancer Gerson Lanza Found His Superpower,” 

WAMU, February 15, 2024, https://wamu.org/story/24/02/15/listen-how-local-tap-dancer-gerson-

lanza-found-his-superpower/.  
 

Figure 2 Gerson Lanza & Ali Bradley posing in 

front of the New York City Center marquee.  

https://www.washingtonpost.com/dc-md-va/2024/01/31/best-concerts-dc-february-2024/
https://wamu.org/story/24/02/15/listen-how-local-tap-dancer-gerson-lanza-found-his-superpower/
https://wamu.org/story/24/02/15/listen-how-local-tap-dancer-gerson-lanza-found-his-superpower/


 

 

19 
 

Furthermore, with my continued dedication and perseverance to remain 

involved in my professional work and portfolio, I debuted my jazz quintet at the 

Kennedy Center, Levine School of Music, and performed with the University of 

Maryland and Saint Mary’s Big Band Jazz Ensemble. As a choreographer. I also 

showed work at the New York City Center and New York City Dance Lab, World 

Dance showcase at the Publik Playhouse, 92Y Round Table virtual Choreographer 

showcase, curated by esteemed panelists including, Kyle Abraham. I served as the 

artistic director and choreographer of Tap Residency Madrid and became one of six 

Strathmore Artists in Residence, and the first-ever tap dancer to be accepted into this 

network focused on elevating promising musicians.   

Figure 3 2021-2022 Strathmore Class. Left to right, Alex Hamburger, 

Taisha Estrada, Titi, Gerson Lanza, James Fernando, Langston Hudge 

II. 



 

 

20 
 

I owe much of my 

performance activity 

through graduate school to 

Music From The Sole 

(MFTS), a live music 

company that blurs the lines 

between dancers and 

musicians. MFTS is 

musically anchored in the 

exploration of joy and feel-

good music with the musical 

compass in Afro-Brazilian 

rhythms, jazz, and other 

folk-American influences. 

We had the privilege to perform in the Guggenheim Work in Progress, Vail Dance 

Festival, Cleveland Dance Festival, White Bird, Utah Presents, The Yard, The Joyce 

Theater, and The Clarice Smith Performing Arts Center at the University of 

Maryland. I have been honored to have been mentioned in the New York Times twice 

within the 2023-24 season for my choreographic endeavors in “Hoofers’ Memory 

Figure 4 Leading discussing on tonality and responsibilities of the 

sounding body at Collegium for African Diaspora Dance (2024) 



 

 

21 
 

Lab” during Ayodele Casel's Artist at the Center curatorial work 17 and my feature 

solo in "I didn’t come to stay" by MFTS 18 as well as the Boston Globe.  

Supporting my academic aspirations, I also presented work at the Graduate 

Conference “Oye Como Va” hosted by the Latin American and Caribbean Studies 

department hosted by UMD, presented a tap dance workshop at Collegium for 

African Dance Diaspora (CADD) at Duke University, and partnered with Strathmore 

and The Clarice community outreach and educational program to bring percussive 

dance education to middle schools and high schools in Prince George’s and 

Montgomery Counties.  In 2021 and 2023, I was awarded an IPPCR research grant to 

conduct research abroad, where I studied the cultural influence of tap dance in 

Spanish-speaking countries, particularly Spain and Honduras.  

 While on campus, I received the Arts for All grant, which provides financial 

support to produce arts awareness activities to the university community. The 

objective of the grant project, Jambush 2.0, was to deepen the power of the arts to 

reach and gather an audience in ways we have not yet thought of within the 

parameters of our campus. Jambush 2.0 presented a series of four pop-up 

interdisciplinary sessions that feature live music, movement, DJing, and live painting 

in non-traditional performing spaces across campus, such as parking lots, loading 

 
17 Siobhan Burke, “Review: Ayodele Casel Shares the Floor with Varied Visions of Tap,”  The New 

York Times, April 14, 2023, sec. Arts, https://www.nytimes.com/2023/04/14/arts/dance/review-

ayodele-casel-new-york-city-center.html. 
18 Siobhan Burke, “Review: Music from the Sole Brings a Party to the Joyce Theater,”  The New York 

Times, January 31, 2024, sec. Arts, https://www.nytimes.com/2024/01/31/arts/dance/review-music-

from-the-sole-joyce-theater.html. 

 

 
 

https://www.nytimes.com/2023/04/14/arts/dance/review-ayodele-casel-new-york-city-center.html
https://www.nytimes.com/2023/04/14/arts/dance/review-ayodele-casel-new-york-city-center.html
https://www.nytimes.com/2024/01/31/arts/dance/review-music-from-the-sole-joyce-theater.html
https://www.nytimes.com/2024/01/31/arts/dance/review-music-from-the-sole-joyce-theater.html


 

 

22 
 

docks, and alleyways. These performances facilitated live, multidisciplinary 

collaboration and engaged the broader school population in interactive creative 

activities. Needless to say, I worked very hard to bring visibility to the art form, 

which has given me a voice.  

The support of the University of Maryland was integral to bringing these 

endeavors to fruition. Although the process has been labor intensive, I am witnessing 

that percussive dance is gaining recognition and respect beyond the university. 

Additionally, in my touring experience over the past two years, I have noticed that 

performing arts centers commission more percussive dance and BIPOC productions 

than ever. There are countless talented percussive ensembles constantly gracing the 

stage, including but not limited to the Syncopated Ladies, Michelle Dorrance and 

Dorrance Dance, Dormisha Sumbry-Edwards, Sole Define, Music From the Sole, 

Michela Lerman, Lisa Latouche, Brinae Ali, Ayodele Casel, Caleb Teicher, and 

M.A.D.D Rhythms.  

 Although I accomplished the goals many dancers dream of achieving, feeling 

at home and welcomed at UMD was still challenging. No matter the accolades, the 

void was still there. I frequently walked down the hallway and encountered my cohort 

rehearsing with faculty. I would ask, “Am I missing class?” Their response was, “We 

are rehearsing.” These gestures were not malicious, but still made me feel like the 

other. Moments like these made me reflect and try to make tap dance more visible on 

campus.  

Incorporating my tap dance into a Eurocentric curriculum and practice was 

akin to adapting to a new country as an immigrant. I experienced a sense of alienation 



 

 

23 
 

in my body, yet familiarity with the environment. It felt as though the art that once 

gave me the freedom to express myself was now limited within the walls of 

academia.  

It is worth mentioning that my colleagues have not had the opportunity to 

explore percussive dance as part of their university curriculum. This raises the 

question of whether the school's mission is truly inclusive and supports diverse 

practices beyond modern dance. Perhaps, if my colleagues had to step outside of 

their comfort zones in the way that I had to, this exchange of styles and values 

would have been more mutual. By continuing the program’s focus on modern dance, 

the school inevitably continue the homogeneous practices well-documented by the 

authors I ‘ve already mentioned  above. 

By entering academia, I represent a call to action to re-think, re-adjust, and re-

introduce a recalibration of dance studies and research. My efforts are strengthened 

by similar calls from Gottschild, Brown, Davis, and Foster and Tomko, who propose 

new methods of inclusivity that welcome new generations of dancers, researchers, 

and educators. This call for action deconstructs the power of prejudice that continues 

to exist in dance departments and academia. It is time for higher educational 

institutions to recalibrate and introduce a shift in traditional historical and movement 

inquiry models to best serve future generations of dance scholars. 

 

Chapter 2: The Garinagu People and Resistance    
 



 

 

24 
 

 Limón, my mother’s pueblo19, is a municipality in the department of Colón in 

Honduras. This was one of the sectors of the coast of Honduras first inhabited by the 

African Diaspora.  My people, the Garifuna (also known as the Garinagu), are a mix 

of African and indigenous Carib peoples. They were expelled from St. Vincent for 

rebellion and forced to settle on Roatan, an island off the north coast of Honduras.20 

My time in Limon taught me about my culture and Garifuna heritage. From an early 

age, I listened and danced to Garifuna music like parranda and punta while my 

grandmother made pan de coco. I have been part of drum rituals that pay tribute to 

our ancestors.  

The African Diaspora in Latin America is overlooked and excluded from 

Honduras’s identity and division of political representations. Sarah England, in her 

article “Negotiating race and place in the Garifuna Diaspora: Identity formation and 

transnational grassroots politics in New York City and Honduras,” grapples with the 

complex issues surrounding the socioeconomic and political processes that the 

Garinagu people face in their quest for legitimacy within their autochthony. England 

further explains that the Garinagu played a pioneering role in shaping the ethnic 

makeup of Honduras and Central America. She notes that qualities of race, ethnicity, 

and belonging further complicate their struggle. With the theoretical backing of Paul 

Gilroy in his analysis of the African Diaspora’s search for origins inside and outside 

 
 
 
20 Keri Vacanti, Land Grab: Green Neoliberalism, Gender, and Garifuna Resistance in：  Tucson: 

University of Arizona Press, 2013), 23. 

 

 



 

 

25 
 

of the West,21 England argues that “the Garinagu are considered inside the West in 

the sense that the history of the diaspora population is intimately tied to that of the 

West via the spread of global capitalism, the formation of nation-states, and 

international migration. Yet they are simultaneously seen as outside of the West 

through discourses of race and nation that place them on the margins of national 

identities and at the bottom of national and global economies.”22 The Garinagu 

community's struggle to maintain their cultural identity is complicated by their lack of 

political and ethnic representation on the global stage. Similarly, the art of tap 

dancing share historical difficulty in the preservation of its Black cultural heritage. It 

traces its origins back to the enslavement and displacement of African people across 

the Atlantic.23 Like the Garifuna, forced assimilation to unfamiliar customs and 

lifestyles, their sense of community and way of life was disrupted. In response, tap 

dance emerged as a form of resistance, allowing them to hold onto and honor their 

memories and traditions.  Both People of the diaspora, despite being an integral part 

of their nation's fabric, they are often marginalized and face significant challenges in 

preserving their traditions, religious practices, and dance.  

The feature film Garifuna in Peril  (2014), directed by Ali Allie and Ruben 

Reyes, sheds light on the preservation efforts of the Garifuna. The films follow two 

brothers, Ricardo, residing in the United States, and Miquel, in Honduras. Through 

 
21 Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness (London: Verso, 1995). 
22 Sarah England, “Negotiating Race and Place in the Garifuna Diaspora: Identity Formation and 

Transnational Grassroots Politics in New York City and Honduras,”  Identities 6, no. 1 (June 1999): 5–

53, https://doi.org/10.1080/1070289x.1999.9962635. 
23 Hilton, Leon. “Tap Dancing America: A Cultural History by Constance Valis Hill. 2010. New York: 

Oxford University Press. Xvi+ 441 Pp., Illustrations, Notes, Index. $39.00 Cloth.”  Dance Research 

Journal 44, no. 1 (2012): 114–18. https://doi-org.proxy-

um.researchport.umd.edu/10.1017/S014976771100043X. 

https://doi.org/10.1080/1070289x.1999.9962635


 

 

26 
 

their lens, themes of transnationalism, land displacement, and tourism are explored.  

According to the film, the preservation of the Garifuna language, dance, food, rituals, 

and music is in jeopardy.24 The complexities of contemporary threats such as poverty, 

corruption, violence, and tropicalization have forced significant populations of 

Central Americans to flee their native land.25 

Author Keri Vacanti Brondo, in her book "Land Grab: Green Neoliberalism, 

Gender, and Garifuna Resistance in Honduras", investigates national identity that 

favors Indio-Hispanic mestizaje. The Honduran government has fashioned a national 

identity that has neglected the presence of Blacks. This marginalization forces the 

Garinagu to be in an asylum, drafting their best efforts to preserve their culture and 

occupying a racial-cultural class lower than the Indio-mestizo. There has been some 

progress in recent years, with more Garifuna people occupying leadership positions in 

government. However, this progress has not yet resulted in meaningful advancement. 

Garifuna in Peril and Brondo share major concerns about the ethics of land 

displacement of the Garifuna people from their coastal ancestry. These threats are not 

only cultural but also economic. For example, Canadian investment developer 

RECAP Investments Inc. has owned 600 acres of land along the coast of Trujillo since 

2008. RECAP offers villas and eco-development opportunities. The website 

homepage offers this short description: 

 

 
24 Ali Allie and Ruben Reyes, “Garifuna in Peril,” Tubitv.com, 

2012, https://tubitv.com/movies/341514/garifuna_in_peril. 
25 Por Azam Ahmed, Katie Rogers, and Jeff Erns, “El Camino de La Caravana Migrante: De Disputa 

En Honduras a Escándalo Internacional,” The New York Times, October 26, 2018, sec. en 

Español, https://www.nytimes.com/es/2018/10/26/espanol/caravana -origenes-honduras-trump.html. 

 
 

https://tubitv.com/movies/341514/garifuna_in_peril
https://www.nytimes.com/es/2018/10/26/espanol/caravana-origenes-honduras-trump.html


 

 

27 
 

"Situated on a 4.5 km fully private beach along the Caribbean Sea, Trujillo 
Beach is a stunningly beautiful community. With Beachfront Condos, villas, lots, 

private homes, restaurants, pools and amenities, this is a true tropical 600 acre eco-
paradise getaway. Explore nature at its best with exotic birds, hiking trails, and 

monkey tours all on-site. 
 
Trujillo Beach launched in 2008 and is Recap's flagship community in one of the most 

emerging real estate development locations in Central America."26 
 

The Garinagu people are constantly under attack and being displaced. I was 

saddened to learn that outsiders were exploiting the lands of my ancestors without 

investing in the community. By residing far away from my home country, there is a 

disconnect that I and other immigrants experience due to overriding efforts to 

assimilate to a host country. What is often lost in one’s uprooting is the understanding 

of the effects of day-to-day life in our native land. Although I was far from my 

homeland and these forms of exploitation, I had the curiosity to find out more: Who is 

selling the land, the government? How are patrionatos leaders selected? Are there 

laws that favor foreign developments? What is the relationship between luxury resorts 

and neighboring pueblos? Are these relationships mutual? I was curious about these 

themes, which Ricardo tried to address in Garifuna in Peril after his brother was 

tricked into selling the land, forcing a return to his pueblo. The political legislation of 

the Honduran government continues to forcefully displace the Garifuna community 

from their historically controlled coastal territories.27 Brondo explains that eco-

 
26 RECAP Investment Inc.  https://www.recapinvestments.ca/trujillo -beach-honduras 
 
27 Keri Brondo Vacanti, Land Grab: Green Neoliberalism, Gender, and Garifuna Resistance in 

Honduras Tucson: University Of Arizona Press, 2013. 

 

 
 

https://www.recapinvestments.ca/trujillo-beach-honduras


 

 

28 
 

tourism and marine research are buzzwords that justify the western invasion of 

Garifuna territory. Despite constant turmoil, the Garifuna people continue fighting to 

make their voices heard and preserve their culture. Many tias, grandmothers, fathers, 

and Buyei are leaving for New York, Houston, and Louisiana, keeping the culture 

vibrant in every paso de mascaro, and plato de machuca. Every time I visit Limon, it 

feels like a cultural discovery that gets me closer to my family’s core cultural values 

and ancestors, often informed by dance, music, drum circles, and rituals. 

The invasion by powerful nations into vulnerable states is not uncommon, 

leaving people and their communities in disrepair. It is worth noting that the United 

States was distantly allied with fascist President Ubico in Guatemala. Ubico was a 

brutal leader to the Guatemalan population, specifically to the Mayan people. Mayans 

were forced to submit to provide labor to large foreign landowner corporations by 

vagrancy laws. The United States failed to intervene, pushing immigrants North to 

pursue opportunities for a better life. Central American countries suffer an imbalance 

because of the intervention of the United States into foreign policy justified by the 

protection of their interests.  

 Garifuna in Peril extends an intimate invitation to the Garifuna diaspora and 

its challenges and cultural practices. In the opening scene, the viewers are welcomed 

into a traditional pueblo where the Garifuna language, music and dance, and family 

prevail. One particular moment of spiritual practice is called Dugu, and the role of the 

Buyei is potent. The film depicts Ricardo returning to the village from the United 

States to fix his brother Miguel’s misdeeds of selling ancestral familial land without 

the elders’ permission and seeking advice from the Buyei. A Buyei exists in Garifuna 



 

 

29 
 

communities and serves as the linkage between the living and our ancestors.   In the 

scene, the Buyei women perform a brief ritual by blowing liquor onto an altar with lit 

candles. This ritual continues to be practiced among Garinagu community.  

In 2002, I attended Dugu in Harlem, New York City, the most concentrated 

Garifuna population outside Honduras.28 It was in the early evening, in an apartment 

crowded with people. It felt like it was a celebration. There was food, dancing, and 

drumming. All of the women wore traditional Garifuna garments, and pañuelos 

covered their heads, showing reverence. I was playing outside with cousins and 

friends with similar migration stories. Suddenly, all the music stopped. I went inside 

and a woman was sitting on a chair in the middle of the room. She seemed possessed 

as if she was speaking for someone else; her tone of voice was unusual, it was deeper, 

darker, slower. The family who had performed the Dugu was asking for advice and 

guidance on matters I was too young to understand or even care about.  

To offer more context on this ritual, Oliver N. Green expands in great 

detail:                

“ Language, music, and spirituality in ritual expression are essential 
components of culture and society. The maintenance and retention of these 

components affect processes of enculturation and preservation of social values. 
Ritual participants believe that without singing, drumming, and rattling, dugii-the 

most salient ancestor propitiation rite Garinagu-could not be performed. 
Furthermore, they believe that with- out the ritual, the culture-as it is known today-
would cease to exist. To better understand and interpret how music and ancestor 

spirit possession in this rite reinforce social values, concepts concerning the 
reorientation of time, cultural relativism, and consanguineous descent are 

discussed.”29 

 
28 Stone Center for Latin American Studies Tulane University , “Teach Central America: Exploring 

Garifuna Culture,” The Stone Center, December 8, 2021, https://stonecenter.tulane.edu/teach-central-

america-exploring-garifuna-culture. 
29 Oliver N. Greene, “The ‘Dugu’ Ritual of the Garinagu of Belize: Reinforcing Values of Society 

through Music and Spirit Possession,” Black Music Research Journal 18, no. 1/2 (1998): 

167, https://doi.org/10.2307/779397. 

https://stonecenter.tulane.edu/teach-central-america-exploring-garifuna-culture
https://stonecenter.tulane.edu/teach-central-america-exploring-garifuna-culture
https://doi.org/10.2307/779397


 

 

30 
 

 

Greene’s depiction supports what the encounter I witnessed as a young child. 

This was the Garifuna manifestation of retention of culture and spirituality despite 

their demographics. In addition, Garifuna in Peril speaks to the struggles of 

Garifunas preserving culture in maintaining the cooking tradition of cassabe, singing 

parranda songs and keeping the role of the griot. My family continues to make efforts 

to keep these traditions alive, however, the discourse of our Blackness within the 

parameters of Honduras continues to be marginalized. The Honduran government has 

not yet recognized how to uphold the fact that in 2001, the Garifuna language, music, 

and dance were officially proclaimed by UNESCO a "Masterpiece of the Oral and 

Intangible Heritage of Humanity."30 UNESCO recognition demonstrates the 

importance to supports diversity and uphold the contributions of the Afro indigenous 

population to its national ethnic and racial composition. 

 
 
30 UNESCO, “Language, Dance and Music of the Garifuna,” ich.unesco.org, 

2008, https://ich.unesco.org/en/RL/language-dance-and-music-of-the-garifuna-00001. 

https://ich.unesco.org/en/RL/language-dance-and-music-of-the-garifuna-00001


 

 

31 
 

Mi Vida, in Rhythm breaks the fourth wall to tailor an audience experience to 

be intimate. As the artistic director of my work, I curate performance that draw the 

audience to my lived experiences of watching my parents dance in the living room 

and seeing my uncle 

chapiando el patio 

harvesting the crops with a 

machete. Many Latinos 

share my experience. As a 

bystander, I observed that 

our dances are deeply 

rooted in our traditional 

ways of ritual, religion, 

celebration. When we dance, our lineage and bodily memory are inevitably reflected. 

Africanist movement calls for a communal experience. In my experience, community 

traditions have been the primary form of passing information. Therefore, the design 

of Mi Vida, in Rhythm was vital in facilitating the audience's vantage point where 

they feel ownership and proximity to clothing hanging in the backyard or sitting at a 

jazz club. 

The Kogod Theater at the University of Maryland, where “Mi Vida, in Rhyth” 

was performed, was transformed into a vibrant jazz scene, reminiscent of a hurricane-

ravaged town that has repositioned itself at the center of entertainment. Salvaged 

artifacts such as baskets, barrels, and chairs gathered from various locations signif ied 

the creativity and steadfast resilience of the Latino people. This resilience has been 

Figure 5 Scenic design sketch for Mi Vida, in Rhythm  



 

 

32 
 

tested throughout history with colonialism, suppression, invasion, war, and tyranny, 

among numerous human rights violations by foreign governments. The scenic design 

included a replica of my home's main door in Honduras, a clothes line with sheets 

hanging that also served as a canvas for media to be projected. There was a bar from 

Harlem that was used as a sand pit to layer another element of sound, and the main 

stage that symbolizing the coming of age and the finding of one’s identity.  

 The use of a proscenium theater would have distanced the audience's 

experience. In contrast, an immersive theater experience required piloting the 

audience's navigation of the space and relationship to the performer. The initial scene 

of my work takes place in Honduras and involves the planting of crops and the 

choreographies of labor rooted in the practices of Hondurans in their efforts to be 

self-sustaining. The intention is for the audience to feel the vibration of every beat 

projecting from the dancing bodies in the space, to be close to the heavy breathing 

and quick custom changes in plain sight, as the space becomes activated by 

chronological shifts in time, sound, and identity with photographs, live music, or 

warm lighting. 

 

Mascaro & Tap Dance  

Ultimately, tap dance and Mascaro meet at the crossroads of the Africanist. 

These specificities assist me in understanding tap dance's learning and conditioning 

practices. The through line stems from understanding musical dialogue and call-and-

response between the dancer and the percussionist from Mascaro. 



 

 

33 
 

Scholars such as Marshall and Jean Stearns 

declare six characteristics and aesthetic features 

when discussing African diaspora dances. These 

contributions are: 1) the dance in its most raw state 

by dancing on the naked earth barefoot. The 

African style is flat foot. 2) African dances are 

performed in a position where the knees are bent, 

and the upper body is brought forward and down to 

demonstrate the fluidity of the African style. 3) 

African dance imitates animals in realistic details. 

Further, in the African repertoire, many animals, 

such as eagles and rabbits, are portrayed in the dance. Africans often danced to their 

deities to ask for a good hunt and give thanks for a good hunt. 4) African dances places 

great importance on improvisation. Improvisation, again, demonstrates the fluidity of 

daily life.  Improvisation symbolizes the power to an individual to express their 

individuality. Furthermore, the ability of improvisation is vital to the performance of 

the Black arts. 5) African dance in centrifugal; Its movements proceed from the hips. 

  

Figure 6 Mascaro dancer wearing 

traditional garments of skirt, mask, ribbons. 



 

 

34 
 

The performance's first half features Mascaro, a traditional dance of the 

Garinagu people. The movement is characterized by rapid bouncing of the feet, 

interacting with the reverberation of beans 

echoing from the footing of the wooden 

board. Mascaro traditionally dances to the 

up-tempo beating of Garifuna drums, and the 

colorful custom and accessories such as 

seashells on the ankles and multiple ribbons. 

The movement becomes more intense with 

the increasing velocity of the drums, the 

flickering red light, and thunder rain.  

The fast bounce of the feet is 

sometimes interrupted by the play of musical 

syncopation of the feet and the occasional crossing and turning of the upper body. 

Mascaro is a full-body performance with a keen sense of music and bodily 

coordination. Mascaro dancers are masters of improvisation, as this dance is not 

choreographed or taught but is learned in a community through festivities and trading 

steps. The embodiment of Mascaro requires an immense amount of control, stamina, 

creativity, and the percussionist is responsible for interpreting the musicality of the 

moving body in the drum. Every sound is generated by the dancer, who spearheads 

their conversation. In Africanist aesthetics, musicality and movement go hand in 

hand. One cannot exist without the other. The primal percussiveness of stomping, 

flipping, and stepping is the starting point.  The showcasing Mascaro serve as the 

Figure 7 Traditional Mascaro mask use for 

performance. 



 

 

35 
 

starting point to trace the evolution of my 

sounding and moving body, simultaneously 

connecting the African diaspora and its existence 

in Latin America.  Eventually, as time 

progressed, the audience began to connect the 

dots of my preparation and calling to tap dance, 

and in reality, despite the demographic distance 

between tap dance and me, I was already a 

recipient of its teaching.  

The costume has a ribbon theme 

originates in extends the traditional garments of 

Mascaro. Its presence symbolizes remembrance of the Garifuna culture and an effort 

to highlight Black indigenous performance practices, as well as the Garifuna language 

that is being spoken and projected from the overhead speakers during these beginning 

scenes. As someone situated in between two related yet distinct Africanist dance 

styles, it was important for me to examine the potential links between forms of artistic 

expression that conveyed both resistance and the preservation of culture. These 

themes were integral to the message I aimed to convey in Mi Vida, in Rhythm. 

Chapter 3: Choreographies of Labor  

 

Back in La Ceiba, five hours east by car from Limon, the coastal metropolis, 

and my home, we all contribute to the chores. The limited resources of third world 

living force us to become sustainable by using the resources provided by the land. 

There were several of these labors we performed as a household , and several 

Figure 8 Gerson Lanza dancing Masacaro, as 

the opening scene of Mi Vida, in Rhythm  



 

 

36 
 

choreographies of labor shown in the work in an effort to transport the audience into 

my childhood memories in Mi Vida, in Rhythm. These choreographies were washing, 

folding, sorting, and hanging clothing alongside harvesting of beans.  

Including these choreographies was important to me because it allows the  

 

viewer to travel into time and to understand how the movement and sounds, later 

featured in my work, extend from these choreographies. The chore of washing 

clothing in third world countries during the early 90s was not similar to that in the 

West. Performing the task of doing laundry entails walking, choosing the right rock, 

and gossiping.  It all starts with gathering dirty clothes, then begins with a short walk  

of five city blocks to Rio Crangrejal, the local river often used for showers and a food  

source for fishing and shrimp. Once there, maternal figures socialize and negotiate 

Figure 9 My grandmother Portana Ruiz dancing at a party in Limon, Honduras, on the right, Isabella Grady 

with a traditional Garifuna Skirt in Mi Vida, in Rhythm.   

 



 

 

37 
 

who will take which rock to start the rigorous movement of the upper body, 

massaging the dirt out of the clothing on the rock’s flatbed. Once we finish washing, 

we track our way home to dry the cloth on the clothing line on the back patio.  

In Mi Vida, in Rhythm, performer Isabella Grady begins the experience by her 

hair using an African print cloth in a delicate and precise manner to  

protect her hair from the sun. This intentional act invites the audience to explore the 

politics of Black bodies and their self-care and beauty practices. Those unfamiliar 

with the Black experience of labor, skin, or hair may not have a close-up view of 

these practices and choreographies. The moment when the central light focuses on the 

wrapping of Black women's hair provides an intimate glimpse into the preparation 

that takes place before tackling household chores.  

As a young child my family and I practiced sharecropping. There was a plot 

of land in front of my childhood home that the owner leased to the people who lived 

nearby. The mutual agreement was that, in return for planting, the families would 

maintain the property by cutting the grass. For nearly a decade, my family planted 

beans, corn, watermelon, and other crops stored during winter months. My brothers 

and I were responsible for protecting the crops. The choreographies of planting ask 

for the piercing of the ground, bending over to plant the seeds, and covering the seeds 

with soil. The harvesting of beans is by far one of the most challenging tasks.  

Mi Vida, in Rhythm, offers the choreographies of beans and the tools use for 

harvesting such as a small sack and a garrote (wood stick).  In third-world countries 

like Honduras, processing beans by hand is a common practice. Harvesting red beans 

in Honduras typically involves several steps. The first step is to plant the beans in 



 

 

38 
 

well-draining soil that receives plenty of sunlight. The beans are typically planted in 

the early spring and take several months to mature. Once the beans are mature and 

ready for harvest, the plants are cut at the base and the entire plant is pulled from the 

ground. The plants are left to dry in the sun for several days, allowing the beans to 

dry out in their pods. After the beans have had time to dry out, the pods are removed 

from the plants and placed into large sacks. The sacks are then beaten with a st ick or 

other tool to separate the beans from the pods. Beating the sack can be quite physical, 

as it requires a significant amount of force to break open the pods and extract the 

beans. This process is typically done by hand and can take several hours to complete, 

depending on the harvest size.  

Once the beans have been extracted from the pods, they are sorted by hand to 

remove any damaged or discolored beans. The beans are then typically stored in a 

cool, dry place until they are ready to be used. While the process of harvesting red 

beans in Honduras can be labor-intensive, it is an important part of the country's 

agricultural economy and a traditional practice that has been passed down for 

generations. Despite the rise of modern machinery and technology, many people still 

prefer to process their beans by hand as it is seen as an important part of our culture 

and heritage. 

The musical journey of Mi Vida, in Rhythm begins with the rhythmic sound of 

el garrote hitting the sack. This beat is the foundation of our musical composition. In 

our culture, music is intertwined in everything we do, even in the seemingly mundane 

task of harvesting beans. The beat of the sack inspired me to create a syncopated 

rhythm with simple patterns that are easy to follow. My goal was to create a bridge to 



 

 

39 
 

musical comprehension that was accessible to all before evolving into more complex 

and intricate patterns. 

 

Figure 10   On the right-hand side you see Gerson Lanza and Isabella  Grady performing everyday task such as 

sorting bedding garments to then hang to dry. On the Left: is Gerson Lanza using the garrote to beating the sack 

creating to separates the be 

Once bodily memory lives it is non-dependant on its demographic location. 

My experience of living and harvesting crops alongside my brothers and father are 

choreographies that continue manifesting in my bodily movement. These 

choreographies are embedded into the history of my family; my artistic work seeks to 

uphold these choreographies on the same level of importance as other rhythmic, 

embodied expressions and is central to my inquiry as a tap dancer and scholar.  

When immigrants from Honduras and other places with similar experiences 

move to New York, the way we do everyday tasks, such as washing clothes, changes. 

A part of my choreographic practice is to commemorate this ordinary routine, its 

transformation, and how it differs in communities where this task is no longer 

performed as it once was. By tracing this evolution, we can discover new possibilities 



 

 

40 
 

to explore the immigrant experience and the lingering effects of internal labor 

practices. The next iteration of Mi Vida in Rhythm would include this exploration of 

specific choreographies of labor and concepts of adaptability.     

 

Segundo Encuentro  

 
 

 As I grew older, my taste for television naturally changed. I became 

interested in live television, game shows, and sometimes noticieos. Honduran 

television in the 90s leaned heavily on re-runs of shows from other parts of the world. 

For example, The Sesame Street episode with The Hines brothers was initially filmed 

in 1979, eleven years before my birth. There was a variety show, which, of course, at 

the age of ten, I was not aware these were pre-recorded. Once again, my father and I 

watched religiously. The show was a weekly talent competition where aspiring 

performers worldwide came to showcase their skills in front of a live audience. 

The audience was electric —and always ready to be entertained. The moment 

the show began, the camera would pan, catching hundreds of people standing on 

their feet, cheering and clapping with eagerness, similar to if they were at church. 

The crowd looked identical to me in skin tones, hair, and smiles, but their wardrobe, 

accessories and style looked very different from those in my surroundings. They all 

looked so good that you could nearly imagine how good they smelled.  

The Master of the Ceremony for the evening usually wore an outfit similar to 

a nation’s President, elegant and bold.  They started by making the audience laugh 

with jokes and push lines while introducing the house band. The house band included 



 

 

41 
 

an electric bass guitar, drums, piano, and a few horns for melodic support. The house 

band was funky, and uniquely embodied. Every time the camera would pan over their 

section of the stage they would be making faces and dancing with their instrument, 

selling a funky groove that was impossible to fight against. The audience, with 

unmatched energy, understood the groove and the music’s purpose. In addition to 

honing an energetic crowd, they were involved throughout the entire show, providing 

musical support and cues to guide the energy in the space.  

At the show, each performer was given about 60 seconds to showcase their 

talent to the audience. The performances ranged in quality, with some performers 

telling jokes, dancing, playing an instrument, or singing. This was a significant 

opportunity for these aspiring artists to achieve their dreams. As with any 

competition, the level of talent varied. Some decisions are more difficult than others. 

However, this competition was set apart because the audience served as the ultimate 

judge. They decided in real-time who advanced and who got eliminated. If the 

audience enjoyed the performance, they cheered and applauded, but if they did not, 

they expressed their dissatisfaction with a "boo." It was a demanding audience, but 

for those who managed to win them over, it was a chance to make history.  

While my dad and I frequently disagreed with the audience on who deserved 

to be booed off the stage, I'll never forget the energy of those moments when the 

Sandman came floating out from stage left, effortlessly tap dancing in perfect, 

elaborate rhythms, sweeping the unwanted talent off the stage. 

The Sandman consistently achieved flawless victories whenever he took the 

stage. The audience's response was akin to that of a game-winning penalty in the 



 

 

42 
 

final World Cup match. The Sandman's character varied due to the decades of 

existence, but the job description remained unchanged. The older performer 

possessed a rhythmic and syncopated style, while the younger performer 

incorporated modern, flashy moves and acrobatics, such as descending from the 

balcony using a stair-like structure.31 I was equally amused by both performers and 

intrigued by the hundreds of sounds generated from their bodies without disruption of 

their upper half.   

 

Figure 11 Omar Edwards dancing at the Apollo Theater as Sandman dancing a contestant of the stage. 

Growing up in Honduras with my father as my sole caretaker presented a 

challenging transition when we moved to the United States. My mother had 

immigrated to America to provide a better life and a chance at the American dream. 

Despite my father's new reality as a sole caretaker, he took care of us with the 

support of our neighbors and provided us with guidance and wisdom. He reminded 

me frequently of his belief that "hijo, hay que educarse para ser alguien en esta vida," 

which translates to "son, you have to educate yourself to be someone in this life." 

 
31 Basia Winograd, “Omar the Tap Dancer from the APOLLO THEATER EPK,” 
www.youtube.com, 2014, https://www.youtube.com/watch?v=-gz25GLYYtI. 

https://www.youtube.com/watch?v=-gz25GLYYtI


 

 

43 
 

My mother, a former teacher in Honduras, had to work as a home attendant in 

the United States to support us from afar. The job was demanding with long hours 

and an unregulated schedule that was the polar opposite of her career dedication to 

teaching. Despite the distance and her voice of exhaustion, she reminded us that 

"algun dia estaremos juntos," which means "someday we will be together." I 

remember tightly holding the light blue rotary dial phone she had sent in a "baril" 

along with Christmas ornaments and new clothing for my siblings and me that year. 

In 2001, I joined my mother in the United States, a reunion ten years in the 

making. Although I am grateful for her immense sacrifices to give us access to the 

American Dream, the drastic change was formidable. Adapting to a new culture, 

leaving my friends, and most importantly, my father, was a demanding task for an 

eleven-year-old. The culture shock was grand, and I felt like I was in quicksand, 

constantly battling to seek freedom from the barriers that kept me hostage. The most 

significant barrier was the language barrier. I felt like giving up. However, 

witnessing my parents' sacrifice taught me the value of perseverance and hard work. 

Giving up was not an option; I had to make my parents proud.  

Adjusting to America was incredibly difficult but I was saved by Wadleigh 

Secondary School for the Performing and Visual Arts - and the tap dance I learned 

there. We sat cross-legged on the stage for the first tap class, my stomach filled with 

nerves. When our instructor walked in, I knew I was in the right place - it was Omar 

Edwards, the Apollo Amateur Night’s Sandman. It is hard to describe the peace and 

connectedness that his entrance made me feel. English is not a prerequisite to dance, 

and there was something that flowed through Omar that also flowed through my 



 

 

44 
 

teenage self - something that moved like blood, something that we shared before we 

could share words. There was the man I once knew through television from my living 

room, now instructing me step by step on how tap dance embodies the beat embedded 

in the choreographies of labor I had been performing all this time. My curiosity for 

tap dance grew immensely, steering me through the agitations, insecurities, and fears 

of my adolescence in a new country.  

Figure 12 Gerson Lanza observing suitcase descending. 

Chapter 4: What is the American Dream? 

I utilize my immigrant story to represent the broader communal experiences 

of pursuing the American Dream. I use tap dance as the central rhythmic force to 

performatively explore these narratives around opportunity and progress. Having left 

my native country, I understand that this disruption results from the intricate interplay 

between choice and necessity.  



 

 

45 
 

The migration of Central Americans toward the United States is often viewed 

as a journey to a promised land. Unfortunately, since the 1980s, Central American 

countries have been plagued by wars and civil strife caused by foreign governments.32 

These countries have suffered from negative depictions and political campaigns that 

portrayed them as savage while targeting the United States as an audience to exploit 

them. As a result, Central America has been left in a state of disrepair. 

 The United Fruit Company, an American banana harvesting corporation, is 

responsible for exploiting land, people, and resources in Central America, using the 

exotic “Chiquita Banana” trope as a marketing strategy. However, this seemingly 

harmless approach aimed to influence consumer perspectives of Central America 

while making foreign lands ready and ripe for consumption. The United States’ 

intrusion in Central America, socially supported by the United Fruit Company’s 

marketing strategies, led to depletion, crippling, and the loss of self-sustainability for 

Honduras, Guatemala, El Salvador, and Nicaragua, ultimately uprooting their chance 

at true independence. 

A close reading of the United Fruit Company’s marketing archive reveals its 

innate appetite for American imperialism. For example, the “Lady in the Tutti-Frutti 

Hat '', fully elaborated in the film “ The Gang’s All Here” seductively presents 

bananas through its leading star, Carmen Miranda. Miranda, a fair-skinned woman, is 

accompanied by tamed monkeys, and the ad makes use of racialized casting, with the 

character of Miranda juxtaposed with “less pure” yet cheery, darker-complected men 

 
32 Juan Gonzalez, HARVEST of EMPIRE: A History of Latinos in America. (S.L.: Penguin Books, 

2022). 



 

 

46 
 

who are loyal, strong, and ready to serve.33  This symbology reflects the sociopolitical 

climate in the U.S. at the time, with darker-complected people positioned as second-

class citizens. 

The United Fruit Company's pushed propaganda performed as tools to display 

the abundance of untapped resources within Central America and lure white 

Americans into exotic lands in the film “The Gang is All Here”. The company's intent 

was to create a monolithic perspective that Central America was ridden with savage-

like, uncivilized, and illiterate people, justifying their monetary greed to grow their 

empire without offering anything in return.   

In addition to blatant racialized propaganda, the U.S. also took a hands-on 

approach to disrupting the sociopolitical structures of El Salvador, Nicaragua, and 

Guatemala. For example, land disputes and the governance of banana crops assisted 

in the Guatemalan Civil War, the bloodiest war in Central America. The U.S. 

intervention in Guatemala resulted in a CIA–sponsored coup in 1954, which led to the 

removal of elected president Juan Jos Arévalo. The U.S. intervention worked to 

protect their investments and financial gains at all costs. 

In El Salvador, General Maximiliano Hernández Martínez, a North American 

henchman, ruled with an iron fist, making way for fourteen families to house all 

government power. With the backing of the U.S., Martínez wiped out a lineage of 

Pipil Indians who protested progressive labor laws while working for U.S. mining and 

fruit corporations. In 1979, a coup erupted into a civil war, and the United States 

viewed the common folk's rise during this sensitive political time of the Cold War as 

 
33  Twentieth Century Fox Technicolor, “The Gang’s All Here,” 1943. 



 

 

47 
 

a threat to democracy. This threat validated their intervention to pump billions of 

dollars into the Salvadoran government of the 70s to stop the rise of communism, 

collectivism, and socialism according to their beliefs.  

In Nicaragua, the U.S. allowed a tyrant to commit atrocities with their silent 

stamp of approval. The Civil War of Nicaragua was ignited by those opposed to the 

Somoza family tyranny. The uprising of the common Nicaraguans against the elite 

families was viewed as a socialist uproar, giving the U.S. a reason to assert its power 

as the protector against communist ideologies of the Western hemisphere. 34The U.S. 

provided war aid and military training to the Somoza's armies to eradicate any threat 

to their financial interest. 

Although Honduras remains free from civil war, its diplomatic non-aggressive 

role boosted the banana industry affecting the Garifuna way of live.35 One national 

strain that escalated was the disputes for land ownership between the Garifuna people 

and the Honduran government. Garifuna communities have historically lived in 

coastal areas, where they fish and farm the land. However, large-scale development 

projects, such as tourist resorts and agricultural business, have led to the expropriation 

of their ancestral lands.36 The Honduran government has also failed to recognize their 

land rights, which has resulted in violent evictions and displacements of the  

 
34 Incarcerated Nation Network INC Media. 2020. “Harvest of Empire the Untold  

Story of Latinos in America.” YouTube Video. YouTube.  

https://www.youtube.com/watch?v=5gW84cAN2Pw. 
35 Keri Brondo Vacanti, Land Grab: Green Neoliberalism, Gender, and Garifuna Resistance in 

Honduras Tucson: University Of Arizona Press, 2013. Pg 37-52 
 
36 Gómez, Maynor. 2024. “Garífunas Protestan Exigiendo El Cumplimiento de Las Sentencias de La  
Corte IDH.” Diario La Tribuna. April 12,2024.https://www.latribuna.hn/2024/04/12/garifunas- 

protestan-exigiendo-el cumplimiento-de-las-sentencias-de-la-corte-idh/. 



 

 

48 
 

Garifuna people.   

Recently conflict continues to manifest for the unjust criminalization of 

Garifuna leaders who defend ancestral land and human rights. Many have been 

arrested and charged with fabricated crimes, such as drug trafficking and terrorism, in 

an attempt to silence their activism.37 The Honduran government has also been 

criticized for failing to investigate cases of violence and human rights abuses against 

the Garifuna people, including the killing of community leaders and activists. 

The tension between the Garifuna people and the Honduran government has 

been ongoing for decades, and despite international pressure and calls for justice, the 

situation remains unresolved. The Garifuna people continue to resist the expropriation 

of their land and the violation of their human rights, and their struggle for justice and 

recognition continues.38 This violation of their human rights and cultural practices 

and the government's negligence have resulted in a significant increase in the 

migration of Garifuna to the United States. In addition to a push for representation in 

government, the arts have served as a form of resistance and healing to voice pride, 

honor, and cultural preservation initiatives in songs, dance, and language.   

Despite the trek's length or destination, leaving home represents the separation 

of one's comfort zone. In La Jaula de Oro (2013) director Diego Quemeda-Diez 

draws attention to the life of migrant children desperate to reach a new beginning as 

 
37 Anonymous. 2023. “Killing of Activism and Violence against Social Leaders and  Garifuna  

Members Continue across Honduras.” Civicus, Monitor Tracking Civic Space. September 30, 2023.  

https://monitor.civicus.org/explore/killing-of-activists-and-violence-against-social-leaders-and- 

garifuna-members-continue-across-honduras/. 
38 Keri Brondo Vacanti, Land Grab: Green Neoliberalism, Gender, and Garifuna Resistance in 

Honduras Tucson: University Of Arizona Press, 2013. Pg 37-52 

https://monitor.civicus.org/explore/killing-of-activists-and-violence-against-social-leaders-and-


 

 

49 
 

their ancestral lands fall victim to decades of foreign companies exploiting the land.39 

Besides capturing the grueling realities of abuse and survival of a group of three 

children on a transnational journey, Quemeda-Diez creates cinematographic 

emotional pivots. These pivots ask viewers to "carry on" despite the horrifying lived 

moment in the film, like the protagonis had to in the journey North. These moments 

in La Jaula de Oro include murder, human and sex trafficking, and corruption and 

violence. This film was instrumental in crafting Mi Vida in Rhythm because it 

supplied tools and mentorship in the craftmanship of visceral responses and 

emotional shifts similar to the narratives of undocumented immigrants in real time as 

spaces became activated.     

Mi Vida, in Rhythm  documents the south-to-north corridor of undocumented 

migration through the linear locomotive movements of dancer Charlene Cowan and 

myself. As we move, we bring a suitcase into the space to serve as our dance partner. 

The suitcase resembles the one my siblings and I used when we migrated to the 

United States in 2001. It was an orange suitcase with a sturdy handle at the top for 

carrying, a rectangular shape, and metal straps on the exterior to secure it. While it 

was durable and functional, it lacked sufficient space to hold the belongings of all 

three of us. Through this duet, we aim to depict the separation of a family, with one 

member taking a risk by embarking on a journey while the other stays behind.  

Many of my childhood friends have taken this journey, and most of them are 

men. On the journey to the United States, women run a higher risk of becoming 

 
39 Quemada-Diez, Diego . 2013. “La Jaula de Oro.” Video. 

 



 

 

50 
 

victims of abuse. In her book, Central's America Forgotten History: Revolution, 

Violence, and the Roots of Migration", Chomsky unpacks the violence and horrors 

migrants face in their pursuit of a better life, specifically women and children, as they 

fall victim to sexual abuse in detention centers.40 Despite their gender, some people 

have successfully reached the USA, while others have been detained in border states, 

deported, or have died trying. 

 
 
Figure 13 Charlene Cowan and Gerson Lanza interact with suitcase performing a duet in Mi Vida, in Rhythm  

 

The sensation of uprooting, grief, and displacement are woven throughout the 

movement in Mi Vida, in Rhythm. As the audience experiences the themes of love, 

family, friendship, and empathy, a vital message shines through - the imperative need 

to migrate. The suitcase opening is the culmination of this movement, symbolizing a 

 
40 Aviva Chomsky, Central America’s Forgotten History: Revolution, Violence, and 
the Roots of Migration (Boston: Beacon Press, 2021) 



 

 

51 
 

fresh start. Both La Jaula de Oro (meaning "the golden cage") and Mi Vida, in 

Rhythm , confront the "American Dream," revealing how it can trap immigrants in 

undesirable jobs within a capitalistic system. Sadly, immigrants continue to be 

labeled as job-stealers and threats in the United States' rhetoric, despite being at the 

heart of its foundation. 

  After a few years witnessing my single mother, responsible for her three 

children in New York City, I became more aware of my mother’s words, “Ay Gerson, 

si tu supieras.”  After years of being a primary school educator, my mother made the 

difficult decision to transition to a role as a home attendant in The United States. In 

this position, she dedicated herself to caring for elderly and disabled individuals, 

taking care of their cooking and cleaning needs. While it was not her ideal career path 

to care for strangers, my mother put her heart into her work and took pride in making 

a positive impact in the lives of those she served. All this to assure she would provide 

for her children.  

 

Well, son, I’ll tell you:  
Life for me ain’t been no crystal stair.  

It’s had tacks in it,  
And splinters,  

And boards torn up,  
And places with no carpet on the floor—  

Bare;  

But all the time  
I’se been a’climbin’ on,  

And reachin’ landin’s,  
And turnin’ corners,   

And sometimes goin’ in the dark,   

Where there ain’t been no light.  
So boy, don’t you turn back;  

Don’t you sit down on the steps,   
’Cause you finds it’s kinder hard;  



 

 

52 
 

Don’t you fall now—  
For I’se still goin’, honey,  

I’se still climbin’,  
And life for me ain’t been no crystal stair.41 

 

Conclusion: 

In August 2009, at around 5 am, my mother dropped me off at Penn Station 

with two large suitcases, a one-way train ticket to Winston-Salem, North Carolina, 

and a hundred-dollar bill. As a first-generation student, I imagined college would be 

like the movies: large quads, marching bands, and competitive sports. Wake Forest 

University did not disappoint. With my hair grown out in a perfect afro sphere, it 

didn’t take me long to find my people among the 5% of the student body that were 

Black or Latino. Wake Forest only had the thinnest threads of the African Diaspora - 

and I often felt too Black for the Latinos and too Latino for the other Black students - 

but during my time at WFU, my artistry started to take shape and to focus intensely 

on my experience as an Afro-Latino Honduran immigrant living in the United States. 

 

 

Figure 14 Picture on the left is my sophomore year at Wake Forest University, posing for the Magnolia scholar 

headshot. The Magnolia is a scholarship targeting first-generation students at Wake Forest University which 

provides aid to support their success. 

 
41 Langston Hughes and Little Owl House, Mother to Son (Little Owl House, 2023). 



 

 

53 
 

 

During my first year at WFU, the curriculum offered one tap class, and I was 

excited. Soon, I found out I was in a class of my own, surpassing the skills of the adjunct 

faculty. I quickly learned that in contrast to the various forms of concert dance prized 

and featured by elite institutions, tap dance is often considered vernacular or common. 

While the hierarchy of that ordering has been clear as I have pursued a living in tap, 

what is less clear to me is the strength of the wall that separates one from the other. Is 

this like the fence between good neighbors - mutually agreed upon by those on both 

sides? Or is it more akin to the line between Harlem and Morningside Heights - an 

invisible line that exists to make one side comfortable by excluding the other? Or is it 

like the line that attempts to separate where my people, the Garifuna, live from the rest 

of Honduras - a porous, changing line and ultimately a fiction?   

Mi Vida, in Rhythm s, and the expressive art forms of Mascaro and tap dance, 

serve as resistance to preserve cultural identity. Despite the presence of African 

diasporic influences across various communities, the intersectionality of Blackness is 

often seen as a threat rather than a valuable contribution to art, music, dance, and 

intellectual understanding. These unique forms of art connect to my personal history 

and embodiment. As an intentional disruption to the systemic erasure of Black Dance, 

and Latinidad in higher education spaces, Mi Vida, in Rhythm symbolizes a call for 

change. Collaborating with sound, media, lighting, and costume designers created a 

dynamic world that captured the performative evolution from Honduras to New York, 

centering the identity despair of belonging yet honoring the Garifuna and Honduran 

culture. With this iteration of Mi Vida, in Rhythm, I showcased the possibilities of 



 

 

54 
 

harmonious coexistence between vernacular and concert dance while also providing 

valuable tools for future dance practitioners. Though the journey was difficult, these 

collaborations opened the door to candid conversations, advocacy, inclusion, and 

discovery for an environment that can withstand and support marginalized art forms, 

changing the dance studies field and performative possibilities. 

 

 

 

 

 

 

 

 

 

 

 



 

 

55 
 

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