A Cultural Exploration of Majorettes

In my senior year of high school, I had a lot of decisions to make in terms of what college I wanted to attend. I wanted to evaluate all aspects of the university; social life, academics, sports, etc. While I had always considered going to the University of Utah, I had also thought about attending an HBCU. What sets HBCUs apart from the U is the culture in which the students partake on campus. HBCUs are historically black colleges and because of this, have historical black dances. A dance that I have always seen and wanted to witness live is the majorettes. We will explore the majorettes using the five epistemological lenses, historical, religious, social, aesthetic, and kinesthetic. Come along with me as we explore the history and striking nature of this dance form. 

The first majorettes, (known as "Dansmarietjes'” in Dutch), were baton-wielding carnival dancers.While they weren’t called Majorettes, young women in the Netherlands would perform dances in elaborate, eye-catching costumes. These dances were typically performed on special occasions and as people migrated from the Netherlands, so did their dances and style. It wasn't until the concept made it to high schools and colleges in the United South that it began to incorporate a fusion of jazz ballet and hip-hop dance. In the late 1960s, hip-hop Majorettes officially got started. As part of their halftime entertainment, marching bands had traditionally included carnivalesque characters executing acrobatic stunts like throwing and catching flaming batons, but dancing lines allowed bands to emphasize the hit songs they were starting to mix from the radio. Some people today still debate about which HBCU had majorettes first but it is safe to say they were all remarkable. Alcorn State University's assertion that its Golden Girls made their national debut at a televised 1968 Orange Blossom Classic offers a tenuous origin date for hip-hop majorettes  or “a featured squad with choreographed movements to an HBCU's marching band's live tunes” (Taylor, White 48). Black college bands were frequently only accessible to spectators at sporting events which many people did not stay around for. One of the original “Golden Girls” Gloria Gray Liggans said the vision for majorettes came from the band director of Alcorn State University’s band director Samuel S. Griffin after watching a "twirler" in a gold performance outfit dance in accordance with the band from Notre Dame University. As Black majorettes increased in number and visibility, controversy developed. Others started debating whether the dances and outfits were appropriate for young Black girls. There were also negative perceptions and stereotypes that many people who didn’t know the history or meaning of the dance were saying about the Majorettes. Like many Black movements and dances, white people typically try to get the dance banned or even looked down upon. Majorettes across the nation took note of this matter and decided to use the hate and criticism as motivation.  Majorettes would become a phenomenon within the world and also the black community.  

While the history of majorettes does not involve religion, there are many aspects of the dance that can be performed in a religious setting. There is a term called syncretism, where a culture blends multiple elements of a dance or song into something unique for the performance. In this case, it is common at black churches and even funerals for people and performers to dance and sing but also use long and hip movements to convey a special message. In terms of the social aspect of the dance, majorette teams frequently put on huge performances with elaborate props, colorful attire, coordinated hairstyles, stunts, and dances in conjunction with the band from their school, which frequently represents African-American culture on HBCU campuses. Majorette dance contributes to the relationship between Black people and dances in general for individuals participating in HBCU culture. Not only is it significant to the campus but it is also important to Black culture as a whole. “For a culture whose voice has been stifled for decades in our history, movement and song and things like that, creative movement is the only way we could truly express ourselves through joy, through whatever emotional turmoil we were going through," she said. "It's extremely important in Black culture and in HBCU culture,” (Carter 70)  said Greene (head coach of Southern University’s Dancing Dolls). Given that majorettes generally concentrate on dancing and entertainment, its increasing exposure across social media has encouraged some people to pursue higher education. According to the United Negro College Fund, there are about 100 HBCUs in the United States, and graduates from these institutions make up close to 20% of all Black Americans. HBCUs have experienced consistent growth in enrollment in recent years, whereas other universities have seen a fall in students. With her stirring ode to historically Black colleges and institutions, (in especially) its band culture, Beyoncé's 2018 Coachella performance went viral. A year later, she released the Netflix documentary "Homecoming," which provided viewers with an inside look at the performance. The marching band concept, costumes, and even the documentary's title were all inspired by HBCU bands. Although Beyonce didn't play any instruments during her performance, the majorettes. In addition to the honorary band fraternity Phi Kappa Psi and sorority Tau Beta Sigma, which support schools, HBCUs are also home to the Divine Nine Greek fraternities and sororities. 

The routines and uniforms both make statements. The first Black majorette teams were distinguished by their elaborate headdresses embellished with feathers and stones. The dancers wore character shoes instead of jazz shoes, which featured a little heel and a strap over the top. Along with wearing long boots, they wore hip and trendy clothes that were relevant to society. Leotards and form-fitting bodysuits are frequently seen among their clothing. Dancers from HBCUs in particular are well renowned for their glitzy outfits, which occasionally have cutouts throughout the body and stomach. Some one-piece outfits have a full pant leg solely on a single side along with a cropped side. The outfits have needed to adapt as dance forms have continued to develop. Moreover, dancers started to be hired for events outside of football fields and gym stands, requiring new attire. Originally, majorettes used batons in their routines to be “fairy-like”, which allowed them to demonstrate swift and soft movements. Several majorettes started switching from their character heels to more conventional dance shoes as soon as they stopped using their batons. In football pitches, they are better suited for turns, leaps, and high kicks. Nonetheless, you might still see certain teams making spectacular entrances to football games wearing traditional heels. Moreover, many teams still wear flashy gloves, fringe, and glitter. Even though everything is visually beautiful, these items serve a purpose. The fringe and glitter are used to draw attention to the maneuvers and make them seem greater than they actually are. It all comes down to making sure that, no matter where the dancers are, everyone can see and feel the moves. J-setting ( A popular majorette team) has also been criticized for being sensuous and sensual, depending on the institution or university. Yet, bucking is not sexual for young Black women; rather, it is a means for them to honor their heritage. Since the dawn of time, according to Young-Byron (Miami Northwestern Senior High majorette coach), “We've been bucking, shaking our booties, and getting lower.” It's how we honor culture, she said (Taylor, White 87).

Kinesthetic: 

High-intensity majorette performances include halftime shows on the football field and continuous stand routines throughout football games. The majority of dancers maintain strict practice routines, much like professional athletes. Drastic food changes, workouts that include cardio and weight lifting, and significant travel itineraries during football season and off-season. Majorettes typically include illusions, cartwheels, flips, and occasionally spin up to four batons simultaneously. Cheerleaders and majorettes are sometimes mistaken, however, rhythmic gymnastics and cheerleading are more closely related than baton twirling. Majorettes often use their hands, legs, and body to allude and allure the audience. In conjunction with their quick and sudden movements, majorettes must use their energy to get the crowd behind them and really set off a remarkable performance. Majorette's arms and legs get tired quickly but as I’ve mentioned before, high-intensity training and cardio help with conditioning and being ready for any and all movements. 

Majorettes have employed style, sass, and a mashup of contemporary dance styles to lead a movement ever since Alcorn's Golden Girls put on their metallic marching boots. Majorettes have grown into a global force and are embracing Black women wherever they go, regardless of the fact that they will always be associated with historically Black institutions and universities.

Bibliography 

White, Alecia Taylor & Brooklyn. “Sass and Shimmer: The Dazzling History of Black Majorettes and Dance Lines.” Essence, Essence, 2 Nov. 2022, https://www.essence.com/feature/majorettes-dance-lines/. 

Carter, Nakylah, and Faith Bernstein. “The Rich and Beautiful History of HBCU Majorette Teams.” Good Morning America, Good Morning America, 21 Feb. 2023, https://www.goodmorningamerica.com/living/story/rich-beautiful-history-hbcu-majorette-teams-97285956. 

Bellamy-Walker , Tat. “A Viral Majorette Dance Team Blazes New Trail amid Backlash.” NBCNews.com, NBCUniversal News Group, 21 Oct. 2022, https://www.nbcnews.com/news/nbcblk/viral-majorette-dance-team-blazes-new-trail-backlash-rcna53281.  

Anne Brice, Berkeley News| June 25, and Anne Brice. “Berkeley's Bearettes First to Bring Majorette-Style Dance to UC System.” Berkeley News, 12 July 2021, https://news.berkeley.edu/2019/06/25/bearettes-sf-ethnic-dance-festival/. Chenault, Gabrielle. “She Created USC's First All-Black Majorette Dance Team. Then Came the Backlash.” HuffPost, HuffPost, 30 Sept. 2022, https://www.huffpost.com/entry/usc-cardinal-divas-majorettes_n_63363db4e4b03e8038bcd19c.