DJOE TOMAKLOE - A Career in Resilience

Describing his dance style as a fusion of contemporary and African dance mixed with classic ballet, Djoe Tomakloe began his dance career ‘body popping’ in the streets of Leicester during the 1970s and 1980s A regular at the reggae dance halls of the time, Tomakloe grew up with African Caribbean Reggae and R’n’B, and was initially inspired by robotics and acrobatics that was so popular during this time

Focusing on strength, Tomakloe is a product of the Martha Graham technique and form in the fluidity of his performances; the ‘mechanics’ of the body fast became his signature dance style

Now in his sixties, his extensive career is a varied one drawing on a range of influences, particularly from West African dance He is an admirer of Bode Lawal and H Patten and is proud to have worked with Peter Badejo and Jackie Guy among so many others

Early influences came from Earle Robinson and Morris Gilmore in his hometown of Leicester This led to performances at the Phoenix Theatre and Haymarket Theatre in the city, along with a showcase at the Edinburgh Fringe Festival. There he met Kate Hutchinson and Judy Webb, further influencing him to audition for Northern School of Contemporary Dance where he began his formal training

Resilience in dance

Tomakloe describes himself as ‘haphazard’ and the same could be said for his journey through dance. A mixture of street culture and classical training, he is a ‘free spirit’ happy to pursue opportunities but not easily pinned down or changed When Morris Gilmore suggested he should go to France to study mime, he also commented that ‘he may not like the dance world’ because ‘you don’t always listen’ Tomakloe admits that there was some truth to this, best shown when he temporarily left his training at Northern School of Contemporary Dance. He puts this behaviour down to his youth and the sheer energy, driving him to chase prospects in London

Resilience in the dance industry is extremely important, the industry is notoriously tough with constant judgement and high expectations ‘You have to chase opportunities and face large auditions for commercial work.’ Tomakloe also feels that Black style from the streets can often be penalised when up against more formally recognised techniques

Tomakloe was able to push-through in the dance world but at times felt ‘isolated’ with his alternative approach. His ‘streetwise’ grounding proved very different to what was expected from a formally trained performer His abilities were often challenged and he had to prove his capabilities above and beyond what was expected of his peers

Forever chasing opportunities and auditioning can be difficult but the real challenge for Tomakloe was not fitting into the recognised stereotype of a male in the dance industry When asked to ‘remove his shirt’ at an audition for London Contemporary Dance School, he was left confused and uncomfortable Other dancers seemed much more at ease in the ‘flamboyant world’ where you are expected to be ‘spectacular’ in both performance and style

He is not homosexual and his ‘streetwise’ traits can make him more confrontational than his more ‘eloquent’ counterparts. Furthermore, ‘gender issues’ as he calls them, and aspects of sexuality are often ‘protected’ and any issues concerned have consequences This is not always the case with racial issues. In Tomakloe’s experience racial prejudices are far easier to dismiss and overlook

I asked if he felt that anything had changed during his career. Tomakloe feels that the majority of the dance industry remains the same, it’s extremely competitive and dominated by this stereotype ‘Black style’ from the streets is still prevalent and can cause problems when auditioning for traditional roles However, opportunities are now more accessible with widespread advertising now done online Having said that, Tomakloe feels there are more dancers out there and tv production has improved, but the audition process is still as gruelling as ever

Advice for the younger generation starting out in the dance industry

Creatives often lack managerial skills and need help with the administration behind their career A business mind is needed to bring things together and structure the work around the creativity and art being produced Tomakloe feels that this can be difficult to find and the right partnership is important to get ahead in the industry. He was very ‘lucky’ to work with his wife, Aisha Kibibi, who was his administrator for most of his career

Furthermore, as an individual, a Black performer can find a way through the industry but a Black group of creatives can face more challenges when navigating larger institutions

Young performers can often lack structure and the funds to operate in the commercial dance industry American rappers such as 50 Cent can afford to self-produce and promote their art Tomakloe stresses that being financially stable can give you the ‘financial capacity to retain your work and protect it ’ Without this, considerable problems can occur

Future plans and ambitions

Tomakloe is currently back in his home city of Leicester making the most of the creative opportunities and connections He is keen to teach and pass on his technical skills to the younger generation, providing encouragement and advice

Despite the barriers and challenges out there, he would always be a dancer