NGOMA READER
NR
NOV/DEC 2014
A WASHINGTON, D.C. Magazine for Minority Dance
Vjuan Allure speaks about his journey from Vogue to Music Producer Dry Needeling? Ask PT Danelle Dickson Fantasy Hair with Stylist Didi Green Gain Skills to Help You hire your dream desire to design your next dance studio! Maverick Lemon talks about living his Dance Dreams to the Fullest Dissonance Dance Theatre Sneak Peeks at their first Story Ballet!
www.ngoma-center-for-dance.org/
Dissonance Pg 1
Dance Theatre
Founded By Artistic Director Shawn Short in 2007
Washington, DC
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What’s Inside...The Features Hairstyling: Local stylist Didi Green shows how to make fancy for the season
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His Feet Don’t Fail Dancer Maverick Lemons discusses finding balance between perfomance, teaching, and everyday life
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Their Words, Their Dance Sons of Freedom Dance Ensemble offers a creative alternative for urban youth
Pg. 10-14 (Center) A Place to Call Home Dancer, Choreographer, and Designer Tony Thomas lay out the how to’s in acquiring and designing a dance studio
Other Departments/Contributions
Dancer Profile: Katie Argueta...pg 23-24 Photography Special Dissonance Dance Theatre premieres first story ballet pg 15-22 Health and Beauty: Hair Corner pg 25-26 Dry Needling: Does it Work? pg 29-30 Dance Directory: pg 29
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Pg. 7-9 Making You Feel the Music Washington D.C.’s own “pied piper” DJ Vjuan Allure speaks on the evolution of his music from the local LGBT Ballroom scene to international dance halls.
Cover Photo: Coralynn Shiefelbein and Moyston Henry, Jr. of Dissonance Dance Theatre Photography and 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 advertisement information and news submissions, please email: NRmagazine@ngoma-center-fordance.org
Publisher’s Words Welcome back to the Ngoma Reader! The Ngoma Reader (NR) is a Bimonthly 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. In this issue, voguer and music producer Vjaun Allure tells us about vogue and how his fantastic dance music has helped vogue to spread throughout the world. Equity dancer Tony Thomas enlightens us. This time he introduces us to his interior design business by helping readers find the perfect building and designer for a dance studio! Still performing and teaching, National Opera and Philadanco veteran Maverick Lemons tell us what inspires him. In addition, Dissonance Dance Theatre celebrates its first story ballet with photography in “A New Door Opens To A New Future” featuring this season’s dancers. Danelle Dickson informs us about a new medical process that can aid dancers called “dry needling”. Let’s not forget Sons of Freedom and how founder Brian Harris provides a voice to urban boys. Need a hair idea for your next project? Didi Green of Networkhair shows us how to do a fantasy look. Lastly, DDT trainee Katie Argueta talks about dance in her “Dancer Spotlight. 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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American Embassy of Dance Presents
For The Love of Dance 2nd Annual Gala November 7th, 2014 7:00pm - $30.00 - Black Tie Affair Featuring D.C.’s Own NAG Champa Issac Adjetey, Djmebe Returning DJ C-LO! Host/Artistic Director Joseph M. Webb Guest Artist Performances Raffle Prizes and More 4908 Wisconsin Ave N.W. AEDANCE.DC@Gmail.com 202-537-3333
Vogue To the Beat:
An Interview With Vjuan Allure By Donovan Johnson Smoke, lasers and pliable bodies adorn the room as infectious dance beats fill the air. A creative yoga class in Dupont Circle? No, this is glimpse into the underground world of the LGBT ball culture/ballroom scene. According to Pultizer Prize winning author Michael Cunningham, gay ball culture has been in existence since the 1930s. Grooving to the beats of house music, ball culture arrived in Washington, D.C. around 1960. There have been DJs who have etched a name for themselves as “pied pipers.” These individuals brought crowds of people onto dance floors around the city and inspired creativity to the beat of the music. In the 2000s during the decline of ball culture music innovation, one dancer stepped off the dance floor and into the music studio to enhance the sound. A man who keeps the vouguers, poppers, and house dancers moving: Vjuan Allure. Vjuan Allure graces Ngoma Reader with a quick interview the ballroom scene, voguing, and his music. 1. State your name and what you do? I am Vjuan Allure, and I am an international recording artist, DJ, remixer, producer, radio personality, and club promoter. 2. Now, how long have you been getting the “the children” to “twurl?” I began making music for my friends in 1998/1999 and then it just went out of control! 3. Vogue is a dance style. But it’s much more than that. Do you agree? Vogue to me is total artistic freedom, I have been in love with dancing since I was a child, I thrived on dancing in competition, and once I found vogue it was eye opening – a neverending, always evolving, and creative form. It was life-changing and refreshing! 4. Do you feel vogue has paved a way for more people to
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listen to house music? Vogue is primarily done to house music. Now it also depends on what style of House music is being played. It needs feeling and energy. A lot of people are getting into the music (mine included) because of what they have seen on Youtube or other sites where our music is the backdrop. So that answer would be yes. 5. Has dance music changed since you were young? House music to me has changed – it has evolved, but the spirit of house has not changed – the love of dance, the love of the beat, the release. It’s how the beat is presented. Of course, there is good and bad music out there as there has always been, but good house music, as with all genres of music, really is out there. 6. How would you feel you have contributed your talents to urban dance styles? I made a genre for a culture that had no music of its own. That culture was not being represented within the current music at that time. I literally made and gave them a whole soundtrack without realizing it. I’ve inspired many DJs and producers domestically and abroad to do what they do. Voguing beatz are now highlighted at fashion shows, record remixes, and international dance. I am invited to not only play for the vogue portions of these competitions, but for many other categories because the contestants love the music I spin. 7. Where are you from? Originally, I was born in Puerto Rico; moved to New York City and New Jersey; to Naples, Italy; Washington, D.C.; back to Naples; and then back to D.C. It’s a lot, but all of those places I call home. I have been influenced by each place musically as well. 8. Is there anyone else in your family who’s in the music industry? Yes there are a few in hip hop. No one in house though. I’ve also had some members involved in gospel music as well.
Vjuan Allure spinning the music. Photo Courtesy of Vjuan Escobar
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9. Are you still “cutting a rug” on the dance floor yourself?
14. Any words of wisdom for aspiring artists who want to produce music for dance?
I get out there and do my thing from time to time, but since I am booked a lot I tend to be in the DJ booth most of the time. I still do my moves from there; it always happens.
For someone who wants to produce music – do you. What I create – my beats – are all an extension of who I am. This is what is inside of me, not something I saw or heard and said “oh maybe I can recreate it.” The music that I produce is what I feel, a reflection of what I see, and what I envision – it all comes from me. I don’t follow trends, rarely listen to anyone else who makes tracks because I don’t want to be influenced by what’s out there. I truly beat my own drum. This is what sets me apart, and this is what will set anyone wishing to do their own productions apart as well.
10. How many countries do you think dance to your remixes and tracks? There are so many now that I have lost count. I can say my music is international. I have had people contact me from all over the world thanking me for my music and what I do. It is really heartwarming. 11. Any upcoming projects we should look out for? I have 3-4 EPs in the works right now, tons of remixes coming One in particular I am very happy about: an artist from the R&B group Klymaxx – Miss Bernadette Cooper! We connected and collaborated on a remix for her song “Diva Savior” – which is hot and hilarious when you catch the lyrics in a fierce way! 12. Would you say the ball scene is growing or still the same as when you were first introduced to it? The ballroom scene is still growing. It is so international now. It is the internet that is connecting us overseas as well. The underground ballroom dancers re holding major functions overseas and they are also venturing to the states to participate in balls held here! It’s exciting to see this happening. 13. How would you describe the voguing and the ballroom scene in the Washington, D.C., area? There is nothing like D.C. It is the home of some of the most influential and top competitors in the ballroom scene. The amount of creativity, talent and energy in this area is astonishing and I am proud to be here with them. A lot of vogue’s style and changes have happened due to the talent in the D.C. area so vogue is definitely something to take seriously here. As a matter of fact at one time you couldn’t come to D.C. and think you could get away with voguing here and not be from this area. That was not going to happen, but things have changed for the better and DC is still hot!
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Photo Courtesy of Vjuan Escobar
For more on Vjuan Allure visit the following websites: Vjuan Allure DJ/PRODUCER/REMIXER/ARTIST www.vjuanselitebeatz.com www.facebook.com/vjuanallure www.angelsoflove.com www.usualsuspects.us www.twitter.com/vjuanallure www.linkedin.com/vjuanallure
Dance Blueprints
Finding a Designer and Space for a Dance Studio Written by Tony Thomas
Photo by Shawn Short
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To the right, Bobbitt entertaining students at Adventure Theatre-MTC Photo courtesy of ADMTC
“You must find your niche market, paired with the perfect location – all while keeping in mind your brand identity. What building should you look for? A converted old church, warehouse, single store land plots, shopping center spaces, basements of homes? The choices are endless.” - Tony Thomas Pg 12
There are many factors to be considered when starting or relocating a dance school. Though it’s not an easy endeavor, the process and results can be quite rewarding if properly planned in detail. Throughout your process, you will need to constantly ask yourself a series of questions as you explore your personal needs as an entrepreneur. Believe it or not, considering your personality type, business sense, life stability, income requirements, investments, willingness to commit, and (most of all) passion for dance and the business should weigh quite heavily on your decisions. Beyond the obvious decision to launch a dance school, location is everything! It’s one of the most important decisions you will make in your process. You must find your niche market, paired with the perfect location – all while keeping in mind your brand identity. What building should you look for? A converted old church, warehouse, single store land plots, shopping center spaces, basements of homes? The choices are endless. You also want to consider parking, safety, building sightline, nearby business amenities and competitors, and the overall safety and make-up of the neighborhood. Is the space you are considering zoned for your intended use? If you aren’t comfortable searching for your perfect dance hub on your own, it may be best to consult a commercial real estate agent that will ease the process. A designer, architect, or real estate agent can clarify a building’s intended use and zoning. I’ve consulted with many dance school clients and have learned that nowadays more and more people are basing their space needs on how many students they actually need to maintain a successful dance school location and income. One of the biggest mistakes in planning your space is not planning for enough. The majority of the building or location space should be directed towards maximizing actual studio(s) space for instruction. Then you must consider the lobby, office space, storage, bathrooms/changing, possible retail, and hallway space. With respect to actual dance studio space, here is the general rule we use in my design development: The minimum space requirement per dancer plus instructor is 36 square feet. So for instance, if you want a class size of 12 students, then you’ll need a minimum of 468 square feet. If you want classes of up to 20, you’ll need approximately 756 square feet. Within this range, I usually focus the circulation and adjacent considerations mentioned above around 1,500 square feet/min. The average build-out cost can range from $30$55/square feet.
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Your location and/or lease may carry heavy stipulation or other specific requirements for building out. Every school founder’s dream for their school is different. Depending on how large of a school you desire, you can range from an extended space off your home or to a warehouse size academy. Your business plan will determine your scale and scope. If you’re consulting a designer or architect, not every design professional has the same skills and abilities. To get the results that you anticipate, it is essential that you take the time to research and review each choice, to consider the best match for your design needs. Before starting, make sure that you completely understand the work, budget, and location you want the design professional to work in and the quality you expect. Even though most designers and architects are fully educated and may have a degree or two, in some cases, they can still operate unlicensed within their jurisdiction. Not all states carry the same business status requirements; nor do they all require a design professional to be licensed. If the professional isn’t licensed, it doesn’t necessarily mean they aren’t fully capable of designing your project. In this case, it may be even more beneficial to check business references, corporate resume, and personal project experience. An accredited design professional will have qualified for and passed the National Council for Interior Design Qualifications (NCIDQ) exam, which sets the minimum standards for professional practice. Accredited interior designers are often members of the American Society of Interior Designers (ASID) or International Interior Design Association (IIDA). Some members use the appellations ASID or IIDA after their names, which signifies that they have passed the NCIDQ exam. Architects will sometimes display AIA (American Institute of Architects) after their names. Because every state is different, if essential for your project, contact the licensing authority to check a license status and history by the name of the business or design individual. One of the best ways to verify if a designer’s skills and aesthetic style matches your needs is to conduct a portfolio review or review of their website. The work speaks for itself. Of course you want to choose someone reputable, that already catches your eye, and with whom you share a desired design style. But also think about their level of experience and resources in completing this type of commercial design. Ask yourself, can this designer execute your vision within the given budget? Your design should be smart, sleek and efficient. It should cater to the profitable studio brand you are seeking to build.
When using a designer or architect, the cost can vary depending on the fee structure they choose to implement. A few common fee structures are hourly rates, cost by square footage, and a flat rate depending on the overall project load. Hourly rates can range from $25 to $125/hour or more and can very easily fall within the same price range per square foot. The variance comes with the designer’s level of experience, the size and scope of the project, and the level of detail that is required within the design. For some dance school business ventures, if you happen to be a non-profit organization, there are numerous local, state, and national grants and programs that can assist in building your perfect dance school. Weather your just starting a community studio or growing an arts organization, taking the time to find the right designer can save you time and money. With the right investment you can use your newfound energy for your next performance! Tony Thomas is a New York based Interior Architect/Designer/Performer who has spent most of his life performing on stages and teaching across the nation and abroad. He graced the stage for the first time at the tender age of 8 and has been adorning the globe with his artistic fervor ever since. In the midst of his travels and performance career, Tony began to develop an admiration for grand spaces, exquisite fine furniture, beautiful lighting, and urbane details, all of which would go on to heavily define his style of design. A Bachelor of Science with a final focus on Interior Architecture, this master artist has experience in residential, corporate, and environmental settings. Tony set his design foundation in contracted experience under MCG Architecture, W Hotels, St. Regis Hotels, Wetzel’s Pretzels and many others. To contact for further design consultation, visit Tony Thomas Designs @ www.tonythomasdesigns.com Studio image by Shawn Short on location at the Clarice Smith Performing Arts Center, University of Maryland College Park.
Ngoma Center for Dance Trainee Sunday Program Now till Apr 2015! Open Enrollment! $500 a month (Partial Scholarships Available) Designed to further the training of interested dance artists, the Trainee Program nurtures and develops dancers between the ages of 15- and 23-years-old who are interested in contemporary and classical ballet forms of dance. Selected trainees have the opportunity to perform at community engagements, artistic events and Dissonance Dance Theatre productions. Alumni of the Trainee program are now in college programs, community dance programs, summer intensive attendees and members of Dissonance Dance Theatre. Selected trainees are provided scholarships for classes and workshops. Contact Director Shawn Short at sshort@ngoma-center-for-dance.org or 202-540-8338. Ngoma’s Trainee program conducted through faculty from Dissonance Dance Theatre! www.ngoma-center-for-dance.org
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A New Door Opens To A New Future D.C.’s only African-American managed contemporary ballet
Dissonance Dance Theatre, begins its 8th season, featuring Vampire Suite its first story ballet. Photography by Shawn Short
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DDT Dancers rehearsing Vampire Suite (From Left to Right) Shannon Evans, Katie Argueta, Coralynn Sheifelbien, Chanel Smith, Christina Presti
DDT Dancers rehearsing Vampire Suite (From Left to Right) Christina Presti, Moyston Henry, Jr., Katie Argueta, Shannon Evans
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DDT Dancers Coralynn Sheifelbien and William Wilson reheasing Vampire Suite Duet
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DDT Dancer William Wilson rehearsing solo in Vampire Suite
DDT Dancer Shannon Evans rehearsing solo in Vampire Suite
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DDT Dancer Shannon Evans rehearsing solo in Vampire Suite Pg 19
DDT Dancers Coralynn Sheifelbien and William Wilson perform Vamire Suite duet in Dance Noir
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Left DDT Dancer Coralynn Sheifelbien perform Vamire Suite solo in Dance Noir
Below (Left to Right) DDT Dancers Chanel Smith, Coralynn Sheifelbien and Christina Presti perform Vamire Suite in Dance Noir
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DDT Dancer William Wilson performs Vamire Suite solo in Dance Noir
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Dancer Spotlight: Katie Argueta Dancer
The newest trainee to join Dissonance Dance Theatre’s Katie Argueta is stunning and eager to dive into new works. She stops to answer some questions around her life and dance. 1. Where are you from? Southern Maryland. 2. How old are you? What is your zodiac sign? 22 & Taurus. 3. Where do you currently dance? I am currently dancing with Dissonance Dance Theatre!
11. What would be your funniest dance moment? I was a dancer in a cabaret show for about 2 years and had to wear heels for most of the numbers. We would joke that it was totally inevitable that all of us girls at some point would trip over ourselves or roll our ankle the wrong way in these heels during our sassy choreography, completely throwing off any fierceness we were giving. We’d call it a “shwank” moment and whenever anyone would “shwank” on stage it was so hard for everyone to keep it together and not burst out laughing.
4. What’s in your dance bag? Pointe shoes, ballet slippers, fuzzy socks, energy bars, a water bottle, an iPod and headphones, a million bobby pins, and lip gloss. 5. iPhone or Android? Team iPhone! 6. Who inspires you in the dance world? Do you have a dance mentor? I find inspiration from companies such as Cedar Lake Contemporary Ballet and Dana Foglia Dance. I love watching their edgy work. The ballerinas I’ve always been inspired by are Polina Semionova and Sylvie Guillem. Watching them always made me focus on my technique to become a stronger dancer. 7. What’s you favorite dance style? Why? Contemporary ballet. I like anything that is unique and fierce while incorporating classical ballet technique. 8. What’s your dream company to work with? It has been a dream of mine to dance for Cirque Du Soleil. I am obsessed with Cirque and so drawn to their artistic vision and style as well as the stories they’ve created.
Photos Courtesy of Katie Argueta
9. Sneakers, Boots, Chucks, loafers, or high heels? Heels, of course! 10. Single, Dating, Married? Happily married!
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Hair Corner Stylist Didi Green gives us Fall and Winter fantasy looks to try at home!
FALL Fantasy :
Style :
Tools: Wig Cap(Geisha Style with bun and bow) Accessories ie; ‎plastic or real flowers, bows ,barrettes Hair or Bobby Pins Comb Brush Hair Gel or Pomade Hair Spray CREATIVITY!
*Section a diamond shaped ponytail right below the crown.. comb perimeter hair down.
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*twist ponytail into a bun and pin. *‎Positon and shape wig cap on top of the bun and pin into desired shape. *Begin to pin perimeter hair into desired shapes and curls covering the top section of the wig cap..making diagonal sections.
*‎Pin the front section last.. design front to facial shape.. *Add accessories and secure with pins.. Check for any loose sections and secure with pins.. Finish style with holding or shine spray.. **1940s makeup styling completes this models look...
Winter Fantasy : Tools: Wig Cap (Geisha style with bun and bow) Accessories ie; Christmas Tree ornaments, bows ,barrettes Hair or Bobby Pins Comb Brush Hair Gel or Pomade Hair Spray CREATIVITY! The same steps apply for this look with a few twists. *Section a diamond shaped ponytail on top of the head with the point starting in line with the arch of the eyebrow comb perimeter hair down. *Place and shape wig cap in desired shape and pin.. *Pin perimeter sections completely covering the wig cap..Pin front section last for desired shape for a hanging fringe or side bang. *Add ornaments and/or accessories secure with pins. *Check for loose sections and secure with pins.. Complete look with selected makeup style. Hair and Makeup: Didi Green for #Networkhair Model: #Networkhair Member Mandy B. Bethesda Location: Eyma Salon and Spa DC Location: Vera’s Barber and Beauty Salon Website : www.styleseat.com/networkhair Instagram: Networkhair1 Twitter: @didigreen Networkhair Pinterest : Didi Green for Networkhair
Photos Coutesy of Didi Green
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Photos Courtesy of Maverick Lemon
Dancing Full Throttle
DC dancer finds balance between teaching and performance By Damon Foster Maverick Lemons is a man on the move…literally. Whether he is dancing at the Kennedy Center Performing Arts Center with the Washington National Opera, teaching his signature jazz classes at Joy of Motion Dance Center, or taking singing lessons, the 35 year-old is determined to dance at his fullest at all times. “It’s important to me now at this stage of my career to max out my possibilities. I want to dance where I can dance, and teach where I can teach,” says Lemons. “There’s a lot left that I want to experience. Whether performing or teaching, dance gets me outside of my comfort zone. It constantly informs me what I need to improve to sustain longevity, be it technique, rest, or shifts in my diet.”
“I remember fluctuating back and forth between business and dance majors. By the end knew that dance was where my heart was.” Throughout his college studies, and following graduation, Lemons danced for well-known Philly companies Eleone Dance Theatre and Philadanco. Upon leaving Philadanco in 2009, Lemon took up teaching, moving to Washington D.C., where he currently teaches at Joy of Motion Dance Center. He prefers to take a “handson” approach when teaching. “I like to have a certain personal connectivity with my students. I think it’s critical especially in terms of teaching dance. This involves not only touching and correcting lines, but really helping students feel comfortable with their bodies and how to move them across the floor. Dance can still be very intimidating, but the rewards are worth the effort. I try to create a safe environment in the studio so people feel free to let go of their fears or inhibitions, and just move,” Lemons said.
The Brooklyn, NY native is currently cast in the WNO’s latest opera Giacomo Puccini’s La Boheme, which tells the story of young bohemian struggling to fulfill their dreams, find love, and stay warm through the harsh Parisian winter. The production premieres at the Kennedy Center, November 1-15, 2014. Lemmon, who also performed in the WNO’s Showboat in 2013, relishes being on one the world’s most premiere stages. “It’s just an incredible and humbling feeling, when I think about all of the greats who have performed on that stage,” He says. “La Boheme will be an amazing show. The cast is diverse and talented. The scenes are visually rich. I think audiences will enjoy it.” Lemmon’s dance journey began while attending Cardinal Spellman Catholic School in Brooklyn where his participation in a tap dance intensive workshop got him noticed as a “natural mover”. He would go on to study at the Harlem School of the Arts. It wasn’t until his college years at Temple University in Philadelphia, PA, that Lemmon solidified dance as his career path, although he graduated with a business degree. “It’s necessary in this day and time to always have a skill set that you can fall back on. I think that’s absolutely critical for artists especially. Yes, we want to make a full living with our craft, but so many times that is not the immediate reality.” Lemons said.
Photos Courtesy of Maverick Lemon
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Dry Needling tell me more.. By Danelle Dickson PT, DPT, OCS Performance Plus Physical Therapy Most people hear needles in a medical setting and go running for the hills. Of those that don’t mind them, it is still not a popular choice. The fact is that when most people think of therapeutic interventions - needles don’t come to mind. So why would anyone in their right mind try Dry needling? Hopefully this article can bring some answers to light! Well first of all what is dry needling? Dry needling, or Intramuscular Manual Therapy is an invasive procedure in which a filiform needle is inserted into the skin and muscle directly at a myofascial trigger point. A myofascial trigger point consists of multiple contraction knots within a muscle, which are related to the production and maintenance of the pain cycle in musculoskeletal injuries. Dry needling is a relatively new technique but has shown considerable successin the orthopedic rehabilitation world. The concept was first introduced by Dr. Janet Travell in the 1940’s. Dr. Travell used the term “dry needling” to differentiate between two hypodermic needle techniques when performing trigger point therapy: the first used an injection of a local anesthetic and the second involved mechanical use of a hypodermic needle without injecting a solution. Dry needling was later used to identify intramuscular injection without local aesthetic to address trigger points: not limited to use of the hypodermic needles but also incorporated smaller filiform needles. So next question - what about Acupuncture? What’s the difference? These two techniques are superficially similar but vastly different in theory, philosophy and application. This is also a controversial topic debated due to differing opinions on the scope of practice. Acupuncture in based on Eastern medical diagnosis requiring training in Traditional Chinese medicine, whereas Dry needling utilizes . Acupuncture targets meridians versus trigger points in Dry Needling, and utilizes many assessment techniques and treatments used in Eastern medicine, including but not limited to herbs, nutrition, psychology, tongue and pulse diagnosis.
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Most importantly - how can it help me get back to class or stage? Dry needling can quickly resolve increased muscle tone, pain and restore function associated with many repetitive overuse injuries, such as patellar tendonitis, Achilles tendonitis, Calf strains, and quad strains. Patients usually see a quick resolution to pain and dysfunction affecting their daily lives. Dancers can specifically benefit from using dry needling to quickly get them back to class and stage performances when they find a limitation in their ROM/ flexibility or injury preventing them from performing. Specifically in the case of an acute injury or chronic pain cycle preventing full performance, Dry needling is very useful in breaking the pain cycle and returning dancers to full function. Prior to the application of a dry needling treatment, a complete physical assessment must be performed to determine candidacy. There are varying diagnoses which can cause pain and dysfunction - and this technique provides a way that affected muscles can be treated invasively and more directly. Benefits include decreased pain, improved range of motion/flexibility and function affecting the immune, inflammatory, biomechanical, vascular and neurological systems. Most diagnoses can benefit from this procedure, but your physical therapist will determine if you are an appropriate candidate. Dry needling is performed mostly by physical therapists. It is important to get a full assessment to see if this particular treatment would be beneficial to you. The District of Columbia and Maryland both have direct access laws that allows you to see a physical therapist directly for 30 days before requiring a script from a referring physician: after this time a physician’s order is required. In Virginia - a prescription is needed to initiate Physical Therapy treatment. If you are specifically looking for a dry needling treatment, ask your physical therapist about how it can benefit your particular injury and get you back on stage!
“Dry needling can quickly resolve increased muscle tone, pain and restore function associated with many repetitive overuse injuries, such as patellar tendonitis, Achilles tendonitis, Calf strains, and quad strains.� - Danelle Dickson
Ms. Dickson has worked in educational development serving as a mentor and clinical instructor to local Physical Therapy Students and performed research in the Dance medicine field. She has also presented research at local (APTA) and international (IADMS) conferences on dancers, and has additionally published her research with JDMS in 2012 (Comparison of Functional Ankle Motion in Dancers) . At present, Ms. Dickson works with a variety of diagnoses including common orthopaedic and sports injuries, including post-operative conditions. She specializes in working with dancers, and works with local dance population in the tristate area taking care of their injuries.
Clinic Info: Performance Plus Physical Therapy 1712 Eye Street NW, Washington, DC, 20006 (240) 292-9512 physiofitness5@gmail.com
Bio Danelle Dickson, a graduate of University of Delaware, and has over 8 years of clinical, research, and administrative experience in physical therapy sports and orthopaedic fields. Ms. Dickson has a manual osteopathic approach to patient treatments, with an emphasis on bio-mechanical analysis, correction and return to function. She has been trained in manual based courses such as Institute of Physical Arts and St. Augustine courses and received her Board Certified Orthopedic Clinical Specialist certification in 2012.
Founded and opened in March 2014, Performance Plus Physical Therapy is a boutique Physical Therapy practice with a unique focus - one on one care and return to function. It is designed for the active patient that is goal oriented and wants to get back to regular life. Expect personalized care, individualized attention and a faster return to life as you know it.
Ms. Dickson also has an extensive Dance background. She started dancing at age three, where she was formally trained in classical ballet, modern, and jazz. She later became involved in traditional African dance, and performed continually in a variety of local dance and theater productions in her native Trinidad and Tobago. Danelle continued to dance in the US, becoming an active member of the Morgan State Dance Ensemble at Morgan State University in Baltimore, MD. She later joined the Rod Rodgers Dance Company in New York City, and briefly worked with several dance companies in the DC and MD area. She has been the recipient of scholarships to attend summer intensives at Ballet Hispanico and Alvin Ailey American Dance Theater (AAADT), both based in NYC, and has fused her passion for dance with her career as an orthopedic physical therapist.
Performance Plus Physical Therapy provides physical therapy services to all sports, orthopedic and performing arts populations. From post-operative patients to executive assistants, to ballet dancers to trapeze artists, we have the recipe to help you perform better! Contact us at (240) 292-9512 or physiofitness5@gmail.com to set up an appointment. Weekend hours also available!
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Little Feet, Big Leaps
Urban boys find their voice in D.C. dance ensemble
integrity, discipline, honesty, cooperation. Even further, because boys tend to be more kinestic learners, dance becomes a viable tool to help enhance their critical thinking, and problem solving skills,” Harris said.
By Damon Foster Brian Harris is an idealist with one mission on his mind: to positively affect the lives of young African-American boys by way of dance. Through his Washington D.C.based youth dance ensemble, affectionately entitled Sons of Freedom Dance Institute, Harris is determined for the stories of young Black boys to be told. “It’s not enough to just have sympathy and a concerned heart. Action is required. Our young men are falling due to neglect, miseducation, complacent and deviant behavior, especially in urban areas like Washington D.C.,” Harris says. “The issues, and their causes, are nothing new, and it takes a consistent effort to even make a dent. My consistent effort is dance—to use movement to create material that speaks to the concerns and needs of young black boys. The stories are theirs, and the stories are real.” For Harris, the love of dance extends beyond stage performance. Born and raised in Pittsburg, Penn, the 33 year-old, calls his path in dance non-traditional and has chosen to focus more on the educational benefits dance. He started Sons of Freedom in 2010. “I honestly did not see myself has becoming a dancer or a dance educator for that matter,” Harris said. “Growing up, my family was into the arts. It was important for the children to have that culture awareness and experience. I have always had a love for dance, but having a passion for education and becoming a school teacher, I have come to identify more with how dance can enhance the learning process, specifically amongst children, even more specifically amongst young African-American boys.” Harris is the Dean of Fine Arts at William E. Doar, Jr. Public Charter School for the Performing Arts, the only arts focused elementary/middle school in Washington D.C. Several Sons of Freedom members attend the Doar Charter School. Harris, who teaches both visual arts and sees himself in a unique position to not only incubate artistic inspiration, but also enhance academic achievement by what he calls character education. “Purpose of Sons of Freedom is not just about teaching dance technique, we strive to instill moral values such as
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Brian Harris, Director For 9-year-old Isaiah Cole, participating in Sons of Freedom, gives him a place to just be himself, which he says can be hard to do sometimes. He is in his fifth year with the ensemble. “It’s hard sometimes when you feel like to have to act like everyone else to get them to be your friend,” Cole said. “I love that I can just be myself when I’m dancing and not think about trying to fit in or be like someone else. I learn different genres of dance being in Sons of Freedom. I can see my future in dance.” Trevon Davis, 13, is in his third year with Sons of Freedom. An eighth grader, also at Doar. Davis hopes to attend Duke Ellington School of Arts, located in northwest Washington D.C., and also hopes to become a professional dancer. He appreciates the bonds he’s making at Sons of Freedom. “I first like that we are taught to take responsibility for our actions and choices. Secondly, I like that we are encouraged to look after each other, to be concerned for each other’s welfare and not just our own. Finding that kind of real brotherhood seems rare for boys our age.” Images Courtesy of Brian Harris Image to the right: Member of Sons of Freedom
Community Directory African-American Managed Dance Companies African Dancers and Drummers Melvin Deal, Founder 1320 Good Hope Rd Southeast Washington D.C 20020 202-399-5252 www.facebook.com/africanheritagedc Cacho Dancers and Drummers Bonita Cacho, Founder/Artisitic Director 202-607-0164 Coyaba Dance Theatre Sylvia Soumah, Founding Artistic Director 3225 8th Street Northeast Washington, D.C 20017 (202) 269-1600 www.coyabadancetheater.org Dissonance Dance Theatre Shawn Short, Founding Artistic Director Resident Company of Ngoma Center for Dance
P.O. Box 2377, Washington D.C 20013 202-540-8338 www.ddtdc.org EdgeWorks Dance Theatre Helanius J. Wilkins, Founding Artisitic Director P.O.Box 73396 Washington D.C, 20056 (202) 483-0606Â www.hjwedgeworks.org Farafina Kan Mahiri Fadjimba Keita, Founding Artistic Director 3802Â 34th Street, Mt Rainier, MD 20722 http://www.farafinakan.com Just Tap/Sole Defined Quynn Johnson, Ryan Johnson Founding Artistic Director www.quynnjohnson.com
World Dance Companies KanKouran West African Dance Company Assane Konte, Founding Artistic Director P.O. Box 1338 Washingto D.C, 2013 202-518-1213 www.kankouran.org
D.C Contemporary Dance Theatre Miya Hisaka, Founding Artistic Director P.O.Box 9796 Washington, D.C 20016 202-316-5277 www.teatrodedanza.org
Lesoles Dance Project Lesole Z. Maine, Founding Artistic Director 3802 34th street. Mt. Rainer, MD 240-744-6694 www.ldpdance.org
Furia Flamenco Estela Velez ( Director) Joy of Motion Dance Center 5207 Wisconsin Ave NW Washington, D.C 20015 (703) 568-4404 www.furia-flamenca.com
Memory of African Culture Akua Femi Kouyate, Founder MAC, Inc. P.O. Box 50045, Washington, D.C. 20091 (202)210-7120 www.memoryofafricanculture.org
Jayamangala 8600 Waterside Ct, Laurel, MD 20723 (301)617-2712 www.jayamangala.org
Step Afrika Brian Williams, Founding Excetive Director 133 4th street NE Washington, D.C 20002 202-399-7993 ext. 112 www.stepafrica.org Vision Contemporary Dance Katherine Smith, Artistic Director P.O. Box 48087 Washington, D.C 20002 301.909-VCDE (8233) www.visioncontemporarydance.org Urban Artisty Junious Brickhouse (Founder) 8001 Kennett Street Silver Spring, MD 20910 202-431-4202 www.urbanartistry.org The National Hand Dance Association P.O. Box 70006 Washington, D.C. 20024 www.nationalhanddanceassociation.org
Maru Montero Dance Maru Montero, Founder admin@marumontero.com www.marumontero.com Nomad Dancers Christel Stevens( Co Director) Adriane Whalen (Co Director) 4166 South Street, Arlington, Va, 22206 (703) 799-0282 www.nomaddancers.com Silk Road Dance Compay Dr. Laurel Victoria Gray, Founder and Artistic Director P.O. Box 11346 Takoma Park, MD 20913 301-585-1105 www.silkroaddance.com Tehreema Mitha Dance Founding Artistic Director 8509 Pelham Rd, Bethesda, MD 20817 (301) 581-9520 www.tmdancecompany.org
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Community Directory Dance Schools and Institutions Angel of Hope Ministries, Inc Rev. Claudia H. Harrison Developing the Physical through Dance and Health Awareness www.angels-hope.org Coyaba Academy Sylvia Soumah, Founder and Artistic Director Dance Place 3225 8th Street Northeast Washington, D.C 20017 (202) 269-1600” www.coyabadancetheater.org Dance Dimensions Dakyia Lambert (Artistic Director) 7979 Parston Dr District Heights ,MD 20747 301-420-1567 www.dimensions-inc.com Dance Institute of Washington Fabian Barnes, Founder and Artistic Director 3400 14th street NW, Washington, D.C 202-371-9656 www.danceinstitute.org Dance Makers INC Ms. Robin Angelica Pitts, Executive Director 9901 Business Parkway, Suite L Lanham, Maryland 20706 301-731-0003 www.marylanddancestudio.com District Dance Arts Cristine Davis, Director Classes held at the Capoeira Spot 2008 Rhode Island Ave NE Washington, DC 20018 www.districtdancearts.com Divine Dance Institute Amanda Standard, Founding Director 505 Hampton Park Blvd., Suite R Capitol Heights, MD 20743 301-333-2623 www.divine-dance.com
Duke Ellington School of the Arts Charles Augins, Dance Chair 3500 R street NW , Washington, D.C 202-282-0123 www.ellingtonschool.org Howard University Theatre Arts Dept - Dance 2400 Sixth St NW, Washington, D.C 20059 howarduniversitydancemajor@yahoo.com 202-806-7050/7052 www.coas.howard.edu/theatrearts/dance Jones-Haywood Dance School Saundra Fortune-Green, Artistic Director 1200 Delafield Place NW Washington D.C 20011 202-441-1099 www.joneshaywood.com Making Moves Dance Collective Inc Amber L. Comer, Artistic Director Kellie N. Sellers, Artistic Director 5640 Sunnyside Avenue, Suite E Beltsville, MD 20705 301-220-1500 www.makingmovesdc.org Ngoma Center for Dance Shawn Short, Founding Artistic Director P.O. Box 2377 Washington D.C 20013 202-540-8338 www.ngoma-center-for-dance.org Northeast Performing Arts Center Rita Jackson (Founder) 3431 Benning Rd NE Washington, D.C 20019 202-388-1274 www.nepag.org Suitland High School Center for the Visual and Performing Arts 5200 Silver Hill Road Forestville, MD 20747 301.817.0092 www1.pgcps.org/suitlandhs
The Davis Center Beatrice E. Davis-Williams 6218 3rd Street N.W. Washington D.C 20011 202-277-6110 www.thedaviscenter.net Ubuntu Nankama Dance Studio 3802 34th Street, Mt Rainier, MD 20722 Words, Beats, & Life Inc. 1525 Newton Street, NW Washington, D.C 20010 202-667-1192 www.wblinc.org Baltimore Area Morton Street Dance Donna L. Jacobs, 3600 Clipper Mill Road, Ste. 108 Baltimore, MD 21211 410-235-9003 www.mortonstreetdance.com Baltimore Dance Tech Stephanie Powell, Director, 5130 Greenwich Avenue (Near Route 40 West) Baltimore, MD 21229 410-233-1101 www.baltimoredancetech.com Connexions School for the Arts 2801 N. Dukeland Street Baltimore, MD 21216 Phone:(443) 984-1418/1419/1420 Fax:(410) 669-4418 www.csfta.org Dance & Bmore Cjay Philip, Director danceandbmore@gmail.com www.danceandbmore.com Coppin State University Vanessa Coles, Chair - Dance Physical Education Complex Rm 212 2500 West North Avenue, Baltimore, MD 21216-3698 dance@coppin.edu www.coppin.edu/dance
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