Editing Pearl Primus (section)

===Choreography approach and style===
Primus' approach to developing a movement language and to creating dance works parallels that of Graham, Holm, Weidman, [[Agnes de Mille]] and others who are considered to be pioneers of American modern dance. These artists searched literature, used music of contemporary composers, glorified regional idiosyncrasies and looked to varied ethnic groups for potential sources of creative material.

Primus, however, found her creative impetus in the cultural heritage of the African American. She gained a lot of information from her family who enlightened her about their West Indian roots and African lineage.  The stories and memories told to young Pearl, established a cultural and historical heritage for her and laid the foundation for her creative works.<ref name="Pearl Primus"/>  Primus' extensive field studies in the South and in Africa was also a key resource for her.  She made sure to preserve the traditional forms of expression that she observed.  In this way she differed from other dance groups who altered the African dances that they incorporated into their movements.  Her view of "dance as a form of life" supported her decision to keep her choreography real and authentic.<ref>{{Cite web|url=http://amsterdamnews.com/news/2018/dec/27/dr-pearl-primus-choreographer-dancer-and-anthropol/|title=Dr. Pearl Primus, choreographer, dancer and anthropologist|website=amsterdamnews.com|date=27 December 2018 |access-date=2019-12-09}}</ref>

Primus fused spirituals, jazz and blues, then coupled these music forms with the literary works of black writers, and her choreographic voice — though strong — resonated primarily for and to the black community. Her many works 'Strange Fruit', ''Negro Speaks of Rivers'', ''Hard Time Blues'', and more spoke on very socially important topics. Her creative endeavors in political and social change makes Primus arguably one of the most political choreographers of her time because of her awareness of the issues of African Americans, particularly during the period between World War I and II.<ref>{{Cite web|url=https://www.latimes.com/archives/la-xpm-1994-04-24-ca-49822-story.html|title=Dances of Sorrow, Dances of Hope : The work of Pearl Primus finds a natural place in a special program of historic modern dances for women. Primus' 1943 work 'Strange Fruit' leaped over the boundaries of what was then considered 'black dance'|date=1994-04-24|website=Los Angeles Times|language=en-US|access-date=2019-12-09}}</ref>

Primus was a powerhouse dancer, whose emotions, exuberance, and five-foot-high athletic jumps wowed every audience she performed for. Her performance of ''Hard Time Blues'' was described by [[Margaret Lloyd (dance critic)|Margaret Lloyd]]: "Pearl takes a running jump, lands in an upper corner and sits there, unconcernedly paddling the air with her legs. She does it repeatedly, from one side of the stage, then the other, apparently unaware of the involuntary gasps from the audience...."<ref>{{Cite web|url=https://epdf.pub/the-borzoi-book-of-modern-dance.html|title=The Borzoi Book of Modern Dance - PDF Free Download|website=epdf.pub|language=en|access-date=2019-12-09}}</ref> Primus' athleticism made her choreography awe-striking.  She preserved traditional movements but added her own style which includes modified pelvic rotations and rhythmic variations.  As she moved Primus carried intensity and displayed passion while simultaneously bringing awareness to social issues.

Primus' strong belief that rich choreographic material lay in abundance in the root experiences of a people has been picked up and echoed in the rhythm and themes of [[Alvin Ailey]], [[Donald McKayle]], [[Talley Beatty]], [[Dianne McIntyre]], Elo Pomare and others.  Her work has also been reimagined and recycled into different versions by contemporary artists. Many choreographers, such as [[Jawole Willa Jo Zollar|Jawolle Willa Jo Zollar]], created projects inspired by Primus' work. Primus choreography which included bent knees, the isolation and articulation of body parts, and rhythmically percussive movement, can be observed in the movement of Zollar and many others.<ref name="Pearl Primus"/>  These similarities show that Primus' style, themes, and body type promoted the display of Black culture within the dance community.