New Waves! 2015 ONLINE Welcome Packet by Makeda Thomas

Welcome Packet New Waves! 2015

LP51 RAMGOOLIE TRACE, SOUTHERN MAIN ROAD, CUREPE, TRINIDAD TEL.: 868-383-4658 TEL.: 868-464-8926

ARTISTIC DIRECTOR MAKEDA THOMAS

EMAIL: INSTITUTE@MAKEDATHOMAS.ORG WEBSITE: WWW.MAKEDATHOMAS.ORG/INSTITUTE

NEW WAVES! PROGRAM DIRECTOR CHRISTOPHER WALKER

1 July 2015 Greetings New Waves! 2015, This year of New Waves! Institute – the fifth year – is the most special. New Waves! was established in 2011 and has since gathered 200 dance artists, scholars, teachers, and students in the Caribbean – in Trinidad and Tobago (2011-2013) and in Jacmel and Port au Prince, Haiti (2014). We've partnered with 28 organizations. Each year, participants, staff and a renowned faculty of international artists form a supportive and inspiring community that has created a unique space for dialogue, networking, experimentation and collaboration. It has been an incredible journey and we're so glad you're with us in this special year. In this 5th Anniversary Season, New Waves! wants to consider: How has New Waves! maintained its core as a site of experimentation and creativity; as a site of myth-making and reality checking? How does New Waves! engage professional faculty whose work re flect its pedagogical philosophy of care and building community? How does New Waves! continue to be a safe space for all while moving through a Caribbean region currently in heated dialogue on the rights of LGBTQ people? How do we maintain cultural speci ficity in a diasporic space that enables connection and collaboration? What are our strategies for fostering an environment of respect while challenging systems of imperialisation and colonization? How can New Waves! continue to contribute to the development and education of dancers, teachers and researchers throughout the Caribbean diaspora? New collaborations with Dancing While Black and the National Library and Information System Authority of Trinidad and Tobago, will engage New Waves! In exploring those questions in new, meaningful ways. Another new development: the 5th Anniversary New Waves! 2015, will mark the beginning of the transition to a biennial program. Your presence and offerings will be important as we af firm and make changes to take New Waves! through the future. Please carefully review each section of this WELCOME PACKET. It includes information on course offerings and workshops, faculty, guest artists, film screenings, suggested readings and a schedule overview. Print it at home if you wish to have it in printed form when you arrive. You can see a complete list of New Waves! 2015 Faculty & Guest Artists online: http://makedathomasinstitute.tumblr.com/faculty. You can see a working list of New Waves! 2015 Course Offerings online: http://makedathomasinstitute.tumblr.com/courses. See our announcement on the Dancing While Black Performance Lab: http://makedathomasinstitute.tumblr.com/post/115126061189/12-international-artists-invited-for-new-waves. Find answers to the most FREQUENTLY ASKED QUESTIONS here: http://makedathomasinstitute.tumblr.com/newwaves.faqs. For questions related to the Dancing While Black Performance Lab, please email New Waves! 2015 Coordinator, Ricarrdo Valentine at newwaves@makedathomas.org. For general program questions, please email New Waves! 2015 Coordinator, Brittany Williams at b_williams@makedathomas.org. Feel free to email us at newwavesinstitute@gmail.com with any additional questions. Keep updated! http://makedathomas.org/institute.aspx Join us on Facebook: https://www.facebook.com/pages/Makeda-Thomas-Dance-and-Performance-Institute/173361536038444 Let’s Dance!

Makeda Thomas Founding Director

New Waves! 2015

Program Information Following, is detailed program information for the NEW WAVES! INSTITUTE: • • • • • •

Course Offerings & Workshops Additional Program Information Faculty/Guest Artists Suggested Readings Film Screenings Schedule Overview

You've also been provided with a NEW WAVES! 2015 WELCOME PACKET: • • • • • • • •

What to Pack Accommodations Bank/Money/Postal Services Health & Medical Facilities Local Newspapers Travel/Transportation – Int'l & Local Where to Eat Photography Release

New Waves! 2015

Course Offerings/Workshops The following lists workshops and courses being offered during New Waves! Institute. The language of instruction is English. •

“Contemporary Dance” with Makeda Thomas This is an advanced level technique class that engages a contemporary modern dance performance aesthetic rooted in Africa and its Diaspora. The class calls for generous physicality, understanding of the conceptual mechanics of motion, a strong use of gesture, articulation of the body, and fluidity of the joints and breath. Movement phrases emphasize sharpness and clarity of shape, musicality, rhythm, and incorporates floor work.

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“Caribbean Dance” with Christopher Walker This course is a performance study of West Africa and the Diaspora. It is geared at equipping students with an experiential knowledge of the effects of African culture on western dance performance, primarily the characteristics and principles retained in the Traditional/Folk dance cultures of the Caribbean. The course will explore fundamental techniques for execution and performance of African, Jamaican and other Afro-derived Caribbean dances while fortifying the body through tested systems of movement to encourage ef ficient movement articulation in contemporary abstractions.

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“People Powered Dances of Transformation” with Ananya Dance Theatre A 2-day intensive workshop with Director of Ananya Dance Theatre, Ananya Chatterjea. First day is technique in ADT’s Yorchaa- technique of contemporary Indian dance. Second day is learning of repertory of social justice choreography. We’ll also offer some exploration of the classical technique Abhinaya, in order to explore emotional expressivity through movement. Workshop culminates in performance as part of the New Waves! Commission Project. ADT wishes for all to come with open hearts, minds and bodies. Participants must commit to the entire series.

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“Haitian Traditional Dance” with Jean-Aurel Maurice Jean-Aurel Maurice’s Haitian traditional dance classes are a synthesis of his experiences as a professional dancer/choreographer/instructor, and son of his mother who is a “MANBO ASOGWE” (highest member of clergy in Haitian vodou). His teaching approach emphasizes on three aspects: 1) Anatomical understanding of the body during movements 2) The correlation between the dancer, the drums, the drummers, and the spiritual elements of Haitian tradition and 3) Knowledge of the history of Haiti and the social impact on its dances.

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“Extracting the aesthetic in Caribbean Performance: Where spirit, skill and style inspire new socio-political manifestations of being” with Scholar-in-Residence, Carol La Chapelle Excerpts from Carnival Messiah and Peter Minshall’s Dancing Mobile are examined to highlight an evolved masking tradition which disturbs the popular concept of the carnivalesque. This discourse utilizes a naturalistic inquiry that recognizes the signi ficance of experience as traditional culture interacts with contemporary performance. It explores cultural continuity and validates a distinctive performance genre which has added value to Caribbean Art. A focus on speci fic concepts of style, spirit and skill points to mastery of technique in the context of traditional culture. Video of Carnival Messiah extends visibility of the Dancing Mobile as the phenomenon that expresses Carnival performance in new ways and with new approaches in enactments that celebrate and expand the boundaries of Caribbean performance. Performance captures the phenomenon and makes the experience familiar as dance offers the potential for signifying. Experience as choreographer informs the analysis where previous texts have failed to articulate the signi ficance of the revolutionary construct.

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“Contemporary Dance” with Cynthia Oliver This contemporary class is strongly in fluenced by Afro-Caribbean and Africanist aesthetics. With a moving introduction designed to energize the group, build community and rhythmic acuity, the class then moves through an integration of breath connected flow, stretching, isolations, release work and a stamina building accumulation. Utilizing flow, rhythmic and polyrhythmic complexities, the above elements are integrated in extended moving phrase material. Oliver was a long time dancer with Ronald K. Brown/EVIDENCE and her classes have been signi ficantly in fluenced by his movement qualities, her own physical vocabulary as well as alternative postmodern and black aesthetic traditions. This class engages these combined approaches to contemporary dance in a postmodern conceptual frame.

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“Ori Bata” with Adam Ade Ola Ori Bata is an orisha dance technique and form. conceptualized from the orisha traditions of Trinidad and Tobago...it is African in essence and is sacred performance art. It informs the the dancer and develops a form in the body and mind .... It is about thinking and translating in movement ...its base is in dance but it extends to general performance art... Spoken word dance drama singing drum and bamboo music that makes ori bata original... It has a meditational base with a progression in to exercise and movement which becomes the technique. The tech is not the dance but it informs the dance

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“Jouvay Process for Dancers” with Tony Hall Jouvay Process for Dancers comes out of Jouvay Process Popular Theatre, an interventionist performance/production model for seeing art works happen. It is a framework for personal or group development, or for training artists to deepen their craft, and their consciousness, in direct relations to everything around them. Through this stratagem, we can consolidate in our selves the full, creative and imaginative energy of the emancipation traditions set down by own ancestors and, through self-knowledge, lead to sophisticated personal and group movement.

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“Articulating a Caribbean Philosophy through Dance” with Burton Sankeralli A series of loosely structure dialogic oriented presentations revolving around re flections on dance, movement, culture and the body. This placed with the general framework of the articulating of a Caribbean philosophy. Questions: How does the role of dance relate to our Caribbean space? How are we to come to terms with the contours of our Caribbean space? Theoretical approaches to the Caribbean: Genealogy; Kinetics of Canboulay; Of Leela & Feast; Persona and Person

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“Contemporary Caribbean Dance” with Delton Frank A dance studio class with live drumming by local musicians. This class is designed to incorporate traditional Caribbean

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dance styles with modern and ballet techniques. Based on scenarios such as a market, Orisha feast, a walk downtown port of Spain, a funeral, exploration of male and female relationships, and Carnival. Class starts with breathings to get everyone connected, centered, focus and ready. Undulations, stretches and connections to rhythms and movement take us across the floor and into a final center combination. Beginner/Intermediate Level. •

“Caribbean Aesthetics” with Rawle Gibbons A talk; an interdisciplinary foundation in Caribbean culture, thought, philosophy and the nature and sociology of arts and cultural practice in a Caribbean context. A re flection on the arts as a common heritage in the making of Caribbean identity; A philosophical articulation on the practice of the arts as a response to the inherited and contemporary context of Caribbean societies.

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“Caribbean Folk Dance” with Kieron Sargeant This class will provide the dancer with a basic knowledge and movement vocabulary of the folk dances of Trinidad and Tobago and their parallels in the Caribbean. These include First People dances and “Nation dances” (Ibo, Manding, Temne, Congo, Koromanti and the Towel Dance). Through discussion and with special guest presenters, dancers will walk away with a clear understanding of the history, movement style, costume and the musical accompaniment of these dances. Special Guest presenter- Ms. Emelda Lynch Grif fith Master’s Thesis Research Paper- “Dance in the Mas”.

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“Bele Dance” with Emelda Lynch-Grif fith The Bele is the most popular of our folk dances in Trinidad and Tobago. It is a French in fluenced dance that was created out of the slave experience on the plantations. In this session participants would be given the opportunity to experience the movements, songs and rhythms of the Bele. The objective is explore the rhythms, movements, choreographic settings, costuming, and songs that accompany the Bele dance. Methodology: Lecture/Demonstration, Warm-up, Movement explorations, observation and critique(i) Historical facts of the Bele. Course requirements: Flair Skirts & Bare feet

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afrofuturist remains: a speculative rendering of social dance futures this talk has two impossible objects. the first is actually a process: african american social dance. as process, this object of social dance shimmers and disappears in its very emergence; it is comprised of a sharing of time and energy, musicality and relationship. an object with no real remnant and no particular place, but an approach to expression made manifest by motion. the process of black social dance travels, but its contents change even as it comes into being. the second impossible object of this paper is an afrofuture black corporeality: an expansive phenomenological proposition that could allow for black people to be both visually and culturally present even as we are no longer politically maligned for being so. black people travel globally, with and without their social dances, but never without the tangle of racialized presumptions, assumptions, notorieties, and shames that accompany black presence in the contemporary moment and its past. an impossible future black corporeality might be one that moves outside or beyond these tethering political alignments, even as ethnic and social connections could be encouraged and celebrated. the object of a progressive afrofuture corporeality becomes impossible because it will never be here, it will always be in the future. it is also a seemingly impossible object because its terms - an unmarked blackness - stagger the imagination of our visually-oriented world, bound by grossly uneven flows of power.

Additional Programs All New Waves! Institute programs are enriched by informal talks, limes and gatherings. Additional 'sessions' have been held at arts/cultural organizations and in private homes throughout Trinidad & Tobago. We've attended Orisha feasts, Kali pujas, service at the Ethiopian Orthodox Church, and Indigenous ceremonies. The respect and grace of participants maintains this open dialogue with the local cultural community. •

Dotish Tour with Robert Anthony Young The night before and morning of Emancipation, local fashion designer and independent Orisha researcher, Robert Young, invites New Waves! to a unique excursion. Participants eat at Kay's in Balandra and then attend an Orisha saraca at a local shrine in Matura. In the morning dew, we travel to Arima's Santa Rosa Carib Community. There, we pray during an Indigenous smoke ritual. We make our way back into Port of Spain, where we join the procession and dance to the Emancipation Village. A New Waves! Favorite. Requires incredible stamina. Let's Dance!

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Emancipation Day Procession & Celebration 1 August is Emancipation Day in Trinidad, with dance, drumming and a street procession through downtown Port of Spain to the Emancipation Village in Queens Park Savannah. The entire New Waves! community is invited to participate in this joyous New Waves! closing tradition.

New Waves! 2015

ADDITIONAL INFO Dancing While Black PERFORMANCE LAB Performance: Thursday, 30 July at NALIS Amphitheatre New Waves! 2015 participants are offered the opportunity to work with international dance artists from throughout the Caribbean diaspora: Cynthia Oliver, Rashida Bumbray, Melissa Alexis, Anika Marcelle, Jamie Philbert, Adanna Jones, Orlando Hunter, Annabel Guérédrat, The Black That I Am and Nyama McCarthy-Brown. During the course of New Waves!, participants develop an experimental, multi-performative environment in which each of the artists’ work are presented alongside, move through and engage with one another. Dancing While Black is an artist-led initiative of Angela's Pulse that supports the diverse work of Black dance artists by cultivating platforms for process, performance, dialogue and documentation. The voices of black dance artists from the periphery are brought to the center, providing opportunities to self-determine the languages and lenses that de fine their work. As a choreographer, Rashida Bumbray’s work combines vernacular and folk dance forms—jazz, blues, hoo fing, and ring shouts— with magical realism and contemporary cultural and political directives to create intimate spaces of healing and transformation. Bumbray will offer "Run Mary Run”, which seeks to explore the connections between Shango Baptist traditions and rituals with Early Christian, Islamic, and African traditions that are the root of “American” Ring Shouts. The work was presented in 2012 at The Whitney Museum of America Art. Cynthia Oliver, of the U.S. Virgin Islands, is a professor in the Dance Department at University of Illinois, Urbana and Artistic Director of COCo Dance Theatre. Oliver is building a new project and joins the performance lab to work with a group of men - local dancers and New Waves! participants - to "choreographically unearth ideas of manhood, those that are not merely mimetic external representations of form and style, but deeply rooted, nuanced understandings of the masculine". Local choreographer, Anika Marcelle offers “#TroubleFree”, in her creative voice that is a mix of Afro-Caribbean styles (of Jamaica and Trinidad) and contemporary dance (UK) in fluences and tensions. The piece involves elements of dance and live vocal work. Jamie Philbert, born and “baptized in Trinidadian waters”, will offer “Petit Rivye”. The group work draws from Edwidge Danticat’s “The Farming of Bones”, working through Haitian folk dance Yanvalou and modern dance movement. Trinidadian dance scholar, Adanna Jones asks, What happens when a highly co-opted but also profoundly empowering bodily discourse becomes the basis of creating dance? Her work. “Choreographing the Caribbean Social Body”, aims to answer this query by investigating the performative limits of winin’ within the US Diaspora. The artists of Braata Theatre Workshop's production of the Karl O’Brian Williams play “The Black That I Am,” deal with a black Caribbean immigrant’s exploration of gender, sexuality, and nationalism. The play recently finished a run at the Jamaica Center for Arts & Learning and the Roy Arias Stage II Theatre in New York City. How is memory and movement effective in ancestral emancipation? asks returning New Waves! participant Orlando Hunter in his work, Mutiny/When will you re-cog-nize. Through performance, the Brooklyn-based Hunter will research bodily “Emancipatory methodologies” which comes out of this New Waves! experience with Tony Hall’s “Jouvay Process”. In a similar vein, Melissa Alexis’ work, "The Constructed Inheritance of Home. Or Simply, Taking Back The Colonized Body”. will focus on “constructed inheritances”; what she describes as “liminal boundaries” or being “on the cusp of a crossing” - a set of aesthetic principles to deconstruct the internal and external environments we inhabit and naturalize. Nyama McCarthy-Brown's work, “Wanted”, has its heart in the mother and son relationship; and how that relationship is viewed in a society that filters its opinions of people through racial constructs. The title speaks to the dual/duel ways black men are wanted - by their families, and as a criminal object. Professor of Dance at Indiana University, McCarthy-Brown wonders how the dynamics of parenting a black male child shifts in the Caribbean space; where race and class intersect in particular ways that may inform a wider perspective of blackness and mothering. At its core, the New Waves! 2015/Dancing While Black Performance Lab is about how these performances can move with, move through, interact with, and engage with one another. Selected artists are invited to work during the course of New Waves! 2015, from 22 July to 1 August, with New Waves! faculty, guests, participants and the local community. The Institute offers 10 hours of studio lab space for each artist/company at the Academy for Performing Arts. In the spirit of the yard - where dance, drum, chants, speeches, conversations all happen, often simultaneously - the audience is invited to move through the performance, which offers several intimate and interconnected performances spaces within it. The program is co-curated by New Waves! Director, Makeda Thomas and Paloma McGregor, Director of Dancing While Black, and produced through the New Waves! Commission Project, which offers a presenting platform for dance artists in the Caribbean and throughout its diaspora. The project presented Ananya Dance Theatre's “Moreechika” and Christopher Walker's “Palm Oil Rosary” in 2012 and Sonja Dumas' “Strange Tale of an Island Shade” in 2013. The New Waves! 2015/Dancing While Black Performance Lab will be presented on Thursday, 30 July 2015 at 7pm at NALIS Amphitheatre at Hart & Abercromby Streets, Port of Spain. The event is free. On Friday, 31 July 2015, the presenting guest artists will participate in a post-performance discussion moderated by Institute Director, Makeda Thomas. 10am – 12pm. University of Trinidad & Tobago/Academy for Performing Arts, Dance Studio, 3rd Fl. Open to the public. Free.

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Faculty/Guest Artists The following lists includes lecturers, guest artists and core faculty members of the Dance & Performance Institute who were invited for New Waves! 2015: •

Makeda Thomas (Director) has spearheaded the Artist-in-Residence Program, Carnival Performance Institute and New Waves! Institute since the Institute's founding in 2010, drawing almost 250 dance artists, scholars, teachers, poets, architects, writers, activists, and students from around the world to the Caribbean. She accomplishes this while creating and performing dance works for the stage, site-speci fic works and multi-media collaborations for dance theatre experimentation. Makeda Thomas is a 2013 Creative Capital Grantee. Her 2008 solo, "FreshWater" was embedded into MIT's "Black Matters: Introduction to Black Studies" and toured throughout the U.S., Mexico, Zimbabwe, and Trinidad. Graça Machel, Former First Lady of South Africa and Mozambique is the Honorary Patron of her internationally acclaimed 2005 work, "A Sense of Place", which was also commissioned by 651 ARTS Black Dance: Tradition & Transformation. She has also served as a Cultural Envoy for the U.S. Dept. of State. As a dancer, Thomas performed internationally with Ronald K. Brown's EVIDENCE, URBAN BUSH WOMEN, and Rennie Harris/ Puremovement. She holds an MFA in Dance from Hollins University and continues to create, teach, and perform internationally, while living in New York City & Port of Spain.

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Christopher Walker is a dancer and choreographer with the National Dance Theatre Company of Jamaica (NDTC). He is also the founder and artistic director of “VOICES” a dance company exploring the fusion of Caribbean dance and contemporary styles using the traditional stage, alternate spaces, and multimedia as a medium. With VOICES, he performed on university campuses in Western New York, and with the NDTC, Mr. Walker toured the United Kingdom, United States, Canada and the Caribbean, performing in several cities in those countries and region. His choreographies have been performed in Jamaica, New York and England, where he has presented solo work for the HIP Dance Festival. In addition, he taught Caribbean Dance Workshops in Jamaica, England, and the United States and conducted several successful artistic residencies at universities including Hobart and Williams Smith Colleges and Temple University, among others. Mr. Walker is a graduate of the Edna Manley College of the Visual and Performing Arts (EMCVPA) in Kingston, Jamaica, where he received awards for excellence in choreography and dance theatre production. He also holds Master of Fine Arts and Bachelor of Fine Arts Degrees from the State University of New York, College at Brockport where he taught for more than two years. In 2004 Walker received the highest award in the Thayer Fellowship in the Arts Competition in New York, and a Certi ficate for Merit from the American Theatre Festival Association for his choreography of “Once on this Island” for Brockport’s Department of Theatre. He has since returned to Jamaica to work with the NDTC and his alma mater, the EMCVPA, where he serves as a consultant in the department of Folk and Traditional Studies. Most recently he received a nomination for “best choreography in a musical” for Jamaica’s Annual National Pantomime and continues to tour and conduct artistic residencies at schools and colleges throughout the United States.

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Tony Hall has a long career of documenting local lives and culture. He has worked with the Trinidad Theatre Workshop and at the pioneering Banyan Limited. In 1992 he co-directed the award-winning documentary, And the Dish Ran Away With the Spoon. His acclaimed play, Jean and Dinah, is being adapted into a feature film. Hall’s other plays include the powerful and provocative Twilight Café; and with David Rudder, the ground breaking calypso musical The Brand New Lucky Diamond Horseshoe Club. Hall’s work has been celebrated by local audience, critics and fellow writers as some of “the finest West Indian theatre” (Derek Walcott), a “triumph” (Earl Lovelace), and “lively…touching…powerful” (Judy Raymond). A graduate of the University of Alberta in drama, Hall worked extensively from 1973 to 1981 with Derek Walcott and the Trinidad Theatre Workshop. In 1990, with Errol Fabien, he launched Lordstreet Theatre Company with the award-winning jouvay trilogy of carnival mas bands, ‘A Band on Drugs’ (1990), ‘A Band on Violence’ (1991) and ‘A Band on US’ (1992). Hall’s play ‘Jean and Dinah, Who Have Been Locked Away in a World Famous Calypso, Since 1956, Speak Their Minds Publicly’ (1994) is widely acclaimed as a seminal work in West Indian theatre.

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Burton Sankeralli is a Theologian, Philosopher, writer, poet, cultural anthropologist and political and cultural activist. He is a founder of the Philosophical Society of Trinidad & Tobago and a keen observer and thinker on Caribbean matters past, present and future. A former newspaper columnist, his pieces have also appeared in a number of scholarly and academic publications, including Enterprise of the Indies edited by George Lamming. Sankeralli is the editor of the book, “At the Crossroads: African Caribbean Religion and Christianity” (1995) and author of “Of Obeah & Modernity”(2008).

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Attillah Springer is a writer, activist, jouvayist and Director of Idakeda a family collective of women who produce the annual Kambule reenactment on Carnival Friday in Port of Spain. She is stick fighter in training and has been a flag woman for Phase 2 Pan Groove and 3 Canal’s Jouvay band. She also DJs under the name Tillah Willah. It was while engaging inner city residents on skin bleaching that she developed an interest in using media for advocacy and activism particularly for those whose voices remain silenced by mainstream agendas. In London, she has worked with the London Language and Literacy Unit’s programmes in migrant communities, empowering parents’ indigenous knowledge to engage their children with the English educational system. An environmental activist, she has organized events around industrialisation versus sustainability in rural Trinidad since 2005 using Carnival and other indigenous festival arts as forms of protest or awareness building. In July 2007 she represented local environmentalists at the Global Impacts of Heavy Industry Conference in Reyjavik, Iceland. As a journalist she has worked as producer/presenter and Head of News for Gayelle TV and as part of the Carnival coverage team for TV4. She is also a Director of Idakeda Group a collective of women in her family creating cultural interventions for social change especially among women and youth in socially vulnerable communities in Trinidad and Tobago.

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Robert Young's (Costume Designer) designs have been part of presentations of the Emmy Award winning Guyanese cum Trinbagonian mas designer Peter Minshall. Robert’s work can be seen in Jerusalem for Minshall's Donkey Darby (1993), The Twelve Ships in the Odyssey (1994) and The Image and Likeness" in Tapestry (1995). He has also designed for such legendary Caribbean icons of music as david Rudder and the late Andre Tanker as well as Rapso artiste Ataklan. He has also done the costuming and set design for Phase II Pan Groove, Skif fle Bunch, Pamberi, and Redemption Sound Setters. As well his almost trademark applique has complimented the stage backdrops of one of the country’s leading choirs, The Lydian Singers. When he is not designing Robert makes time for many outreach programs. He has been a resource person at the Man to Man Project (2000), a Delegate of the United To End Racism group at UN World Conference Against

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Racism and Other Related Intolerance (Durban, South Africa 2001), YMCA MENtoring project 2003 to 2005, Men support group Resource person at Friends for Life and has led several men’s, youth and artist support groups. Robert shows annually and has been a part of Caribbean fashion Week since 2001, with the exception of 2002. Robert’s work embodies elements of traditional folk, the spirit of revolution and an interest in restoration and integration. In 2011, he created the Propaganda Space in Belmont. •

Delton Frank was a principle dancer with Ballet Creole for 16 years, with experience in modern, ballet, Afro-Cuban, West African and Traditional Caribbean dances. Before that, he received training with the North West Laventille Cultural Movement, the La Chapelle Dance Company and the Caribbean School of Dancing, leading to a role as choreographer of the Caribbean Folk Performers of Toronto. Delton won best male dancer of Trinidad and Tobago in the 1996, 1997 and 1999 – 2000 Prime Minister's Best Village Trophy Competitions. He received an award from the Laventille Steelband Committee for “Outstanding Contribution in the field of Culture.” Frank also attended the Mucurapo Senior Comprehensive School, The National Academy of Business Arts and Computing, holds a certificate of professional training from the school of Ballet Creole and was credited to teach traditional dance and drama technique by the Ministry of Community Development Culture & Women's Affairs in 1996. Recipient of the 2003 Angostura Award for Culture in 2003, Delton has also choreographed T&T's National Production for Carifesta IX, for the 2006 FIFA World Cup Germany and U.S. Based UniverSoul Circus. In 2013, he served as a juror for Toronto Alliance for the Performing Arts Dora Awards. Delton Frank currently lives in Trinidad and Tobago, where he recently performed at the Tobago Contemporary Dance Festival. Delton is the Director and Founder of Dance Dynamix Trinidad & Tobago.

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Rawle Gibbons, director, playwright and lecturer, is currently Head and Senior Lecturer at the Centre for Creative and Festival Arts, UWI St. Augustine Campus. Gibbons has spent decades in the formal and informal study of the theatre arts, and has a Master of Philosophy Degree with research on “Theatrical Enactments in Trinidad”. His publications include A Calypso Trilogy (“Ten to One”, “Ah Wanna Fall” and “Sing de Chorus”), Towards 2002 – Models for Multi-Cultural Education, and No Surrender – A Biography of the Growling Tiger. Beyond his work in theatre he has written and spoken on ‘Pan African Aesthetics’, the Orisha tradition and its in fluence on popular arts in Trinidad and Tobago and the relevance of African religion today. His plays have won numerous awards, he delivered the prestigious Philip Sherlock Distinguished Lecture In his roles as Chief Examiner on the Caribbean Examination Council, and adjudicator of the Secondary Schools Drama Festival in Trinidad and Tobago, he contributes to the future development of the arts.

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Maria Nunes is a Trinidadian photographer with special interests in capturing imagery related to performance in the arts and in documenting traditional Carnival portrayals and speci fic aspects of Carnival culture such as Moko Jumbies, Stick fighting and Blue Devil Mas. Among her recent work has been highlighting Keylemanjahro, Trindad’s most renowned Moko Jumbies, as well as a commission by the National Parang Association to document the entire Parang season of 2010. She has also been documenting ongoing projects of the Ibis Ensemble in residence at UTT in Port of Spain which included filming the documentary short “Rainforest: A Musical Postcard from Trinidad” which will be screened at the Trinidad and Tobago Film Festival later this year. Maria comes to photography from a background in sport and education. She represented Trinidad and Tobago in golf both regionally and internationally over a period of 20 years. She is the recipient of a National Award, the Hummingbird Medal, Gold, was awarded the WITCO Sportswoman of the Year 1980, and the Ministry of Sport and Youth Affairs Athlete of the Millennium Award 2000. She is a graduate of the University of Texas at Austin, BA, History, and has worked in education at both secondary and tertiary levels as lecturer in the Department of Sport and Physical Education at the University of the West Indies, Trinidad and as a teacher of History, Geography, and Music at secondary level in Port of Spain, Trinidad. She then worked for 10 years in the golf industry. Maria’s interest in the arts has been signi ficantly in fluenced by her love of music as she plays the guitar, cuatro and steelpan. Her involvement is music also extended to freelancing as a DJ in the 90’s while she has a special interest in collecting early calypso, string band and big band recordings of Trinidad and Tobago, as well as traditional folk and stick fighting songs. www.marianunes.com

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Cynthia Oliver’s work is the visceral evidence of an incongruous mixture of aesthetics. Cynthia was steeped in the everyday sounds of black voices and bodies moving in time and space in the Caribbean of her youth. She was encouraged to explore site speci fic improvisational experiments led by Atti van den Berg - a former Kurt Jooss dance drama company member/performer. All the while she absorbed both the informal and formal dances of the Afro-Caribbean dance canons in the US Virgin Islands. These vastly differing experiences de fined her childhood coming into art. Moving in this way led her to an eclectic career in NYC and abroad in the world of performance art and experimental dancing with folks as diverse as David Gordon/Pick Up Company, Ronald Kevin Brown/EVIDENCE, and Bebe Miller. She is currently performing in Tere O’Connor’s Sister and BLEED dance works. Cynthia has studied and been a part of the black avant garde theatre world, performing in the works of numerous playwrights, most notably, Laurie Carlos’ White Chocolate for my Father, and Vanquished by Voodoo and Ntozake Shange’s A Photograph Lover’s In Motion, also directed by Ms. Carlos. Cynthia’s work, a mélange of dance, theatre and the spoken word incorporates the textures of Caribbean performance with African, and American sensibilities. Named "Outstanding Young Choreographer" by reviewer Frank Werner in German Magazine Ballet Tanz early in her career, Cynthia has since received numerous grants and awards including a New York Dance and Performance Award (BESSIE), two Illinois Arts Council Choreography Fellowships, a Creative Capital award, a Rockefeller Multi-Arts Production grant, NEFA (New England Foundation for the Arts) Touring support, NPN (National Performance Network) Creation Funds, a CalArts Alpert Award nomination, and a prestigious University Scholar Award from the University of Illinois, Urbana-Champaign, where she is a professor of dance. In addition to her performance credits, Cynthia holds a PhD in performance studies from New York University, has published widely and is the author of Queen of the Virgins: Pageantry and Black Womanhood in the Caribbean (University Press of Mississippi. 2009).

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Fritzner Alexandre Born in petion ville Haiti, i'm very disciplined drummer dedicated to my art. I have been a member of les tambours d'Artcho danse, the musical ensemble of the internationally acclaimed dance company aykodans based in Haiti. I'am a drum teacher who listen patiently to my students, leading workshops and classes during the company's international engagements. I'am also teaches at different dance schools and elementary schools in port au prince. I'am travelled extensively with the company and i'am performed on international stage such at the prestigious carnegie Hall in new york city, Adrienne Arsht center, for the performing arts in miami, kravis center in west palm beach, florida, casa the las Americas in madrid, teatro escorial, spain, teatro nacional, Dominican Republic, the Rialto in Atlant, georgia amomg others

New Waves! 2015

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Kieron Sargeant's ultimate dance education goal is to achieve a PhD in Dance Science. Sargeant is a Social Studies and Theatre Arts Teacher (Dance) at Pleasantville Secondary School. He holds a Bachelor of the Arts in Dance Education with a Minor in Carnival Studies from the University of West Indies in St. Augustine. Kieron has developed choreography for the Prime Ministers Best Village Trophy Competition with the Malick Folk Performing Company, the Tobago Heritage Festival, International Dance Day Celebrations, Dimanche Gras, Soca Monarch, National Events, Sanfest, Secondary School Dance Festival, Independence Day National Awards and the President's Inauguration. In 2009- 2014 his creative guidance and works commanded the San Fernando Junior Arts Festival and Secondary School Dance Festival Plateau, steering his school to the top accolades. In 2014, he served on the Curriculum Team of Ministry of Education to rewrite the Visual and Performing Syllabus for Dance. Kieron was recently accepted to the University of Roehampton in London to pursue his MFA in Choreography in 2015.

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Ananya Chatterjea is dancer, choreographer, dance scholar, and dance educator, who envisions her work in the field of dance as a “call to action” with a particular focus on women artists of color. She is the Artistic Director of Ananya Dance Theatre, a company of women artists of color committed to the intersection of artistic excellence and social justice. She is also Director of Dance and Associate Professor in the Department of Theater Arts and Dance in the University of Minnesota, Minneapolis. Ananya was named "Best Choreographer" by City Pages in 2007 and is also the proud recipient of awards from the BIHA (Black Indian Hispanic Asian) Women In Action organization, the MN Women’s Political Caucus, and the 21 leaders for the 21st Century Award from Women’s E-News for her work weaving together artistic excellence, social justice, and community-building. She was recently honored by the Josie Johnson Social Justice and Human Rights Award at the University of Minnesota (2008). Recent engagements include a keynote address and performance at the 2009 International Conference of Pedagogy and Theater of the Oppressed; teaching and performance at Bates Dance Festival (2008), performances and panel presentations at Erasing Borders Festival (NY, 2008), teaching at the American Dance Festival (2008), performances, workshops, and master classes at the O’Shaughnessey’s Women of Substance Performance Series (2008). Her most recently completed choreographic project is Ashesh Barsha, unending monsoon, which marked the culmination of a trilogy on environmental justice, and premiered in Minneapolis’ Southern Theater, in September 2009. Her book, Butting out! Reading cultural politics in the work of Chandralekha and Jawole Willa Jo Zollar, was published by Wesleyan University Press in 2004.

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Carol LaChapelle, Dancer, Educator/Artistic Director/Choreographer is a graduate of the London College of Dance and Drama, Dartford College of Education, University of London, Member of The Royal Academy of Dancing & Associate of The Imperial Society of Teachers of Dancing. Carol La Chapelle is the Artistic Director of the La Chapelle Dance Company & former dance director and choreographer of Derek Walcott’s renowned Trinidad Theatre Workshop. La Chapelle serves on several local boards as judge, adjudicator, member of curriculum design team locally, regionally & internationally & is the recipient of several awards for dance & culture. A Master of Arts from the University of the West Indies, she is a Senior Lecturer at University of Trinidad & Tobago, currently pursuing a doctorate in Cultural Studies. Recent credits include Associate Director/choreographer for Carnival Messiah (UK/TT) Artistic Director/Choreographer for Couva’s Lotus: The Story of Di Ailian (NAPA): East Meets West (NAPA) Pantomime (Little Carib & Hotel Normandie), La Diablesse in the film Ah! Hard Rain and is currently the choreographer for Ti Jean & his Brothers.

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Born a Hoosier, Thomas F. DeFrantz is Professor of Dance at Duke University and Chair of the department of African and African American Studies. He also acts as President of the Society of Dance History Scholars, an international organization that advances the field of dance studies through research, publication, performance, and outreach to audiences across the arts, humanities, and social sciences, and the director of SLIPPAGE: Performance, Culture, Technology, a research group that explores emerging technology in live performance applications. His books include the edited volume Dancing Many Drums: Excavations in African American Dance (University of Wisconsin Press, 2002, winner of the CHOICE Award for Outstanding Academic Publication and the Errol Hill Award presented by the American Society for Theater Research) and Dancing Revelations Alvin Ailey’s Embodiment of African American Culture (Oxford University Press, 2004, winner of the de la Torre Bueno Prize for Outstanding Publication in Dance). His most recent publication is an anthology, Black Performance Theory, co- edited with Anita Gonzalez (Duke University Press, 2014). A director and writer, his creative works include Queer Theory! An Academic Travesty commissioned by the Theater Offensive of Boston and the Flynn Center for the Arts, and Monk’s Mood: A Performance Meditation on the Life and Music of Thelonious Monk. He has taught at NYU, Stanford, Hampshire College, MIT, and Yale; has presented his research by invitation in Australia, Brazil, Canada, Chile, China, Finland, France, Germany, Great Britain, India, Ireland, Italy, the Netherlands, Poland, Portugal, South Korea, Spain, and Sweden; and performed in Botswana, France, India, Ireland, and South Africa. In 2012 working with Takiyah Nur Amin and Makeda Thomas among others, he established the Collegium for African Diaspora Dance, which hosted the conference “Dancing the African Diaspora: Theories of Black Performance” in February, 2014 at Duke University. Current research imperatives include explorations of black social dance, and the development of liveprocessing interfaces for performance.

New Waves! 2015

Dancing While Black Performance Lab Artist Bios •

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Rashida Bumbray’s choreography draws from traditional African American vernacular and folk forms including ring shouts, hoo fing, and blues improvisation in order to interrogate society and initiate healing. Bumbray was nominated for the prestigious Bessie Award in 2014 for “Outstanding Emerging Choreographer.” Her performance RUN MARY RUN in collaboration with Jason Moran and Dance Diaspora Collective was named among Best Concerts of 2012 by the New York Times’ Ben Ratliff. Bumbray is a recipient of the 2014 Harlem Stage Fund for New Work, and her work has been presented by Columbia University, Caribbean Cultural Center, Dancing While Black, Harlem Stage, Project Row Houses, and Weeksville Heritage Center. Bumbray received her MA in Africana Studies from New York University and her BA in African American Studies and Theater & Dance from Oberlin College where she studied Jazz, Blues and Afro dance forms with Adenike Sharpley and collaborated with the late Wendell Logan’s Oberlin Jazz Ensemble. http://rashidabumbray.com/

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Jamie Philbert is a native of Trinidad who was raised in Bed Stuy, Brooklyn. Throughout her dance training, she had scholarships to the Charles Moore Dance Theater, Peridance Center and the American Dance Festival. In 1998 and 1999, while attending LaGuardia High School for the Performing Arts she competed and won gold for the NAACP NYC Act-So Local Competition in dance. In 1999 she choreographed her own work and won gold locally and nationally for the NAACP Act-So Competition. Upon graduating she founded Echoes Dance Company and began presenting her choreography. Her work has been presented at Aaron Davis Hall/E-moves, Lincoln Center Out Of Doors, Mulberry St. Theater, Vassar College, B. Smith’s, Hollins University, Howard University, Riverside Theatre, Merce Cunningham Studio, D.A.D.D/Judson Memorial Church, S.O.B’s, Dizzys Club at Lincoln Center, Nuyorican’s Poets Cafe, Irving Plaza, BRIC, Rockwell’s, Brooklyn Museum of Art, Danny Simmons Corridor Gallery, MOMA and Five Myles Gallery. Jamie has worked with artists and companies such as Alvin Ailey Arts in Education, CAS Ailey Camp, Charles Moore Dance Theater, Janis Brenner, H.T. Chen, Dian Dong, Nathan Trice/Rituals, Roger C. Jeffrey, Alfred Gallman’s Newark Dance Theater, Nia Love/Blacksmith’s Daughter and most recently Cumbe. In 2003 she received an emerging artist grant from Aaron Davis Hall to create new work. In 2005 she was chosen as one of the alumni to present choreography for the Senior Dance Concert at La Guardia High School. Jamie believes that art has the power to heal and create dynamic change. Jamie dedicates all her movement and magic to the legacy of her transitioned parents, Dennis and Veronica Philbert.

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Adanna Jones is a PhD in Critical Dance Studies candidate at the University of California, Riverside. She holds a BFA in Dance from Rutgers University and has performed in professional NYC-based dance companies based in NYC, including Julia Ritter Performance Group and Andrea E. Woods/Souloworks. During her tenure at UCR, she has choreographed and danced in performances for UCR’s annual Graduate Student Dance concert and the Experimental Choreography Program. In August 2012, Jones conducted research on the annual Crop Over Festival held in Barbados with the support of a UCR Dissertation Research Grant. Currently, she is completing her dissertation on the Caribbean identity within the US, focusing on the wine and its complexities to Trinidadian-ness, as well as Pan-Caribbean-ness. Building upon her dissertation, her offering for this year’s Performance Lab investigates the performative limits of winin’ by seeking to foreground the Caribbean social body as a basis for creating dance. Ultimately, she seeks to unwind the convoluted, political economies that both limit and enable the complex socialization of the wine.

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Melissa Alexis has taught at Boston University, Smith College, Amherst College, Tufts University, Sarah Lawrence College, and Bard High School Early College. She gained a Master of Fine Arts in Dance from Sarah Lawrence College, a Bachelor of Arts in Psychology and Spanish from Amherst College, and a certi ficate in Sustainability from Columbia University’s The Earth Institute. Her choreographic work has been shown in NY and MA at The NU Hotel as part of The Creator’s Collective, The Dance Complex, Green Street Studios, and Tufts University. She is currently a performer in Massachusetts and Haiti-based dance company, Jean Appolon Expressions (JAE).

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Orlando Hunter is a choreographer who researches, illustrates and creates from an African-American male perspective. In his work he tackles issues resulting from a white supremacist system. Hunter grew up dancing hip-hop and graduated with a BFA in Dance from Univ. of Minnesota, where he performed works by Donald Byrd, Bill T. Jones, Carl Flink, Louis Falco, Colleen Thomas, Uri Sands, Stephen Petronio and Nora Chipaumire. His solo “Mutiny” was selected to represent the University of Minnesota at the 2011 ACDFA gala in Madison, Wisconsin. Orlando studied GLBT activism and history in Amsterdam and Berlin. He has performed with Christal Brown/INspirit Dance Company, Contempo Physical Dance, Forces of Nature, Makeda Thomas, Threads Dance Project, TU Dance and Ananya Chatterjea, an all women’s company where he was the first male member and toured with them to Trinidad & Tobago and Zimbabwe. Hunter is a co-founder of the collective Brother(hood) Dance!

New Waves! 2015

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Anika Marcelle received her early dance training (Ballet) in Trinidad with Heather Alcazar and later on at the Praise Academy of Dance in Jamaica. Trained at the London Contemporary Dance School - The Place, she has worked with and performed works from United Kingdom-based Shobana Jeyasingh, Jean Abreu and the Siobhan Davies Dance Company. She has also performed in Jamaica, Trinidad, South Africa, the United Kingdom and the United States. Between the years 2009 - 2013, Ms. Marcelle had the privilege of performing five distinct works at the COCO Dance Festival in Trinidad. She currently works as an Independent Choreographer mounting works on local dance Companies in Trinidad and Tobago including the Elle NYTT Dance Company since its inception in 2007.

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Nyama McCarthy-Brown is an Assistant Professor of Dance at Indiana University, in the Department of Theatre, Drama, and Contemporary Dance. Recently, she was awarded a competitive fellowship to attend the 2015 Mellon Summer Dance Studies Seminar at Northwestern University. In July, Nyama will present her piece, “Shadow Cast Over Hope,” at the Dancing While Black Performance Lab in Port of Spain, Trinidad. Also, for the summer of 2015, she was selected to participate in Doug Varone’s choreographic intensive, Devices, at Purchase College in New York. As an outcome of Varone’s mentorship, Nyama will premiere a new work at the 92nd Street Y in August. Originally from San Francisco, her love for dance developed at her community recreation center, and later at the School of the Arts High School. She received her BA Degree in Political Science from Spelman College in 1999 and completed her MFA in Performance and Choreography at the University of Michigan in 2003. As an emerging scholar, her research interests center around culturally relevant dance pedagogy and people of color in concert dance. Dr. McCarthy-Brown’s scholarship is interdisciplinary and always relates to heightened understanding of cultural diversity. She has published work in the Journal of African American Studies, the Journal of Dance Education, and Arts Education Policy Review. Currently, she is working on a monograph about culturally relevant teaching in dance.

New Waves! 2015

Suggested Readings/Viewings The suggested readings/viewings are an important part of the New Waves! 2015 Program. A single copy of those marked “Available” can be accessed during New Waves!, but on a very limited basis.

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Smith, Linda Tuhawi. Decolonizing Methodologies: Research & Indigenous Peoples. London: Zed Books, 2012. Available. Hooks, Bell. Teaching Community: A Pedagogy of Hope. Kentucky: Routledge Books, 2003. Available. Forte, Maximilian. Ruins of Absence, Presence of Caribs: (Post) Colonial Representations of Aboriginality in Trinidad and Tobago. University Press of Florida, 2005. Boyce Davies, Carole. Caribbean Spaces: Escapes from Twilight Zones. University of Illinois Press, 2013. Available at Project Muse: http://muse.jhu.edu/books/9780252095863. Available. Warner-Lewis, Maureen. Guineas Other Suns: The African Dynamic in Trinidad Culture. Majority Press, 1991. Print. Available. Houk, James T. Spirits, Blood, and Drums: The Orisha Religion in Trinidad. Philadelphia: Temple UP, 1995. Print. Reclaiming African Religions in Trinidad: The Orisha and Spiritual Baptist Faiths Today http://www.prolades.com/cra/regions/caribe/trt/Shango.pdf Trinidad Orisha: A Callaloo Religion. http://courses.swarthmore.edu/spring2013/relg024/trinidad-orisha-a-callaloo-religion/ Aiyejina, Funso, and Rawle Gibbons. “Orisa (Orisha) Tradition in Trinidad.” Caribbean Quarterly 45.4 (1999): 3550. http://www.jstor.org/discover/10.2307/40654100?uid=3739832&uid=2&uid=4&uid=3739256&sid=21102507626217 Murphy, Jacqueline Shea. The People Have Never Stopped Dancing: Native American Modern Dance Histories. Univ of Minnesota Press, 2007. Available. Indigenous Caribbean Center - Information on Indigenous Peoples of the Caribbean, from the Guyanas to Central America, from the Antilles to North America. http://indigenouscaribbean.wordpress.com/directory/trinidad-tobago/. (Files stored on this site, and linked to on this site, plus many others, can also be accessed via: https://app.box.com/shared/4lav3gkxwk. You can preview streaming audio, read documents using ipaper, or download them to your computer. Free, copyrightexpired books and journal articles are also stored here.) The Amerindians. Tracy Assing. Trinidad & Tobago Film Company, 2010. Film. Available. Daniel, Yvonne. Dancing Wisdom: Embodied Knowledge in Haitian Vodou, Cuban Yoruba, and Bahian Candomblé. Champaign: University of Illinois Press, 2005. Sloat, Susanna. Caribbean Dance from Abakuá to Zouk: How Movement Shapes Identity. Gainesville: University Press of Florida, 2005 Wilcken, Lois and Frisner Augustin. The Drums of Vodou. Tempe: White Cliffs Media Co, 1992.

CARIBBEAN AESTHETICS AND CULTURAL THEORY Selected, from “Critical Readings in Caribbean Arts & Culture”:            

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BENITEZ-ROJO, Antonio. The repeating island: the Caribbean and the postmodern perspective / translated by James Maraniss. Durham, N.C.: Duke University Press, c1996 BRATHWAITE, Kamau. Contradictory omens: cultural diversity and integration in the Caribbean. Mona, Jamaica: Savacou Publications, 1974. BRATHWAITE, Kamau. Magical realism. Savacou North, 2002. FANON, Franz. Black skins, white masks. London: Paladin, 1970. Available. GILROY, Paul. The black Atlantic: modernity and double consciousness. Cambridge, Mass.: Harvard University Press, 1993 GLISSANT, Edouard. Caribbean Discourse: Selected Essays; translated and with an introduction by J. Michael Dash. Charlottesville: University Press of Virginia, 1989. MEEKS, Brian and Lindahl, Folke (eds). New Caribbean thought: a reader / edited by Brian Meeks and Folke Lindahl. Kingston, Jamaica: University of the West Indies Press, 2001. NETTLEFORD, Rex. Inward stretch, outward reach: a voice from the Caribbean. London: Macmillan Caribbean, 1993. REGIS, Louis. Ethnicity and nationalism in the post-1970 calypso of Trinidad and Tobago. 2002. ROHLEHR, Gordon. My Strangled City and other Essays. Port-of-Spain: Longman Trinidad, 1992. ROHLEHR, Gordon. Path finder, Black awakening in The Arrivants of Edward Kamau Brathwaite. Tunapuna, Trinidad: G. Rohlehr, c1981. ROHLEHR, Gordon. The Shape of that Hurt and Other Essays. Port of Spain : Longman Trinidad, 1992. BRATHWAITE, Kamau. Roots: essay. Ciudad de la Habana: Casa de las Americas, 1986. Available.

The following is a list of readings contained in RESOURCES PACKET I and RESOURCES PACKET II:       

Tancons, Claire. "Taking It to the Streets: African Diasporic Public Ceremonial Culture Then and Now." Nka: Journal of Contemporary African Art. (2014): 60-65. Print. Tancons, Claire. "Curating Carnival ? Performance in Contemporary Caribbean Art." Curating in the Caribbean. Berlin: Green Box, 2012. N. pag. Print. Tancons, Claire. "Occupy Wall Street : Carnival against Capital? Carnivalesque as Protest Sensibility." The Political Aesthetics of Global Protest: The Arab Spring and beyond. By Pnina Werbner, Martin Webb, and Kathryn Spellman-Poots. Edinburgh: Edinburgh UP, 2014. N. pag. Print Hall, Tony. "Jouvay Popular Theatre Process (JPTP) : Finding the Interior." Carnival : Theory and Practice. Trenton, N.J.: Africa World, 2013. N. pag. Print. Tancons, Claire. "Carnival to Commons: Pussy Riot Punk Protest and the Exercise of Democratic Culture." E-flux Journal #37. Shadow Libraries, 2012. Web. * Woods Valdes, Andrea. "Nanigi on the Horizon: Garifuna Settlement Day in Dangriga, Belize, 2008." Attitude 2008. Web.

New Waves! 2015

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NETTLEFORD, Rex. Festival Arts and Caribbean Development:At home and abroad. NETTLEFORD, Rex. Nurturing the Creative Arts: Sources for the contemporary arts. NETTLEFORD, Rex. Festival Arts and Caribbean Development: Some economic and political implications NETTLEFORD, Rex. CARIFESTAS: in search of regional unity. NETTLEFORD, Rex. Mirroring Caribbean reality

Film Screenings No Bois Man No Fraid. Director: Christopher Laird Trinidad and Tobago | 2013 | Documentary Feature | 72 minutes | English. The Kalinda dance was brought to the Caribbean slave plantations from the Congo and Angola. In Trinidad, the Kalinda accompanied a development of the African warrior game of stick fighting and is practiced in arenas called "Gayelles". Two young Trinidadian internationally certi fied, multi-disciplined martial artists re-discovered their roots in this unique Trinidadian martial art and were accepted for mentorship by living legends of the art. Follow Keegan and Benji as with humility, respect and the total commitment of the martial artist they enter the potentially lethal arena of the Gayelle which to them is like a ring of liberation, "where I am a human being and I deserve to be alive and anybody in this circle I respect because they understand the value of life." Director Christopher Laird has produced over 300 documentaries, dramas and other video productions with the pioneering Banyan Limited over the past 35 years, garnering multiple awards. In 2003, he co-founded the region’s first all-Caribbean television station, Gayelle. He is currently the Chairman of the Board of the Trinidad and Tobago Film Company. Watch extended trailer here: https://www.youtube.com/watch?v=EtLXaHJrWdo JAB! The Blue Devils of Paramin. Blue Devils of Paramin. Director: Alex de Verteuil Trinidad and Tobago | 2006 | Documentary | 47 mins | English. Isolated in the mountains of Trinidad, the district of Paramin, once a year at Carnival time sheds its rural languor and erupts into an inferno of blue-painted ‘jabs’ or devils. This 46-minute documentary, filmed in the two weeks leading up to Carnival, follows Kootoo, King Devil, as he prepares with his three brothers to once again win the village competition for the most convincing devil band. Known for his athletic prowess, and given to extraordinary feats like ripping up trees and scaling tall buildings, the charismatic Kootoo must still work hard with his band of devils to win the prize in the face of serious competition from a new generation of ‘jabs’. Will the brothers’ scheme to add a new twist to the masquerade be enough for them to win? Watch trailer here: https://www.youtube.com/watch?v=2IN_87EfwEM

New Waves! 2015

Schedule Overview The following is a schedule overview for the New Waves! 2015. A final con firmed schedule will be provided upon arrival. Unless noted otherwise, all course are held at University of Trinidad and Tobago/Academy for Performing Arts, located within the National Academy for Performing Arts at 10 Keate Street in Port of Spain, Trinidad. Day 1 Tues., 21 July

ALL DAY

New Waves! ARRIVAL & check-in

Springbank Avenue, Cascade

Day 2 Wed., 22 July

9am - 10am

Welcome & Orientation

UTT/APA - 3rd Fl. Dance Studio

10am – 12pm

Mixed Master Class w/Makeda Thomas, Christopher Walker, and Jean-Aurel Maurice Musicians: Fritzner Alexandre, Clyforde Tranquille, Wayne “Lion” Osuna, Everald “Redman” Watson and Guest, Keshav Singh

UTT/APA - 3rd Fl. Dance Studio

12pm – 1pm

LUNCH/BREAK

UTT/APA - 3rd Fl. Dance Studio

1:30 - 2pm

Dancing While Black PERFORMANCE LAB: All participants

UTT/APA - 3rd Fl. Dance Studio

2pm – 2:30pm

Dancing While Black PERFORMANCE LAB: Cynthia Oliver

UTT/APA - 3rd Fl. Dance Studio

2:30pm – 5pm

Dancing While Black PERFORMANCE LAB: Rashida Bumbray

UTT/APA - 3rd Fl. Dance Studio

5pm - 7pm

Dancing While Black PERFORMANCE LAB: The Black That I Am

UTT/APA - 3rd Fl. Dance Studio

8am – 9:30am

“Caribbean Dance” w/Christopher Walker Musicians: “Lion” and “Redman”

UTT/APA - 3rd Fl. Dance Studio

8am – 10am

Dancing While Black PERFORMANCE LAB: Orlando Hunter

UTT/APA – Loft Studio

8am – 10am

Dancing While Black PERFORMANCE LAB: Cynthia Oliver

Caribbean School of Dancing – 2A Dere

9:30– 11am

“Haitian Folkloric” w/Jean-Aurel Maurice Musicians: Fritzner Alexandre and Clyforde Tranquille

UTT/APA - 3rd Fl. Dance Studio

10am - 12pm

Dancing While Black PERFORMANCE LAB: Cynthia Oliver

UTT/APA – Loft Studio

10am – 12pm

Dancing While Black PERFORMANCE LAB: Nyama McCarthy-Brown

Caribbean School of Dancing – 2A Dere

11am – 12:30pm

Trinidad Folk Workshop Series: “Ori Bata” w/Adam Ade Ola Musicians: Wasafoli TnT Drummers

UTT/APA - 3rd Fl. Dance Studio

12pm - 2pm

Dancing While Black PERFORMANCE LAB: Adanna Jones

UTT/APA – Loft Studio

12pm – 2pm

Dancing While Black PERFORMANCE LAB: Orlando Hunter

Caribbean School of Dancing – 2A Dere

12:30-1:30pm

LUNCH/BREAK

2pm – 4pm

“Contemporary Dance” w/Makeda Thomas Musicians: “Lion” and “Redman”

UTT/APA - 3rd Fl. Dance Studio

2pm - 4pm

Dancing While Black PERFORMANCE LAB: The Black That I Am

UTT/APA – Loft Studio

4pm - 7pm

Dancing While Black PERFORMANCE LAB: Rashida Bumbray

UTT/APA - 3rd Fl. Dance Studio

4pm - 6pm

Dancing While Black PERFORMANCE LAB: Melissa Alexis

UTT/APA – Loft Studio

6pm – 8pm

Dancing While Black PERFORMANCE LAB: Anika Marcelle

UTT/APA – Loft Studio

8am -9:30am

OPEN INSTITUTE: “Ballet” w/Jean-Aurel Maurice Musicians: Guest Faculty from UTT

UTT/APA - 3rd Fl. Dance Studio

8am – 10am

Dancing While Black PERFORMANCE LAB: Adanna Jones

UTT/APA – Loft Studio

8am – 10am

Dancing While Black PERFORMANCE LAB: Cynthia Oliver

Caribbean School of Dancing – 2A Dere

10am – 11:30pm

OPEN INSTITUTE: “Caribbean Dance” w/Christopher Walker Musicians: Frtizner Alexandre, Clyforde Tranquille, “Lion”, “Redman”

UTT/APA - 3rd Fl. Dance Studio

10am - 12pm

Dancing While Black PERFORMANCE LAB: Cynthia Oliver

UTT/APA – Loft Studio

Day 3 Thurs., 23 July

Day 4 Fri., 24 July

New Waves! 2015

12pm – 1:30pm LUNCH/BREAK

Day 5 Sat., 25 July

Day 6 Sun., 26 July

Day 7 Mon., 27 July

12pm – 2pm

Dancing While Black PERFORMANCE LAB: Cynthia Oliver

UTT/APA – Loft Studio

12pm – 2pm

Dancing While Black PERFORMANCE LAB: The Black That I Am

Caribbean School of Dancing – 2A Dere

1:30pm – 3pm

“Haitian Folkloric” w/Jean-Aurel Maurice Musicians: Fritzner Alexandre and Clyforde Tranquille

UTT/APA - 3rd Fl. Dance Studio

2pm - 4pm

Dancing While Black PERFORMANCE LAB: Melissa Alexis

UTT/APA – Loft Studio

3:30pm – 5pm

OPEN INSTITUTE: Trinidad Folk Workshop Series: w/Kieron Sargeant Musicians: Malick Folk Performers Drummers

UTT/APA - 3rd Fl. Dance Studio

4pm – 6pm

Dancing While Black PERFORMANCE LAB: Rashida Bumbray

UTT/APA - 3rd Fl. Dance Studio

6pm – 7pm

“Afrofuturist Remains: A Speculative Rendering of Social Dance Futures” w/Thomas DeFrantz Open to public

UTT/APA – Loft Studio

7:30pm – 9:30pm

New Waves! “MABRIGA” hosted by Sylvia Cayetano Sampson Food and drinks served.

Private Residence, Westmoorings

ALL DAY

“People Powered Dances of Transformation” w/Ananya Dance Theatre Public workshop w/Women Working for Social Progress

TBD - Trinidad

5am – 12pm

Travel to Tobago; Check-in via Ferry

NAME OF GUEST HOUSE - TBD

10am – 11:30am

Folk Workshop Series: “Bele Dance” w/Emelda Lynch-Grif fith Musicians: “Lion” and “Redman”

Bacolet Dance Studios, Tobago

12 – 2pm

LUNCH/BREAK

2pm – 4pm

Idakeda Tobago Heritage Tour: “Historical & Cultural Connections between Haiti and Tobago” w/Attillah Springer

Various – Tobago

4:30 – 6pm

“Haitian Folkloric Dance” w/Jean-Aurel Maurice Musicians: Fritzner Alexandre and Clyforde Tranquille

Bacolet Dance Studios, Tobago

7pm

DINNER hosted by Elvis Radgman, Tobago Division of Culture

ALL DAY

“People Powered Dances of Transformation” w/Ananya Dance Theatre Public workshop w/Women Working for Social Progress

TBD - Trinidad

9 – 10:30am

“Contemporary Dance” w/Makeda Thomas for Tobago Division of Culture

Bacolet Dance Studios, Tobago

11am – 6pm

New Waves! 2015 Beach Lime

Back Bay, Tobago

8:25pm -

Travel to Trinidad via plane – Caribbean Airlines Flight No.

8am – 10am

Dancing While Black PERFORMANCE LAB: Melissa Alexis

UTT/APA - 3rd Fl. Dance Studio

8am – 10am

Dancing While Black PERFORMANCE LAB: Anika Marcelle

UTT/APA – Loft Studio

10am – 11:30pm

“Caribbean Dance” w/Christopher Walker Musicians: “Lion” and “Redman”

UTT/APA - 3rd Fl. Dance Studio

10am – 12pm

Dancing While Black PERFORMANCE LAB: Nyama McCarthy-Brown

UTT/APA – Loft Studio

11:30am – 12:30pm

“Jouvay Process for Dancers” w/Tony Hall Musicians: “Lion” and “Redman”

UTT/APA - 3rd Fl. Dance Studio

12pm – 2pm

Dancing While Black PERFORMANCE LAB: Adanna Jones

UTT/APA - 3rd Fl. Dance Studio

12pm – 2pm

Dancing While Black PERFORMANCE LAB: Orlando Hunter

UTT/APA – Loft Studio

12:30 -1:30pm

LUNCH/BREAK

2pm – 3:30pm

“Caribbean Aesthetics” with Rawle Gibbons

UTT/APA – Loft Studio

2pm – 6pm

Dancing While Black PERFORMANCE LAB: Rashida Bumbray

UTT/APA - 3rd Fl. Dance Studio

4pm - 6pm

Dancing While Black PERFORMANCE LAB: Cynthia Oliver

UTT/APA – Loft Studio

6pm – 7:30pm

“Contemporary Caribbean Dance” with Delton Frank Musicians: “Lion” and “Redman”

UTT/APA - 3rd Fl. Dance Studio

New Waves! 2015

Day 8 Tues., 28 July

Day 9 Wed., 29 July

6pm - 8pm

Dancing While Black PERFORMANCE LAB: Cynthia Oliver

UTT/APA – Loft Studio

6pm – 8pm

Dancing While Black PERFORMANCE LAB: Anika Marcelle

Caribbean School of Dancing – 2A Dere

9am – 10:30am

“Caribbean Dance” w/Christopher Walker Musicians: “Lion” and “Redman”

UTT/APA - 3rd Fl. Dance Studio

9am – 11am

Dancing While Black PERFORMANCE LAB: Adanna Jones

UTT/APA – Loft Studio

9am – 11am

Dancing While Black PERFORMANCE LAB: Nyama McCarthy-Brown

Caribbean School of Dancing – 2A Dere

11am-1pm

“Contemporary Dance” w/Makeda Thomas Musicians: “Lion”, “Redman”, Fritzner Alexandre and Clyforde Tranquille

UTT/APA - 3rd Fl. Dance Studio

11am – 1pm

Dancing While Black PERFORMANCE LAB: Cynthia Oliver

UTT/APA – Loft Studio

1pm - 2pm

LUNCH/BREAK

1pm – 2pm

Dancing While Black PERFORMANCE LAB: Cynthia Oliver

UTT/APA – Loft Studio

2pm – 3pm

Session II w/Thomas DeFrantz

UTT/APA - 3rd Fl. Dance Studio

3pm – 5pm

Dancing While Black PERFORMANCE LAB: Melissa Alexis

UTT/APA – Loft Studio

3pm - 6pm

“Haitian Folkloric” w/Jean-Aurel Maurice Musicians: Fritzner Alexandre and Clyforde Tranquille

UTT/APA - 3rd Fl. Dance Studio

5pm – 7pm

Dancing While Black PERFORMANCE LAB: Anika Marcelle

UTT/APA – Loft Studio

6pm – 9pm

Dancing While Black PERFORMANCE: Rashida Bumbray

UTT/APA - 3rd Fl. Dance Studio

8am – 9:30am

“Caribbean Dance” w/Christopher Walker Musicians: “Lion” and “Redman”

UTT/APA - 3rd Fl. Dance Studio

8am – 10am

Dancing While Black PERFORMANCE LAB: Anika Marcelle

UTT/APA – Loft Studio

8am – 10am

Dancing While Black PERFORMANCE LAB: Orlando Hunter

Caribbean School of Dancing – 2A Dere

10am – 11:30am

“Contemporary Dance” w/Makeda Thomas Musicians: “Lion”, “Redman”, Fritzner Alexandre and Clyforde Tranquille

UTT/APA - 3rd Fl. Dance Studio

10am-12pm

Dancing While Black PERFORMANCE LAB: Melissa Alexis

UTT/APA – Loft Studio

10am – 12pm

Dancing While Black PERFORMANCE LAB: The Black That I Am

Caribbean School of Dancing – 2A Dere

12pm – 1:30pm LUNCH/BREAK

Day 10 Thurs., 30 July

12pm – 2pm

Dancing While Black PERFORMANCE: Rashida Bumbray

UTT/APA – Loft Studio

12pm – 2pm

Dancing While Black PERFORMANCE LAB: Nyama McCarthy-Brown

Caribbean School of Dancing – 2A Dere

2pm – 3:30pm

OPEN INSTITUTE: Contemporary Caribbean Dance Class” with Delton Frank Musicians: “Lion” and “Redman”

UTT/APA - 3rd Fl. Dance Studio

2pm – 4pm

Dancing While Black PERFORMANCE LAB: Cynthia Oliver

UTT/APA – Loft Studio

4pm – 5:30pm

“Afro-Haitian Dance” w/Jean-Aurel Maurice Musicians: Fritzner Alexandre and Clyforde Tranquille

UTT/APA - 3rd Fl. Dance Studio

4pm – 6pm

Dancing While Black PERFORMANCE LAB: Adanna Jones

UTT/APA – Loft Studio

6pm - 8pm

“Articulating a Caribbean Philosophy Through Dance” w/Burton Sankeralli The Philosophical Society of Trinidad and Tobago

Studio 66 – 66 Sixth Street, Barataria

10am - 12pm

New Waves! 2015 Gathering – All participants

UTT/APA - 3rd Fl. Dance Studio

12pm – 1:30pm LUNCH/BREAK 2pm – 3:30pm

“Contemporary” w/Cynthia Oliver Open to public

5pm

CALL for Dancing While Black PERFORMANCE LAB

UTT/APA - 3rd Fl. Dance Studio

New Waves! 2015

7pm

Dancing While Black PERFORMANCE Cynthia Oliver, Rashida Bumbray, Melissa Alexis, Anika Marcelle, Jamie Philbert, Adanna Jones, Orlando Hunter, Nyama McCarthy-Brown, The Black That I Am

NALIS Amphitheatre – Hart & Abercromby

AFTER ;)

New Waves! 2015 Performance After Party & 5th Anniversary Celebration

NALIS Amphitheatre – Hart & Abercromby

10am – 11:30pm

Dancing While Black POST PERFORMANCE DISCUSSION Open to public

UTT/APA - 3rd Fl. Dance Studio

12pm- 1pm

LUNCH/BREAK

1:30pm – 3pm

“Towards establishing grant funding in support of new work in the performing arts” w/The Calabash Foundation Maria Nunes, Makeda Thomas, Dave Williams, Sonja Dumas, and guests

UTT/APA - 3rd Fl. Dance Studio

3pm – 6pm

“New Futures for New Waves!”

UTT/APA - 3rd Fl. Dance Studio

7pm

Emancipation Show

Queens Park Savannah

11pm until

DOTISH TOUR w/Robert Young Orisha Saracca Ritual & Feast

North Coast

Day 12 Sat., 1 August

ALL DAY

Emancipation Day Procession & Celebration

Port of Spain

Day 13 Sun., 2 August

ALL DAY

New Waves! Departs/Check-out

Day 11 Fri., 31 July

New Waves! 2015

Dancing While Black Performance Lab Tech Schedule New Waves! Coordinator, Ricarrdo Valentine newwaves@makedathomas.org, is managing the Dancing While Black Performance Lab. All questions regarding the tech schedule must be directed to Ricarrdo. The performance will be held on Thursday, 30 July at NALIS Amphitheatre (at Hart & Abercromby Streets) in Port of Spain at 7pm.

Day 1 Wed., 29 July

Day 2 Thurs., 30 July

9am – 12pm

Lighting LOAD-IN

NALIS Amphitheatre

1pm – 2pm

Anika Marcelle

2pm – 3pm

Orlando Hunter, Jr./Brother(hood) Dance!

3pm – 4pm

Melissa Alexis

5pm – 6pm

Cynthia Oliver

6pm – 7pm

Rashida Bumbray

9am – 10am

Braata Theater Workshop

10am – 11am

Nyama McCarthy-Brown

11am – 12pm

Adanna Jones

12pm –

Additional Tech Rehearsal and/or Run Through

5pm -

CALL TIME

7pm -

PERFORMANCE

AFTER ;)

New Waves! 2015 Performance After Party & 5th Anniversary Celebration

On Friday, 31 July 2015, from 10am to 12pm, there will be a post-performance discussion on the Dancing While Black Performance Lab. The discussion, moderated by Institute Director, Makeda Thomas, will take place at the University of Trinidad and Tobago, 10 Keate Street, 3rd Floor. Open to public. Free. NOTES:

New Waves! 2015

ABOUT THE SPACE The NALIS Amphitheatre is an outdoor facility that is accessed from the Abercromby and Hart Street entrances. Whether under the blue skies or stars, this open space is beautiful for readings, plays, cultural performances, talent shows, launches and more. It is fitted with a stage, adjoining dressing rooms and washroom facilities. The backdrop of the NALIS Amphitheatre is the Old Fire Station Tower, originally built in 1896/1897 and for 10 years (1989-1999), the home of the Trinidad Theatre Workshop. Capacity: Cocktails or auditorium style: 440

New Waves! 2015

NEW WAVES! INSTITUTE Welcome Packet What to Pack * Journal * Reusable container for water - aluminum is most sanitary and eco-friendly * Reusable container for lunch * All prescription medication required * 3 large citronella candles * Insect repellent and mosquito net * Sunscreen, sunglasses, beach towel, and a hat * Light jacket or sweater for cool evenings Accommodations 21 Springbank Avenue Cascade, Port of Spain The Springbank Avenue Residence accommodates 13 persons in a private house overlooking the hills of Cascade. Rooms are equipped with two single beds and an air conditioning unit. Each room has a private bathroom and shower with hot and cold water. There is fully equipped shared kitchen and living room with television. Rooms are cleaned every four days. Guests are provided with 6 sets of keys. Amenities: Wireless Internet service, Cable television, Free parking on-site, 24 hour security. $30 key and house deposit required. Items (towels, wares, cutlery etc.) are not be removed from the house. Directions: Orange and Yellow house at the top of the hill on the left Institute participants are accommodated in the surrounding suburbs of Port of Spain, near the Botanical Gardens, Emperor Valley Zoo, the Prime Minister’s Residence & Diplomatic Centre, Queens Park Savannah (which has 2 1 4 miles of jogging/walking pitch and is recorded as the largest roundabout in the world), the National Academy for the Performing Arts, Queens Hall and a short 7 minute drive from downtown Port of Spain. Accommodations in the Institute are shared. As such, all participants are expected to maintain acceptable living standards required for a healthy journey together. Hotel Information for Dancing While Black Normandie Hotel & Conference Center 10 Nook Avenue St Ann’s, Port of Spain Trinidad & Tobago Tel.: 1-868-624-1181/1-868-387-1242 Website: http://normandiett.com/ Room Option 1: Suite (Institute recommended) - $127 USD* All of these rooms have a loft with a queen-size bed and a full-size bed (or two twin beds) and some overlook the pool. Each room has a refrigerator, air conditioning, cable TV, a coffee/tea station, a work desk and complimentary Wi-Fi. These rooms are ideal for families and the executive traveler on extended stays. (Rate quoted is for a 3-person share.) Room Option 2: Standard Poolside- $87.59 USD (single) or $100.79 USD (double)* This room has one full-size bed overlooking the pool. The room is air conditioned, has cable TV, a coffee/tea station, a work desk, and complimentary Wi-Fi. Room Option 3: Superior Double - $107.79 USD* This room is equipped with two (2) double beds, Fridge, Cable TV, Work Station, A/C, Hair-dryer, Iron & Ironing Board, Tea Station. Rates quoted are: Inclusive of Complimentary High Speed Internet Access Available in all Rooms Inclusive of Complimentary Welcome drink & Bottle of water (Arrival ) Inclusive of Complimentary Parking Subject to 10% Accommodation tax & 10% Government Tax Breakfast is not included. Reservations Participants must contact Hotel Normandie directly at http://normandiett.com/ or via phone 1-868-624-1181/1-868-3871242 or by emailing “Reservations@normandiett.com” to make a reservation. Bank/Money/Postal Services Bank/Money - The of ficial currency is the Trinidad & Tobago dollar (TTD$). Banks will exchange a number of foreign currencies, but you’ll generally get better rates for US dollars or euros. *Participants should change money at the airport, once they arrive in Trinidad and Tobago.**Many businesses, Massy Stores, for example, accept US (with change in TT) but it is best to have TTD$. Nearest Bank: ATM/MONEYGRAM at Massy Grocery Store in Cascade BANKS - RBTT, Republic Bank , Scotia , First Citizen can all be found at Independence Square in downtown Port of Spain.

New Waves! 2015

Postal Services â&#x20AC;&#x201C; TTPOST, UPS, DHL, and FEDEX are all available in Trinidad. Bring your PASSPORT as identi fication for all trips to the post of fice. Learn all you need to know here: http://www.ttpost.net/. Nearest TTPOST (Post Of fice): There is a TTPOST on St. Anns Main Road. Instructions will be provided at TTPOST. Bring your PASSPORT with your for all trips to the post of fice. Notes: Keep your bank trips to an absolute minimum - a trip to the bank can sometimes take much longer than expected. We do not recommend having anything posted to Trinidad. Contact/Communication Your main contacts during this Institute: Christopher Walker Program Director 390-4290 Brittany Williams New Waves! Coordinator 321-1430

Ricarrdo Valentine Dancing While Black Performance Lab Manager Residential Assistant 464-8926 Kenya Sloane-Seale Intern NUM-BERS

Health & Medical Facilities No special vaccines or precautions are required for your trip to Trinidad and Tobago. Tap water is safe to drink, and bottled water is widely available at supermarkets, bars, neighbourhood shops and food stalls. Coconut water is best! And itâ&#x20AC;&#x2122;s available fresh from coconut vendors around the country! Private and Public Hospitals Trinidad and Tobago has several private hospitals and a network of public hospitals, district health centres and community clinics.Trinidad and Tobago operates under a two-tier health care system. That is, there is the existence of both private health care facilities and public health care facilities. Treatment is free to non residents at all public health facilities. Walkins are welcome, with priority given to emergency cases. St. Clair Medical Centre (private) 18 Elizabeth Street, Port of Spain (868) 628-1451

Medical Associates Hospital & Nursing Home (private) Albert & Abercromby Streets, St. Joseph (868) 662- 2766

Port of Spain General Hospital (public) 160 Charlotte Street, Port of Spain (868) 623-2951

Mt. Hope Hospital Eric Williams Medical Sciences Complex (public) Uriah Butler Highway, Champs Fleurs 645-2640 or 645-2645 Ext 40

Westshore Medical (private) 239 Western Main Road, Cocorite 868) 622-9878 / 9670 http://westshoreprivatehospital.com/home.html Insurance The New Waves! Institute holds Public Liability Insurance through the Reinsurance Company of Trinidad and Tobago Ltd. (TRINRE), Policy Number: TTLPL001869. Local Newspapers Trinidad & Tobago Express - http://www.trinidadexpress.com/ Trinidad & Tobago Guardian - http://guardian.co.tt/ Trinidad & Tobago Newsday - http://www.newsday.co.tt/ Transportation/Travel International Transportation Visiting artists should fly into Piarco International Airport (POS; 669-8047; www.piarcoairport.com) Located 25km east of Port of Spain, on the island of Trinidad. ENTRY / EXIT REQUIREMENTS Visa Not necessary for US, UK, Canadian and most EU citizens. Not necessary for Indian citizens visiting for less than (3) three months A valid passport is required of U.S. citizens for entry to Trinidad and Tobago. The U.S. passport card alone is accepted for entry to Trinidad and Tobago or for direct air travel from Trinidad and Tobago back to the U.S. U.S. citizens do not need a visa for tourism or business-related visits of 90 days or less. Work permits are required for compensated and some non-

New Waves! 2015

compensated employment, including missionary work. Visas may be required for travel for purposes other than business or tourism. For further information concerning entry, employment and customs requirements, travelers may visit and contact the Embassy of Trinidad and Tobago website, 1708 Massachusetts Avenue NW, Washington, DC 20036, telephone (202) 467-6490, or the Trinidad and Tobago Consulates in Miami or New York City. *** All visitors must have local address and contact number to pass through customs upon arrival. This information is provided in the ACCOMMODATIONS section. PLEASE HAVE IT AVAILABLE AT CUSTOMS. Local Transportation Local travel is provided to all participants via the Institute shuttle. The shuttle is a 12 maxi taxi (mini-bus) that is available for transport to and from Institute programs and events. All personal and/or recreational trips are the responsibility of the participants. Bus Buses provide a substantial means of transportation for locals. Many people take buses to and from work in neighboring towns, and children depend on buses to get to and from school. Buses offer travelers an inexpensive way to get around, especially on longer cross-island trips, but beware that buses are slow and unreliable. For shorter distances, travelers are better off taking maxi-taxis or route taxis. Visit the Public Transport Service Corporation website (www.ptsc.co.tt) Taxi Regular taxis, locally called ‘tourist taxis, ’ are readily available at the airports on both islands. These vehicles are unmetered but follow rates established by the government. Make sure to establish the rate before riding off. "H" and "PH" cars Cars for hire are marked with licenses beginning with "H". Along most major roads are "H" cars available for hire. Taking "PH" (private cars for hire) or "P" cars (private cars) is not advisable. Maxi Taxis Maxi taxis or mini buses and vans are privately owned and are an easy and affordable way to explore the islands. There are two sizes of Maxi taxis seating 12 or 24 persons. The coloured bands on the sides identify maxi taxis' fixed route. Drivers: Garvin 7684-8923 Bridge 733-1508 Kevin 355-8126

Joel 744-9287 Ikero 286-7004

Travel between Trinidad & Tobago Tobago Ferry Service – Inter-Island Ferry Service Tickets for Tobago must be purchased in advance at Tickets Outlets, a listing of which can be found here: https://ttitferry.com/ Planet Tickets for the 25-minute flight to Tobago cost TT$300 (US$50) per person return, or TT$150 (US$25) one-way. Children under 12 years of age enjoy a 50% discount. For information on plane tickets to Tobago, please see http://www.mytobago.info/airtravel05.php. ADDITIONAL TRAVEL INFORMATION Port of Spain WikiTravel: http://wikitravel.org/en/Port_of_Spain Trinidad & Tobago WikiTravel: http://wikitravel.org/en/Trinidad_and_Tobago Note: T&T is on the North American telephone system, so calling from outside the country is the same as calling to, or within, North America. Where to Eat Recommended Places to Eat Nearby - Port of Spain • • • • • • • • • •

Massy Grocery Store Cascade Road, Cascade 627-4456 http://www.hilofoodstores.com/ Roti: There is a lady who sells roti outside of Massy on most afternoons. Live Art Bistro. New Waves! Family Favorite! 5 Albion Street, Port of Spain. 625-7123; liveartsbistrott@gmail.com. Introduce yourself to Ruby, the owner and Institute supporter! At the Savannah. New Waves! Family Favorite! On afternoons and evenings, vendors set up a food court in Queens Park Savannah. Me Asia. Of ficial Institute Recommendation for Best Chinese Food in Trinidad! Ariapita Avenue at Murray Street, Woodbrook. (868) 628-1395 Bread Basket - 7 St Anns Road, Trinidad, (868) 624-7384 Whole Foods Organic 7 Saddle Road, Royal Palm Plaza, Maraval 628 6221 wholefoodsorganic@gmail.com Chaud Cafe - New Waves! Family Favorite! Damien Street, One Woodbrook Place. Tel: 868-628-9845 The Breakfast Shed at The Waterfront – Local pasttime. Hours: Monday - Sunday, 7am – 2pm Chaud – Of ficial Institute Best Place to Spoil Yourself! Nook Avenue near Normandie Hotel. St. Anns. 868-623-0375 http://www.chaudkm.com/

New Waves! 2015

• • • • • • •

Battimamzelle - 44 Coblentz Avenue, Cascade. Open for Breakfast from 6.30 – 10.30 AM, Lunch from 11.00 AM – 3.00 PM and dinner from 6.00 – 10.30 PM https://www.facebook.com/pages/Battimamzelle-Restaurant/102447309809511 Mangoes 64 Independence Square at Chacon Street, Cor. Brian Lara Promenade. 868 626-2646 Mon. - Thurs 6:00am 10:00pm; Fri & Sat - 6:00am - 9:00pm; sun: 6:00am – 6:00pm Mario’s Pizza - Location #1 Independence Square. Call AREA CODE-KING (5464) for Delivery. MON-THU: 10:00AM 12:30AM; FRI-SAT: 10:00AM - 3:00AM; SUN: 10:00AM – 11:00PM. Location # 2 (closer to NAPA) Cipriani Boulevard, Tragarete Road. (868) 360-0314 , @mymarios, www.mymarios.com The Waterfront Restaurant at the Hyatt Regency 868 821 6550 Hours: Breakfast: 6:00 am - 10:30 am, Lunch: 11:30 am - 2:30 pm, Dinner: 6:30 pm - 10:30 pm. Sunday Brunch. Sushi Bar Hours: 5:30 pm - 10:30 pm, Monday – Sat. http://www.trinidad.hyatt.com/hyatt/hotels/entertainment/restaurants/index.jsp Shiann’s Roti Shop - 3 Cipriani Blvd. Apsara - Authentic Indian Restaurant.13 Queens Park East Port of Spain 868/623-7659 *There are several other small grocers, vendors and restaurants in the area. Support!

-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------PHOTOGRAPHY RELEASE As a participant in New Waves! Institute, you are advised that your photograph will be taken by Photographer-in-Residence, Maria Nunes. Selections of these images will be posted to the website of the Makeda Thomas Dance & Performance Institute, and to the photographer’s websites as well.

New Waves! 2015