The theatrical experience of “With Feet Planted in Both Worlds” proved that dance is more than just loosely narrated movement. Performed by Dance Diaspora November 9 and 10 in Warner Main Space, the piece illustrated the struggle that choreographer College senior Kantara Souffrant went through to reclaim her Haitian ancestry. Souffrant artfully wove dance, music and speech into an hour-long tapestry displaying the moments that shaped her connection to her Haitian descent — an impressive feat.

Souffrant was particularly adept at using theatrical elements. In “Manman Mwen,” she smeared white paint across her face in bold strokes to illustrate her struggle with the ideals of beauty with which she felt American culture bombarded her. In the same scene, she violently discarded a black doll in favor of a white doll, ending the scene by calling out “Manman mwen!” until Ezili Dantor — Haitian Vodou Iwa of motherhood, played by College sophomore Kristal Boyd — came and soothed her, carrying a basin of water onstage for Souffrant to wash her face.

In the final scene, “Claiming the Crossroads,” a white cloth large enough to cover the entire stage floated from the track above the stage and covered Souffrant, glowing in the light as it fell.
Souffrant exposed many of the emotions and situations she experienced growing up at the crossroads between her Haitian descent and her American identity. She credited her ability to do so to her experience with Dance Diaspora. Perhaps she should give herself a little more credit for the moving and enlightening work that she produced.