NR
Washington, D.C.’s Dance Magazine
From El Salvador with love, dancer/choreographer Danilo Rivera Furia Flamenco blazes in D.C. Food fuel for dancers Felipe OyarzĂşn Moltedo Talks life, dance and choreography Swing dance is STILL alive in D.C.
www.ngomareader.org
May/June 2015
Dissonance Dance Theatre
2015-2016 Company Auditions Dissonance Dance Theatre is seeking male and female dancers for its ninth season auditions. Auditions will be conducted in Washington, D.C. Saturday June 20th, 2015 Times: Registration 3:30pm - 4:00pm Audition 4:00pm - 6:30pm Address: Flashpoint, Coors Dance Studio 916 G st NW Washington, DC 20001 Audition fee $20 (Pre-register via website under “employment� page Audition consists of a contemporary ballet class and combinations. *Season includes 6 local productions and 1 international engagement. Season runs late July, 2015 - June 30, 2016. ** Subject to change. Rehearsals start July 26th, 2015. Dancer must be able to locate to D.C. by this date. Company dancers receive performance stipends and pointe shoe allotments for classically trained female dancers. Apprentices and Jr. Apprentice will also be selected from the auditions. For early consideration, please send headshot, bodyshot, resume and video reel to Producing Artistic Director Shawn Short at sshort@ddtdc.com
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Photo by Shawn Short
Dancer: Shannon Evans
Dance Metro DC
Winter/Spring 2015 Productions
Your Dance Community Auditions, News, Performances and more...
www.dancemetrodc.org
Ngoma Reader Magazine Partner
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Ngoma Reader__Table of Contents Volume 2 Issue 3 Feature 8 Flamenco Choreographer Estela Velez de Paredez talks about D.C. and her fight for visibility of her passionate art form. By Damon Foster
14 He Dances, he Lives choreographer Danilo Rivera speaks candidly on his journey from El Salvador to Washington, D.C. as an artist in our Director Spotlight. By Donovan Johnson
Photography Feature 17 Shannon Evans shows her Lines in “Garage Doors & Ginger Snaps. By Shawn Short Health 30 The Healthy Ballerina Dancers need fuel. Here is a list of do’s and don’ts By Paul Medina Dancer Spotlight 31 Chilean Choreographer and Dancer Felipe Oyarzun Moltedo speaks about dance.
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Opinion Swing Dance Lives in D.C. 33 Withstanding the Test of Time Lindy Hop winning new enthusiasts in Washington, D.C. By Gretchen Midgley Cover Image: Courtesy of Felipe Oyarzun Moltedo
NR Washington, D.C.’s Dance Magazine
Editor In Chief/Publisher Shawn Short
sshort@ngoma-center-for-dance.org
Editor Damon Foster
dfoster@ngoma-center-for-dance.org Contributing Writers and Editors Stephen Clapp Derek Clemente Damon Foster Ingrid Graham Donovan Johnson Tyler Lewis Tehreema Mitha Shawn Short Staff Photographers Jeremiah Jones Jade Enders Shawn Short Sergey Apasov
For advertisement information and news submissions, please email: NRmagazine@ngoma-center-for-dance.org
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Artistic Director Estela Velez de Paredez in performance Photo by Stan Peters
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On The Upbeat Flamenco Choreographer Fights for Visibility in the Capital
So, I decided to go back to dance. I tried all the dance styles I had always wanted to do, including bellydance, tap, jazz, modern, and, yes flamenco. From there, things evolved. The invitation to teach at the Joy of Motion Dance Center just happened after many years of being a student of dance there. Frankly, I was surprised to get the invitation; it was unexpected. Then came Furia Flamenca. It all just slowly happened. All triggered by my love for this dance style.
Written By Damon Foster
3. What flamenco dancers have inspired you throughout your career?
When Estela Velez de Paredez was first exposed to flamenco dance as a child, she didn’t pay it much attention. Now as the artistic director of Furia Flamenca, she’s doing all she can to make ensure that all of Washington D.C. takes note of the beauty and verocity of flamenco dancing. 1. How were you exposed to flamenco dancing? How old were you? I grew up in Puerto Rico where there is a big Spanish influence due to the island’s history of being a Spanish possession, and there was a restaurant that had a flamenco show on weekends. This was my first encounter with flamenco. However, quite frankly, at that time I was very young and did not pay too much attention to it. I think I was about 9 or 10 years old. We then had a family trip to Spain when I was about 12 years old, again I saw flamenco, this time in Spain. But once again, it did not capture me. It was not until I actually started dancing flamenco that I actually fell in love with flamenco. 2. At what point, did you decide to make flamenco dancing your career? Did you face any challenges in your decision? I guess things just happen. . . I started flamenco as a hobby. I have danced all my life. But while growing up, I did mainly ballet. My mom put a stop to my dancing when she realized how much I loved dance; she wanted me to go to college. So I did. I went to Yale University and got a B.S. in Biology. While in college, I continued to dance, and I explored additional dance styles other than ballet. I stopped dancing altogether when I went to law school. But then, when I started working as an attorney for the U.S. Navy and was bored coming home at night with nothing to do.
When I first started learning flamenco, I look at Cristina Hoyos, Carmen Amaya, Anotnio Gades and Manueal Carrasco. But there are sooo many who have inspired. What flamenco aficionado does not like the Farrucos family, or the Galvan family? There really are too many dancers to name. But another two come to mind, two that made me shake in my seat and cry while watching them dance: Mercedes Amaya “La Winy” and David Coria. 4. What bought you to Washington D.C? The US Navy. I had graduated from law school and joined the Navy and was stationed in DC at the Navy Yard. I was somewhat bored just coming home after work, so I decided to go back to dance, something I still continued to have a passion for. 5. How would you describe flamenco dancing, and Latin dance overall, in DC when you first arrived in 1998? When I started in 1998, it seemed to me that flamenco was very much its own community. It was not so visible within the dance community at large. 6. How has flamenco dancing grown in DC in the last 15yrs. How has Furia Flamenca been a part of that growth? I think flamenco is a lot more visible in DC than when I started. It is a lot more integrated into the dance community at large. When I first started flamenco was in its own little world. You did not necessarily see it alongside other dance styles. You saw it in some restaurants in the area and sometimes in the theaters. But not so often in festivals. Story continued on page 11.
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“Furia
Flamenca, I believe, had a significant role in helping flamenco become more integrated with the dance community as a whole here in DC. ,� - Estela Velez de Paredez, Artistic Director
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Photo by Stan Peters
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Now, flamenco has been fully integrated in the dance community as a whole. You see flamenco regularly in many of the dance festivals in the area. It is now more visible. Furia Flamenca, I believe, had a significant role in helping flamenco become more integrated with the dance community as a whole here in DC. It actually was at the encouragement of Cheles Rhynes who helped me in the Furia early days to develop the company. He advised me early on not to focus solely on the flamenco community, but to think bigger and to focus on the dance community as a whole. Following his advice, I focused on presenting the company alongside other dance styles. We went to festivals, showcases, you name it, we were there. I focused on the dance community at large. Myself, I made sure I got to know the dance community. I got involved. Today, I am proud to say that I am the Chair of the Board of Dance Metro DC, and I am regularly asked to be in selection panels not only for curating performances, but also for grants awards and even the DC Mayor’s arts awards. For me, it is important to be this involved to continue to keep flamenco and World dance as a whole present in the dance community at large. I therefore think that Furia Flamenca played a key role in making flamenco more visible in this area. 7. How would you describe the visibility of Latin dance in DC today? What are some of the challenges faced by Latino dance artists in Washington DC? How do you compare those challenges to that of other minority dance artists in dc (i.e African-American, Asian, Middle Eastern). Now, flamenco is quite visible; so are other Latin dances in the area. You regularly see these dance styles in performances around town. I don’t know if I can speak for other Latin dance artists in the area regarding challenges, I can tell you that one of the biggest challenges I face is the lack of understanding of what flamenco truly is. Most often, as soon as I mention that I dance flamenco, I am asked who is my partner. I then need to explain we do not have partners, we are not a ballroom dance. I am continually educating people as to what flamenco is. I don’t mind it at all, I actually enjoy the process of sharing flamenco’s history and facts with anyone willing and wanting to listen. Another one of our biggest challenges is within the production aspect of our performances.
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Flamenco has very specific technical requirements that differ greatly from the needs of other dance styles. For example, marley is not a suitable flooring for us. We also always require special sound accommodations. We face many challenges with many venues not familiar with flamenco, especially when we have to share the stage with other dance styles. I always ask every venue if they are able to provide what we need. Oftentimes, though, we have to accommodate, such as dancing on marley. But, in the end, I want to present flamenco, so we accommodate unless doing so has a negative effect on the quality of the presentation. As to other minority dance artists, I am not necessarily familiar with their own challenges. I do know that in conversations I have learned that lack of understanding of their particular dance style is oftentimes a challenge. 8. Name five things necessary to keep flamenco dancing flourishing in DC? I think it is very similar to other dance styles. We need audience support, understanding of the art form, support from the venues and presenters, support from the dance community, and I think every list would include. .. funding; funding is so hard to come by nowadays. 9. What are some of Furia Flamenca’s recent accomplishments? Some of Furia’s most recent accomplishments include its two latest productions which involved major collaborations. We like to think outside the box in our productions. Recently, we collaborated with jazz pianist and composer Antonio Truyols and fused flamenco and jazz. Even more recently, we collaborated with Guillermo Christie in exploring the relationship between flamenco and Middle Eastern dance and music. Both productions included original compositions and included anywhere from 8-10 musicians most of whom were new to flamenco. Oh, yes, and how can I forget winning two Dance Metro DC awards in 2011 for our production “Lorca: Flamenco Poetry”, and 5 finalist nominations in 2012.
Photo by Stan Peters 10. Does the company have a annual performance season? We really perform year round, some times of the year busier than others. But we do not have a season, per se. 11. In what venues does the company regularly perform? We are not in residence at any particular theater, but we regularly perform at the Atlas Performing Arts Center, The Millennium Stage at the Kennedy Center and the Alden Theater in McLean, VA. We have been performing at the Cherry Blossom Festival for over 10 years now. We also perform every year at the Annual Feria de Sevilla. And, of course, at the Jack Guidone theater at Joy of Motion Dance Center with whom we are an Arts Partner. 12. What has been your experience as artistic director? Was this a role you always wanted to pursue? Being an artistic director is one of the most challenging yet most fulfilling experiences I have ever had. It is incredibly exhilarating to see all these pictures you have in your mind, come to life on stage. It is funny, but I am often hear saying “I did that?� I really was not looking to be an artistic director. I just wanted to perform. Becoming an artistic director kind of just happened. So, no, I did not always want to pursue such a role, it is an honor to be an artistic director, I was called to be one [an artistic director] by the dancers who surrounded me and supported me. I am forever grateful to them.
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Photo by Danilo Rivera
Choreographer /Dancer Danilo Rivera
Dance Steps, Life and Visions: Danilo Rivera Dance steps, life and visions is a spotlight that showcases “the behind the scene” lens of local DC artists.
Written by Donovan Johnson Born in El Salvador. Dancer, teacher, choreographer and painter. Graduate of the National University of El Salvador (UES) with a BA in Fine and Visual Arts. Began his training in contemporary dance, at UES under the direction of Alfredo Perez, and continued his studies at the National School of Dance under the direction of Francisco Castillo and Yasmin Hernandez, among others. Has participated in dance festivals in El Salvador, Guatemala, Honduras, Nicaragua and USA. Has danced with Solo por Hoy Danza Contemporanea, Nejla Yatkin Company, Reflexion Dance Company of Washington DC, and Teatro de Danza Contemporanea de El Salvador where he was soloist/principal dancer, teacher, choreographer and set designer. Was finalist for the 2007 Metro DC Awards in the category “Emerging Choreographer”. In addition to dance, has exhibited his paintings, scenic designs, body painting and costumes at the Embassy of Brazil in San Salvador, National University of El Salvador, Washington DC and in San Francisco. Was on faculty at the National School of Dance in El Salvador, Washington Ballet School, Oyster Bilingual School, Centro Nia, and guest performer, teacher and choreographer at Georgetown University (Black Movements Dance Theatre, and Georgetown Dance Company) and now is teaching at Dance Institute of Washington and at Joy of Motion Dance Center. 1. Where are you from originally, Danilo? From El Salvador. Central America 2. How would you describe the dance scene in DC? DC is a great platform for the artist and a great challenge, and I think it is a great opportunity to present art and speak freely. The audience in DC are very polite, with much knowledge and very critical in culture, and with great sensitivity for art. Great artists have come to share and make their mark and tell their story through time. There is much to learn in DC, much to share, provided there is a public waiting to hear your voice as an artist. It is magical, warm and intelligent audience. 3. What do you feel you bring to the scene? For your history? I came to Washington DC in 2001, an my first impression was “I’m in another world!” It was like traveling out of time, to the future and in a dream. Washington DC touched my heart and my soul. Dance in Washington DC, for me has been a great opportunity to continue growing as an artist, dancer, dance teacher and choreographer. There is a diversity of styles, great artists, choreographers, teachers and great dancers, with whom I have learned and shared classes and stage. I bring a style of dance from El Salvador, which has developed into a blend of various other influences thru the Salvadoran perspective, which includes indigenous influence as well. 4. Can you tell us about dancing in El Salvador? As a dancer, teacher and choreographer, I trained in National Dance School of El Salvador, with such greats Artist as Francisco Castillo, Alfredo Perez, Eduardo Rogel, Yasmin Hernandez Sonia Franco de Batres, among others. Dance in El Salvador is very rich in expression. Speaking a little history about the school where I trained as a dancer .; In 1951 was when the first center of classical ballet training in the country started. From that time it has been led and maintained with tradition an important formative work quality. Many contemporary and classical dancers that the country has developed have passed through the halls of the school. Some of them have toured other countries as well.
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In addition to ballet, the School of Modern Dance (later Contemporary Dance) section was created in 1972 with American choreographers Jack and Janet Nightingale. Modern Dance has been active in my country since 1972, not a very long history. But since that time, the School has created many talented dancers, teachers and choreographers in the country. Then in a few years Cuban teachers traveled to El Salvador to training us on Cuban style and technique. I was able to become familiar with the Cuban method. It was a very interesting rich in knowledge and experience. Today there are many independent groups working in the art of dance in El Salvador and many Salvadoran dancers dancing around the world. The contemporary dance in El Salvador has always been touched and influenced by the times in which we live. Even during a period of war in El Salvador, choreographers and dancers became the voice of protest against war in El Salvador and bring a message of encouragement and hope to people who were suffering at that time. And also with the occurrence of natural disasters such as earthquakes, we were there, leading art centers, helping and supporting victims, leading some entertainment to families who had lost their homes. I must say that dancing at that time were the moments where I felt more human being when I dance. 5. Tell us about your family? My family has always been very important in my personal life and as an artist too. My mother was always the engine that motivated me to become an artist. I’m the only one that followed the path of art professionally. And in a large family, 12 children, a few others had talents too. One of my brothers drew very well, and my mother also loved creating art. Today our lives have taken us all in many directions. 6. Any projects coming? Personally am not dancing but I teach dance. My current students will perform this spring, with choreography I’ve created with music from movies. That’s the concept that the school has chosen this season. 7. Is it hard being a creator, administrator and husband? Tell us. With my partner it is not difficult, I have a tremendous
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amount of unconditional support, and I can devote myself to art without any difficulty, I feel very lucky. 8. Do you feel being an artist is like raising two families at the same time? I do not know because I do not have a family yet, but I imagine it must be like raising two families. The artistic life is very demanding. It requires much time and money. All the time you need and want to be creating a work of art, you spend half your life in the studio. I have much respect to those dancers who have a family to raise - children and a career as an artist. Dancing and taking care of children must not be an easy thing. In my case my students and my choreographies are my children who I try to take very good care. 9. What do you think that would add to the improvement of the dance scene DC? I feel that the DC area falls toward a conservative side, but there are always opportunities to express oneself creatively and freely. I think if there were more places in which this expression can be encouraged, that would be beneficial. Ideally, this would help to financially support a growing dance community. Also, new generations of dancers need places where they can discover themselves and where new talent can grow and be nurtured. If the dance community could grow larger, then programs may be able to be created to help support talented in students who do not have the financial opportunities to realize their talents toward a professional pursuit. 10. Did someone help you mentor or life as an artist? If so who? Several mentors I have, Otto Angel, Fracisco Castillo, Yamisn Hernandez, Alfredo Perez, and Nejla Yatkın, have been very important in my life as an artist. 11. What do you want to do with dancing in the future? Keep growing and giving my best on the studio and in the stage. But I also like to have my own company to present my choreographies that are there waiting for the moment to be seen.
Photo by Danilo Rivera
12. If you had to tell a young artist in front of you wanted to do what you do, what advice would you give them? Be prepared, take classes, trains all the time. Dance with your soul and take care of your body, which is the most valuable tool you use to dance. 13. What is your zodiac sign? Pisces.
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Garage Doors & Ginger Snaps Photography by Shawn Short Model: Shannon Evans
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The Energized Body Right Nutrition is a Right Step By Paul Medina It is that moment when the heart is racing, breathing is heavy, the head may feel light, hands are trembling, and muscles are cramping or worse failing—but wait there are two more acts left in the show. Such a scene is not uncommon in the dance world. To execute a 90 minute dance production not only requires skilled technique but also peak cardiovascular endurance. And while the common thinking to increase cardio levels would be more physical exercise, building solid endurance begins with nutrition. Professional modern/ballet dancers are athletes at the top of their game. They work hard, requiring high-octane fuel. Granted, their bodies also function best when not laden with excess poundage, so they can’t over-fuel either.
Do: • Cliff and Quest bars (gluten free) • Protein shake (low sugar) • Coconut water for hydration • Trail mix • Fruit such as apples and watermelon (add almond butter for protein), or grapefruit (low GI) Don’t: • Sugary sports drinks like Gatorade and Poweraide • Dehydrating caffeine drinks like red bull • Energy bars with too much sugar and artificial sweeteners • High fattening foods. If there are any questions please feel free to discuss through my website at www.capitalenergytraining. com.
Having said this, it is important to remember that modern/ballet dancers are not fashion models who can subsist on just 500 calories per day. They have to fuel the engine that drives them through rehearsals all day long and perform long into the evening. Henceforth, quality food becomes more a necessity and less a craving. No wasted calories! Protein is crucial: eggs, nuts, chicken, fruit and veggies for grazing. Bananas are a great choice, as they also provide the potassium that keeps muscles from cramping. Peanut butter or banana, yogurt and a fistful of nuts before an evening’s performance? That’s a perfect way to load up on “good carbs.” Remember the purer and coarser the grain, the better it is for the body! Here’s another facet to a ballet dancer’s eating regimen that helps keep their weight down: they graze. Lunch is a quick affair, followed thereafter by the mini pre-performance snack, and later, the light after-performance dinner. As for dancers enhancing their performance to maintain or increase their energy levels through nutrition, this has been a common issue in order to keep or increase their energy levels during a performance. Here are a few nutritional Do’s and Don’t’s to achieve and maintain those desired energy levels: 2
Paul A. Medina is the CEO/Director of Capital Energy Training, LLC, located in Wasington, D.C. In addition to being a certified trainer, Medina holds a degree in Kinesiology and Exercise Science from Towson University. Seeing the importance of lifestyle in his clients’ lives, he is also in the process of obtaining a Nutrition Certification through NASM.”
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Dancer Spotlight: Felipe OyarzĂşn Moltedo Dancer Choreographer
Felipe Oyarzun Moltedo is from Santiago, Chile. He holds a Bachelor’s Degree in Dance with honors from the University of Chile, and was recently accepted and awarded with a Fellowship in the MFA Dance program at The George Washington University. Currently, he is one of the dancers and technical coordinator of the premier modern dance company in Washington DC, Dana Tai Soon Burgess Dance Company; Mr. Oyarzun at the same time is a guest choreographer and faculty member for the Joy of Motion Youth Ensemble program, and his works has been shown at the Kennedy Center Millennium Stage and the Greenberg Theater American University among others. 1. Where are you from? I am Chilean and Italian. 2. How old are you and what’s your zodiac sign? I am a twenty-eight years old scorpio/fire tiger. 3. Where do you dance currently? I am currently a dance member of the premier modern dance company in DC, Dana Tai Soon Burgess Dance Company. 4. What’s in your dance bag? Water!! Lots of water. Also, I always carry around my headset and a notebook for when the inspiration calls. 5. iPhone or Android? My iPhone has taken me out of many stressful situations besides storing all my dance music in it. 6. Who inspires you in the dance world? Do you have a dance mentor? I feel really inspired by the everyday dancer, that person who uses dance as a therapy and a way to refund him/herself. I must say that the most important person in the dance world (for me) is the one that manage his/her time to have a job, family, obligations and DANCE. Despite I don’t have a formal mentor, I do have the blessing of counting with the constant advising of Dana Burgess and Francisca Morand. Both of them have a dance experience inked by interesting work and success. I am so grateful for their enormous amount of help in my career. 7. What’s your favorite dance style? I have experienced many different dance styles, among them, ballroom, hip-hop, folk dance, ballet and so forth. But the one that I gravitate the most is postmodern and modern dance. I must say though that I use all my experience in dance to create my own particular style of teaching and aesthetic. 8. What’s your dream company to work with?
Photo by Felipe Oyarzún Moltedo
Tanztheater Wuppertal aka Pina Bausch’s company. 9. Sneaker, Boots, Chucks, Loafers, or High Heels? Barefoot! But if I have to pick one I would say boots. 10. Single or Dating? Recently dating 11. What would be your funniest dance moment? In one of my first dance experiences as a semi-professional dancer, I was part of this show that had lots of movement phrases that were very different from one another. In the middle of the first show somebody took a picture with a flash, which blinded me and provoked a minute long blank moment in my memory. I remember myself watching the rest of the cast moving around and watching me like wondering why I wasn’t moving… Of course, now is a funny moment but at the time was pretty terrifying. 13. Favorite dance moment? One of my favorite dance moments was back on 2008 in Chile. At that time I was dancing for the Folkloric Ballet of Chile and we were touring around the country. In one of our last performances of this tour, I got to perform a solo with live music in front of thousands of people. The sensation before going onstage and during the solo, I can’t describe it but it certainly defined my life. 14. What is your dream company? Is multidisciplinary, cutting edge and in touch with psychological and cultural issues of the contemporary communities. I have been slowly creating independent projects that follow that aesthetic as part of my recently ended MFA process. 15. Any advice for emerging dance makers? Be honest with your vision, never compromise to satisfy outside pressure. Also and foremost, any emerging choreographer should be watching lots of dance performances to know what to do but more importantly what to NOT do. 16. Between performing, teaching, and choreographing, which do you gravitate to the most...why? At this moment of my life the all of them are equally important, therefore I feel the three are deeply interconnected. My work as a performer gives me new resources and discoveries that can be deconstructed on my choreographic work; as well as placing me on the student roll, which influences my teaching quality. When I teach I am constantly creating and finding new elements, besides performing to show my students the different ways the body reacts to the movement. Last but not least, as a Choreographer I am redefining human existence with my own terms. This pushes me to teach myself and others about the experiences that happen in the creative process, and also develops my role as a mature and skilled performer.
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Withstanding the Test of Time Lindy Hop winning new enthusiasts in Washington, D.C. By Gretchen Midgley It is nine o’clock on a Tuesday night. I walk up the steps of the Josephine Butler Parks Center, an enchanting old home in the Meridian Hill neighborhood. In the front lobby, a young woman sits at a desk welcoming guests. To the right is a kitchen, people streaming through with ice pops in hand. Upstairs, a DJ plays jazz music from the 1930s and 40s while pairs of dancers crowd the floor. A familial atmosphere pervades; everyone seems to know everyone, while newcomers are greeted with enthusiastic, genuine welcomes. This is the Jam Cellar. People of all walks of life, from college students to computer programmers to novelists, have gathered here to dance the lindy hop. Some have been dancing for more than twenty years. For some it is their first night. Lindy hop is a partner dance that originated in Harlem in the late 1920s and 1930s. It is considered the grandfather of all swing dances. It was born from earlier dances such as the Charleston, and was a reaction to the increasingly swung rhythms of big bands. Lindy hop swept the nation during the 1930s and 40s, becoming America’s favorite pastime. After World War Two, however, with the rise of rock and roll and bebop, swing lost popularity, giving way to dances better suited to the straight rhythms of rock. During the late 1980s and 1990s, there was a revived interest in swing. Movies such as Swing Kids and Swingers, and a 1996 Gap commercial featuring swing dancing couples, re-introduced lindy hop to the general population. Groups of people interested in learning the vintage dance sought out original Harlem lindy hoppers, such as Frankie Manning, Norma Miller, and Al Minns. These groups then began teaching lindy hop in their hometowns, and so swing dance scenes began popping up around the world. One of the first cities to have such a scene was Washington, DC. Today, Washington, D.C. is fortunate to have many “old-timers” who have been dancing since the beginning of the swing revival. They pass down their knowledge, dance skills, and history to newer generations of dancers and leaders in the community. DC has also been home to scores of lindy hoppers who have gone on to international acclaim both as competitive dancers and as teachers. The true show of the DC lindy hop community’s wealth, however, is in its number of opportunities to dance. On Monday nights there are two social dances: one at Chevy Chase Ballroom in Friendship Heights and one called Roofer’s Ramble at the Roofer’s Union in Adams Morgan. Tuesday nights have the Jam Cellar. On Wednesdays, the Catholic University swing dance club meets, instructing the newest generation of lindy hoppers. On Saturday nights, there is always a live swing band at Glen Echo’s historic Spanish Ballroom with a dance hosted by any number of local swing organizations. During warm weather, dancers gather in Dupont Circle for an outdoor dance on Sunday afternoons. There is also a group of lindy hoppers who organize regular practice sessions, and another that coordinates traveling up to Baltimore’s Motown Ballroom for their Friday night dances. In addition, Washington D.C. is home for two international events: the DC Lindy Exchange, a weekend of dancing and live music, this year April 24th-26th; and the International Lindy Hop Championships, a weekend of competitions for the highest level dancers from around the world. DC lindy hoppers are a friendly and vibrant bunch; they often become good friends with one another and are eager to share the dance with newcomers. For those interested in learning something new and staying active, there is social dancing aplenty. And for those who fall in love with the music, the dance, and the history of lindy hop, there is an energetic community ready to welcome. Gretchen Midgley is a senior at The Catholic University of America. She is the president of the CUA Swing Dance Club, as well as a committee member of the DC Lindy Exchange. For the past two years, she has organized the CUA Lindy Exchange, bringing college swing dance clubs from as far away as North Carolina and New York to dance in DC. Pg 33 Right Image: Dancing at the Jam Cellar. Photo credit Jerry Almonte.
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Community Directory African-American Managed Dance Companies African Dancers and Drummers Melvin Deal, Founder 1320 Good Hope Rd Southeast Washington D.C 20020 202-399-5252 www.facebook.com/africanheritagedc Cacho Dancers and Drummers Bonita Cacho, Founder/Artisitic Director 202-607-0164 Coyaba Dance Theatre Sylvia Soumah, Founding Artistic Director 3225 8th Street Northeast Washington, D.C 20017 (202) 269-1600 www.coyabadancetheater.org Dissonance Dance Theatre Shawn Short, Founding Artistic Director Resident Company of Ngoma Center for Dance
P.O. Box 2377, Washington D.C 20013 202-540-8338 www.ddtdc.org EdgeWorks Dance Theatre Helanius J. Wilkins, Founding Artisitic Director P.O.Box 73396 Washington D.C, 20056 (202) 483-0606Â www.hjwedgeworks.org Farafina Kan Mahiri Fadjimba Keita, Founding Artistic Director 3802Â 34th Street, Mt Rainier, MD 20722 http://www.farafinakan.com Just Tap/Sole Defined Quynn Johnson, Ryan Johnson Founding Artistic Director www.quynnjohnson.com
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KanKouran West African Dance Company Assane Konte, Founding Artistic Director P.O. Box 1338 Washingto D.C, 2013 202-518-1213 www.kankouran.org Lesoles Dance Project Lesole Z. Maine, Founding Artistic Director 3802 34th street. Mt. Rainer, MD 240-744-6694 www.ldpdance.org Memory of African Culture Akua Femi Kouyate, Founder MAC, Inc. P.O. Box 50045, Washington, D.C. 20091 (202)210-7120 www.memoryofafricanculture.org Step Afrika Brian Williams, Founding Excetive Director 133 4th street NE Washington, D.C 20002 202-399-7993 ext. 112 www.stepafrica.org
World Dance Companies D.C Contemporary Dance Theatre Miya Hisaka, Founding Artistic Director P.O.Box 9796 Washington, D.C 20016 202-316-5277 www.teatrodedanza.org Furia Flamenco Estela Velez ( Director) Joy of Motion Dance Center 5207 Wisconsin Ave NW Washington, D.C 20015 (703) 568-4404 www.furia-flamenca.com Jayamangala 8600 Waterside Ct, Laurel, MD 20723 (301)617-2712 www.jayamangala.org Maru Montero Dance Maru Montero, Founder admin@marumontero.com www.marumontero.com Nomad Dancers Christel Stevens( Co Director) Adriane Whalen (Co Director) 4166 South Street, Arlington, Va, 22206 (703) 799-0282 www.nomaddancers.com
Vision Contemporary Dance Katherine Smith, Artistic Director P.O. Box 48087 Washington, D.C 20002 301.909-VCDE (8233) www.visioncontemporarydance.org Silk Road Dance Compay Dr. Laurel Victoria Gray, Urban Artisty Founder and Artistic Director Junious Brickhouse (Founder) P.O. Box 11346 8001 Kennett Street Takoma Park, MD 20913 Silver Spring, MD 20910 301-585-1105 202-431-4202 www.silkroaddance.com www.urbanartistry.org Tehreema Mitha Dance The National Hand Dance Founding Artistic Director Association 8509 Pelham Rd, P.O. Box 70006 Bethesda, MD 20817 Washington, D.C. 20024 (301) 581-9520 www.nationalhanddanceassociation.org www.tmdancecompany.org
Community Directory Dance Schools and Institutions Angel of Hope Ministries, Inc Rev. Claudia H. Harrison Developing the Physical through Dance and Health Awareness www.angels-hope.org Coyaba Academy Sylvia Soumah, Founder and Artistic Director Dance Place 3225 8th Street Northeast Washington, D.C 20017 (202) 269-1600” www.coyabadancetheater.org Dance Dimensions Dakyia Lambert (Artistic Director) 7979 Parston Dr District Heights ,MD 20747 301-420-1567 www.dimensions-inc.com Dance Institute of Washington Fabian Barnes, Founder and Artistic Director 3400 14th street NW, Washington, D.C 202-371-9656 www.danceinstitute.org Dance Makers INC Ms. Robin Angelica Pitts, Executive Director 9901 Business Parkway, Suite L Lanham, Maryland 20706 301-731-0003 www.marylanddancestudio.com District Dance Arts Cristine Davis, Director Classes held at the Capoeira Spot 2008 Rhode Island Ave NE Washington, DC 20018 www.districtdancearts.com Divine Dance Institute Amanda Standard, Founding Director 505 Hampton Park Blvd., Suite R Capitol Heights, MD 20743 301-333-2623 www.divine-dance.com
Duke Ellington School of the Arts Charles Augins, Dance Chair 3500 R street NW , Washington, D.C 202-282-0123 www.ellingtonschool.org Howard University Theatre Arts Dept - Dance 2400 Sixth St NW, Washington, D.C 20059 howarduniversitydancemajor@yahoo.com 202-806-7050/7052 www.coas.howard.edu/theatrearts/dance Jones-Haywood Dance School Saundra Fortune-Green, Artistic Director 1200 Delafield Place NW Washington D.C 20011 202-441-1099 www.joneshaywood.com Making Moves Dance Collective Inc Amber L. Comer, Artistic Director Kellie N. Sellers, Artistic Director 5640 Sunnyside Avenue, Suite E Beltsville, MD 20705 301-220-1500 www.makingmovesdc.org Ngoma Center for Dance Shawn Short, Founding Artistic Director P.O. Box 2377 Washington D.C 20013 202-540-8338 www.ngoma-center-for-dance.org Northeast Performing Arts Center Rita Jackson (Founder) 3431 Benning Rd NE Washington, D.C 20019 202-388-1274 www.nepag.org Suitland High School Center for the Visual and Performing Arts 5200 Silver Hill Road Forestville, MD 20747 301.817.0092 www1.pgcps.org/suitlandhs
The Davis Center Beatrice E. Davis-Williams 6218 3rd Street N.W. Washington D.C 20011 202-277-6110 www.thedaviscenter.net Ubuntu Nankama Dance Studio 3802 34th Street, Mt Rainier, MD 20722 Words, Beats, & Life Inc. 1525 Newton Street, NW Washington, D.C 20010 202-667-1192 www.wblinc.org Baltimore Area Morton Street Dance Donna L. Jacobs, 3600 Clipper Mill Road, Ste. 108 Baltimore, MD 21211 410-235-9003 www.mortonstreetdance.com Baltimore Dance Tech Stephanie Powell, Director, 5130 Greenwich Avenue (Near Route 40 West) Baltimore, MD 21229 410-233-1101 www.baltimoredancetech.com Connexions School for the Arts 2801 N. Dukeland Street Baltimore, MD 21216 Phone:(443) 984-1418/1419/1420 Fax:(410) 669-4418 www.csfta.org Dance & Bmore Cjay Philip, Director danceandbmore@gmail.com www.danceandbmore.com Coppin State University Vanessa Coles, Chair - Dance Physical Education Complex Rm 212 2500 West North Avenue, Baltimore, MD 21216-3698 dance@coppin.edu www.coppin.edu/dance
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The Ngoma Reader (NR) is a bi-monthly online publication that gives literary voice to the minority dance artists of Washington, D.C.
Internships Experience the thrill and rewards of working in Ngoma Center for Dance and its programs! Whether you’re a high school student looking for summer employment, or a college or graduate student seeking a substantive internship supporting the arts in D.C., there’s no limit as to how far our opportunities can take you. At Ngoma Center for Dance, you’ll have the opportunity to gain insight into a budding dance organization, explore new career avenues and acquire lifelong skills. Our two programs, (1) Production, and (2) Administration, enable students to obtain job experience in a in the theatre and in the back office. The opportunities are endless—and they all start right here. Begin by finding out which program is right for you, or speaking with our director about an internship with Ngoma Center for Dance and its programs. Contact Shawn Short, Director at sshort@ngoma-center-for-dance.org for more information. Check out more at www.careersushi.com/ngomacenterfordance Ngoma Reader is looking for committed, and enthusiastic writers and photographers to join its team. Is that you? The Ngoma Reader (NR) is a bi-monthly online publication that gives literary voice to the dance artists of Washington, D.C. QUALIFICATIONS: Current major/Interest in Journalism, Communications, dance, or English Strong news judgment Quick and accurate editing/writing skills Thorough attention to detail Knowledgeable in the local DMV dance scene and/or other arts-related events The ability to multi-task with little-to-no supervision
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