What the Orishas Can Teach Us About HBCU Dance Teams, Black Femininity, and Beyoncé

This post is dedicated to Ayesha K. Faines, whose tragic death has still shaken me to my core. It was her video, Lessons from Oshun that helped me weld together a series of unconnected thoughts and observations. Her contributions to Black women are infinite; she is missed.

In discovering the Orishas, I found that they never truly left us. We can find their fingerprints all over Black Femininity, specifically in the dances of HBCU Dance Teams and in the work of Beyoncé.

The First Time I Met Oshun

I don’t remember how old I was when I first encountered the Stingettes.

I believe I must have been between the ages of 10-13 because it was at that point that my love of dance transitioned from figuring out how to dance en pointe as a plus-sized, classically trained dancer, to wondering if my mother would ever let me dance like THAT.

My family are fans of Alabama A&M. My grandparents met there, my Grandpa T as a star football player and my Grandma Ann as Miss A&M 1950. We have attended The Magic City Classic, sporadically, since my childhood. I had always observed the bands from a distance. The daughter of a band director, we generally always sat across from the band so my father could hear them better.

This day, my Mom took my sister and I to the restroom before the game started. As I stood waiting outside of the restroom door for my Mom to finish helping my baby sister, I heard the distant drums of Alabama State University’s drumline, my foot tapped along to the cadence. I remember wondering if anyone sold pretzels nearby, when, out of the corner of my eye, the glint of gold sequins sparkled. I turned my head, slowly and my gaze caught a line of 30-inch ponytails swinging in a straight, slinky line. The smiles, the hair, that yellow. I watched as these girls in perfect synchronicity glided past the crowd, literally glided. (There’s no way to describe it unless you see it.) Mesmerized, I watched as they sauntered past me, and as they all slapped their thighs in collusion, every eye instinctively turned in their direction. There are few times in my life when I can say I was spellbound. My adolescent eyes, staring, entranced, watching them enter the stands, was one of those times. And I remember thinking, what I would do for that much power.

Although I never had a chance of becoming Anna Pavlova or Misty Copeland, (thanks to my feet and my weight) I never lost my passion for dance, or for helping others find the joy in dance. I learned tap in college, I taught introductory ballet classes in rural North Carolina, and I tutored privately a few young ladies with raw talent but no dance vocabulary. I’ve never professed to be a professional, but whatever I have I have willingly shared it. 

As I have grown, my love of the majorette style of dance has expanded. And I have expanded my love of the Stingettes to the Fabulous Dancing Dolls, the Prancing J-Settes, and the Golden Girls of Alcorn State just to name a few. I’ve often wondered what is so enigmatic about a style of dance I’ve never learned, or, if I’m being perfectly honest, was never allowed to learn. My parents have always thought these teams were far too sexually suggestive and “raw.” In my maturity, I have more empathy now for respectability politics and the beliefs of my parents about feminine modesty. They were operating out of a place of love, only wanting me to have the best life has to offer. I’ll even readily admit that for a time in my life, I bought into those beliefs as well, which probably explains the shift in my obsession from the Sensational Stingettes to the Fabulous Dancing Dolls; I believed that their more jazz-centered and family-friendly style of dance was more “elegant” and “ladylike,” tropes I no longer cosign. (Let me also say here, before I continue, that adjectives like fabulous and sensational are a part of the team names, they are not my descriptions, although I fully cosign these). 

For years I’ve been in the process of eliminating processed history in favor of the reality of the dirt, with the worms. And this organic diet has led me to learning about the Orishas. I hate to admit this, but I stumbled across them by accident. While getting my teaching certification, I had to write original curriculums for ninth through twelfth grade, and I was struck by how much all of the textbook material relied on literature rooted of Greek, Roman, and Anglo-Saxon myth. So, I began my search. I figured if the Greeks had such a complex pantheon, then there must be an African equivalent, other than the gods and goddesses of Egypt. And lo and behold, there is. (And there are many).

What are Orishas?

Orishas are forces of nature originating from Yorubaland, the cultural region of the Yoruba people from West Africa, spanning modern-day Nigeria, Togo, and Benin. While I may refer to them as gods and goddesses, I think it important to note that the Yoruba classify the Orishas as forces, because that is what they are. The Orishas are all worshipped as representatives or messengers of Olodumare, the Supreme Being, who placed the Orishas on Earth to help and supervise humankind. Although they have different origin myths, what is known is that many of them crossed over with Africans on the Transatlantic Slave trade and are now worshipped in places like America, Cuba, and Brazil just to name a few. The Orishas are mediators between the human and spiritual realm and are the major source of communication with the Supreme Being.

Now I am in no way well-versed on the realm of deity worship. From my understanding, a priest must tell you who your Orisha mother and father is/are, and this happens once you have made a commitment to the religion. However, I have learned a great deal about the particular roles the Orishas play, their personality traits and characteristics, and what they represent. We use the power of Orishas to ask for guidance in areas we lack, or to enhance strengths we already have. (Keep reading and you’ll notice how my fav Beyoncé has been doing this for years).

If you already thought this post was an ambitious conglomeration of “huh?”, well, buckle up. I’m about to add another layer to this cake: hard and soft power.

Hard vs. Soft Power

I first learned of this concept in a business class I took while getting my master’s degree. In the traditional context, hard power is the use of military and economic means to influence the behavior or interests of other political entities. This contrasts with soft power, which comes from diplomacy, culture and history. (Harvard S. Nye Jr., Harvard’s Kennedy School of Government). Hard power is most often associated with masculinity because of the force attached to it while soft power with femininity because of the finesse it requires. However, hard and soft power are both useful tools for women to have in their arsenal. (More about this later).

Finding the Orishas in Dance

Per usual, you’re probably wondering, “Lauren, where the heck are you going with this? What do the Orishas and power styles have to do with HBCU dancelines???” 

In learning about Orishas and their characteristics, you learn to channel the energies as you need them. Orishas are, after all, extensions of ourselves. They represent our own innate powers and the ability we have to create the world and the life we want. What I’ve come to realize is that as I’ve grown as a woman, I can no longer pick one danceline as my favorite, because they all represent something unique and special about Black womanhood, and at different points of my life, one style has appealed to me more than the other because of what I needed as a woman at that particular time. Each of these dancelines is a clear and tangible representation of the diversity and complexity of Black womanhood and the power behind that mantle. And if you learn about the female Orishas, you can see that their energies and powers are heavily represented and displayed in the different dancing styles of each team. My mission today is to highlight the uniqueness of these squads by showing their connection to Orisha energy, as well as associating their style of dance with their style of power. Will I succeed? Who knows?

Before I begin the beguine (lol), I must put out a disclaimer: I will not be discussing each danceline at each HBCU. Y’all, there are 107 HBCU’s, most with their own band and dancelines. For the purposes of this article, I am highlighting those squads who have a distinct dancing style, easily recognizable and well-known. Also, I will not be going into detail on each of the Orisha’s distinct backgrounds and stories. There is so much I could write here, but for the purposes of this post, I only want to focus on their characteristics outside of their relationships to the other male Orishas, or even to one another.

The Sensational Stingettes of Alabama State University as Oshun

We’ll begin with the Stingettes, appropriately so I think. As part of the auxiliary to Alabama State University’s Marching Band, they have perfected a style of dance that can only be described as stinging, except that this is a prick of poison you will enjoy. They are infamous for their glide, their thigh slap, and a mix of slinky sensuality occasionally permeated by raw sexuality, and always accompanied with a wink and a smile. The ultimate tease, their flight is so mesmerizing that you won’t even notice the sting, and this is why we love them.

Sensational Stingettes’ Walk In/Glide

The Stingettes are the perfect embodiment of Oshun, the Orisha of Sweet Waters, Love, Fertility, and Sensuality. And it is only fitting that Oshun is most often associated with the color yellow. Oshun is described as sensual, charismatic, coquettish, and flirtatious. Known for her vanity, she would be the Orisha most known for her frequent wardrobe and hair changes. (And if you have followed the Stingettes for long, you would know this to be true for them as well). Often associated with the honey pot she wears around her waist (and yes, that means exactly what you think it does), a Stingette would be the type of woman that would sting you for her own pleasure, and then heal you with her own honey. I would also say that the Stingettes are a mix of hard and soft power; the slap of their thigh will order you to fall in line, but their glide will leave you no option but to follow them wherever they lead you.

The Sensational Stingettes of Alabama State University

Stingette’s Stands

Oshun, Orisha of Fertility, Love, Vanity, and Sensuality

The Fabulous Dancing Dolls of Southern University as Oba Nani

Next, let’s examine the Fabulous Dancing Dolls of Southern University. More than any other team, these ladies are known for tradition. And although they have made some adaptations to change with the ever-present competitive nature of the teams and their fans, they still maintain a strict adherence to their style, which is characterized by a polished image similar to, you guessed it, a doll. You will never catch a Dancing Doll without her pincurls, a beautiful face, and her white gloves. Her style of dance is heavily rooted in jazz, with an ultra-feminine, dramatic flair. “Style and Grace” is their mantra. Unlike the Stingettes, these ladies do not sting, they smoulder. They pride themselves on having a unique mix of power and vulnerability and use both with equal results.

Fabulous Dancing Dolls Walk-In/Strut

The Fabulous Dancing Dolls of Southern University

In my opinion, Orisha Oba (aka Oba Nani) is their best representation. She is known as a spirit of the rivers. She is the guardian of love (especially in the context of marriage) loyalty, fidelity, energy, beauty enhancement, and intelligence. I clearly see her energy throughout the Dolls because of her emphasis on loyalty and traditional values. The Fabulous Dancing Dolls are loved and often criticized for their unwavering adherence to tradition. Unlike other dancelines, they keep the same costumes in rotation, occasionally adding one new one at the end of the season and you will not see a plethora of hairstyle changes as you would with the Stingettes. Oba is a particular Orisha; she likes a clean home, hospitable environment, sumptuous foods, perfection in dress, order, and a kind disposition. Just look at the Dolls traditional gloves and effervescent smiles and you will see her spirit shining through. Oba is also known for her intelligence. She is often credited as a teacher and avid reader. You cannot be a Dancing Doll without maintaining a 3.0 gpa. While many colors are associated with Oba Nani, she is most readily associated with pink. Southern University’s colors are  blue and gold, but if I could ascribe a color to their essence, it would definitely be pink. The Fabulous Dancing Dolls would be a great example of soft power because they rely heavily on the art of attraction and supple persuasion as their means to an end: total adoration.

Dancing Dolls’ Stands

Oba Nani, Orisha of the Rivers, Intelligence, Beauty, the hearth and home, and fidelity

The Prancing J-Settes of Jackson State University as Yemaya

“The Thrill of a Trillion Eyes'' is the tagline for Jackson State University’s Prancing J-Settes danceline; It’s completely accurate. Spirit and joy are the name of the game for these ladies, and if you’ve ever seen these girls come down a ramp in their white nancies, you’d understand why they command everyone’s eyes. I think all dancelines smile, but these young ladies beam. You might imagine them much like a pendulum because they easily swing back and forth between the power of bucking and prancing to the sensual rocking that does anything but put you to sleep. Much like the Dolls, the J-Settes are steeped in tradition as well. Fans of them can easily point out the traditional stands (routines of 8 or 16 counts) as well as revel in their new additions. 

The J-Settes of Jackson State University

Prancing J-Settes March-In/Ramp

These girls are so versatile, I was torn between Oya and Yemaya, but I settled (but in no way settled) on Yemoja/Yemaya for many reasons. To begin, Yemoja’s traditional color is blue like the oceans she rules over; JSU’s colors are blue and white. Much of the J-Settes costuming is made with fringe, mimicking the constant waves of Yemaya’s oceans. Yemoja is considered the mother energy, as she is purportedly the mother (sometimes sister) of all the other Orishas. But motherhood is not just her role, it’s her vibe. She is nurturing and regarded as the perfect balance of masculine and feminine energy, a beautiful representation of the J-Settes unique ability to shift back and forth between sharp and clean energetic counts to those like rolling fertile hills. Much like the Stingettes, I would classify the J-Settes as also being a good mix of hard and soft power. But whereas the Stingettes will seamlessly transition between the two with one move, the J-Settes are very intentional about when they chose to use each type at distinct times.

J-Settes Stands

Yemoja/Yemaya, Orisha of Deep waters/oceans, motherhood, femininity, and balance

The Golden Girls of Alcorn State University as Oya

Finally, we come to the Golden Girls of Alcorn State’s “Sound of Dy-no-mite Marching Band.” I have saved these girls for last for a reason. Full transparency, I used to think that the GG’s style of dance was much too raunchy. I did not understand why anyone would get so excited at watching these girls “gyrate” as my grandma would say. But with maturity came self-reflection on why my discomfort at watching these beautiful young ladies’ free expression of sexuality was simply me sexualizing them. I had to unravel the dark tapestry of my own respectability politics to understand that the rawness of their dance was simply another facet of womanhood, Black womanhood, that many of my ancestors danced the same way, and that the joy in sexual expression was deep rooted in the enriching gratitude for fertility, femininity, and all the power that comes with womanhood. I saved these girls for last because in coming to appreciate what they offer, I was learning to appreciate what I offer too. I don’t have to be limited to demureness and purity to be valuable as a woman. I can be all of it.

The GG’s are most known for their raw and unabashed energy, their powerful moves, and what many refer to as “the hump.” They do not shy away from being overtly sexual, but they infuse each move with power, reminding us that sexual expression is as natural and as beautiful as modesty; women can be both. Quite simply, they are a force not to be reckoned with.

The Golden Girls of Alcorn State University

Golden Girl’s Ramp Entrance

Oya was an easy choice for the GG’s energy inspiration. Firstly, she is often associated with the color red, purple or burgundy; Alcorn State’s colors are purple and gold. Oya is the energy of the winds, thunder and lightning, violent storms, death and rebirth, change and growth. She is transformative and nothing she comes in contact with will remain stagnant. This Orisha will wrap you up in her tornado and spin you so many times that when she drops you, you will be in a whole different country as a whole different woman. And you will thank her for it. She is always ready for war but is a master at making the decision for peace. She is in control and that is exactly how she wants it. Can you see now why she was such an easy choice for the GG’s? Watching them dance will show you how transformative and open these young ladies are. They will force you to confront your own bastardized beliefs on womanhood, sexuality, and power. And speaking of power, the GG’s are one of the best examples of hard power I can think of. Don’t mistake their aggression as masculine; quite the contrary. They ooze femininity, but they exemplify that the common associations to womanhood are incomplete without aggression as well.

Golden Girls’ Stands

Oya, Orisha of Thunder, Lightning, Transformation, and Warrior for Women

Queen Bey figured this out before I did. I feel like in many ways, we’ve grown up together. While she isn’t the driving force of this article, her growing force through the years is a clear sign that she, like many of us, has been discovering the power of Orisha energy. She was already successful, but it interesting to see how their energies have made her bold. And if we needed any more proof the Beyonce actively works with Orisha energy, you only have to look to her latest magnum opus, “Black is King,” as shown in the reference pictures throughout this article.

So, the golden nugget from this exercise in educational metaphors: even if you don’t like majorette/HBCU style dancing, we can learn from the collective energies these young women represent because they are tangible representations of powerful Orisha energies present within all of us. And while it is ok to have your favorite teams (although some of y’all go waaaaay to far) understand that they are all valuable to our constant journey to define and redefine BLACK femininity and womanhood. So, the next time you attend an HBCU football game (when the world opens) pay careful attention to these ladies, give reverence to the spirit of the Orishas that followed our ancestors here, remember your own power, and enjoy the show.

Final notes: There are some other teams that certainly deserve honorable mention. Although I simply don’t have the space to go into as much detail about them here, their energies are no less powerful and valuable than those mentioned.

Texas Southern- Oya

North Carolina A&T’s “Golden Delight”- Oshun

Prairie View University’s “Black Foxes”- Oshun

Alabama A&M’s “Dancing Divas” - Oba with a little bit of Oya

Sources used:

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Lol…

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