The excitement and power energy from Black Girls Rock 2019 continues to pour over. We just can’t get enough of it. Re-visiting YouTube, and all of the special clips and takes from the magical moments of this phenomenal event, where Black American women, her gardens, and myriad of cultures are celebrated, by Black American women AND, the Black American men, who appreciate. . .her.
In the realm of Black American masculinity and aesthetics. Another form of maleness in this cultural garden, was represented. Those Black American men, who have no problem wearing, and performing in the feminine aura of a Black American woman. They are often referred as Queer, but will be addressed as our Cheer children. For this article, we’ll refer to those Black American men, who wear that feminine side of this culture. . .and wear it well!
Our 90’s House music icon, Crystal Waters, and her performance of the iconic song “Gypsy Woman,” was the perfect depiction of Black American men, who are not ashamed of imitating the scent of the feminine essence of their cultural gardens. Kicking off her performance were her all-male crew of dancers, who had no problem embracing and celebrating that feminine energy around them. Colorful and dressed in exuberance, they were the perfect replications of those men, who are able to jump into feminine energy and glue it to masculine identity.
Their movements were sharp, poised, timely, fluid, and syncopated. The dynamics, choreography, and shape of the dance gave a wonderous imagination for live audience members (and viewers) to envision Black American, feminine energy being this colorful and Earthly wind. When certain men of our community, choose to embrace how certain colors in that wind are reflective of their own personalities, then. . .this is what you get.
In the begining of the performance, as Crystal Waters kicks off the song, our darling Divos imitate particular hand gestures, indicative of woman thangs. Putting on make-up; struttin’ their stuff, and workin’ it, Honey! Havin’ fun with that feminine energy, and then following her into spaces of fruition and creativity. Exploring their identity and masculinity in their own, cultural gardens, and feeling safe within them.
Watching the open sequencing of this number is fascinating! In addition to the Earthly realm of performance and visibility, you also begin to envision this performance of Universal energy and wonder. It is in sync with dance wonders. Careful observation reveals the position of such men (of queer community). They seem to lead us into this middle energy between the two masculine and energy principles. This world where masculine and feminine energy principles transition, or exhibit reflections, showing how the two principles are reflected in different ways. How these male performers move behind Crystal Waters indicates that the masculine energy has a way of grappling with the feminine; imitating her, and showcasing a different side and reflection of masculinity, all together.
Such masculine reflections highlight a new avenue within healthier perceptions of Black American masculinity. It goes to show that connecting and performing in feminine energy doesn’t make one “less of” a man. On the contrary, it creates a lens to where masculinity is observed as being healthier when navigating, and creating, in feminine domains. Even if one chooses not to perform the energy in one’s daily practice, or recognizes (and using) those aspects of feminine coloring in one’s personality.
One of our feminine men, wears the fashionable pieces, often associated with women’s clothing. Its a decorative additive, where traces of the feminine are illuminated on a masculine body. And, by wearing these traces, he comes to feel feminine energy. Her presence is not perceived as threatening, or as a contrast to his very existence. Rather, there is a perceived harmony, and balance, which has been established between the feminine and masculine energy principles. In turn, through a masculine Being having recognizing certain personalities of himself in her (while openly celebrating this personality), our “feminine men” have showcased a different side of masculinity. A side which often remains, overlooked.
As the dancers celebrate the Spirit of womanhood, along with Crystal Waters, at 2019’s Black Girls Rock, the stage is illuminated with this Universal (and holistic) perception of a centering of the feminine (within this cultural setting), while leading those men, who feel centered with her. They are not intimidated by her presence. Dancing with, around, between, and through her energy does not strip them of their identity, personality, or masculinity. If anything, it invigorates it! She re-energizes them. They feel alive, comfortable, and in a state of protection, in who they are.
So, in the Spirit of our feminine Brothas, who find comfort with their Black American Sistas and women, keep rockin’ that rhythm for Black Girls. A lot of you have been our biggest cheerleaders, supporters, and heroes, with feminine taste. Many of you have also nourished our communities, in contrasting against toxic masculinity. In addition, our Cheer sons (defined as masculinely-feminine in this article), and our daughters, have contributed beautiful musical, fashion, and style trends to Black American aesthetics. Yes, honey! With that being said, take a curtsy, Divos! You look. . .fierce, Darlins! Continue to dance, create, love, immerse, be protected and nourished, in Black America’s feminine love and essence.
