This article examines the pedagogical processes through which dance choreography and performance embody issues of social injustices. The author draws on ethnographic data of prominent black choreographers/dancers/educators, Katherine Dunham and Ronald K. Brown, to consider the behind the scene complex, interdependent practices of embodiment and to explore the ways in which concealed, yet present, social phenomena are transformed into provocative in-motion stories for the concert stage. Drawing on social justice education principles and Gordon's (1997) conception of ghostly phenomena, the data show that disavowing race and structural racism leave lingering and weighted traces of racialized experiences, making embodiment a complex and necessary condition for performing artists who aim to convey the meaning of these traces through dancing social justice. (Contains 9 notes.)