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Chapter 4 chronicles the author’s return to her home area after five years, now as a professional dancer-choreographer. She establishes her professional reputation in the Bay Area, one that will serve as the foundation of her future work as a regional dance catalyst and cultural activist. As an artist, she develops the artistic theme central to her developing career in The Evolution of Black Dance. She creates and produces several evening-length productions during this three-year period, begins to learn arts administration, and forms Halifu Productions, a company that helped catalyse the mid-70s black dance scene in the Bay Area. She also meets the poet Ntozake Shange and artistically collaborates with her and her poems on a project that will become the famous production of For Colored Girls Who Have Considered Suicide When the Rainbow Is Enough. Ntozake Shange gives her an African name, and the author becomes Halifu Osumare.

The Introduction explores the author’s major personality characteristic of rebelliousness that serves as the platform for the rest of the book. It defines “black dance” and the debate about whether there is even such a thing. The chapter also investigates the problem with American racism as it has been reflected in the world of dance.

Reinterpreting the works of choreographers Kariamu Welsh and Ronald K. Brown as ethnographies of Brooklyn, New York’s Bedford-Stuyvesant neighborhood, Indira Etwaroo situates Welsh’s and Brown’s respective bodies of work from two historical periods as artistic expressions shaped by the Great Migration, the Black Arts and Black Power movements, and the daily realities of mid and late 20th Century African-American urban life. As examples of “Neo-traditional African dance,” Etwaroo explores how Welsh and Brown recalibrated traditional African dance aesthetics for North American and European performance contexts that were quite distinct from those rooted in traditional African societies. As Welsh and Brown addressed current African-American political events in their works, they secured a contemporary relevance for the historically rooted dance aesthetics they pioneered. Etwaroo also places Welsh and Brown within a long tradition of African-American dance choreographers and explores Welsh’s influence on Brown as evidence of an established neo-traditional African dance ethos in the United States, which constitutes a tradition in its own right.