This article examines how mayfield brooks uses spatial, discursive, and vestibular disorientations to intervene within anti-Black regimes of perception in their Improvising While Black (IWB) workshops, which draw from their ongoing life/art project by the same name. Drawing from insights gathered through my participation in IWB workshops as well as through conversations with brooks and other workshop participants, I examine what brooks's guided disorientations do, that is, what they produce kinetically, perceptually, and relationally among participants. I show how brooks's disorientations expand on Sachi Sekimoto and Christopher Brown's conceptualization of racialized regimes of perception by revealing a set of choreographic tropes that undergird those regimes. These include perceiving from a vertical posture, leading movement from the head, navigating based on visual cues while inhibiting responsivity to other senses, turning away from cultural and ancestral context, and relating to self and others as individuals. Drawing on examinations of disorientation within contemporary dance practice and critical race theory, I argue that brooks guides participants into disorienting improvisations that draw attention to, refuse participation within, and generate otherwise possibilities to this choreography.

本文探讨了梅菲尔德布鲁克斯如何在他们的即兴创作黑色 (IWB) 研讨会中使用空间、话语和前庭迷失方向来干预反黑人的感知机制，该研讨会取材于他们正在进行的同名生活/艺术项目。从我参加 IWB 研讨会以及通过与布鲁克斯和其他研讨会参与者的对话中收集到的见解，我研究了布鲁克斯的引导迷失方向做了什么，也就是说，它们在参与者之间以动力学、感知和关系方式产生了什么。我展示了布鲁克斯的迷失方向是如何扩展了 Sachi Sekimoto 和克里斯托弗·布朗关于种族化感知制度的概念化的，揭示了一系列支撑这些制度的舞蹈比喻。这些包括从垂直姿势感知，从头部引导运动，根据视觉线索进行导航，同时抑制对其他感官的反应，远离文化和祖先背景，将自己和他人作为个体联系起来。通过对当代舞蹈实践和批判种族理论中迷失方向的研究，我认为布鲁克斯引导参与者迷失方向的即兴表演，这些即兴表演引起了人们的注意，拒绝参与，并为这种舞蹈创造了其他可能性。