‘Legacy’: The 31st Eleganza Show Lights Up Bright-Landry

On April 26, Eleganza took over Bright-Landry Hockey Center for a night of dance, fashion, and energy. In the 31st edition of the annual event founded by Harvard’s BlackCAST (Black Community Arts and Student Theater), hundreds of students watched their friends and classmates in a three-act showcase of a variety of dance performances featuring outfits styled to match the scenes.

“I chose the theme for the show this year. Legacy to me is very important because I come from a long line of people who have fought and died for me to be at Harvard standing here, and I wanted to give space for that to be appreciated and celebrated,” said KG Buckham-White ’26, this year’s Executive Producer for Scene and Production, as she introduced the show.

In the first act, “FTCU,” the dancers explored the evolution of club culture, especially focusing on the roots of the culture in Black and queer communities. Directed by Melody Cao ’26 and Yasmine Moussa ’26, the choreography combined club styles, freestyle, and runway walks set to songs ranging from 50 Cent’s “P.I.M.P.” to Destiny’s Child’s “Survivor” and Doechii’s “DENIAL IS A RIVER.” The outfits included Y2K-esque tanks, jerseys, and black leather, but also featured the occasional bling in the form of fur vests and gold boxers.

“I think something that makes me particularly excited for this scene is that a lot of the mainstream fashion trends that you see throughout history really had their origins within the clubbing scene,” said Hayden T. Bennett ’26, one of the scene’s fashion directors.

Before the next act, Harvard dance group Omo Naija x The Wahala Boys performed in a six-round “Squid-Game”-like routine set to the narration of a deep voice. Their high-energy and expressive routine showcased the diversity and beauty of dance within the African diaspora.

Moving into the second act, “Origin: Legacy, Sex, Race,” directed by Red Hamblin ’27, the performers executed a pulsating and rhythmic routine that highlighted the “legacy of resistance” found in hip-hop and R&B.

Throughout the scene, the outfits were coherent and bold. In Britney Spears’ “Toxic,” dancers sportedwhite tanks and loose black ties, while Kendrick Lamar’s “HUMBLE.” featured a small group wearing camo-toned streetwear. The dancing and songs aligned with the three titular themes of the scene.

Harvard Contemporary Collective took the stage before intermission with their new dance collection “DYSTOPIA,” which represents an attempt to survive an “uncertain future.” Starting and ending with the chanting of Tyler, The Creator’s “St. Chroma,” their complex choreography featured lifts, sweeping movements, and even a human swing as they pulsated as a group.

After a brief intermission, BMF (Black Men’s Forum) STEP took the stage. In a percussive synchronized routine that featured clapping, stomping, and chanting, they used their bodies and their words instead of music for much of the set. Coming out in a black dress shirt and pants with red and green ties, they displayed the power behind their stepping, a dance tradition in African-American culture that is prominent in many Black Greek life organizations across the United States.

In the final act, “Dirty $outh,” Eleganza brough Southern flair to the stageto showcase the “resistance, creativity, and cultural pride” of the region. Directed by Aimee R. Howard ’25 and Daylan N. Davis ’25, the choreography was sassy and unapologetic. Showing off cowboy hats, neutrals, lots of denim, and a few “Cowboy Carter”-esque outfits, the act was a nod to the culture of the South. The baggy streetwear, gold jewelry, and vintage pieces paid homage to the region.

This year’s outfits were sourced from and around campus, from the Harvard Recycling Center to local thrift spots such as The Attic, Diversity Consignment, and Groovy Thrifty.

“We don’t have to consistently keep purchasing new and new clothing that can repurpose what’s already being used. And so I think that just goes for the bigger purpose and aim of the show, which is really giving back to the community. At the core, we are a charity show,” said Nurayn Y. Khan ’26, one of the fashion directors of “Dirty $outh.”

That sense of purpose carried through the production, from the fashion to the choreography.

“This is more than a dance performance — it’s an invitation to feel, move, and remember the spaces where community, resistance, and joy are born,” Eleganza’s organizers wrote in the program.

—Staff writer Hannah M. Wilkoff can be reached at hannah.wilkoff@thecrimson.com.