Abstract
In this article, the concept of «black dance» is used as a critical tool to explore the lifelong dance achievements of the black dancer, choreographer and pedagogue Claude Marchant (1919–2004) in relation to history making. Marchant’s history in the US and to some extent in Europe from the 1930s to the 1960s is mapped and analysed, with the aim of better understanding his work in Sweden, and more specifically in Gothenburg. While Marchant is mentioned in previous dance historiographies, there are no in-depth explorations of his life and work. This exploration, therefore, complements both Swedish and international dance research, with an example that problematises history production in relation to black artists such as Marchant. It is argued that a participatory «dance-where-we-dig» method is a useful tool for instigating locally situated historiographical processes of change, and can relate artists such as Marchant to broader, transnational contexts.