Ngoma Reader
NR
Mar/Apr 2014
A Washington, D.C. Magazine for Minority Dance
AIN P D A B AIN VS fference! P D O O G he Di T l l e T o How T
DC Hi p-H Female op Dancer s Tak
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Dimension’s Dakiya Lambert Builds A Dream Around Dance
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DC Legend Baba Melvin Deal Speaks On African Dance And Community
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www.ngoma-center-for-dance.org/
- 3 Spacious Dance Studios
- Guest Faculty From NYC & Chicago
- Professional Staff & Faculty
- Classes in Classical Ballet, Beg Pointe Contemporary, Modern, Anatomy, Boys/Men’s Classes, and D.C Dance History
- Before and After Care
Dissonance Dance Theatre Founded By Artistic Director Shawn Short in 2007 Washington, D.C’s Only Black Managed Contemporary Ballet
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Phone: 202-540-8338
Summer Intensive at UMCP’s Dance Department June 23rd, 2014 - Jul 20th, 2014 (4 Weeks) “Thank you so much for allowing my daughter to be part of your program. Dedication, discipline and determination is key for our youth. Please continue to keep us in mind for future workshops.” — LaShawn Lewis, Proud Parent of Jakai’la Lewis, Student of Dissonance’s Summer Contemporary Ballet Program
Audition Dates & Location Jan 25th, 2014 UMCP Dance Dept Feb 15th, 2014 UMCP Dance Dept Mar 8th, 2014 UMCP Dance Dept Apr 5th, 2014 UMCP Dance Dept Apr 27th, 2014 UMCP Dance Dept Dates subject to change.
*Scholarship auditions are Jan 25th & Feb15th The audition is contemporary ballet class conducted by Founder Shawn Short and the cost to audition is $25. View the complete schedule, curriculum, guest teachers and pre-register (strongly encouraged) for an audition online at ddtdc.org/summer-intensive.html
DDT’s Soloists Victor Lewis Jr. and Nikki Jackson
Tuition: $800 Ages 10-23Yrs Old “Washington D.C is a vibrant city full of wonderful art, provided you know where to look for it. One place you should be looking is at Dissonance Dance Theatre under the direction of Shawn Short. Shawn is a very innovative choreographer, and he holds a wealth of knowledge about the performing arts. I had the honor of working for him as a dancer in his company and am so thankful for the experience. I learned so much from Shawn and had a wonderful time working with Dissonance Dance Theatre.” — Shanon Castle, Former Dissonance Dance Theatre Dancer Current Garth Fagan Dance Company
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What’s Inside...The Features Pg. 14 Urban dance in D.C. is no longer a man’s playground. Artists Ebony Hamilton (Picture left), JoJo Diggs, and Anna Mischke talk of individuality and expression
Givi n Dan g That P ce D DaK imen ersonal To iya L si amb ons Stu uch dio o ert wen
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Photo By DJS Photography
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Pg. 9 Stature of a Man African dance legend “Baba” Melvin Deal has navigated his company and school through five decades of transitions in Washington D.C. He shows no sign of slowing down
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Christopher Morgan on choreographic intent and dance
Other Departments/Contributions
Dancer Profile: Dominique Atwood...pg 26 Black History The Plight of Black Dance Entities pg 31 Health: Good Paid vs. Bad Pain pg 34 Opinions The New DC Dance Terrain for Minority Artists pg 36 South Asian Dance in DC pg 37 Viewpoints: Actors and Dance pg 39 Dance Directory: pg 40
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Cover Photo: Dominique Atwood Photography by Shawn Short
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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
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Publisher’s Words Process, process and more process. What is life without constant refinement? Welcome to the Ngoma Reader (NR). This issue speaks to the subjects of choreography, entrepreneurship and careers in dance. 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 speaks to the choreographic process of local choreographers, the career path of an African dance DC legend and entrepreneurs making their mark through dance. Choreographer Christopher Morgan speaks to us about his choreographic process and what he looks for in his dancers. Dance Dimensions studio’s Dakiya Lambert informs us the behind the scene to why she wanted a Horton-based studio. DC African dance legend Baba Melvin Deal, speaks on the ups and downs of African dance in Washington, DC. Theatre dance artists and organization take to the opinion section to discuss Black dance and theatre. Lastly, Kofi Owusu brings our attention to his new production about Black men while female dancers bring light to the DC hip-hop experience.” “ Spring is in full effect with dance across the city especially with the opening of INTERECTIONS Festival! From hip-hop to classical Indian dance to contemporary ballet, the city has much to offer. We hope you enjoy the emerging and new voices of dance artists and get out to see dance arts within March madness during possible April showers.”
Patina Strother and Director/Choreographer Taurus Broadhurst of Taurus Broadhurst Dance
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Shawn Short, Publisher/Editor in Chief sshort@ngoma-center-for-dance.org twitter.com/dissonancedance
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Studio Owner Opens Door to All Written By Damon Foster
From the ripe age of 10, DaKiya Lambert knew what her life path would be—a dance studio owner. The Washington, D.C., native has quietly navigated her school, Dance Dimensions Studio (Dimensions), from its humble beginnings in the back of a storefront building to a thriving competitive local institution, where she says all are welcome. “Dance Dimensions is a place for all people who love to dance,” Lambert said. “We have students ranging from age 3 to 63. From day one, I wanted to make Dimensions a drama-free, family-oriented studio where students could feel supported and encouraged to learn this art of expression.” Now in its seventh year of operation, Dimensions’ enrollment is 250 students. The school enjoys a 8,000 square feet facility with four studios, located in Forestville, MD. Classes in ballet, Horton technique, jazz, tap, and hip hop are offered. Lambert, who holds a degree in engineering from the University of Pittsburgh, recalled the strategic planning she applied to grow her dance business, while it shared space with a daycare and church in Suitland. Initially, much of the expenses she paid out of pocket. “I could not afford a lot marketing in the beginning,” Lambert said. “It came down to word of mouth and just taking dance to the people.” “I had 25 committed students, who would perform in small groups around the community. Anywhere, we could get exposure, we were dancing. Parents and staff wore t-shirts promoting studio. From each event three to four students would want to sign up for classes. I was sending out biweekly newsletters. And we slowly begin to enrollment increase.” Another part of Lambert’s successful formula is what she called the “family factor” and focusing psychological well-being of her young students.
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“Dimensions is a family affair,” she said. “I see these kids as my little nieces and nephews. I want them to feel that personal care when they are at Dimensions. I can remember taking studio classes as a child where teachers would tear down students’ psyches through negativity. It’s a major reason of why I started the school.” To further build students’ mental toughness, and readiness for possible future careers in the dance industry, Lambert begun taking students to competitions—a decision she was unsure on at first. Students compete twice a year in local and regional events. “With the competition dance world, I was nervous. It is known for being brutal, but I knew that our students needed to be more versatile and gain some understanding of what the competitiveness of the industry could be like. I wanted to shake them up, make them think beyond just taking class at Dimensions,” she said. For any aspiring studio owner, Lambert offers this three-point advice: plan for every scenario, put everything in writing and continuous personal development. “As the owner, you want to be prepared for every possible situation that might arise and how you would handle it, especially when working with children,” she said. “When you put rules, regulations, and agreements in writing, they become binding and you alleviate any room for error or misconception.” “Lastly, your business will be direct reflection of you and where you are in life. If you lose your passion, it will show and enthusiasm will diminish in your studio. As owners and/or leaders, we have to keep ourselves refreshed and constantly evolving.” For more information on Dance Dimensions and Dakiya Lambert please vist www.dimensions-inc.com
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African Continuum Theatre Company
Blackbird Griots Engage with the rich, untold legacies of the African-American community in an interactive event presented by this Helen Hayes award-winning company. Blackbird Griots invites the audience to explore family histories through heirlooms and photographs. Scot Reese directs three teams of multi-disciplinary artists, including J.J. Johnson, Deidra Starnes, Jewell Robinson, Jefferson Russell, Patrick Washington of Poem-Cees, Monte Wolfe of Brave Soul Collective, and dancers from Dissonance Dance Theatre in short performances that respond to artifacts submitted before the performances via Twitter @AfriContinuum. Audience members can share additional family stories and artifacts as part of the performance. Learn more at www. african-continuum.org. Friday, 2/21, 7:30-8:30 Saturday, 2/22, 4:00-5:00 60 minutes $17/$11 student/senior For ages 8+ www.africancontinuumtheatre.com
Presented as part of INTERSECTIONS at the Atlas Performing Arts Center, February 21-March 8, 2014 INTERSECTIONS
The Lion Speaks
Legends Spotlight Baba Melvin Deal
“Father” of African Dance in D.C. Keeping Up With the Times
Written By Damon Foster
Two things Melvin Deal loves without equivocation: African dance and the encouragement of the African-American youth in Washington, D.C. And nothing -- not gentrification, eviction, changing times, or age – will keep him from his mission. Affectionately known has Baba (Father) Deal, the 71 year old has taught African dance and drumming in the nation’s capital for more than 30 years – particularly in Wards 7 and 8 where he remains deeply committed to uplifting the community. “A people who know their culture have a future,” he said. “Many of our young people are not excelling because they think they can’t. They do not believe. They have been blithe to the wealth of Black and African achievement throughout the centuries around the world. It is the responsibility of the elders to keep our stories being told and passed out.” A founding instructor of Duke Ellington School of the Arts, Deal’s reputation and accomplishments have earned him both national and international acclaim. Locally, he is credited for performing the first Kwanza ceremony in Washington, D.C., in 1968 and has served as artist-in-residence at every major university in the Washington, D.C. metropolitan area. His institution, African Heritage Center for African Dance and Music (1973) and company Heritage Drummers & Dancers (1959) are cornerstones in the local African dance communities, offering youth and adult classes. Deal described his efforts to keep African culture relevant in the information age as the “race for preservation.” “I feel like the clock is against the people of color in D.C., especially in terms of African culture. And what I mean is that gentrification is real and ongoing in this city.” Deal said. “The Black presence is diminishing. Our young people have so much put before them via internet and smart phones. Some of it is positive. Some of it is negative and distracting. It’s a small window to implant the seeds of African culture awareness in their minds before life and circumstances take over.” Gentrification in Washington D.C. has been taboo topic and a subject of heated debates by local residents over the course of the past decade. It’s no small secret that the nation’s capital, the first to hold a Black majority population, has seen its African-American residency decrease over the past two decades to fewer than 50 percent as of 2011, according to the latest Census figures. Deal has felt the direct brunt of gentrification on his work. In February 2013, his school and company were evicted out their home of five years on Good Hope Road in Anacostia. Despite efforts to raise awareness concerning the looming eviction, the company was unable to raise enough funds to meet higher rent requirements. The company and school now hold classes at the Northeast Performing Arts Group in Ward 7. Sharing space is a far cry from their original 4,000 square foot home, which is now a clinic. Through the ordeal and disappointment, Deal remains adamant in urging Black-owned businesses to fight even harder to maintain their presence, specifically in Wards 7 and 8. “Our people must understand that these proposed improvements, as the investors put it, does not include them. More specifically, developers are not looking to include the preservation of African culture or honor the positive influence it has Black populated communities at present,” Deal said.
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“The more we accept and affirm ourselves in that truth, the more I believe that more people ‘on the outside’ will be compelled to learn and embrace what we have to offer.”
He continued: “I do not call this a White vs. Black issue. There are allies from the Caucasian community who rally and champion the validity of Black culture. And on the other in end of the spectrum, unfortunately, there are those African-Americans who disassociate themselves from their African heritage and/or issues that continue to perplex Black communities in D.C. In the end it’s a money issue.”
Deal asserted that there is no better time for African culture to flourish not just among Black communities but throughout the DMV region. “African culture here in D.C. is alive and strong. We are as much a part of D.C. as politics itself,” he said. “The more we accept and affirm ourselves in that truth, the more I believe that more people ‘on the outside’ will be compelled to learn and embrace what we have to offer.” “The people of color cannot afford to be either insecure or too prideful. We must creatively keep ourselves connected and actively collaborating to those institutions similar to ours who believe in the importance of culture. Afro-Centrism can be clannish and exclusionary at times. If you behave as such, you will not survive.” For now, Deal said he is content with focusing his efforts where his heart lies most—teaching and nurturing the next generation of youth throughout D.C. His classes are every Tuesday and Thursday, 7:00 p.m.-9:00 p.m. at Northeast Performing Arts Group located at 3431 Benning Road NE, Washington, D.C. 20019. He sees retirement nowhere near his future.“Artists don’t retire. We keep creating. I enjoy what I do,” he said.
Pictures: Heritage drummers in concert (left), drum students in studio (above)
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Not a Man’s World Local Female Urban Dance Artists Make Their Own Mark Written by Damon Foster
Hip Hop Dancer JoJo Diggs in Performance
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Rolling with the status quo has never appealed to JoJo Diggs or Anna Mischke—two very different women, who come from very different backgrounds, but share a common love: hip-hop dance. In a dance genre rooted in Black urban culture and music, and historically dominated by men, these ladies are not afraid to be different as they make their mark in the DMV urban dance scene. For Diggs, who is White, hip-hop dance gave her a place to simply be herself. “Even when I was younger, I considered myself to be different from other kids,” Diggs said. “My brother and I attended an all-White private school. Back then, when I listened to black music, it made me just want move, even though I didn’t understand the lyrics and the meaning. W I fell in love with the liberty I felt when the music came on.” Diggs, now a resident of Los Angeles, CA, is the founder of Diggs Deeper, a freestyle jam session where urban dance artists gather to discuss, perform, and celebrate hip music and movement. Diggs Deeper events take place around the country. Recently in Washington, D.C., the event took place at the American Embassy of Dance. More than 100 dancers and enthusiast gathered to local master teachers speak and support selected artists who performed. Diggs, 36, was pleased how the Diggs Deeper has taken off. “I started these gathering because I wanted to help further promote hip-hop dance and provide a place where B-boys, B-girls, poppers, lockers from all different backgrounds could come together and express their love for the music and movement.” Diggs said.
Anna Mischke in performance
“I intentionally did not set out to make this battle or competition oriented. This is all about celebrating individuality in an environment of tolerance, enthusiasm, and acceptance. Never underestimate the power of just being yourself.” Mishcke, who is Asian-American, and performed at the Diggs Deeper D.C. event, said that dance was meant to be a part of her life. Her parents placed her ballet classes at age 3 in honor of her grandmother who was a geisha, the traditional Japanese dancer. But after years of pointe shoes and tutus, the 25 year old longed for what she called a “looser” form of moving, and found her gravitating to popping, an urban dance styled characterized by isolated staccato movements. “I was interested in finding other ways to move my body. Ballet had given me a lot of structured movement,” she said. “I completely submersed myself into learning hip hop styles, going to conventions, workshops, even hanging street crews in Baltimore. I looked for every avenue to get exposed to hip hop culture.” continues on pg 17
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A consultant by day, Mischke credits her ballet training as well as local dancer comraderie for her growth as a hip hop dancer. She hopes to open her studio in the near future. “Being around these amazing artists, I feel continuously motivated to be at my best,” She said. “When it comes to dance, you have to know who are, no matter what genre you are in. You can’t be afraid of change, and you can’t worry about what other people’s tandards regarding your dancing. Find a love for the music , and express what you are hearing.” Thirty year old Ebony Hamilton’s path in dance bares similarities to both Diggs and Mischke. Born and raised in the DMV area, like Diggs, she also currently lives in Los Angeles, and much like Mischke, her exposure to hip hop dance was preceded by years of ballet and modern dance training. “I know I was destined to be a dancer. I come from a dance family,” she said. “My uncles danced for Disney and Broadway. Performance life for me started very early, and although, I feel like I did not a real childhood at times, I am grateful for all those years foundation that prepared me for where I am today.” And where she is today is in demand, as a commercial freelance hip hop dancer and choreographer. Most recently, Hamilton choreographed the opening for the Fantasia/Charlie Wilson tour and does movement for actors training for some of Hollywood’s elite. From East coast to West coast, the Duke Ellington High School graduate is determined to carry her story and her fusion of hip-hop/classical technique to the masses all while balancing motherhood. At 21 years old, Hamilton gave birth to a son, now age 9. He is cared for here in Washington D.C. by Hamilton’s family, while she continues to travel and work. She currently holds ongoing 3-day workshops in eight states at varying studios and communitty centers. At present, while in town visiting her son, Hamilton has been teaching at War Dance Studio in Clinton, MD. She credits her family as major component to her success. “I thank God for the amazing support system that I have. My family rallied around me, recognizing that my burning desire to dance couldn’t be sidelined because I became a mother.,” she said. “I was in dark place arond the time of my pregnancy, espcially after I gave birth. It was through dance that I began to find my way out that depression, learning more about who I am as a person and an artist. It is important to me now that I share my story while helping students share theirs.” As her versatility continues to earn her work, praise, and more opportunity, Hamilton fights being categorized as one type of dancer, asserting that she does not specifically prefer hip hop over ballet or modern dance--each style brings forth a different side of her personality. “Hip hop, I am totally engaged in my aggressive and edgy side. My movement has an attack quality to it. I can be dramatic and raw as I want to be,” she said. “My love for ballet and modern has never diminished. Try to try to categorize myself is like trying to split my spirit. I am dancer. And how the music hits me, I move.”
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Ebony Hamilton
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INTERSECTIONS
Check Out These Shows !!!! Kaution Dance Kru,
The Banji Project! Enter the world of Urban Dance and meet the hottest crews from the DMV when one of DC’s most popular Hip Hop companies fires up the late-night stage. Friday, Feb 21 at 10:30pm, Sprenger Theatre, 80 minutes $22/$16.50 Jayamangala Navgathi - New Directions Experience an exquisite form of Indian dance, Bharatanatyam, interpreted by a company known for its striking visuals and eclectic music. Saturday, Feb 22 at 2:00pm Sprenger Theatre, 60 minutes $22/$16.50 City at Peace In Progress Connect with relevant, revealing and raw original theatre created by students who wrestle with today’s issues through dance, spoken word and music. Sunday, Feb 23 at 3:30pm Lab 1, 50 minutes, Free/$2 service Vision Contemporary Dance Ensemble Heritage Celebration of Praise Joyous young dancers and singers under the direction of Katherine Smith offer a spirit-filled celebration of inspirational music designed to connect and inspire community. Sunday, Feb 23 at 3:00pm Lang Theatre, 60 minutes $16.50/$12 Tehreema Mitha Dance Company BLUE JEANS Classical and Contemporary A South Asian American Dance Company innovatively blends the dance and music traditions of Pakistan, India and the US to present the contemporary immigrant’s journey. Sunday, Feb 23 at 5:00pm Sprenger Theatre, 60 minutes $30/$16.50
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Dance Dimensions
FESTIVAL
Reflections See the world Dance throughDimensions the eyes of talented young dancers whose expressive choreography captures the lives, loves, challenges and bright spirits of young people today. Reflections See the world through the eyes of talented young dancers whose expressive choreography theMar lives, loves, challenges and bright spirits of young Sunday, Feb 23 at 2:30pm, captures Saturday, 1 at 1:30pm people60today. Sprenger Theatre, minutes $16.50/$12 Sunday, Feb 23 at 2:30pm, Saturday, Mar 1 at 1:30pm Sprenger Theatre, 60 minutes $16.50/$12 Taurus Broadhurst Dance The Underground A soulful expression of culture, community, and identity through spirit-releasing contemporary African dance, spoken word by Goldie Deane, and gritty graffiti art by Superwaxx. Friday, Feb 28 at 9:30pm/ Sunday, Mar 2 at 5:00pm Sprenger Theatre, 60 minutes, $27.50/$16.50 B-FLY ENTERTAINMENT The Nayika Project Hip Hop artist Paige Hernandez and Kuchipudi dancer Chitra Kalyandurg fuse dance, theatre and spoken word to give contemporary spin to tales of resilient, relatable heroines from Indian myth. Saturday, Mar 1 at 7:00pm Sprenger Theatre, 50 minutes $16.50/$11 Dissonance Dance Theatre Watch Me Bounce Celebrate America’s indigenous art form of Jazz through a fusion of classical ballet and contemporary dance from last year’s sold-out festival hit company. Saturday, Mar 1 at 9:30pm, Sunday, Mar 2 at 2:30pm Xuejuan Dance Ensemble Two-Way Mirror Perspective-altering dance from an exciting young ensemble inspired by the crosscurrents of modernism and tradition that pulse through contemporary China and the world. Sunday, Mar 2 at 2:00pm Lang Theatre, 50 minutes, $22/$16.50
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Carving His Own Way
Hawaiian Choreographer Christopher Morgan takes some time out of busy schedule to speak to Ngoma about his process in creating work and what he’s currently working on in Washington.
As a choreographer what motivates you? I find that onstage and through movement I can express things that are difficult to say in other ways. There is nuance and subtlety in the moving body in performance that is both known and leaves space for multiple interpretations. This motivates me greatly. I’m always amazed at how strongly body language speaks to all people, everywhere, regardless of cultural or linguistic differences. This is where I think dance possesses endless potential. I am inspired to make dances that reflect the human experience and have meaning, so I usually find inspiration for specific pieces from personal experiences and things I observe around me. For example, my 2004 solo work The Measure of a Man – which I’ll be remounting in May for its 10-year anniversary – is about the ways the definition of being a man has evolved so much, so quickly in recent decades. That evolution makes it difficult to feel like one “measures up,” which is something anyone can relate to regardless of his or her gender. “ Interview continues on next page
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Sometimes my creative process results in a dance that might not be literal or narrative, but is still rooted in the original inspiration. An example of a work such as this is my 2013 piece, Selective Sync. This piece began while I was working on my computer and received the prompt to selectively sync data files. I then began to see this as parallel to how people were selectively relating, or syncing, with one another - an activity that can now be done with the shield of digital media. But looking at the dance in its completed form what one sees is movement, partnering, changing partners, and individual isolation – things I look at as an expression of the original ideas, but those ideas might not be so clear to the final viewing audience. How long have you been creating dances? I was fortunate that some of my first jobs dancing in companies occasionally offered the dancers in the company opportunities to choreograph. So my first works date back to my early 20s when I was dancing with John Malashock and later Liz Lerman in the late 1990s. I also was making work related to various teaching jobs I held, and even got together with friends to self-produce a couple of performances. But it wasn’t until a commission from the Lithuanian dance company, Aura, in 2002 that I really felt like I was a making work. So let’s say since 2002. Did you study choreography intensely prior to producing your choreographic work?
“Though I do think it’s true that there is nothing new under the sun, I want to arrive at my creative thoughts through my own process as much as possible.”
No. I didn’t start dancing until my senior year of high school. While I was in college, studying creative writing, dance quickly became my all-consuming passion. I left university when I was offered my first full time dancing job after my sophomore year. Because of that career path, I did not have a formal education in choreography in terms of a conservatory or degree program. My process was on the job learning and life long curiosity. Observing some of the choreographers I had the good fortune to work with (David Gordon, Liz Lerman, John Malashock, Hernando Cortez, Michael Keegan-Dolan) in their process was my classroom. I started to notice where I understood and agreed with their choreographic and directorial choices, and how and when I would have done things differently. Of course I never said anything when I disagreed! It was just observations I that I began to accumulate. Much of this on-the-job education was happening concurrently with the creation of my early works.
Are you motivated or inspired by any choreographers currently? There are many choreographers whose work I admire. Some of my contemporaries whose work I really am motivated by include Kate Weare and Kyle Abraham; I have a huge dance crush on Brian Brooks, all of whom are friends. I saw Jane Comfort’s most recent performance at ADI and was really moved by some of the imagery and artistic risk she took in it. Necessary Weather by Dana Reitz, Sara Rudner and Jennifer Tipton is a recent viewing highlight. And I’ve always been really moved by Pina Bausch’s work since the first time I saw it live almost 20 years ago. It opened my eyes to theatrical possibilities I couldn’t have dreamed existed until I saw her execute them. In recent years, I’m trying to carefully balance how much I see other work to stay informed of what is happening in the field, without seeing so much that it fills my mind with other people’s ideas. Though I do think it’s true that there is nothing new under the sun, I want to arrive at my creative thoughts through my own process as much as possible. Sometimes seeing a lot of other work can have a strong subconscious influence.
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In this ever changing entertainment business, do you feel any pressure to create art solely for money or do you feel free from the pressure of monetary restraints? I work really hard to quiet what I call “external noise” and listen to my heart, mind and gut. And I say all three of those parts because it is equal parts feeling, careful thought and gut instinct that I try to let guide me. “Quieting the noise”, as I call it, involves not worrying too much about the constraints of fundraising, audience numbers or critics. Of course funds, audiences and critics greatly affect the opportunities one has in the field, but I also have to do the work I believe in. The biggest reward of a life in the arts for me is the art itself. So I have to feel good about the work (or the effort I put into trying to make the best work I can) regardless of monetary restraints. As a minority dance artist, do you feel any responsibility to achieve success for aspiring minority choreographer and directors? This is a timely question for me, as my feelings around this issue have been deepening recently. Last year I was awarded a Native Arts and Cultures Foundation (NACF) Fellowship. NACF fellowships are awarded to Native American or Hawaiian Artists of many different artistic disciplines for their body of work. I was deeply humbled and honored to receive this award amongst a field of many gifted artists. In learning more about the important work the NACF does, I have become more acutely aware of some of the unique challenges native or minority artists face. Things I experienced myself, but sometimes had my nose planted too closely to the grindstone to see clearly. In having a bigger picture of the unique challenges facing minority artists, both personally, and professionally, I do feel a sense of responsibility. A lot of my work as an educator and facilitator is to help others find their opportunities for their artistic voice to be heard. Perhaps something I had not been thinking of until recently is that my own work can be also an example or provide opportunities for others. Yes, I do feel a responsibility. What do you look for in a dancer when you conduct an audition? I often tell college students this tip. When I conduct auditions, I always watch the interactions that happen on the sides and back of the room, or as dancers change groups during the rounds of an audition. I’m looking for dancers that are gracious with their colleagues in the audition process. So much of the work happens in the rehearsal studio, on tour and in residencies, that I want to work with a group of artists who have a generous spirit by nature and from the first time I meet them. I don’t expect that everyone will get along like a family in a company environment – it is after all a workplace – but I don’t want bad attitudes. In a small company, one bad apple really can spoil the entire group. In an audition, you can (sometimes) spot potential problems, and I avoid them. When a dancer isn’t able to give other people the space they need to do their work well in an audition, they are probably not going to make for a great roommate on tour. How do you create when funding is minimal? With a great deal of organization! I have to be clear, decisive and organized when funding is minimal, because less funding translates to less time. I find I have to constantly check how realistic my goals are with the given resources, and re-formulate my plans based on those assessments. Your company is growing with much success; do you feel choreographers benefit more if they have a company? I’m a big believer in the company model. Christopher K. Morgan & Artists operates as a project based company. Within that part time structure, my dancers take class and train together regularly as part of our work. I think the time we spend training together is critical both to my process and to the work audiences see. I also think audiences are incredibly savvy and can tell when people are truly moving together, something that takes time to develop. The time we spend together as a company allows me to develop a short hand in communicating with the dancers. If we are all on the same page, ultimately the work becomes quicker to make. And if we can generate work quickly, we find time for deeper investigation. Having a company also creates community around you.
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The friends and families of the dancers become audience members and supporters. Students develop an interest in being in the company, and that grows other people’s interest in the company. For me, at this time in my life a company is the way to go. That being said, I was also careful to name my business Christopher K. Morgan & Artists, not the Christopher K. Morgan Dance Company. I want to have the possibility to be responsive to changing needs of the organization, creative interests I have or changes to the cultural and funding climate. A company model is not for everyone, and five years from now as I grow and change, it might not be for me. I think what Trey McIntyre is doing in transforming his project after 10 years as a company is bold and wonderful. What are your thoughts about freelancing choreographer vs. being principal choreographer of a company? Honestly, I think you have to be able to do it all. Many of the opportunities I receive as a freelance choreographer are because I am the principal choreographer of a company. The work feeds each other. I think as artists today, we have to constantly assess and re-assess the whole picture; how freelance work feeds work in an organization, how teaching creates opportunities to meet other artists, dancers, designers and audiences, how service for community groups creates connections and opportunities. I try and look at all the work I do with my company, in freelance gigs, teaching at universities or facilitating others as one big organism. Each part is dependent on the others. And there is joy in each part. You have a summer intensive coming up right? Can students learn how to better choreographers if they attend? Tell us about it. The CKM&A Summer Intensive serves many purposes. It is an in depth technical exploration of the ways I create movement and coach technique in my dancers. Several of the company members also teach in the intensive. We will stage existing repertory, but also create some original work on the dancers so they can be invested in the creative process as well. So within that format, I definitely think students can have the opportunity to investigate their own creative process as choreographers through what we do. Where can someone checkout your work live? When is your next show? CKM&A has our third annual Alden Season March 14 & 15. It is a mixed repertory evening, featuring the world premiere of Dissolving, a collaboration with Matthew Cumbie (resident artist of the Dance Exchange) and composer Jonathan Kolm, the company premiere of my 2013 work Selective Sync (which I mentioned above), my solo with live solo cello accompaniment by long time collaborator Ignacio Alcover and my 2013 work Place Names. We follow that performance with our season closing performances at American Dance Institute, which will feature a duet I’m creating on Jonathan Jordan and Corey Landolt of The Washington Ballet, a new trio for the women of CKM&A and the remount of my 2004 solo The Measure of a Man. What working knowledge would you like to impart to new choreographers? I think the value of following your own inspiration can never be underestimated in any artistic endeavor. I’m always wary of corporate mentalities about market research and following audience numbers, critics and trends. I think art making requires freethinking. Some logistical things: be knowledgeable and diverse in your training and artistic and life experiences for the benefit of your craft, remembering what it is like to be a dancer in the room to create a positive work environment, and for goodness sake, pay your dancers every cent you can. It’s up to us as choreographers to change how we are seen in the arts. Funders have to know how much a well-trained, high-quality dancer is worth. If we pour our resources into the artists, the work will be better, and funders and presenters will have to re-evaluate how resources are distributed. In the changing climate of funding, if we as choreographers don’t lead by example in paying our dancers, how are funders ever going to know how important that is?
Learn more about Christopther Morgan at http://www.christopherkmorgan.com/
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Dominique Atwood is in her second season with Dissonance Dance Theatre. Now a first company member, she was featured in Shawn Short’s duet On the Road, along with ensemble works: Burn, Amazon, Breeze and Four Divided by Four. She also performed in Ryan Tuerk’s Scars On My Memory. Dominique is from Dayton, Ohio where she trained at Dayton Contemporary Dance Company’s Jeraldyne’s School of Dance under the tutelage of Dawn Carter, Debbie Blunden-Diggs, Crystal Perkins, Alice Craig, Queala Clancy, and Kevin Ward. Dominique continued her dance studies at Howard University, receiving her BA degree in Political Science with a focus in pre-law. She is the co-founder of the first Contemporary Dance Company on Howard University’s campus, I.AM.WE; working with notable artist Marvin Sapp, Shirley Caesar, Marsha Ambrosius, J.Cole, Raheem Davaughn and Terrence Lee Jones in A Mask For All People. Dominique is a devout Christian and gives God all the praise for her successes. Where are you from? Dayton, Ohio How old are you and what’s your zodiac sign? I’m 23 years old; a capricorn!
(c) Shawn Short
Dancer Spotlight
Where do you dance currently? Currently a company member with Dissonance Dance Theatre. What’s in your dance bag? My dance bag has a theraband, tennis ball, yoga block, icy hot, dance clothes (tights, parachute shorts or pants and leotard), ballet slippers, jazz sneakers and makeup kit. iPhone or Android? I divorced iPhone and married Android. I am very satisfied. Who inspires you in the dance world? Do you have a dance mentor? Shawn Short inspires me in the way he gives back to the youth in the black community. He really takes the time to develop dancers instead of only seeking those who are already “refined”. The training program he created is a catalyst for aspiring black artist in the field of dance.
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My dance mentor, is former Dayton Contemporary Dance Company principal dancer, Deshonna Pepper Robertson. She was my dance instructor, advisor and director of my high-school’s dance program at Stiver School for the Performing Arts. Aside from the physical lessons, she taught me to always remain humble and grounded in my spiritual foundation. What’s your favorite dance style? I don’t have a favorite dance style. However, I gravitate more towards Afro-modern (Dunham) and classical ballet (not by choice but because it provides such a strong foundation). I also really enjoy jazz! What’s your dream company to work with? My dream company right now is Deeply Rooted. This company is not only technically efficient, but spiritually invested in the movement. They make statements and challenge the psyhe pass superficial societal norms. Sneaker, Boots, or High Heels? Boots. You can dress them down or up:) Single or Dating? Single, but dating lol. Him or Her? “Hims” only lol What would be your funniest dance moment? My funniest dance moment is when I was about 4 years old and I was working so hard at my dance recital that my shoe flew right off my foot into the audience. It was classic! My hometown still talks about it today. What is your take on Black female dancers in concert dance and do you feel opportunities are getting better than in the past? I feel like black female dancers are breathtaking in concert dance because of the story they have to tell. The way in which black females move is a reflection of contemporary and ancestral ties that one must understand to have a voice in the field of dance. Black dance is strong, but subtle. I feel like opportunities are there for black female dancers, however it’s up to the individual to meet the demands of the market. It’s possible. Any advice for emerging artists? My advice for young emerging dancers is to first find a loving environment where one can grow and will be pushed beyond his or her comfort zone. I also encourage young dancers to keep a dance journal and document everything! Understand that dance is a journey and like Rome, dance perfection was not built in a day. This profession takes time and consistent investigation in order to determine what does and does not work for self. It’s all a part of the process. Don’t compare, but feed off inspiring energies to create one’s own masterpiece.
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Are you coming to raise your voice? How does Black theatre and dance fit into the framework of our nation’s history and culture? Who are the dominant voices in Black theatre today? What can we expect from Black theatre in the 21st century? This symposium will challenge assumptions about the boundaries of race and allow a diverse collective of students, scholars and professionals to engage in a spirited dialogue about the past, present and future of Black theatre and dance. Sessions will include panel discussions, workshops, performances and explorations of the Black theatre canon from the 19th century through the present day. Lunch is included in registration fee. Pg 28
For more info visit: http://claricesmithcenter.umd.edu/events/2014/black-theatre-symposium Pg 29
Dissonance Dance Theatre
Dancer Auditions
Who: Male & Female Dancers
When: Sunday March 30th, 2014
When/Where: 2:30pm - 6:30pm @ Flashpoint, Coors Dance Studio, 916 G St NW
What to Bring:
Headshot, bodyshot, resume, ballet shoes, and professionalism. Non-professionals auditioning for an apprenticeship can bring a faceshot and clear body picture with a short bio of their dance experience. Dissonance Dance Theatre is looking for dancers who are talented, professional and hard-working. Dissonance Dance Theatre company members receive performance stipends. Apprentices are non-paid positions.
How Much: $20
For More Information Contact: Shawn Short, Producing Artistic Director (202) 540-8338 sshort@ddtdc.com For early consideration, send headshot, resume, bodyshot and video dance link to Shawn Short, Artistic Director, at sshort@ddtdc.com. Put “2014/2015 Season Audition� in the subject line.
Pre-register @ http://ddtauditions2014.eventbrite.com Dancers will participate in a contemporary ballet class.
Vist our website @ www.ddtdc.org
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Ngoma Reader Suppkement - African-American History
The Plight of Black DC Dance Entities
The following information has been taking from the Master’s thesis research conducted by Shawn Short titled “A Change Gon’ Come: A Text on Washington, D.C. African-American Dance History, Typology for Black Dance’s Reconstruction and Advancement in the New Millennium.” Short’s primary research goal was to excavate a historical timeline from the oral histories of DC Black dance elders and peers to archive African-American DC dance historic events. The following pages describe the current state of Black dance entites in Washington, DC as of 2012. The year this research was concluded.
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Executive Summary DC African-American Dance History in Brief: Washington, DC Black concert dance as we know it today, began in the 1930’s under the eye of DC’s first dance business studio owner Bernice Hammond. Washington, DC has a wealth of diversity within its Black Dance community’s history: Social dance/charm school activities that supported Black Greek life of the U Street “Black Broadway”, classical ballet schools that developed artists for Dance Theatre of Harlem and supported a local contemporary and classical repertory company that rivaled Washington Ballet, training institutions that have sent thousands of Black talent across the globe, African and Tap dance community, emerging hip-hop and modern dance entities that are making their mark (locally and nationally).
The Plight of Black DC Dance: 1. Due to many challenges (i.e. Poor personnel, financial management, inferior business education for executives, insufficient leader succession planning and teacher training, ), 63% of dance companies with African-American leadership folded between 1980 and 2000, leaving only 17 out of 27 companies that began establishment in the 1960’s. 2. Currently, there is a dire need for teacher and student training programs in the arts to foster better educators that will inspire a new generation of competent young dance artists. 3. Only 7 out of 35 host dance institutions (20% of total dance entities) support professional African-American dance entities and activities. 4. There are no local African-American managed professional dance companies in partnership with higher education institutions. 5. A Bachelor’s of Fine Arts in Dance is the most competitive dance degree available. BFA dance programs are nonexistent within the city limits of Washington, DC. Howard University has a BFA in theatre with a dance emphasis, but not a degree in dance. 6. Nationally, there is no Master’s of Fine Arts in Dance at a Historically Black College or University (HBCU). However there is a great demand for diverse faculty in higher education dance programs. 7. Minimal representation of African - American dance artists (esp. Black Women), in professional DC dance companies with 1 million+ budgets. 8. In the past 30 years, no new pre-professional dance training institutions with a larger minority population have been produced. The last development of said programs ended in the 1990.
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Black DC Landscape 1.
Currently, African Dance entities have the longest organization life span.
2.
African dance make-up 41%; Modern (12%), Hip Hop (12%), and Classical Ballet (6%).
3.
Youth, community and recreational dance programs are favored amongst African Americans.
4. Only 12% of dance companies reside east of the Potomac River (majority Black demographic); Predominately Black districts/wards. 5. 40% of dance companies reside in Northwest sector of Washington, D.C. (mixed populous). The remaining dance companies are scattered loosely throughout the city. 6. From1932 to 2010, there has been approximately thirty-seven (10 schools, 17 tenured dance companies, and 10 community groups) African-American dance entities in Washington, DC. Prematurely, community groups faded leaving twenty-seven professional Black dance entities.
New Findings 1. Historic events didn’t affect the growth of Black dance entities. The one trend we do see is (highlighted in the 1980s and 2000’s ), when dance is in mainstream marketing, it surges communities to get involved in dance. This becomes a ‘door of opportunity for emerging dance entities. 2. Civil Right’s Baby Boomer generation provided a wealth of resources to the Washington, D.C. Black dance community and their accomplishments stand as cornerstones for Black dancers and choreographers. Yet, the GenXer generation has become less successful in developing and surpassing the Black concert dance accomplishments of the 1930’s-1980’s. 3. Host institutions of dance education that combine dance training best practices, multidisciplinary enrichment and advisement with an entrepreneurial (for profit), operation system is the possible model to develop emerging dance entities; established and young operationally sound dance entities are essential tools to guide a new uprising of Black dance entities in the Washington, D.C. community.
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4. Diversifying the mission of African-American ventures will help to integrate our production seasons and curriculum to not only make us globally competitive and adds value to the larger community (i.e. host an Irish dance workshop, produce a Classical Indian dancer residency at their school, bring in a non-traditional choreographer to set work on an African based company). African-American dance entities can still have Black dance activity as the main focus, however to produce larger revenue streams, we need to utilize our efforts by broadening our ethnic prospect reach. Only then will Black dance entities become programmatically, financially and artistically sound; placing host institutions for African-Americans into view. 5. There are several parent segments all are faced with different challenges and choices. In order for Black dance entities to reach and aid in the majority of Black communities, it must engage religious community, provide affordable services for working families while developing programs that successfully satisfy and connect with the desires of the affluent African-Americans. 6. African-American dance entities can grow and develop in the Washington, DC area. We have surmised that DC is the most “fertile soil” to build new Black dance entities. PG County, Maryland has a growing need for supportive and professional dance institutions to develop its communities. Currently, Washington, DC is equipped to nurture and stabilize Black dance entities through government, business funding, and its diverse outlook on society.
The Good vs. The Bad Written By Damon Foster
Health
Distinguishing Pain Critical to Career Longevity
The thought of any injury could worry the average individual, but for a dancer, just thinking about time “off their legs” can be downright paralyzing. That is according to Kira Davis, P.T., a physical therapist at PhysioDC, who says dancers must constantly be aware of good pain versus bad pain throughout their career. “Dancers should know their bodies, and be anatomically versed to care for their own instrument,” Davis Said. “I find that while dancers tend to be generally aware of how their body is moving, many often ignore the signs of soreness that could be an indication of a more serious issue.” Davis described good pain as the general sensation of soreness or muscle exhaustion (burn) that occurs during physical activity, also known as Delayed Onset Muscle Soreness (DOMS). It can be felt 12 to 18 hours after activity and last up to three days as lactic acid is released from the body. However, Davis reiterated that this kind of feeling should only be felt in a dancer’s muscles, not in the tendons or joints. “Bad pain will feel like a raw, piercing sensation. If this kind of pain occurs during activity or persists afterwards, then it’s not a good sign; especially if felt in joint or tendons. Immediate care should be taken,” she said. But in an industry where careers are short-lived and jobs are scarce, Michelle Sloan, formally of Ballet Theatre, said that dancers are taking a risk by ignoring pain and performing with an injury. “Truth is there aren’t a lot of jobs right now. Only a small percentage of full-time companies can offer health insurance,” she said. “Unfortunately, dancers are seen as easily replaceable, and they know it. If you are not in a full-time company that offers benefits, and/or freelancing than you really have a challenge. But as much as we love to dance, we cannot risk our health in the process.”
“This industry is centralized around body image and dancers “At first, I was petrified. I had just arrived to DTH,” Sloan constantly deal with how said. “I remember when I first felt some pain in my knee in rehearsal. I just ignored it, and kept ignoring it and not seeking they see their bodies, and any help. Then one day my while performing, my knee gave out. I had to take time off now for recovery, but it was absoeven more importantly lutely what I needed physically, mentally, and emotionally. When I returned I was much more focused and clear about why I was dancing.” (to them) how others see Davis said that if dancers think preventively about their traintheir bodies...” ing, then the risked can be reduced their chances of injury. She Sloan, who is the ballet mistress for Dissonance Dance Theatre in Washington D.C., was once sidelined for more than a month with a knee injury while performing Dance Theatre of Harlem. In reflection, she said the time off was the best thing she needed.
named active warm-up, nutrition, and anatomy education as simple steps that all dancers, young and old should practice.
“By active warm-up, I mean exercises that focus more on warming up the joints of the body and not just muscles,” said Davis. “Just sitting in some static pose like a split is not warming up the body. You want blood and oxygen flowing through the body.” The area of proper nutrition and healthy eating has been of hallmark of the dance industry, where performing artists, especially women, battle eating disorders such as bulimia and anorexia. Davis reiterated that dancers must consume calories in order their bodies to handle the physical stress of training and performing. She further highlighted fruits, nuts, vegetables, and lean protein as staples of a dancer’s diet. “This industry is centralized around body image and dancers constantly deal with how they see their bodies, and even more importantly (to them) how others see their bodies, such as a teacher, director or choreographer. And having that right body type can be the difference between getting the job or not. The first thing they must realize that a poorly fed body will not function properly at all.” Lastly, Davis said that in terms anatomy awareness that older dancers fare far better than their younger counterparts, citing that with age, comes experience like having to recover from an injury that in turns makes the individual more conscious of their body structure. Sloan agreed adding that ultimately, just like their artistry, dancers are responsible for their health, and must continuous current on therapy and somatic practices if they expect to add years to their careers. She also heavily suggested cross-training as an imperative measure for dancers to pursue. “In dance, we recruit so many specific, often smaller muscles that need constant care. You have to be finitely aware of how the muscles operate and balance,” she said.” Look outside of your discipline. Check out pilates, yoga, gyrotonics, or gyrokenesis that will focus on repairing muscle and joint imbalances. “I also suggest an alternative outlet for dancers to channel their energy. It can be hobby, another creative interest, or continuing their education. Dance can be all consuming. At some point, that mind needs a break, the body needs a break. Rest will always be critical and the most essential thing dancers can do to extend their careers.”
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NG Opinions The New D.C. Dance Terrain For Minority Artists A new mayoral cycle emerges in the nation’s capital. Neighborhoods have upgraded to include dog parks and coffee shops. But what of the population who just wants four walls and a roof? D.C.’s minority dance community is no exception to this newfound change. It goes without saying that all artists are feeling the crunch: financially, artistically and personally. Minority dance institutions are challenged by a decline in training institutions, professional ensembles, and dance presenter bias. The below information is gathered from Shawn Short’s A Change Gon’ Come: A Text on Washington, D.C. African-American Dance History, a research document surrounding Black dance institutions in Washington, D.C., from 1932 to 2010. Minority dance institutions in Washington have significantly decreased activity in present years; especially AfricanAmerican education and performing dance entities. As of 2010, only seven out of 35 host Black dance institutions (20 percent of total Black dance entities) support professional African-American dance entities and activities. In addition, Black dance entities have gone from 36 to 17 (2010) comprised of ten schools and seven companies. Furthermore, Hispanic concert dance entities remain small with only three recognizable entities (Furia Flamenco, El Teatro De Danza Contemporanea De El Salvador and Maru Montero). Columbia Heights, Adams Morgan and Mount Pleasant have traditionally housed Hispanic residents. These communities, coming from various Spanish speaking areas, can build bonds through cultural exchange. Dance is one aspect that is important in all minority societies. Unfortunately, Dana Tai Soon Burgess and Dakshina Dance Company Asian concert dance entities inside the Washington, D.C. city limits. Both companies have a tenure of ten plus years. Where are the emerging Asian artists? Why have these organization closed their doors? Gentrification? Funding? Organizational infrastructure? No one will know exactly. However, there has been an increase in fiscal year 2013 arts funding; causing two grant seasons in the same year. Why is this funding not increasing the number of minorities telling their stories through dance? The democrats, republicans and liberals are not the only ones fighting for viability. With the millions of dollars in tourism coming into Washington, there should be a larger community of minority-managed dance entities. It all comes down to opportunity and resources. Who really wants to further minority dance entities in Washington, D.C.? Anyone in D.C. can see that the terrain is changing commercial; presenters hold the power to shape the cities arts landscape...not individual artists. Currently D.C.’s dance scene is annually divided into the following programming: VelocityDC (Oct), Modern Moves Festival (Jan), Intersections (Feb/Mar), Source Festival (June), Capital Fringe Festival (July). The most lucrative and diverse festival for minority dance entities is Atlas Performing Arts Center’s Intersections Festival. Other festivals provide either less monetary return or minority visibility. Don’t get me wrong, any performing opportunity can be a great thing if you are “just” looking to perform. However, in order for minority dance organization to increase in Washington versus migrating to Maryland or Virginia the artist cannot be viewed as just an act but as partner. Minority dance entities can assist in their growth through creative economic development through professional development, host institutions and engendering artistic projects.
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Many minority-managed dance entities have fewer resources. But this should not be a hindrance to annual growth. D.C. government has a vast amount of resources for “small business owners/manager”. Yes I said small business owners/managers. Minority dance entities must see themselves as senior management of their organization. That means learning additional skills to secure and advance their respectable organizations. Second, look beyond project-based work sometimes. Short-term projects are less expensive, yet thinking long term will provide several “projects” annually; creating “seasons” vs. gigs. This does not go without struggle, challenges, sacrifice and sleepless nights. But, what you will create is a hub for minority activity that will increase the visibly and demonstrate the viability of minority dance companies in the city. With this newfound activity, creative commerce is created. Ancient Greek fabulist Aesop’s phrase “United we stand, divided we fall”, says it all. Minority dance entities need to find one or two projects a year to partner with a fellow minority-managed organization to build stronger communities. With more minority dance entities creating dialogue around arts and community, the more stakeholders wanting to see a positive change where they live. A change will come.
Got A News Submissions? Please email: NRmagazine@ngoma-center-for-dance.org Subject Line: News Article
South Asian Dance in DC Written By Tehreema Mitha
It was in 2000 while putting up audition notices in several dance studios in the Washington, D.C. metropolitan area that I was astonished to discover that I was the first person to set up a professional audition for a South Asian Dance Company. Fourteen years later, I know for sure that there is no real concept of a dancer here in the “Indian Dance” community. Most of the Indian dance companies that operate in the area – and much of the country – are really dance schools that produce their own shows once or twice a year; student’s shows that are labeled as professional performances. For these shows the teacher usually produces mostly traditional dances set to music that actually has been recorded at shockingly low rates in India with religious choreography that has been passed down several generations. Or the teacher will book the Indian musicians, who travel to the U.S. every year to make the bulk of their year’s earnings, with back-to-back shows in the season. If anything new is performed it’s often through the use of commercially produced music for which no one dreams of asking permission for or paying royalty to use. The auditorium is usually booked by the parents or with their funding and the families spread the word. The costumes and jewelry for the students are bought from India by the parents and the tickets for the show are divided amongst the parents and sold out by their families. The Indian dance tradition also fosters a bond to the teacher that implies disrespect if a dancer chooses to move on to dance with someone else.
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All of this makes it difficult for most girls trained in “Indian” classical dance forms to imagine applying for an audition with a dance company. They have no idea what it really means. And with the background their training provides, prima donna attitudes develop early. Competing for trained dancers, funding, resources and audience with companies like this makes it truly difficult to run a professional Indian dance company where the responsibilities and the risks are on the company itself – and where we strive to work with local musicians and pay our dancers. This is an important challenge not understood by presenters or funders either. Since the teachers at these institutions do not have the typical financial burdens that a professional company has, they are always willing to do a show for free for anyone who asks and have their dancers perform under any conditions. The parents are happy to see their daughters dance and the students themselves are ready to jump at any occasion that allows them to dress up and show off their skills. It is no wonder that to get a professional contract signed and ones’ fee paid by most of these inquiring organizations is like getting water out of a stone. As a company that is secular in its values, it is difficult to initially engage Indian communities that are tightly bound to their area of origin, language and culture in the “old country.” South Indians go Photograph by Aabvaan Barron for Tehreema Mitha to see Bharatanatym; those from Orissa prefer to only see Orissi, Dance Company from, The First Rush and The Middle of etc. The Sri Lankan Tamil dancers Bharatanatym is not accepted Forever. by South Indians as “authentic” and the Pakistanis, while copying obscene Bollywood dances at their own functions, only want to Tehreem Mitha is the Founding Director of see Kathak because they have been hoodwinked into thinking it is Tehreema Mitha Dance Company. TMDC is known a “Muslim dance.” for its signature presentations: starting with dances from its Classical Bharatanatyam repertoire, it Mimicking the titillating and anything but subtle movements from steps forward with its “Bridging items”, and then Bollywood, a lot of young men and women think they are doing moves to the Contemporary work. Modern Asian dance. That one can have an actual contemporary technique is not something that is understood. Alien,TMDC is a mulit-cultural 501-c3 Dance too, is the idea that to choreograph at a higher level, particularly Company registered in Maryland. when venturing into unknown waters, there needs to be a deeper understanding of rhythmic complexities, raagas and, yes, actually Please visit www.tmdancecompany.org for more having something worthwhile to say in a way that no one else has, information. is helpful. In addition, the slotting of our dance by most presenters as “ethnic” because they have never bothered to ever come and really watch a performance and you have an obstacle course to run. Asian Pacific week is not the only time to call us to perform. We are Americans, and our dance is as much a part of this culture all year round as is our daily existence.
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VIEWPOINTS By: Valeka J Holt
The stage is bare. There is no set, script, costumes, props, furniture, or lights. It’s just you, your breath, and your fellow theatre artists. What do you do? Should you relieve the pressure by trying to be inventive and force creativity, or should you surrender to the circumstances and enjoy the empty creative space and trust that there is something more interesting than your own ego and imagination? Viewpoints encourages performers to trust the idea of letting something happen on stage without having to force “it” to happen. The energy and drive to create comes from the other artists and the physical world around you. Viewpoints strips away the barriers performers put on themselves. There is no good or bad; right or wrong. There are only endless possibilities and choices that guide performers to a new way of living on stage. As an actress, I’ve noticed that theatre is the only art form that doesn’t encourage its constituents to pursue lifelong training. Once your training is finished, it’s as if a magical wand has been waved, and actors are given superpowers to tackle the whole canon. Musicians are encouraged to practice; dancers continue training to strengthen their core and techniques; writers write; painters paint; and singers sing. But what about actors? The question is: If actors are not working on projects, what can they do to continue to develop and hone their skills? It is only through Viewpoints training and composition work that actors in DC will develop skills that build ensembles and teach them how to collaborate to create story bound work in time and space using the viewpoints of: tempo, duration, kinesthetic response, repetition, shape, spatial relationship, gesture, topography, and architecture. When I first started Viewpoints training it was difficult for me to allow my body to relax and wait for something to happen outside of me. I always felt the need create provocative situations. However, the more I trained the more I understood that the less of me I presented, the more interesting I became. In this way, I wasn’t interested in what I was doing, but I was invested in, and curious about, the people and space around me. It opened my body up to a new kind of expressive movement. My body began moving and reacting to sounds, and making shapes in response to my environment. I began to explore each viewpoint individually to understand more deeply what is underneath . I had the opportunity to play Hippolyta in A Midsummer Nights Dream at the Will Geer Theatricum in Los Angeles, which is an outside venue. I was having difficulty figuring out how Hippolyta moved in this aristocratic Athenian world. One day before rehearsal I discovered that I could use viewpoints to create gestures and movement for this character. By using the viewpoints of shape, gesture, repetition, and kinesthetic response I began to observe the world around me that was already created. I began to mimic the way branches swayed and had kinesthetic responses whenever I heard birds soar above the stage, and before I knew it, viewpoints aided me in creating a vocabulary for Hippolyta’s movement. I came to rehearsal prepared and ready to move in a new vocabulary that only playing in time and space could have created. The connection between movement and theatre is important and should be revered as a necessity for actors while training. Dancers understand the significance of telling stories with their bodies by making shapes and having great spatial relationships. Actors too should be in tune with their bodies to help generate organic blocking and beautiful pictures. When actors are not in tune with their bodies they run the risk of not being able to tell a story at its highest artistic level.
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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
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
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
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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
Dissonance Dance Theatre Founded By Artistic Director Shawn Short in 2007
Washington, DC’s Only Black-Managed Contemporary Ballet
Summer Intensive at UMCP’s Dance Department June 23rd, 2014 - Jul 20th, 2014 (4 Weeks) Classes in: Contemporary Classical Ballet Boy’s/Men’s Class Beg Pointe & More Audition Dates & Location Jan 25th, 2014 UMCP Dance Dept Feb 15th, 2014 UMCP Dance Dept Mar 8th, 2014 UMCP Dance Dept Apr 5th, 2014 UMCP Dance Dept Apr 27th, 2014 UMCP Dance Dept Dates subject to change.
*Scholarship auditions are Jan 25th & Feb15th The audition is contemporary ballet class conducted by Founder Shawn Short and the cost to audition is $25.
www.ddtdc.org/summer-intensive.html
Tuition: $800 View the complete schedule, curriculum, guest teachers and pre-register (strongly encouraged) for an audition online at ddtdc.org/summer-intensive.html Summer Program is 80 students total.
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