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Theory of constraint: In the tight space of freedom

In I Want To Be Ready: Improvised Dance as a Practice of Freedom, Danielle Goldman delivers an undeniably rigorous theoretical and historical investigation into the politics of ‘‘freedom’’ versus ‘‘constraint’’ in improvisational practices. (Her work takes its title from a solo in Alvin Ailey’s famous choreographic work Revelations – a solo that is, like most of Ailey’s work, not at all improvised.) Goldman brings together stories of black and white dance artists and musicians that are not often considered together. Due to the realities of racism within the field of professional dance practice and dance scholarship, dance historical writing is often segregated; there are black dance histories on one hand, counter-narrating the traditional (white) ‘‘dance history canon’’ on the other. The politics of race in relation to artistic form is brought forth in Goldman’s work via an articulation of the tensions (and collaborations) between black and white dance artists and musicians in and through the form of improvisation which is sometimes read as ‘‘white,’’ in the case of contact improvisation and sometimes as ‘‘black,’’ in the case of jazz music. Of Bill T. Jones, Goldman writes: