Ngoma Reader Magazine Jan/Feb 2016 Issue by Ngoma Reader

Ngoma R eader Washington, D.C.’s Dance Magazine

Baltimore School for the Arts Ballet Student Aeron Buchanan speaks about dance

Dc’s Own “Top Five to Watch” Dancers Making Their Mark The Raven is Nevermore Baltimore’s Dance Scene

Strength, Courage and Wisdom Kathy Smith, A DC Dance Gem

Leggings Are The New Black: A Photoshoot

A Ballerina In A Contemporary DC Scene www.ngomareader.org

Jan / Feb 2016

Dance Metro DC Your Dance Community Auditions, News, Performances and more...

www.dancemetrodc.org Ngoma Reader Magazine Partner 2

Dissonance Dance Theatre Shawn Short, Founder/Producing Artistic Director Winter/Spring Events 2016 WINTERSTEPS

Filled with DDT favorites from Short, Tuerk, and Africandance great Assadata Dafora. This year features a worldpremiere to the music of recording-artist Kelela, and live music accompanied by The Georgetown Quintet! Saturday January 16th, 2016 8pm Jack Guidone Theatre (JOMDC)/ Friendship Heights Tickets Starting @ $15

Heads or Tails

Ballet meets contemporary gooeyness as Principal Choreographer Shawn Short present s visually stimulating dance. Heads & Tails is a an evening of dance with a two-part program blending classical finesse and contemporary mastery in an evening of great dance entertainment. Sunday February 28, 2016 2pm INTERSECTIONS Festival/ Atlas Perf Arts Center Tickets starting @ $30

Black to Silver: A Black LGBT Experience

(Mature Audiences) Experience the beauty and heartfelt energy of Dissonance Dance Theatre Black To Silver: A Road to Self. Black to Silver (now in its 4th year), features new works by new and old choreographers, and a new 30-minute work, Manny, a tale of a guy who is more in love with himself than anyone else...until love rears its ugly head. Saturday, April 16th, 2016, 8pm Sunday, April 17th, 2016, 7pm Jack Guidone Theatre (JOMDC)/ Friendship Heights Tickets Starting @ $15

For ticket purchases visit www.ddtdc.org For information on our Summer DanceLab program, auditions or our youth programs visit or parent organization Ngoma Center for Dance at www.ngoma-center-for-dance.org

Stay Connected www.ngomareader.org Sign up for the Ngoma Newsletter

Washington, D.C.â&#x20AC;&#x2122;s Dance Magazine

Ngoma R eader 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 Layout Designer Elizabeth Renomeron For advertisement information and news submissions, please email: NRmagazine@ngoma-center-for-dance.org 5

Dixon Place Presents

Helluva fella Choregraphy by Matt Elder Tuesday, February 16, 2016, 7:30pm Dixon Place Main Stage 161 Chrystie Street, New York City, NY Tickets available at www.dixonplace.org

“a feast for the senses”

dcmetrotheatrearts.com

Photo courtesy of Hank Wang

Table of Contents Volume 3 Issue 1 Feature

Photography Feature

Opinion

By Staff

25 Being a ballerina in a modern 16 Leggings, Leggings, Leggings world can be a challenge, By Shawn Short DC can even be more of a challenge...or blessing. Dancer Spotlight By Katie Norton-Bliss

10 Baltimore is known for its crab cakes, but have you experienced its dance scene?

21 Rising classical ballet student Aeron Buchanan speaks about dance.

8 Want to know whoâ&#x20AC;&#x2122;s making their mark in DC dance? Check out this yearâ&#x20AC;&#x2122;s talented top five artists to watch.

By Annie Fotenberry

14 A woman of great resolve, dedication and passion for dance and community, Kathy Smith continues her desire for dance and youth.

By Donovan Johnson Cover Image: Shaila Isham, Dissonance Dance Theatre (c) Shawn Short

By Shawn Short

Photo courtesy of Akimbo Baltimore

Photo courtesy of Joshua Sugiyama

Top Five to Watch in DC Want to know who’s making their mark in DC dance? Check out this year’s talented top five artists to watch.

Chandini Darby

Mat Elder

Instructor at CityDance, Dancer at DC Contemporary Dance Theatre/el Teatro De Danza Contemporanea; Spirit Wings Dance Company and Studio

Mat Elder is originally from Sparta, Tennessee. He received his undergraduate degree in Theatre/Dance from Middle Tennessee State University and MFA in Choreography from Smith College. During his time at both institutions, he was fortunate enough to work with notable choreographers Sidra Bell, Alberto Del Saz (RirieWoodbury), Travis Gatling, Cynthia Guttierez-Gardner, T Lang, and Bill T Jones dancers Paul Matteson and Leah Cox. He performed in the Alwin Nikolais: Leaving a Legacy national tour, Core Project Chicago’s, The Dust Fringe Tour, MTSU’s Exodus Project national tour, and Bill T. Jones’ reconstruction of Love Redefined at the American Dance Festival.

Notable Moment: Darby was selected for the John F. Kennedy Center Commissioner’s Project and premiered her first work on the Millenium Stage, entitled The Stories That Bind Us part of the Beauty for Ashes Project, Inc of which she both founder and artistic director. Darby is a Washington, DC native where she began her training with the DC Youth Ensemble. She continued her formal training at Spirit Wings Dance Company & Studio through high school, where she is presently a performing member and on faculty. Mrs. Darby is a Magna Cum Laude graduate of Towson University with a BFA in Dance Performance.

Upcoming project: “We Live for the Crows” at the Baltimore Dance Invitational; Feb 21 @ 4pm, Gordon Center for Performing Arts, Owings Mills, MD

Mackenzie Rawls

Joan Ayap

Chrishon Jerome

Mackenzie is in her first season with Dissonance. A rising soloist at Dissonance Dance, she is originally from Rockville, Maryland where she began her training at Berrend Dance Center (previously Jane Bittner’s) and American Dance Institute. She graduated from The Boston Conservatory in 2014 where she received her B.F.A. in Contemporary Dance. At the Boston Conservatory, Mackenzie had the opportunity to perform works by Thang Dao, Doug Varone, Bill T. Jones, Danny Buraczeski, Karole Armitage, and Francesca Harper. Mackenzie was awarded merit scholarship by the Conservatory which then translated into graduating Magna Cum Laude. Mackenzie was named a WISE Foundation Emerging Artist for 2013.

Born in Washington, DC and raised in Manila, Philippines, Joan began her training at the Halili-Cruz School of Ballet and the Philippine Ballet Theatre Conservatoire. She graduated from Assumption College, San Lorenzo (Philippines) with a BS in Interior Design while pursuing a dance career. Her professional experience began with the Philippine Ballet Theatre, where she worked with the finest teachers and choreographers including Gener Caringal, Anatoli Panasiukov, Enrico Labayen, Tony Fabella, Maiqui Mañosa, and Graham Lustig among others. In Washington, D.C., she performed with El Teatro de Danza Contemporanea and Dana Tai Soon Burgess Dance Company.

When Crishon is not dancing or directing his own projects, he spends his time enjoying fatherhood with his now 4-year old daughter, Ella, who also dances. Crishon also has a passion for acting, fitness, fashion, and entrepreneurship. He is currently building his choreography, coaching and consulting business, CRōME, which encourages individuals toward “excellence in all things” and is also the name of his workshop-styled, drop-in class offered to adults at Joy of Motion Dance Center in Bethesda, MD. He is grateful for the opportunity to pursue his passion for dance and share his talent in hopes to educate, empower and inspire new generations of individuals to follow their dreams, bravely and unapologetically. Credits: Nike, Under Armour, Frank Ocean, 4EY The Future, Cirque du Soleil, VMAs, Rascal Flatts, House of Cards, Kool & the Gang, America’s Got Talent, Flo Rida, “Bolden” (Film) and more.

Photo courtesy of Akimbo Baltimore

Dance in Baltimore:

A City’s Call for Community By Annie Fortenberry

Baltimore is known for its crab cakes, but have you experienced its dance scene?

Baltimore’s dance community is small but mighty. A dancer can expect to find a wide variety of dance entities, from forprofit studios, to adult community classes, to competitive hip hop crews, as well as dance in academia. Additionally, one can find performance, training and social opportunities through countless Indian, Folk, Swing and Salsa Dance troupes. Furthermore, Baltimore’s dance scene is host to several semiprofessional modern and ballet companies, namely, Deep Vision Dance Company, Full Circle Dance Company, Baltimore Ballet and Charm City Ballet, each of them contributing distinctively to its dance community. Moreover, Baltimore and its surrounding suburbs are host to several significant institutions for dance education where a dancer can find traveling artists as well as former New York City Ballet and Alvin Ailey company members among the permanent staff. These schools include The Peabody Institute, Baltimore School for the Arts, Morton Street Dance Center, Goucher College and Towson University. However, the Baltimore dance community’s real defining feature is just that, it’s a community. Cultivated largely out of cultural necessity, Baltimore’s dance scene seeks to engage its citizens through festivals, through after-school initiatives and through community classes and performances. Effervescent Collective, a Gaga-based company and dance collective, though currently on a hiatus, gained renown among the Baltimore dance scene for their Sunday free community classes where dancers and non-dancers alike are welcome to explore movement concepts, relationship building, as well as their own humanity. Their focus on movement exploration pushes Effervescent Collective’s artistic envelope, as well as gives Baltimore citizens the outlet and access to explore their own artistry, physicality and humanness. Additionally, Effervescent Collective has proven committed to community involvement through its venue choice such as the Copy Cat, an artist-run cooperative with donation-based performances and a focus on audience engagement and participation. Dance Baltimore also comes to mind when thinking of a dance entity with both a focus on experienced artistry, as well as a promise to enable its community. Dance Baltimore, who in addition to holding open adult classes at the Eubie Blake Cultural Center, provide a platform for dance educators and young dancers to develop critical professional and personal skills through their dance program in residence in over thirty of the city’s recreation center run camps. Additionally, the organization provides multiple performance opportunities for Baltimore citizens through their multiannual flash mobs and participation in various city run festivals. These festivals make dance accessible to city blocks whose residents may not otherwise engage with dance. One of which festivals, the Akimbo Dance and Movement Art Festival, has been praised as bringing “eclectic performances to the neighborhood [Station North], where artists engaged directly with their immediate environment through carefully choreographed group dances, improvisation, audience-performer interaction, 11

Full Circle Dance Company Photo courtesy of Brion McCarthy

Photo courtesy of Morton Street Dance Center

and performance art” (Callahan 2015). Hosted by Deep Vision Dance Company, local and traveling dance artists attempt to “build community between artists, audiences, and venues and to encourage ongoing relationships for future projects and collaborations” (akimbobaltimore.com, Mission & History). Through diverse programming including dance, music, spoken word, visual arts as well as multimedia performances, this festival is the embodiment of the Baltimore dance scene’s spirit and commitment to communicate and to connect through movement arts. Another example of how the Baltimore dance scene has been strategic in its community involvement is Baltimore Dance Crews Project. This youth-led not-for-profit organization challenges the city’s commitment to its young people, as well as “stark societal situations of racism, classicism and ageism” through providing afterschool programming to a city profoundly lacking in opportunity and access to dance and the arts (BaltimoreDCP.org, Why Hip Hop Dance?). Baltimore Dance Crews Project is the epitome of how the Baltimore dance scene has stemmed out of community necessity, addressing relevant issues through relevant means of dance and hip-hop. Lastly, Full Circle Dance Company also draws attention Not only do these projects to greater societal issues through their subject matter. The and entities show that company addresses human content and experiences through several annual Baltimore City and County performances. The Baltimore’s dance community company, directed by Ms. Donna L. Jacobs presents works is committed to engaging its tackling topics such as illness, religion, body and family. Full Circle attempts to bridge the gap between humanity citizens with relevant subject and high-art. Furthermore, the company is dedicated to matter and programming, community outreach through elementary school partnerships and residencies (fullcircledance.webs.com 2014). Not only is but are also exemplary of the company committed to addressing its community through the need for this type of performances and outreach, but it also demands that dance community engagement and training in Baltimore be taken seriously through its resident school Morton Street Dance Center whose rigorous curriculum for grass roots action. in Ballet, Modern, African, Hip Hop and Tap has allowed Morton Street Dance students to go on to countless prestigious programs including Alonzo King Lines, Atlanta Ballet and the Ailey School. Not only do these projects and entities show that Baltimore’s dance community is committed to engaging its citizens with relevant subject matter and programming, but are also exemplary of the need for this type of community engagement and for grass roots action. Though the city is resident to some of the East Coast’s greatest dancers, artists and thinkers, inadequate funding has lead to a lack of opportunity for many Baltimore dancers. In the Spring 2015, all Baltimore arts initiatives including the Baltimore Museum of Art, The Baltimore Symphony Orchestra and Artscape received less than 1.7% of National Endowment for the Arts total appropriations for the year and none to dance institutions (NEA Arts Appropriations History; NEA FY 2015 Spring Grant Announcement). Moreover, in 2015 over $35 million was proposed in city budget cuts for Baltimore City schools (Campbell 2015). This devastating number means that thousands of children will lose basics including afterschool and arts programming. Despite the love and need for dance and the arts in Baltimore, underfunding continues to be an overwhelming, sometimes lethal obstacle to its artists. Yet, the aforementioned groups: the Baltimore dance community in and of itself, as well as groups like Baltimore Promotion and Arts, The Greater Baltimore Cultural Alliance, Mid-Atlantic Arts Foundation are restless in their fight to fulfill the city’s needs while keeping the scope of arts in Baltimore relevant to its community needs and to its people. The Baltimore dance community has been built from the ground up and will continue to draw from its roots, bringing us variety, innovation, exceptional training, and always, will foster meaningful community.

Deep Vision Dance Company Photo courtesy of City Digital Photography

Dance StepS, Life and Visions Katherine Smith Dance steps, life and visions is a spotlight that showcases “the behind the scene” lens of local DC artists.

A woman of great resolve, dedication and passion for dance and community, Kathy Smith continues her desire for dance and youth. A treasured Horton modern teacher for so many students in the Washington, D.C. area, Katherine Smith a native Washingtonian, and a graduate of Duke Ellington School of the Arts. Kathy received her B.F.A. from Philadelphia College of Performing Arts (currently University of the Arts.) She has worked with many renowned choreographers. She is a member of Actor’s Equity Association. Ms. Smith has received the O’Keefer Award for Best Female Dancer in a Musical Production and has been recognized and honored for her tenure as a performer/ instructor by the International Association of Blacks in Dance and is currently serving as a board member. Katherine has extended her professional dance training in the direction of mentor, instructor and choreographer in association with established amateur/professional performing companies and community outreach programs. Ms. Smith is currently dance faculty at Duke Ellington School of the Arts and the Artistic Director of Katherine Smith Contemporary Dance Ensemble. We thank Kathy for stopping to chat with us. So where are you from originally Kathy? I am a native Washingtonian, born in the early 1960’s at Freeman’s Hospital before it became Howard University Hospital. How would you describe the DC dance scene? The DC dance scene today is widely diverse. The evolution of many dance genres and the fusion of all styles of dance propels us toward DC’s second Dance Renaissance. What do you feel you bring to the scene? To its history? Staying rooted and grounded in the foundation of dance as taught to me by my many mentors of the past. Can you inform us about your organization? Katherine Smith Contemporary Dance Ensemble is a 14

professional performance company fostering the preprofessional training of beginners to advanced level youth dancers and providing a platform for young adult performing artists. Dancers continue to develop their technical and performance skills with opportunities to perform throughout the Greater Washington, D.C. Metropolitan area, participating in special community events and seasonal events as well KSCDE’s own sponsored programs. Members experience and present various styles of works created by me as well as local and national choreographers. Our artists possess a prevalent and unwavering passion for the professional world of dance. In your opinion, what is the difference between DC’s dance scene of now versus the past? Opportunity!

KSDE in Concert Photos courtesy of Chris Reese

Is it hard to be a creator, administrator and teacher to so many? No. Different hats but the same goal; to mold and nurture the generations and watch them blossom! Do you feel having a company is like raising two families simultaneously? Yes I do, but the key word is “Family” All families need a strong foundation consisting of nurturing, cultivating, encouragement and love, sometimes tough love! What do you think would add to the enhancement of the DC dance scene? The provisions of a stronger support system in making grants and funds more readily accessible to lesser known dance organizations with the various wards of our community. Did anyone mentor or assist you for this dance life? Whew! I have had many mentors throughout my journey as a dancer. I have had the opportunity to work with renowned choreographers such as James Truitte, Talley Beatty, Donald McKayle, Eleo Pomare, Ulysseus Dove, Milton Myers, Donald Byrd, Kevin “Iega” Jeff and Faye Snow. Concert experiences include Dayton Contemporary, Rod Rodgers, Forces of Nature, Gallman’s Newark, New World, D.C. Contemporary, and Juba Dance Companies. Touring engagements in Europe with Mike Malone’s “Black Nativity”; Africa in “Spirit”; Beijing, China in the first Pacific Cultural Exchange; Vienna, Austria for the 6th Annual Summer Dance Festival; and Seoul, Korea sponsored by American Dance Festival. Theater endeavors include Debbie Allen’s “Soul Possessed” at Kennedy Center/Alliance Theater, Atlanta;

George Faison’s “For Colored Girls” at American Place Theater in New York(Off Broadway)/ Baltimore Center Stage; Mike Malone’s “Black Nativity” at the Kennedy Center; “Bessie’s Blues” at Studio Theater (Helen Hayes Award); “Purlie” at the Fox Theater in Atlanta; and the National Tour of “The Wiz.” With great respect, I pay homage to all of them! Are dancers the same as when you grew up? No, In my day of growing up as a dancer it was a privilege to gain experience or just to be seen,. We would dance anywhere which included a lot of impromptu or scheduled street performances. It was not readily accessible to showcase your talent on television or the internet to be seen by millions and become an overnight success. The opportunities and the technology of the present was not afforded to those of the past. It was with determination, fortitude, blood and sweat that those who made it, did! . What do you wish to do with dance in the new year? For the New Year, I wish to continue to pass on the legacy of our ancestors while creating my own! Any upcoming shows? Sunday, Feb. 7, 2016 , KSCDE presents “Heritage Praise“ TheARC 13. 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? STAY COMMITTED TO YOUR PASSION! The world of dance is not easy but it is worth it! What’s your zodiac sign? Scorpio 15

Leggings, Leggins, Leggings by Shawn Short

Dancer Spotlight

Aeron Buchanan

Photo courtesy of Mike Landon

Rising classical ballet student Aeron Buchanan speaks about dance. Aeron Buchanan is a pre-professional dance student who loves dance, particularly classical ballet. Aeron’s study of dance has taken him to Dance Theatre of Harlem’s Summer Intensive in New York City. In addition, Aeron has study in various dance organizations across the Washington, D.C area. He is currently a student of dance at the prestigious Baltimore School for the Arts. Where are you from? I am from Washington D.C How old are you and what’s your zodiac sign? I’m 16 and I’m a Taurus Where do you dance currently? I currently dance at Baltimore school for the arts What’s in your dance bag? My dance bag has 3 pairs of ballet shoes, a pair of jazz shoes, a theraband, a few dance shirts and tights, deodorant, and Icey hot.

iPhone or Android? Team iPhone Who inspires you in the dance world? Do you have a dance mentor? I don’t really have a person who inspires me but my mentor I can say is my teach Anton Wilson What’s your favorite dance style? Ballet What’s your dream company to work with? My dream company is New York City Ballet Sneaker, Boots, or High Heels? Sneakers Single or Dating? Single... Lol

Who’s your dance crush? lol I don’t have a dance crush What would be your funniest dance moment? My funniest dance moment would be when I was dancing on stage and lost my footing and fell and everything felt like it was going in slow motion What is your take on commercial and concert dance? Do you feel that the world are merging? I like watching commercial dance but I personally don’t want to do it. I do feel as though they’re merging. Any advice for emerging artists? My advice is to just be focused and put in the work. You would be surprised on how much you can improve from just being super focused and putting in 200 percent every class.

Pointe Girl in a Contemporary World By Katie Norton-Bliss

Katie Norton-Bliss is a dancer and writer currently based in DC. In May of 2015, she graduated from the University of Cincinnatiâ&#x20AC;&#x2122;s College Conservatory of Music with a BFA in Ballet and a minor in English. She is currently in her first season as an Apprentice with Dissonance Dance Theatre. Katie grew up in Providence, Rhode Island where she began training with Mary Paula Hunter. She went on to train at Central Pennsylvania Youth Ballet as well as spending summers at the San Francisco Conservatory of Dance. Katie is working to continue her growth as a dancer, writer, and choreographer, and hopes to contribute to the growing DC dance scene. 24

Being a ballerina in a modern world can be a challenge, DC can even be more of a challenge...or blessing.

I grew frustrated trying to make out the difference between the various movements, which at first all looked the same to me. I struggled to remember patterns of movements I couldn’t associate with a ballet term, and wondered if all the hours I had spent trying to achieve a perfectly turned out fifth position still counted for something.

Similar to many other dancers, or 20 something artists in general, I wait tables as a “day job.” Recently, during a lunch break, my co-worker asked me what I do besides waitressing. This is a pretty common line of conversation. After I explained that I dance with a contemporary dance company, I found myself struggling to describe contemporary dance and contemporary ballet to my questioning co-worker.

During intensive ballet classes I felt relieved to know the name of each step. Finally dance didn’t seem like a foreign language. What made ballet class even more exciting was the increased freedom the contemporary mindset gave me. Technique was important but we were allowed to threaten to break the walls ballet’s pristine box. While I love ballet technique, I, like many other dancers desire to be involved in pushing dance further and creating new choreography and developments. While I don’t want to let go of all of my years of classical training, I also want to be part of the contemporary realm.

“So do you wear, like, tutus?” he asked. I tell him not usually, but I guess it’s a possibility. “So is it like ballet but to songs with words and stuff that are on the radio?” Again, I explained that we could do that, but it doesn’t define contemporary dance. My co-worker continued to throw out examples, trying to find something familiar to latch on to. I completely don’t blame him. Contemporary dance is almost impossible to define, and now more than ever the lines between dance genres are so blurred. These blurry lines can make it even more of a process to figure out, as a dancer, where you belong, and want to be, in the dance world. Fresh out of college, I am definitely in the stage of figuring out where I fit into the dance landscape. If I am in a very classical ballet setting, other dancers will tell me that I am “so contemporary” or “so modern,” and if I’m in a contemporary setting I am seen as one of the most balletic in the room. As far as college programs go, my school’s dance department was quite ballet focused. Compared to other girls, I felt uncomfortable doing lots of classical variations and heavily structured corps de ballet work. Looking for something new, I spent the summer after my sophomore year at a contemporary summer program. At the end of one of the first classes, the teacher told us to spend a few minutes walking around in a handstand. I was somewhat shocked that I was expected to be able to do a successful handstand, much less walk around in the terrifyingly unfamiliar position. Another class focused on floor work – complicated patterns of rolling on the floor that completely flummoxed me.

I’ve been in a few ballet spaces where dancers with less naturally balletic bodies would be told they should “just” do modern or contemporary instead. Modern or contemporary companies were made out to be the safety schools to the more desired and prestigious ballet companies. This is pretty ridiculous, as ballet dancers simply aren’t taught many of the skills needed for contemporary or modern dance. Contemporary and modern are not any easier than ballet; in fact, getting stuck in a strict ballet vocabulary can make other styles seem like a foreign language. Contemporary dancers have extremely mixed backgrounds, and the more diverse a dancer’s training is, the more valuable he or she becomes. Auditions prove how important it is to have a versatile training background. Even super contemporary companies who only perform in socks or bare feet will often begin their audition with a ballet barre. After a classical warm up, choreography could go in any direction, from rolling on the floor, to pedestrian gestures, to handstands, to pirouettes. Basically, a contemporary dancer is asked not to be a jack-of-all-trades master of none, but a jackof-all-trades, master of all trades. Honestly, being a “pointe girl”, the contemporary world can appear overwhelming. My coworker was right to be confused, and maybe contemporary dance wants people to be not so much confused, but certainly curious and surprised. Coming from a ballet stand point, where everything can be defined by technical terms, it is challenging but exciting to be in a field where its hard to even describe the type of dance I do. 25

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 26

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 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

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 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

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 20706Â 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 3802Â 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 27

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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

A strong work ethic and motivation to succeed A positive, good-natured, energetic attitude A commitment to unbiased writing Knowledgeable of AP Style guidelines

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

Ngoma R eader Washington, D.C.â&#x20AC;&#x2122;s Dance Magazine