NGOMA READER
NR
A WASHINGTON, D.C. Magazine for Minority Dance
Jul/Aug 2014
What’s Inside: Maurice Johnson tells all from Dance to Getting “Our Legs” Up DMV reared Limon Dancer Durrell Comedy stops by to talk about his dance bag and arts education DMV reared Limon Dancer Durrell Comedy stops by to talk about his dance bag and arts education Dance Meets the Capital in our Mall Madness Photo Shoot
www.ngoma-center-for-dance.org/
Dissonance Pg 1
Dance Theatre
Founded By Artistic Director Shawn Short in 2007
Washington, DC
www.DDTDC.org Pg 2 2
What’s Inside...The Features Dancing by Faith Dancer Spotlight features Durrell Comedy who opens up about tour life
Las Vegas Contemporary Dance Theatre comes to Baltimore founder Bernard Gaddis speaks on work ethics to maintain the dancing body
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Keeping it simple, instructor/choreographer Maurice Johnson shares how the love of dance keeps him young and curious.
Pg. 09-12 The multiple benefits Pg. of massage 10-13 thearapy for dancers, according to Ralph Henderson, CMT (right)
Other Departments/Contributions
Dancer Profile: Durrell Comedy...pg 23-24 Photography Special Dance Around the National Mall pg 15-22 Health: Massage Therapy Benefits pg 13-14 Opinions Dance: Art Form or Sport...Roger Lee pg 31 Maintaing Strong Body...Bernard Gaddis pg 26-28 Dance Directory: pg 29
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Cover Photo: Dana Pajarillaga Photography by Jade Enders Editing by Shawn Short
Ngoma Reader
NR
A Washington, D.C Magazine for Minority Dance
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 Tyler Lewis, William Wilson, Moyston Henry, Tehreema Mitha, Donovan Johnson, Damon Foster, Shawn Short Staff Photographers Jeremiah Jones Jade Enders Shawn Short Sergey Apasov For advertisment information and news submissions, please email: NRmagazine@ngoma-center-fordance.org
Publisher’s Words Hot fun in the summertime! Welcome back to the Ngoma Reader! The Ngoma Reader (NR) is a Bi-monthly Online publication that gives literary voice to minority dance artists of Washington, D.C. NR speaks through three core components: Community (D.C. Dance Directory), Awareness (Shows, Events, Projects, Season Announcements), Celebration (History, Spotlights). The origin of Ngoma Reader sprang from a need for us at Ngoma to archive vital stories of artists and provide a “go-to” news source for what’s going on in the D.C. minority dance community. “This issue is centered around fitness and those in the community who have enjoyed dance longevity through fitness and cross training. In Washington, D.C. many minority artists and fitness professionals and ventures are slowly being “dug up” and featured. Ralph Hendersen become our inaugural fitness and wellness professional, giving advice on massage therapy. In addition, dance meets downtown D.C. in “Mall Madness” featuring dance photography emerging staff photographer Jade Enders; bringing together a diverse group of talented dancers. Over 15 years in the D.C. dance community, Maurice Johnson is still making dancers sweat and fall in love with dance. We are proud to announce our newest Las Vegas and Philadelphia columnists Bernard Gaddis and Roger Lee. Plus, Limon-enthusiast, Durrell Comedy stops through to inspire us all in his Dancer Spotlight.” The weather is hot! This is the perfect time to cool off with some plies, lunges or stretches. Keep dancing and sweating! We hope you enjoy learning about the emerging and established voices of dance artists around the D.C. area!” Yours in Dance,
Shawn Short, Publisher/Editor in Chief sshort@ngoma-center-for-dance.org twitter.com/dissonancedance
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Photo by Shawn Short
Leaving His Footprints Local Dance Instructor Makes Legacy His Passion By Damon L. Foster It’s a balmy Saturday afternoon at Joy of Motion Dance Center in Friendship Heights where instructor Maurice Johnson prepares to teach his intermediate jazz class. The stocky 44 year old’s warm smile greets students as they slowly trickle in wearing a varied array of sweats, spandex, shorts, hoodies, and cut-off tees. Participants, ranging from teens to seniors, find their particular place on the floor. Johnson gives a brief intro. Then he hits the music and suddenly that warm smile transforms into a demeanor of intensity that won’t let up, and for the next 90 minutes dancers travel through a rollercoaster of movement, from plies, flatbacks, spirals falls, to slides, glides, turns and leaps across the floor. At the end, the floor it is littered with sweat stains and the air is filled with heavy pants for breath and applause for the instructor. Such is the norm when it comes to Johnson’s class, whether at Joy of Motion, Catholic University of America or the National Cathedral School. With a career spanning over two decades, Johnson has carefully carved his place in the greater Washington metropolitan area as a sought-out teacher, choreographer, dancer, and fitness professional. He says his motivation begins with music and love.
Johnson continues, “Joy of Motion was my first teaching job in Washington D.C. Fifteen years later, I can honestly say that I have had a great experience and working relationship with Joy of Motion. I think students like consistency, professionalism and direction. But I could not provide that if I did not have that personal commitment to the art form. Furthermore, they just want to DANCE! I offer these elements in a class setting that’s open to anyone with a passion for dance.” Johnson’s dance journey began to unfold in his hometown of Lexington, Kentucky, where at age 16 he performed in a local production of West Side Story. A year later, he knew he wanted a career as a performing artist, dancing. He studied and performed with a number of notable dance institutions, including The Lexington Ballet, Alvin Ailey Dance Repertoire, Gus Giordano Jazz Dance Chicago and North Atlanta Academy School of Dance. His first professional dance experience came in the opening/closing ceremonies of the 1996 Olympic Games in Atlanta, GA. Story Continues on Page 12
“Music is usually first motivator whether with dance or fitness,” Johnson says. “Secondly, seeing the growth and development in my students always inspires me. I become joyful as I witness their love for dance come forth. That say joy applies to fitness as well.” Although commonly linked together, Johnson says dance and fitness can be worlds apart since each come with a myriad of specialized vocabulary. He spent 5 years working as a personal trainer. “I have an equal passion for fitness and dance, and I believe the two go hand-in-hand. The difference comes from understanding the body moves and how to apply the vocabulary. Each one requires a constant study and effort. It is a lifestyle choice.”
Maurice Johnson teaches Street Jazz at Joy of Motion Dance Center. Photo by Cecile Oreste
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Photo by Shawn Short
“I have a genuine love for performing,” Johnson said. “There is this energy that I feel every time I step out on stage or into the studio. I feel alive. It’s not for me to keep to myself. I have to share it.” In 2013, Mr. Johnson was appointed as Associate Director of El Teatro de Danza Contemporanea/DC Contemporary Dance Theatre where he has performed a company member for more than 2005, under the direction of founder Miya Hisaka, who is also a former Joy of Motion Dance Center faculty member. “Maurice Johnson defines the word “professionalism” in the concert dance world, not only by what he produces in the studio as a outstanding teacher and performing artist, but as a mentor to the majority of male dancers in the DC metropolitan area,” says Hisaka. “His commitment to excellence in the arts, positive energy and uplifting spirit inspire us all. I am so fortunate to have worked with him for the past 8 years, and now as!!!” His choreographic talents have enabled him to work with the production teams of Michael Jackson, Janet Jackson, Madonna and Paula Abdul among others. He recently performed at the White House with Jennifer Lopez and Marc Anthony. As a performer over the age of 30 in an increasingly youth-oriented industry, Johnson feels the challenges to not only keep current creatively and but also physically, teaching 15 (+) classes a week in addition to rehearsals with DC Contemporary. “I am very blessed as a performing artist at this stage in my life. However, no one can beat time. So, I am mindful to maintain my body, mind, and spirit intact,” Johnson says. “Fortunately, my weekly teaching schedule allows me to maintain a fit and healthy body. At the same time, I am human and enjoy a burger every once and a while. The challenge for still lies in finding that balance between ‘smart’ eating and regular workout. I no longer need to see my leg at 6 o’clock or dish out 8 pirouettes perfectly. Rather I look at performing works that speak to me.”
“As a concert dancer, I have seen many changes here in the DC metropolitan area as well as other places. The biggest change, to me, is that lack of consistency and dedication of dancers to the art. Unfortunately, dance has become more of a recreational form of movement vs a way of life,” he says. “In the 90’s, we danced because it moved our spirits and allowed a certain freedom that couldn’t be contained. Nowadays, true art has taken a back seat to politics and the absence of vision. I have found a home in DC thanks to my dance family who embodied those principles that I first found here in the 90’s.” With that in mind, Johnson continues to vehemently advocate proper technical training and encourages his students not to settle for anything less if they expect to have a successful career in the dance industry. He takes aim the commercial dance world, iterating that while dancing on television, films, commercials, and music videos is rewarding, none of it is achieved without a solid foundation. “Seeing how commercial dance has become, I fear that students are shying away from the technique classes in exchange for something that may be viewed as “fun” or less challenging. Longevity in this business comes by being smart! The body can only take so much “jumping around” without proper training before it decides to stop,” Johnson says. To take a class with Maurice Johnson, check out his class schedule at Joy Of Motion Dance Center @ http://www.joyofmotion.org/ See him perform with DC’s contemproary dance company El Teatro De Danza Contemporanea @ http://teatrodedanza.org/
Johnson is concerned that dance in Washington D.C. is currently shifting away from the view that dance is a pure art form and a way of life, noting that the region is mostly populated by an assortment of dance “enthusiasts,” dance crews, and dance-based workouts.
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Minority Owned Business - Fitness/Massage Therapy Photo courtesy of Ralph Hendersen
Looking For A Massage Dancers? Check out RH Bodyworks! Ngoma Reader sat down with busy DMV therapist and personal trainer , Ralph Hendersen, to ask him a few questions that dancers may want answers to about massage therapy. 1. How long have you practiced massage therapy? As a certified licensed massage therapist and massage business owner of RH Bodyworks, Inc., I have over five years of experience providing in-home and customized massage therapy services to a satisfied client base in the Washington, DC metro area. I strive to improve my clients’ quality of life and to provide excellent customer service. 2. How can massage therapy specifically benefit dancers? Massage therapy can specifically benefit dancers by practicing such services as Swedish Massages to relax the body and help maintain flexibility for good coordination, and relieve stress several days prior to a performance. Also, Sports massages help keep dancers’ muscles toned for strength and stamina and flow of energy while performing by stretching target areas (arms. legs, back, neck muscles and knee joints). On the other hand, a Deep Tissue massage is not good for a fresh injury to muscles due to swelling and inflammation. Benefits will occur later when the body has healed and a dancer is able to respond to massage techniques based on improvement in muscles and connective tissues for a better performance. 3. What the top 5 benefits of massage therapy that people may not be aware of? I find that most clients are not aware of the fact that massage therapy:
4. How often should dancers get massages? A good massage at least once a month is recommended for dancers, but not close to demanding rehearsals and performance day. 5. What top 5 most common methods of massage therapy? As a Massage Therapist commonly I offer my clients the following: Aromatherapy Massages, Deep Tissue Massages, Swedish Spa Massages, Sports Massages and Therapeutic Massages (including Lymphatic Therapy Massages). 6. What makes massage therapy stand out from other restorative practices? Massage Therapy techniques provide continuous benefits of touch, whether treating injuries, tension and stress relief or those in chronic pain. Medical institutions and other restorative practices (such as Chiropractic, Acupuncture, Physical Therapy and Restorative Yoga) are now embracing massage services to help their patients as part of the recovery process and resulting in less prescription use as well. Ralph is the founder of RH Bodyworks, Inc., a professional mobile spa & massage therapy service serving discriminating clients across the Greater Washington Metro Area. He is a certified licensed massage therapist and business owner with over five years’ experience providing in-home and customized massage therapy to a satisfied client base.
Photo by Shawn Short
Helps relieve stress, depression and anxiety
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Helps with immune system enhancement to fight disease, anemia, and fatigue.
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Helpful to possibly reduce high blood pressure resulting in less pain medications. Helps control pain management and chronic headaches. Helpful as a valuable alternative to other specialists in treatments of body and health problems.
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Mall Madness Photographer Jade Enders Concept & Photo Editing Shawn Short Dancers: Dana Pajarillaga Chris Munar Jessica Ellis Contortionist: Judith Ottley Shoot Assistants: Moyston Henry William Willson
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Dancer Spotlight: Durrell Comedy Dancer Teacher Choreographer
Photo Courtesy of Durrell Comedy
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1. Where are you from? Upper Marlboro, MD 2. How old are you and what’s your zodiac sign? 28 years old; Aquarius 3. Where do you dance currently? Limon Dance Company & Washington National Opera 4. What’s in your dance bag? Form roller, tennis balls, Amica Gel, Elastikon, Light, Neosporin, Scissors, Bible, Notepad, Altoids, Therabands, ballet shoes, jazz, shoes, pair of socks, phone charger ;) 5. iPhone or Android? iPhone all the way! 6. Favorite type of music...musical artists? Classical - favorite Composer: Handel 7. Who inspires you in the dance world? Jose Limon, Matthew Rushing, Roger Jeffrey, D. Gary Jeter II, Desmond Richardson
14. Why is dance education so important for the future of concert dance? Dance education allows for students/dancers to have a reference to the foundations and beginnings of dance while, hopefully, creating a platform for students/dancers to be inspired by them and to develop their own artistic/choreographic voice in the process. It creates a place for students/dancers to admire master works while seeing its influence on contemproary works, giving them an opporunity to enhance and extend the legacy of the world knons an “concert dance”. 15. Favorite city you have toured? Zurich, Switzerland 16. Any advice for emerging artists? Don’t be afriad of being your truest self, even if that means you imperfections may in fact be magnified; the moment is all that we have so dare to be intentional about sharing your heart throuh movement in THAT moment. Oh, and use only what you need. Find opportunities where you can use just enough energy for perfromances. You’ll be much happoer at the end of a show ;)
8. Do you have a dance mentor? Matthew Rushing 9. What’s your dream company to work with? I’m workng with them ;) 10. What’s your favorite dance style? Why? Limon; it allows me to express myself in the truest way possible while encouraging lonevity in my career and accuracy in my technique/artistry. 11. Single or Dating? Dating very seriously 12. Him or Her? Her 13. What would be your funniest dance moment? The stage manager forgot to give us our call for places. I wasn’t even fully dressed when I hear d the music of the piece I was perfomring beginning to play. I was late for my entrance and my shoes weren’t tied in time. I had to create a new on the spot all while my shoelaces were undone until my exit, 5 minutes later!!!
Photo Courtesy of Durrell Comedy
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Is Dance Art or Sport? By Roger Lee For my debut article in Ngoma Reader Magazine, I am proud to address the age-old question “Is dance a sport?” I believe that most dance artists would answer “no,” while most citizens would answer “yes.” Thus, I believe that there is no true black or white, right or wrong, answer to the question. My experience has taught me that there is a lot of gray area and interpretation in determining whether or not dance is a sport.
think about contemporary dance. You probably think of unique movement, grace, and emotion before thinking about competition. I would argue that hip-hop dance has much more of a competitive nature than contemporary dance. My examples illustrate how dance as a whole can serve as both art and sport.
According to Dictionary.com, to dance is “to move one’s feet or body, or both, rhythmically in a pattern of steps, especially to the accompaniment of music.” The same source defined sport is “an athletic activity requiring skill or physical prowess and often of a competitive nature, as racing, baseball, tennis, golf, bowling, wrestling, boxing, hunting, fishing, etc.” I find it interesting that Dictionary.com never mentions dance or any other performing art as an example of sport. I think most would agree that dance is an athletic activity, requires some degree of skill or physical prowess, and can be competitive in nature. Although dance appears to fit quite nicely into the definition of sport, many people like to lock dance into the art category. I believe that dance is not strictly art or strictly sport. Rather, it is a fluid, versatile practice that can move (yes, pun intended) in and out of the art and sport categories with ease. Because dance has so many genres, it is impossible to box it into one strict category. Even one dance genre can be viewed as both art and sport. A prime example of this is the classical dance genre known as ballet. On one hand ballet may act as an art form in studios and on proscenium stages. On the other hand ballet may act as a sport when it is the focus of international competitions such as Youth American Grand Prix. This example illustrates how one dance genre, such as ballet, can fit act as both art and sport. While on the subject of dance genres, it is important to note that some are more competitive in nature than others. Think about hip-hop dance for example. While the dance genre promotes self-expression, community, and positivity, it also can be competitive in its freestyle form. Outdoor street battles are rooted in healthy competition where individuals or crews compete against one another in front of a live audience. The energy is undeniable. The crowd is very audible. The competition is intense. Now
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Roger Lee, Photo Courtesy of Roger Lee In closing, I want to pose this question: “Why is it important to label dance as art or sport?” I ask this because far too often people look to put dance in a box. Folks tend to feel comfortable applying definitions, labels, and stigmas to dance. In reality, dance is a lot more complex than we realize. Continued of Pg 27
Dance is constantly involving as a practice. I believe that we as people cheapen dance when we try and define it as art or dance. Why can’t we just let dance be dance? Why not let it manifest itself in a variety of settings, genres, and communities? For folks who love definitions, I would challenge you to look for how dance can be both art and sport. I also challenge you to find the beauty in both artistic dance and competitive dance. Roger Lee is the owner of Roger Lee Dance, LLC, founder of Philadelphia Arts and Entrepreneurship Festival, and author of the Amazon e-book Overcoming Dance Fear. He has been published by Dance Magazine, Dance/ USA, Dance Studio Life, Dance Advantage, The Dance Enthusiast, The Dance Journal, and Arts-Reach. Roger is an adjunct professor of jazz dance at Temple University and on the faculty of The Rock School for Dance Education and Philadelphia Performance Art Center for Kids. Roger’s teaching credits also include Broadway Dance Center, Koresh School of Dance, Kun-Yang Lin’s CHI Movement Art Center, University of Pennsylvania, Drexel University, Ursinus College, and Philadelphia High School for the Creative and Performing Arts. Roger earned his Master’s Degree in Arts Administration from Drexel University and his Bachelor’s Degree in Dance and Media & Communication Studies from Ursinus College. Please visit his self-designed website rogerleedance.com.
Better with Age, Better with Effort By Bernard Gaddis Photo Courtesy of Benard Gaddis Pg 30
Want to be a better dancer? Well, here is
students are spoonfed a hodgepodge of styles. The lack of commitment to a style sends mixed messages to the body—today you turn out and rise, tomorrow you are in deep spirals, heels grounded into the floor. Nothing wrong with cross-training into other styles, but each dancer should have one primary technique from which he or she builds their movement and artistry.
Want to be a better dancer, then you better be prepared to put in the work. No gimmicks. Just plain hard work…and a lot of it!
The tragic result? Dancers move on from these institutions with a head full dreams, but with a body that lacks the strength and stamina to produce consistently on demand. That can be the difference between whether or not you get the job. Years of financial investment are wasted.
a news flash to young dancers everywhere: there is no app for it! There’s nothing you can download from Google Play and iCloud. You can’t touch a button or slide your finger and instantly, the leg goes higher. No, the world of dance is immune to the “shortcut” craze that permeates modern society.
I feel largely blessed in my career to have traveled the world and worked alongside some of the greatest teachers and choreographers in American dance. And with every opportunity, every gig, every position that came my way, the process was the same: have an amazing physique, possess a strong work ethic, be consistent, and stay hungry for information. I don’t like the gym. I’m not particularly moved by the thought of hours spent lifting weights, running on treadmills, or climbing Stairmasters. But I do like looking good. I want to look in the mirror, and like what I see physically. I call it a healthy dose of vanity. So my fitness comes from doing what I love most to do— dance. And I dance hard, full out, every time I am in the studio teaching, choreographing, or rehearsing, whether with my company Las Vegas Contemporary Dance Theatre or as dance captain with Cirque du Soleil. It’s the “full out” that has allowed me to keep my body in performance-ready condition. And at age 44, my 30-year career has seen few injuries; thanks largely to the work ethic instilled in me, from very young age, to perform movement to its fullest extent each time. “Marking” doesn’t exist in high-end professional dance, be it concert or commercial. Yes there are appropriate times when casually going through choreography is acceptable and allowed. It should be for timing, clarity of shapes and lines without exhausting energy, which would be needed for more intense run-throughs. I am increasingly alarmed by the passive approach to dance training that I have observed over the past few years, both in studios and in higher education dance programs where young bodies aren’t being pushed to produce at their maximum capacity on a constant basis. Whether than immersing into a particular technique, which will develop the body in a particular manner,
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The serious contemporary concert dancer should focus on ballet, Graham technique and Horton technique, and avoid those hodgepodge versions of modern dance training, that do little for your technique or your resume. As a director, I look for dancers who not only come in the door hungry, but ones who stay hungry. It shows in their energy, in their mental readiness, rehearsal preparedness, and in their body language. Continuously marking movement speaks to me, or to any director, that a dancer is lazy, and in the long run it shows a lack of respect for the intensity and integrity of the creative process. There are others factors that contribute to performance readiness including eating healthy, crossing training (take yoga, Pilates, or try another dance style that compliments your primary technique). nd get plenty of rest, and living what I call a “life of moderation.” I’m not saying you can’t enjoy a night of drinking with friends or even have a wild night…in like say Vegas. Just let what happens there, stay there. But when you understand that your body is indeed your temple and it is your “moneymaker,” you will be a lot more conscious of the situations in which you place yourself. You are solely responsible for your body, for your technique, and for your artistry! The best person that can invest in you……is you! Bernard Gaddis is the co-founder and artistic director of Las Vegas Contemporary Dance Theatre. He is dancer and dance captain of Cirque du Soliel’s Mystere. LVCDT will perform at Artscape, America’s largest free arts festival, in Baltimore, MD July 17-21, 2014. Performances take place at the Patricia and Arthur Modell Performing Arts Center at the Lyric. For more information, including show times go to www. artscape.org
“But when you understand that your body is indeed your temple and it is your “moneymaker,” you will be a lot more conscious of the situations in which you place yourself. You are solely responsible for your body, for your technique, and for your artistry!” - Bernard Gaddis
Bernard Gaddis is the founder
and artistic director of Las Vegas Contemporary Dance Theatre. Gaddis is currently a Principal Dancer & Choreographer for Cirque Du Soleil’s Las Vegas shows Zumanity and Mystere. Photo Courtesy of Benard Gaddis Dereke in France. Photo courtesy of Dereke Clements
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Community Directory African American 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 www.CachoAfricanDance.org 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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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
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
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 Dance Institute of Washington 5640 Sunnyside Avenue, Fabian Barnes, Suite E Beltsville, MD 20705 Founder and Artistic Director 301-220-1500 3400 14th street NW, Washington, D.C www.makingmovesdc.org 202-371-9656 www.danceinstitute.org Ngoma Center for Dance Dance Makers INC Ms. Robin Angelica Pitts, Executive Director 9901 Business Parkway, Suite L Lanham, Maryland 20706 301-731-0003 www.marylanddancestudio.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
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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A WASHINGTON, D.C. Magazine for Minority Dance (c) Copyright Ngoma Reader 2013 All Rights Reserved