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Jan/Feb 2015
Director, Choreographer and Husband Stephen Clapp Speaks on Dance and Family
Washington, D.C.’s Dance Magazine
How to Become a Healthy Ballerina
Charlottesville Ballet Dancer Shady Mohamed tells us about life in the U.S. Frame by Frame: How to Video Market Yourself Performance Anxiety: What to do about it www.ngomareader.org
Three Things Dance Organizations can do in 2015
www.ngoma-center-for-dance.org/
WINTERSTEPS This one-night evening of dance features new works by Dance Theatre of Harlem-veteran Michelle Sloan, Abraham.In.Motion apprentice, now-principal choreographer of the Red Project Johnnie Mercer, Ailey II veteran Torens Johnson, and Dissonance Dance Theatre’s Principal Choreographer/Producing Artistic Director Shawn Short. Saturday January 24, 2015 8:00pm Tickets @ $15!
On the Fifth* Pointe shoes, pop music and contemporary dance still adorn the stage in DDT’s new production, On The Fifth. Missouri Ballet Theatre’s Founder/Artistic Director Adam Sage present DDT’s first classical pointe work, Baroque Fantasy. With his infinity for regal footwork, complex lifts and strong lines, Dissonance Dance Theatre’s Founder/Artistic Director Shawn Short unveils his new twerk music-infused pas de deux, Plyo and evening length work, Stitch. Presented as part of the Atlas INTERSECTIONS Festival, February 20-March 7, 2015. Sunday, March 1, 2015, 5:30pm Tickets @ $22!
Black to Silver: A Black LGBT Experience* Experience the beauty and heartfelt energy of Dissonance Dance Theatre latest production, Black to Silver: Sons of Baldwin. Black to Silver (now in its third year), is a multidisciplinary arts production that examines and explores interpersonal relationships, identity and love within the African-American LGBT community. Saturday, April 11, 2015, 8pm Sunday, April 12, 2015, 7pm Tickets @$15
Tickets are available for purchase at www.ddtdc.org *Ticket sales start after Jan 24, 2015
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Dissonance Dance Theatre
Winter/Spring 2015 Productions
Dance Metro DC 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 1 Feature 8 Vincent Williams He’s still at it, teaching the youth along his journey. Seasoned performer, singer, choreographer, and teacher Vincent Williams keeps us smiling and dancing. By Damon Foster
sultant, co-artistic director of Dance Box Theater and director of Dance Metro DC. He has been dancing in the D.C. area for almost 15 years and has created nine full-evening dance performance works with artistic and life partner, Laura Schandelmeier. By Cindy Reiss
11 Stephen Clapp Stephen Clapp is a dance artist, choreographer, theater artist, composer, community organizer, arts activist, arts con-
15 Tools to Overcome a Bad Performance The show must go on. And afterward: the lights have dimmed, the music has stopped, the
audience has gone home, but that moment—that misstep can become an deep scar in the mind of a dancer. By Levi Drake 24 Looking Forward: Three Things Dance Organizations Can Do in 2015 During lean times, arts organizations must be creative to stay afloat. Here are some ideas of things these organizations can do in 2015 to build buzz and, hopefully, stabilize. By Shawn Short
Photography: In the Studio pg. 18
Cover Photography by Sergey Apasov Dancer: Abby Stopper
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Video and Technology 27 Frame By Frame: Making a Great Video for Social Media Dancers and dance companies alike are feeling the pressure on social media to produce eye-catching video footage. In the end you want to make money with your art right? By Donovan Johnson
Health 28 The Healthy Ballerina Dancers need fuel. Here is a list of do’s and don’ts By Paul Medina Dancer Spotlight 25 Shady Mohomed Egyptian dancer with the Charlottesville Ballet Shady Mohomed talks about dance and life.
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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And He Won’t Stop: Season Dance Instructor Still Finds Inspiration In Movement By Damon Foster Vincent Williams doesn’t know how to stop moving. From the suburbs of Virginia to the clubs of Los Angeles to the halls of Italy, the 58 year old has left his mark as a performer, singer, choreographer, and teacher. A seasoned faculty member with Joy of Motion Dance Center since the early 1980s, Williams’ classes are routinely filled with students whose nationalities are as varied as the countries in which he has toured. On a rainy Monday evening at the Atlas Performing Arts Complex, Williams enthusiastically kicks, rolls, and screams at his “Beginner Jazz” students to move across the floor. Always smiling, he doesn’t miss a beat, and at almost 60 years old still demonstrates movement full out. “Where are my smiles? You’ve got to smile children. Let the world see your joy,” he commands. “Dancing is a joy. It resonates from within and reverberates through all your limbs.” Born in Portmouth, VA, Williams’ dance journey started in 1975 while attending Bowie State College, where he pursued a theatre degree. There he took his first dance class with Alice Montgomery, who exposed the DMV native to some of the industry’s established performers of that era, including Jason Taylor, Judith Jameson, Gregory Hines, and Lettie Battle (older sister of famed choreographer Hinton Battle).
“That was a pivotal time in my life really. When I walked into Ms. Montgomery’s class and saw this group of students dancing together, and having a great time, it spoke to me,” he said. “It didn’t take long for me to get hooked on movement. I was in awe to encounter some of those performance greats of that time. It just added fuel to the fire. I made dance my home. “ Williams continued his dance studies by training with Taylor and Jimmy Thurston at TME studio, which used to be located on F St NW right behind the National Theater. Such close proximity to one Washington, D.C.’s most renowned theaters enabled a hungry-to-perform Williams to encounter and dance alongside various television and stage legends such as Eartha Kitt, Nell Carter, Jackée Harry, George Faison, and Louis Johnson. “D.C. has always been a hot spot for tours to come through. The dance scene was vivid and enthralling at that time. And dancers were more in demand. It was common for top talent, who were touring, to hire local dancers to fill their shows. I was living my dream.” Williams didn’t stray from his Washington, D.C., roots, performing with DC Contemporary Dance Theater for 11 years. The company toured the globe and dancing works by local choreographers Kevin Jeff, Rod Rodgers, Adrian Bolton, Gloria Contreras, as well as Jason Taylor’s works in the Middle East, Bangkok Thailand, and Dominican Republic. But after such a long stint as a touring dancer, Williams found himself soul-searching and decided to step away from the world of concert dance and into commercial dance,
(Left) Vincent correcting a student in Jazz class photo courtesy of Vincent Williams
testing the waters of the music industry where he became a choreographer. “I wanted to explore ‘me’ as an artist. Gigging in commercial dance world was far different from that of concert dance. It was a different type of intensity and definitely more fast-paced as you are having to produce on a dime. You don’t have to two months to create a work, you have a couple of days. But that kind of adrenaline rush only made me more hooked on dance,” he said. Williams choreographed TV segments and music videos, which meant he had to stay current in the latest popular dances. He explored the clubs of Washington, D.C., Baltimore, New York and Los Angeles, choreographed for an all-male troupe that performed on promotional tours for music recording label Def Jam, and did voiceover commercials for the local radio stations WPGC and WKYS. In 1997, Williams married Tanika Potts. The couple moved to Italy where Potts, who was serving in the U.S. military, was stationed at Vicenza. Williams discovered an “embracing” of Black performance arts in Italy and other European countries, and quickly found work choreographing for MTV Europe artist Cheryl Porter and staging ballroom shows. Having a set salary afforded Williams the ability to venture deeper into another part of his artistry, singing. While in Europe, he recorded his first music album, entitled “The Organ is Mo.” He has recorded and produced nine music CDs to date. “In Europe, I was overwhelmingly surprised how much Black music, jazz and gospel in particular where appreciated and sought out,” Wil-
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(Above) Vincent with a student at workshop in Italy Photos courtesy of Vincent Williams
liams said. “Coming from America, where I had been trained in the various styles of music and dance, made me very marketable. I networked and choreographed wherever I could and made friendships that I hold dear even to this day.” Williams’ marriage to Tanika lasted three years. The aftermath of the divorce led him back home to a post-9/11 America, which was in mourning following the tragedy of the terrorist attacks in New York, Arlington, Va, and Shanksville, Pa. It was a different America, as Williams settled back into teaching at Joy of Motion and at public schools in Washington, D.C., and Prince George’s County, MD “Everything changed—the music, the dance—and the people were on edge,” he said. “Even then, dealing with my own divorce and the massive loss of innocent lives, I discovered once more the healing power of music and movement. And proceeded to do only what I knew how to do—and that’s dance. God has been very good to me. But it takes hard to work to pursue your passion in any field, but especially dance. Staying in shape is a must. Singing is a must. Dancing – everyday, somehow – is a must. Being an artist just feels so right.”
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Dance Steps, Life and Visions Dance steps, life and visions is a spotlight that showcases “the behind the scene” lens of local D.C. artists. Our first artist in the series is Stephen Clapp. Stephen Clapp is a dance artist, choreographer, theater artist, composer, community organizer, arts activist, arts consultant, co-artistic director of Dance Box Theater and director of Dance Metro DC. He has been dancing in the D.C. area for almost 15 years and has created nine full-evening dance performance works with artistic and life partner, Laura Schandelmeier. Clapp was a recipient of a full university fellowship to the George Washington University where he recently earned his Master of Fine Arts degree in dance and choreography. Clapp is the architect behind Dance Metro DC’s commissioning program and professional development series. His latest creative work, Windswept premiered at Dance Place in Washington, D.C., and was created at the intersection of climate change communication and contemporary dance performance. Clapp has been a performer and teaching artist with the ClancyWorks Dance Company, a facilitator with the Alternate ROOTS Resources for Social Change program, Grants Manager for Dance Place and has served as Northeast Regional Desk for the National Performance Network. 1. So where are you from originally Stephen? I was born in the Philippines and grew up in Northern New England. I studied theater at Emerson College in Boston and co-founded a theater company called The Other Theatre. This company was a collective of performing arts students who dedicated themselves to the craft of the performer and ensemble expression. My experience with The Other Theatre became the root of my professional ethos in the field. I later studied Maranao and T’boli (indigenous communities in the Philippines) dances with a company in New York City called Kinding Sindaw. It was here that I began to uncover a direct relationship between the arts, social justice and cultural expression, and began to experience my own creative work in a global context. Upon moving to the D.C. area, I had the privilege to work with Liz Lerman, Peter DiMuro and Celeste Miller at the (formerly) Liz Lerman Dance Exchange, where I
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was first introduced to Alternate ROOTS. It was these experiences that I lead me to see how in dance can have profound impacts on communities. Maybe not the response you were seeking, but these are the places where I come from. 2. How would you describe the D.C. dance scene? From my perspective, the D.C. area dance “scene” is driven by a collection of hard-working, underappreciated, underpaid, yet committed independent artists, small companies and institutionalized entities that work to push the field of dance forward. However, one of the greatest challenges within our community is that there may not be consensus regarding what “pushing the field of dance forward” means. There is amazing and dynamic contemporary work happening here as well as beautiful classical dances from the United States and abroad. Some choreographers that come to mind who are really pushing the envelope of the field are people like Erica Rebollar, Sara Pearson and Patrik Widrig, Silvia Soumah, StepAfrika!, Cassie Meador, Tehreema Mitha, just to name a few. And of course, there are the big players like The Washington Ballet, Suzanne Farrell, Company E, to name some of many… and there are companies who have been successfully making work in the region and touring for many years like Adrienne Clancy, Cynthia Word, Christopher K. Morgan, Jane Franklin and Urban Artistry. But most exciting to me are the organizations and unique individuals who are building the infrastructure for all of this dance to happen: Dance Place and its revitalization of the Brookland neighborhood, Diana Moveius and her efforts to make DanceLofts on 14 a reality, Brooke Kidd and the impact that Joe’s Movement Emporium has had in the Gateway Arts District, Cultural Development Corporation and its programming at Flashpoint, Maryland Youth Ballet and its cultivation of the next generation of classical dance artists, Emily Arden and John Kagia of ReCreative Spaces and their unique approach to creativity, collaboration and community, and Damian Sinclair in his current incarnation as AccelArts, LLC (again, to name only a few). And then there are the networks like the Fairfax Dance Coalition, Capitol Region Educators of Dance Organization (CREDO) and Dance Metro DC that work to strengthen the cultural fabric of our region. Again, this may not have been the response you were seeking. So, to describe the “dance scene” in the D.C. area? Diverse. Unique. Compelling. Alive.
Photo Courtesy of Stephen Clapp
3. What do you feel you bring to the scene? To its history? What do I bring to the scene? I bring a challenge in the form of a question: Through our work, how do we, as dance artists and the organizations that support the field, create a reality where positive impacts of dance are felt pervasively throughout communities in the D.C. area, and professionals in the field contribute deeply to the economic and cultural development of the national capital region? It is this inquiry, along with professional and creative rigor that I humbly offer to our community. 4. Can you inform us about the Dance Metro DC? Dance Metro DC is an opportunity for stakeholders in the dance community to come together to create a unified voice for the field. Dance Metro DC is the only service organization for dance in the D.C. metropolitan area. The organization provides programs and resources to professionals in the field and works to make the conditions possible for dance to thrive in our region. This season, Dance Metro DC is delighted to launch its second Choreographers’ Commission grant program and a new Rehearsal Space Subsidy Lottery. In 2015, the organization will award three commission grants at $2,000 each to D.C. area choreographers towards the develop-
ment of new work. In addition, four artists will be selected by lottery to receive $500 subsidy grant awards toward the cost of rehearsal studio space. Dance Metro DC is also continuing its Professional Development Workshop series with seven sessions scheduled for 2015. Topics include fundraising, budgeting and finance, dance writing, creative peer/mentor feedback, and marketing and promotions. These and other programs put resources directly into the hands of artists and help to strengthen the community of professional dance artists and organizations throughout the region. The board of directors of Dance Metro DC currently has an open application process wherein anyone may apply to serve on the board. This policy is in place to ensure that all voices from the dance community have a place at the decision-making table. 5. Tell us about your family? I am constantly inspired by my family. My wife and partner Laura Schandelmeier is a choreographer whose vibrant career began in New York before moving back to the D.C. area in the early 1990s. Her daughter (my step-daughter) Holly Rae is a sophomore in the Fashion department of the School of the Art Institute of Chicago. My family is a unique trio and extends to in-laws, out-laws and
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those once (or twice) removed. We value above all else, treating each other beautifully. 6. Tell us about Dance Box Theatre? Dance Box Theater was founded in 2004 and has been the 501(c)3 entity through which Co-Artistic Directors Laura Schandelmeier and myself have produced nine full-evening dance performance works. The company is made up of the two co-artistic directors and other artists on a project basis. We have had the pleasure to work with Ilana Silverstein, Valerie Branch, Briana Carper, Leah and Chloe Smith of Rising Appalachia, Kofi Dennis and many others. The company has toured nationally and internationally and its artistic leadership has received commissions from the Creative Community Fund of the Community Foundation for the National Capital Region and the John F. Kennedy Center for the Performing Arts. The lofty mission of Dance Box Theater is to support the creation and development of dynamic, finely crafted and engaging public performances; and to empower communities through partnerships, workshops, residencies and arts-based education. Our goals are to present performing arts that catalyze individual and community transformation; and to strive for the elimination of oppression in all its forms. 7. Is it hard to be a creator, administrator and husband? Tell us about. Oh my. I suppose that this question is relative to all the dance makers across the United States who are struggling to maintain a creative existence while building the infrastructure necessary to support such practices. Oh yes, and holding time and energy for one’s family. One of my privileges has been to live at home and work in the studio with my wife and creative partner over the past decade (at least). Of course, there is always the challenge of “balancing life, love and career,” but this is an old struggle. It is ongoing and simply part of reality. Is it difficult? Sure. More difficult than say, deploying overseas in the armed forces? Probably not. I try to keep it all in perspective. But really, love comes first. Always. No matter what. 8. Do you feel having a company is like raising two families simultaneously? No. I understand the question and the potential correlation, and okay, sure. Yes, there are similar-
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ities in that when touring with our company, as a director, I am one of the two who are responsible to and responsive for all members of our company. Making sure everyone is fed, clothed has their costumes is comfortable in their rooms, and is paid well and on time… When we brought our daughter Holly Rae with us on tour, she was 14 and we were fortunate that we loved our company. We were one family during those two weeks on tour. 9. What do you think would add to the enhancement of the D.C. dance scene? 1. Greater resources directed into the hands of artists. 2. More opportunities for professional development. 3. More support for presenting entities that are willing to take risks on local work. 4. Systems in place that promote relational development between audience members and dance artists over time. 5. A commitment from dance artists and choreogra phers to rigor, research and support fellow art- ists. 6. A recognition that one artist’s success is beneficial for all artists in the community. 10. Did anyone mentor or assist you for the life of a director? If so who? There are many people who have influenced and mentored me: Celeste Miller, Carla Perlo, Deborah Riley, Nayo Watkins, Bob Leonard, Potri Ranka Manis, Ryan Kipp, Erica Batdorf, Maida Withers, Dana Tai Soon Burgess, Liz Lerman, Peter DiMuro, Kathie DeNobriga, the list goes on and on and on… 11. Do you feel college aided you on the journey? What classes if so? I studied theater in my undergraduate work at Emerson College. Movement for Actors, taught by Erica Batdorf was the class that pushed me over the edge to realize my affinity for the kinesthetic experience. And then there was a class called Theater, Politics and Revolution, taught by Ron Jenkins. This class forced me to experience performance from non-Western perspectives. In addition to technique, these were two classes that had the most impact. In graduate school, Ashley Thornd-
ike-Youssef taught an amazing course in Dance History and Criticism. This class helped me to identify and articulate the context through which I exist as a contemporary dance maker in the United States. 12. What do you wish to do with dance in the new year? Oh that is the question of the month. Having just earned my MFA (literally, I defended my thesis on December 17), the question of “what’s next?” remains unanswered at this time. 13. Any upcoming shows? There are no upcoming performances currently scheduled. However, I am in conversations with research scientists at the Center for Climate Change Communication at George Mason University regarding a possible engagement for Windswept in 2015. 14. If you had to tell a young artist in front of you who wanted to do what you do, what advice would you give them? Keep doing it, no matter what anyone says, keep going, keep dancing, keep making work. No matter what anyone says. keep learning, keep experiencing dance, and get yourself to the decision making tables. Make you way to the circles where things get done. Stay present, and remember that it is not easy and never has been. And love every single moment, even the moments that suck. 15. What’s your zodiac sign? I’m a fire sign. Aries. Virgo moon. Not a great combination, but I’ll take it.
Ngoma Center for Dance Trainee Sunday Program Now till Apr 2015! Open Enrollment! $500 a month (Partial Scholarships Available) Designed to further the training of interested dance artists, the Trainee Program nurtures and develops dancers between the ages of 15- and 23-years-old who are interested in contemporary and classical ballet forms of dance. Selected trainees have the opportunity to perform at community engagements, artistic events and Dissonance Dance Theatre productions. Alumni of the Trainee program are now in college programs, community dance programs, summer intensive attendees and members of Dissonance Dance Theatre. Selected trainees are provided scholarships for classes and workshops. Contact Director Shawn Short at sshort@ngoma-center-for-dance.org or 202-540-8338. Ngoma’s Trainee program conducted through faculty from Dissonance Dance Theatre! www.ngoma-center-for-dance.org
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Righting a Wrong Step Helpful Tools to Overcome a Bad Performance By Levi Drake It’s a moment that can haunt any performer, especially a dancer. The stage lights are at full glare. The music is soaring. The audience is engaged. And out of nowhere, with no forewarning, for no reasonable explanation…a misstep, a missed lift, a turn topples, a foot slips while coming down from a jump sequence, the absolute worse—a complete fall onstage. Suddenly seconds seem like hours as the “stage magic” is disrupted. And in that moment a dancer has but seconds to re-center his or herself. The show must go on. And afterward: the lights have dimmed, the music has stopped, the audience has gone home, but that moment—that misstep can become an deep scar in the mind of a dancer. Dance educator and choreographer, Ingrid Graham, of Los Angeles, CA says that while mistakes in the world of performance theatre are common place, recovering from such moments is both a matter of perception and self-acceptance on behalf of the dancer. “A bad performance is all about perception. I think you can use the challenges you encounter to tap into authentic emotion and convey those feelings to your audience,” Graham said. “It’s important to remember that what we as performers view as mistakes are hardly recognized by the audience. It is all about where you choose to focus your attention. You can use the obstacle to motivate you to be better next time. At the end of the day, there are no mistakes. Use your experience to grow and learn more about yourself as an artist and human being.” Graham is part of faculty at the American Music and Dramatic Academy in Hollywood, CA. She is the founder of “Start Today” a program she designed to help aspiring dancers map out their career path, from creating a vision and practical implementation. Graham highlighted five key tools to help a dancer move beyond a bad performance: meditation, visualization, preparation, rewriting the inner dialogue (thoughts in the mind), and learning how to do better next time. She also reminds us that dancers are a part of a bigger team and that focus must be on that team effort, citing daily meditation as the first line of defense against mental and emotional blocks that can hinder a dancer from performing at his or her best. “Your positive reaction to these momentary challenges will propel you in a direction that will only enhance your performance. It is essential to visualize yourself excelling for the remainder of the production. This will set your subconscious on a healthy trajectory and you will manifest your vision,” Graham said. In an industry where acceptance, promotion, excelling can come down to subjective opinions of others (i.e. the artistic director, the choreographer, a teacher, a board member, a parent, etc), Graham warns against self-sabotage and urges dancers to be more gentle on themselves when mentally reflecting on a bad performance or mistake. “Dancers can be so critical of themselves. The inner dialogue can be self-defeating and counterproductive.
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We need to reprogram ourselves to look at the other side of the situation,” she said. “So you had a bad performance? It is not the worst thing in the world. What did you learn from this? Were you focused before the show? Did you have ample rehearsal? I always recommend a meditation or centering exercise before a show that incorporates deep breathing and visualization. Imagine your best self dancing and more likely than not you will embody that vision.” In an article published last year in Dance Magazine addressing stage fright, Rachel Zar found that more than 50 percent of performing artists, regardless of age, gender or experience level, have had problems with performance anxiety, which can be a life-long struggle or erupt at any point in a dancer’s career for a variety of reasons including injury and past bad experiences. Performance anxiety is heightened stress. A dancer can make themselves physically sick and forget choreography, says Graham. Other symptoms include racing pulse, rapid breathing, a change in vision, a tight throat, dry mouth, cold or sweaty hands, and tremors. “Remember that performing is a luxury and a freeing experience that should feel amazing. If you are prepared and secure, there is no place for self-defeating anxiety. A small amount of nerves are normal and can raise adrenaline and positively enhance a performance. It is all about finding a balance before the show,” said Graham. “The biggest problem for a dancer can be shaking and forgetting choreography. We always want to exude confidence on stage and neither one assists us in that task. Other dancers may experience profuse sweating and an inability to focus. We need to be centered before a show and learn how to redirect anxiety so that the anxious energy is used for a good purpose. “ Family and friends can encourage dancers to participate in activities that build tranquility, self-esteem and strong meditation habits. Ultimately, Graham says that the most important work in what a dancer does to overcome a bad performance experience is psychological. “A less than ideal performance usually stems from an insecurity within the dancer. Directors, teachers and choreographers can positively help the dancer cultivate the skills necessary to avoid these issues. The work has to come from the dancer,” she said. “I believe in daily meditation and visualization. These should be a part of a dancer’s training regimen. They should be utilized before a show too. With consistent work I guarantee a decrease in disappointing shows. Change your perception and you can change your life!”
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Studio Life Photography by Shawn Short Model: Devin Hamilton
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Looking Forward: Three Things Dance Organizations Can Do in 2015 By Shawn Short It is the end of 2014. Many arts organizations are thankful of their ability to stay in the black, but many others are fighting for funding and viability. According to Mike Alley, an arts blogger in Kansas, “for the state of Kansas, the projected $650 million shortfall in the '15-'16 state budget will allow the state to totally eliminate every curricular and non-curricular arts program, class, activity, instrument, instructor, and facility in all schools. Kansas' right-wing GOP governor and legislature will celebrate the death of arts in schools by sponsoring anti-evolution parades." During lean times, arts organizations must be creative to stay afloat. Here are some ideas of things these organizations can do in 2015 to build buzz and, hopefully, stabilize. Arts Data Collection According to TRG Arts Consulting, arts organizations do very little when it comes to collecting essential data for their programs. Data collection is important because it allows arts organizations to reflect, assess and plan for success in the coming months and fiscal years. As the head of an arts organization, I understand firsthand the challenge of collecting data. I’ve struggled to get robust participation on surveys I’ve launched on Survey Monkey. I’ve begged the people who have attended my shows to fill out comment cards and I’ve had many a conversation with my staff about ways to adequately track the growth of our dancers. This is hard work, but it’s vital. In order for all of us to grow as arts organizations in Washington, D.C., we have to strike a balance between producing great work and collecting data that tells our stories and archives the work for the future.
ment, your online presence is a bulletin board. That’s not going to cut it. From my research into D.C. dance history, I’ve discovered that many dance organizations do not utilize technology or social media to its full capacity to market their programs and productions. To increase success in social media, increase activity on social platforms, you must create interesting content. And - do not be afraid to buy an ad or two. Video Marketing Getting the word out to the masses about a new product is not easy. In today's consumer marketplace, video marketing is steadily growing. According to The Nielsen Company, online video streaming viewers are growing online at an astonishing 60 percent per month pace, whereas TV has declined roughly 4 percent per month. Unruly's report, “Geography of Sharing,” tells us that Facebook generates most video shares at 59 percent, and 42 percent of video shares occur within first three days of upload. Nearly one in five internet users share videos across their social feeds more than once a week. If you’re not finding ways to showcase your work using video, you are missing out on a key way to get your organization in front of thousands of people. Conclusion Think about your next show or class promotion. You would love to have it filled with participants or patrons yes? Add more money to your 2015 marketing budget to allow you to do some of these things next year. Even though dance studios and organizations have existing challenges, it's no different than a small business trying to grow. With attention to the abovementioned strategies many dance organization can see positive incremental success in 2015.
Active Social Media Presence To have a website or a Facebook page is not enough to market your organization. You have to engage with the people who come to your site, your Facebook page, or mention you on Twitter. Without engage-
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Dancer Spotlight: Shady Mohamed Dancer Pg 25
Photos Courtesy of Shady Mohamed
From the moment he began dancing at age seven, Shady Mohamed knew he wanted to be a famous dancer. BOrn in Cairo, Egypt and a former soloist with the Cairo Opera Ballet Company, he has danced leading roles in both classical and contemporary works such as Don Quixote, Swan Lake, The Nutcracker, Spartacus, and The Rite of Spring, Zorba. In September 2013, Shady made his pilgrimmage to the United States, joining the Gainesville Ballet. He concurrently performs part time with Charlottesville Ballet and as a guest artist with The Kintz-Mejia Academy of Ballet in Northern Virginia. 1.Where are you from? Egypt 2. How old are you? What is your zodiac sign? I’m 27 years old. I’m Gemini. 3. Where do you currently dance? I had been dancing for nine years with Cairo Opera Ballet in Egypt and I left there and I was soloist I dance also in France with Ecole de danse et théâtre du vieux moulin. 4. What’s in your dance bag? Ballet shoes, dance belt, pants, music CD 5. iPhone or Android? iPhone 6. Who inspires you in the dance world? Do you have a dance mentor? It’s my family who inspire me. No, I don’t have a specific mentor, really. 7. What’s you favorite dance style? Why? I like ballet classics because I like tricks and technique and in classic you can show this. 8. What’s your dream company to work with? San Francisco Ballet.
9. Sneakers, boots, chucks, or loafers? Sneakers 10. Single, Dating, Married? I have girlfriend 11. What would be your funniest dance moment? When I dance with children because you never can expect how they’re gonna act.
Frame by Frame: Making a Great Video for Social Media By Donovan Johnson
In today's world of fast-paced film footage, riveting with striking special effects and larger-than-life spectacle, it's no surprise that many are clueless as to where to start marketing themselves or their businesses. Dancers and dance companies alike are feeling the pressure on social media to produce eye-catching video footage. In the end you want to make money with your art right? With today's dance market becoming more saturated with So You Think You Can Dance-inspired dancers, college graduates and hobbyists looking to get their feet wet, how do you make your video stand out and get noticed?
On Youtube, you will find many tutorials on how to create a great video trailer step by step. Like anything else it takes practice to create great videos for social media. With diligence and vigor any dancer or dance company can create compelling messages through video. Helpful Resources: 1. Garfield, Steve. Get Seen: Online Video Secrets to Building Your Business. Hoboken, NJ: John Wiley & Sons, 2010. 2. WikiHow- type in search field, "How to Make a Movie Trailer"
Here are some tips in creating video for social media.
Video Trailers There are different ways of presenting video trailers. From studio footage of dancers doing multiple turns to exciting trailers of upcoming productions, all require the following information that will help you in marketing yourself. Tell a compelling story with good video content and you will be on track to engage many.
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Artistic Director Shawn Short Washington, D.C.
2015/2016 Company Auditions
Audition Footage for Dancers This type of video is the most simple...just dance! Most video audition footage will give requirements for students to follow. The Royal Ballet School provides helpful tips on their website to aid students in finding a great platform to host your videos (Dropbox, Vimeo, etc.). Once you set up the sequences they wish to see you perform, just record, review, upload and send. If you are on a limited budget and you have a smartphone with a great camera – and you have steady hands – use it to record your footage. If you have access to a camcorder that's even better. A high definition camcorder will provide you with video content that can be edited using popular editing software like Final Cut Pro, PowerDirector, Adobe Premiere Pro. These software platforms will give you the ability to add text for tiles and create a more finished product.
Dissonance Dance Theatre
Male/Female Contemporary Ballet Dancers
February 15th, 2015 March 15th & 29th 2015 Registration: 2:00pm-3:00pm Audition: 3:00pm - 6:00pm
Flashpoint, 916 G ST, NW Washington, D.C. 20001
Audition Requirements Headshot and CV/Resume $20 Audition Fee Cash or Pre-register Online
For more info visit www.ddtdc.org
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.
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.
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. 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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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
World Dance Companies KanKouran West African Dance Company Assane Konte, Founding Artistic Director P.O. Box 1338 Washingto D.C, 2013 202-518-1213 www.kankouran.org
D.C Contemporary Dance Theatre Miya Hisaka, Founding Artistic Director P.O.Box 9796 Washington, D.C 20016 202-316-5277 www.teatrodedanza.org
Lesoles Dance Project Lesole Z. Maine, Founding Artistic Director 3802 34th street. Mt. Rainer, MD 240-744-6694 www.ldpdance.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
Memory of African Culture Akua Femi Kouyate, Founder MAC, Inc. P.O. Box 50045, Washington, D.C. 20091 (202)210-7120 www.memoryofafricanculture.org
Jayamangala 8600 Waterside Ct, Laurel, MD 20723 (301)617-2712 www.jayamangala.org
Step Afrika Brian Williams, Founding Excetive Director 133 4th street NE Washington, D.C 20002 202-399-7993 ext. 112 www.stepafrica.org Vision Contemporary Dance Katherine Smith, Artistic Director P.O. Box 48087 Washington, D.C 20002 301.909-VCDE (8233) www.visioncontemporarydance.org Urban Artisty Junious Brickhouse (Founder) 8001 Kennett Street Silver Spring, MD 20910 202-431-4202 www.urbanartistry.org The National Hand Dance Association P.O. Box 70006 Washington, D.C. 20024 www.nationalhanddanceassociation.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 Silk Road Dance Compay Dr. Laurel Victoria Gray, Founder and Artistic Director P.O. Box 11346 Takoma Park, MD 20913 301-585-1105 www.silkroaddance.com Tehreema Mitha Dance Founding Artistic Director 8509 Pelham Rd, Bethesda, MD 20817 (301) 581-9520 www.tmdancecompany.org
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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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Services: Standard 60-Min Deep Tissue Massage $120 Standard 60-Min Swedish Massage $100 High Quality-70 min Deep Tissue Massage $125​ High Quality-70 min Swedish Massage $125
Spa Add Ons: Hot Stone $10 30 min Add On ONLY $40 Extra
RH BodyWorks is a luxury mobile spa massage therapy service that offers the most relaxing treatments in the ​D.C., Maryland and Virginia area.
RH BODYWORKS 240-462-9954 rhfitnessfactor90@gmail.com www.rhbodyworks.com Official Massage Therapist of Dissonance Dance Theatre
Ngoma Reader is looking for committed, and enthusiastic writers to join its team. Is that you?
Are You Flexible?
Ngoma Center for Dance
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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Interested writers send your writing sample and resume to: NRmagazine@ngoma-center-for-dance.org (In the subject line type: Potential Writer for NR Magazine) WWW.NGOMAREADER.ORG WWW.NGOMA-CENTER-FOR-DANCE.ORG
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