Storm Dance 1977

Editor: So, we’re looking at Ernie Barnes' "Storm Dance," painted in 1977 with oil. I'm struck by the energy of the figures, and the way their bodies seem to stretch and contort. What is your read on this piece? Curator: I see a powerful assertion of Black cultural identity through the lens of sports and community. Barnes often portrayed scenes of everyday Black life, pushing back against stereotypical representations common at the time. Consider the setting: a makeshift basketball hoop, not in a pristine gym, but an environment built of resourcefulness. How does that inform your understanding? Editor: It speaks to a sense of self-made joy, playing the game no matter the resources. Was the stretched anatomy part of a larger visual language? Curator: Absolutely. Barnes developed his signature style – what he called the "neo-mannerist" approach – as a way to convey the emotion and energy he saw and felt. This exaggeration also challenges Western notions of idealized beauty and form, injecting Black figuration into the art historical canon. The poses are very evocative, right? Think about how he might be inviting the viewer to see the performance, both literally in terms of dance, but also more culturally speaking. Editor: So it’s more than just depicting figures; it’s making a political and cultural statement by showing these bodies in motion. Is this connected with The Black Arts Movement? Curator: Very much so. The Black Arts Movement emphasized Black self-determination and cultural pride. Barnes, through his art, contributed to that movement by celebrating the beauty and vitality of Black communities. Think about the role of imagery and representation in empowering marginalized communities. Editor: That makes a lot of sense! Seeing the work in this context, I now understand the power behind the ordinary basketball game; the image becomes almost a heroic act. Curator: Exactly. Barnes elevates the everyday into something monumental. The history behind imagery is really interesting in his artwork!