Ngoma Reader Magazine Nov/Dec 2016 by Ngoma Reader

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

Black Girl Joy #Dance Photoshoot

African Dancer & Educator Kevin McKwen Speaks

Dance Journalism on the Rise in DC

AKA & DDT Dancer Jessica Potts Talks to Us About Dance Vision of the Dance Industry in a Digital Age www.ngomareader.org

November/December 2016

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

www.dancemetrodc.org Ngoma Reader Magazine Partner 2

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

Ngoma R eader Editor In Chief/Publisher Shawn Short

sshort@ngoma-center-for-dance.org

Editor Damon Foster

dfoster@ngoma-center-for-dance.org

Contributing Writers and Editors Stephen Clapp Derek Clemente Damon Foster Ingrid Graham Donovan Johnson Tyler Lewis Tehreema Mitha Shawn Short Staff Photographers Jeremiah Jones Jade Enders Shawn Short Sergey Apasov

For advertisement information and news submissions, please email: NRmagazine@ngoma-center-for-dance.org 4

Table of Contents Volume 3 Issue 6 Feature

Dancer Spotlight

Opinion

7 Dance, Steps, and Vision

16 Jessica Potts

By Staff DC African dancer, educator, and historian Kevin McKwen hips us on what African dance needs today.

By Staff

30 Dance Journalism On The Rise in DC

Jessica Potts talks about her inspirations, high heels, and what’s in her dance bag.

12 Vision of the Dance Industry in a Digital Age

Photography Feature

By Shawn Short With so much entertainment “white noise”, dance can move in an array of ways. Shawn explains a few possibilities and a new approach.

20 Black Girl Joy #Dance

By Damon Foster Dance Metro DC’s Dance Journalism Project Director Rachel Turner talks about movement criticism.

By Shawn Short Young African-American girls express and move through the space.

Black Girl Magic #Dance

Kevin McKwen in portrait .(c) Chaplin Street Studio

Kevin L. McKwen Director. Dancer. Educator. Dance Steps, Life and Visions An Interview With Kevin L. McKwen Dance steps, life and visions is a spotlight that showcases “the behind the scene” lens of local DC artists and administrator. Kevin L. McEwen, is a native of Brooklyn New York whose dance focus is with traditional African dance techniques from the countries of Mali and Senegal. His work as a choreographer highlights aspects of social justice, cultural appropriation and ancestral memory, using dance as a creative form of expression. As a lecturer in African cultural dance ethnography, Kevin has presented his research at several conferences, including the Season of Dance in Barbados and the African Theater Associations Annual International Conference in Abjua, Nigeria. Kevin’s tireless dedication to educating and supporting young people created a foundation for him to provide mentorship to four young boys from the southside of Chicago in the groundbreaking documentary, “Walk All Night: A Drum Beat Journey,” which documents the sojourn of these young men back to Senegal, West Africa to study the musical and cultural traditions of the Griot caste of musicians. 1. So where are you from originally? Brooklyn, NY 2. How would you describe the DC dance scene? The dance scene in DC is in flux, just like the city is. You have a trending demographic that is reshaping what the city looks like, which also means that the funding opportunities for artists is starting to reflect that trend. If you look at what DC used to be (Chocolate City), the African American demographic is shrinking, which means that the artistic opportunities for that demographic is also shrinking. 3. What do you feel you bring to the scene? To its history? I bring an understanding of the history of Black dance in the District. A true understanding and appreciation of the Black dance history here in Washington DC, where the documenting of that history is severely understudied.

Kevin McKwen performing (c) Chaplin Street Studio

4. Can you inform us about Rhythm and Dance? Rhythm N Dance is a non-profit organization whose mission is to preserve African diasporic culture through arts education for youth and aspiring artists. We do this in various ways: • Artist Management • Arts Advocacy • African dance workshops • African ethnography lectures Because of the changing environment here in DC, we tend to travel nationally and internationally to enact our programming efforts. In 2016, we traveled to Barbados, Haiti and Nigeria. We are also partners in the creation of the documentary “Walk All Night: A Drum Beat Journey,” which documents our trip to Senegal in 2012. 5. Tell us about your cultural work overseas? As a black man born and raised here in America, I believe that it is essential for me to travel. I am also an aspiring lecturer looking for opportunities to teach at the collegiate level. My research in Black Dance Studies has afforded me the opportunity to travel to many different countries. In 2016, I’ve traveled to Uganda, Barbados, Haiti and Nigeria. As a black man, it’s been an AMAZING journey that has truly catapulted my career. The African Diaspora is truly an amazing concept, however, in order to really grasp its complexity and the dynamics of the artistic aspects of the diaspora, you have to travel. My art as a west African dance educator has truly benefited from the travel opportunities in 2016.

6. How do you envision a African dance scene in the DC area? This is such a loaded question!!! If you look at the African dance scene here in Washington DC, it is still dominated by Traditional West African Dance styles. Guinea, Mali and Senegal. I would like to see other countries from the continent featured. I would also like to see more of an effort to connect the tradition to what’s going on in contemporary African dance forms. I would also like to see more of a connection between the traditional African dance scene and the Jazz dance scene. From a historical perspective, Jazz dance is a Black dance form that has been heavily appropriated. There’s an immense opportunity for the revitalization of the historical connection between West Africa and the formation of Black dance in America and DC should be the nexus for this movement. 7. Is it hard for Kevin to be a creator, administrator and have a social life? Tell us about. YES!!! I have no social life! I’m working hard to change that! I’m so used to working that I don’t take time to relax. I have made it my business to go and work out. That’s extremely important. I use my time to ravel to get some time to relax. I’ll be heading back to Uganda in January, so I’ll use that time to celebrate the beginning of a new year.

8. Do you feel having a company is like raising two families simultaneously? It truly is! No one will understand your vision the way that you do. The expectation in programming is to have some type of weekly class, which shows people that you are active and a viable organization. I’ve always been against that model of programming. I belief that you should have events and programming that is high in quality, not quantity. We can go several months without having a dance class/workshop, but that doesn’t mean that the work stops. In November, we head up to New York City to partner with the African Diaspora International Film Festival for the New York premier of Walk All Night: A Drum Beat Journey. I just did a press junket yesterday for this event. My love for Black culture and the African Diaspora runs deep and Rhythm N Dance is that platform for what I do as an artist. 9. What do you think would add to the enhancement of the DC dance scene? There is a serious need for facilities East of the River in Wards 7 and 8. The challenge is that these facilities should be owned and/ or operated by people who are a part of the same community. You cannot expect to have a successful programming implementation when you have people who are not even part of the community operating programs in communities they don’t have any stake in. 10. Did anyone mentor or assist you for the life of a director? If so who? I had many mentors throughout my years. Assane Konte was a major force in my career as a dancer. I owe everything that I am as a West African dance to him. 10

He was like a surrogate father for me throughout my early years. If Assane is my father in dance, then Dr. Sherrill Berrymen-Johnson (may she rest in peace) is my dance mother! Dr. Johnson was an integral part of me learning how to conduct dance research. She was also my first Dunham technique instructor. Ralph Glemore used to challenge me to be a better choreographer while we both worked at the Dance Institute of Washington, while Medoune Gueye gave me a true understanding of the music behind the dance in Traditional West African dance scene. Then there’s Baba Melvin Deal, who just provides a legendary perspective on history and culture here in DC that has humbled me every single time I sit at his feet and just listen to his words and guidance. 11. Do you feel college aided? What classes if so? My time as an undergrad at Hampton University was brutal. I went to school not having any idea what I wanted to do, but knowing that I had no choice but to go to school. I truly believe that our young people need to be equipped and ready for collegiate study. Just because you graduate from high school, that doesn’t mean that you are ready for college. I truly wasn’t ready. I left Hampton and moved here to DC, where I became a member of KanKouran West African Dance Company. It was a great time in my life as a dancer, but I never finished school until December 2014. My background in Business Management has benefited me in financing projects and initiatives with Rhythm N Dance.

12. What do you wish to do with dance in the new year? More traveling, more teaching, more documentaries! In 2017, I will be taking a group of young performing artists to Uganda to perform around the country. This will be an open opportunity to travel if people are interested, but it is geared towards performing artists. I’m also looking to start a doctoral program focused on an interdisciplinary concept of education. I’m also looking to screen the Drum Beat Journey documentary here in DC. 13. Any upcoming projects? The African Diaspora International Film Festival is featuring the Drum Beat Journey documentary in its New York City premiere on Saturday, December 3rd, 2016. We are also partnering with 54 Kingdoms and their signature event Storytellers In Fashion, which will be the weekend before the NYC screening in Brooklyn, NY. I would love to bring this film to DC, but we’ll just have to see how we can make this happen. 14. If you had to tell a young artist in front of you who wanted to do what you do, what advice would you give them? Be committed to the work. Be committed to your vision. Sit at the feet of elders who have done what you want to do. There is nothing new under the sun. Do your research and find something that resonates with you. Once this happens, go hard and be willing to out-work everyone else in the room! 15. What’s your zodiac sign? Scorpio! I’ll be celebrating my 40th Birthday on November 1st!! #kevat40

Kevin McKwen teaching .(c) Chaplin Street Studio 11

Chasing The Vision of the Dance Industry In A Digital Age By Shawn Short

Social media content fills our monitor screens. Friends text each other to finalize plans. Let’s not forget our need to refresh our eyes on mobile phones consistently, assuring we don’t miss anything; I do mean anything. Entertainment is at the click of a button, and can change with the swipe of a finger. What kind of workplace does that leave for the performing arts? Music met this challenge head on during the days of music sharing software — the late 90’s/early 2000’s. Since then music business models changed, with many artists going independent to survive. Live theater always had film as an alternative, but live theater still survives - mostly. However, with the popularity of hip-hop dance as a new social dance form, concert dance has found it harder to get “butts in seats”. So You Think You Can Dance, America’s Best Dance Crews, Dancing With The Stars, and similar spin-off shows have cultivated new dance audiences. But this could be good and bad. A large marketing reach is always good when the goal is to obtain new potential supporter or patrons. But if everyone can see dance is the streets, what brings them into the theatre to enjoy dance? In the 21st century dance entities finds themselves in a challenging situation: fight strongly for a community-focused operation, creative projects, or an “eco-hub” dance entities. 12

“Dance entities can either be a for-profit or nonprofit businesses, choreographer or a dancer. Let me further explain community-focused operations, creative projects, and “eco-hub” dance entities. “ - Shawn Short The dance industry must evolve in order to survive. Dance entities can either be a for-profit or nonprofit businesses, choreographer or a dancer. Let me further explain community-focused operations, creative projects, and “eco-hub” dance entities. Community-focused organizations are the largest and most popular of dance entities. You can detect them from marketing keywords such as: recreational dance classes, movement classes, community building through dance, etc. Local dance studios can fall into this category. Most times, the focus of community dance organizations are class numbers and marketing reach with dance students being provided exposure; many don’t have highly-qualified teachers nor curriculumbased technique classes. Creative dance projects speak to professional-age dancers producing dance, sporadically throughout a calendar year. With funding and job opportunity being a challenge for many, dancers gather fellow friends and artists to produce dance videos, site specific dance works, and theatrical concerts. For artists these project are fulfilling, and add to their

Photo courtesy of Shawn Short

Dissonance Dance Theatre (c) Shawn Short

performance portfolios in job interims; a small number of artists can sustain a career from these ventures. The first two entities represent most options for the majority of dancers. Nevada hold the highest percentage of working dancers and choreographers in a state’s labor force with 13% (Dept of Labor); less than two percent in any other state. So it makes sense why the abovementioned options are the top two. But what about innovation through risk and creativity? We still need a bright vision for the dance industry to move forward. As a former performer and now an administrator, I’ve observed that an uptick in dance popularity and activity doesn’t always increased longevity and revenue for dancers and choreographers. What’s needed are dance entities I’ve coined “ecohub” dance non-profit ventures. The “eco-hub” dance entity’s mission would be to drive economic growth and job creation through collaboration and innovation in the performing arts sector to develop and exploit new arts project possibilities for local, regional, and national markets. Through 14

collaborative networking of small and large enterprises, academic research organizations, and local government agencies “eco-hub” dance entities would provide a unique hub environment for identifying synergies, creating business opportunities, establishing vibrant learning labs while stimulating innovation. The idea would be foreign to many arts organizations. Most dance models are built around high class enrollment or high cultivation of donorship; not marketplace innovation that comes with great risk. With many business sectors inspired and utilizing new technologies, dance has to create a new model of sustainability that allows mid and smaller organizations the ability to produce professional performances of a grand scale. Society is changing. A child is looking at a dance concert and saying they want to join the profession. Let’s be creative to make their dream a reality.

Dissonance Dance Theatre Shawn Short, Founding Producing Artistic Director

10th Anniversary Season! 12x6

Oct 15 - 16th, 2016 Tickets Starting @$15 8pm/7pm Jack Guidone Theater, Joy of Motion Dance Center, 5207 Wisconsin Ave , NW Washington, DC 20015

WINTERSTEPS WINTE

Jan 21-22nd, 2016 Tickets Starting @$15 8pm/7pm Jack Guidone Theater, Joy of Motion Dance Center, 5207 Wisconsin Ave , NW Washington, DC 20015

Mahogany Strings

February 25th, 2016 $30 General Admission 8pm The Atlas Performing Arts Center 1333 H St NE, Washington, DC 20002

Buscando La Melodia

(Looking For The Melody) March 19th, 2017 Tickets Starting @$15 8pm/7pm Jack Guidone Theater, Joy of Motion Dance Center, 5207 Wisconsin Ave , NW Washington, DC 20015

Black To Silver: STILL

April 22-23, 2017 Tickets Starting @$15 8pm/7pm Jack Guidone Theater, Joy of Motion Dance Center, 5207 Wisconsin Ave , NW Washington, DC 20015

Timeless Dance. Remixed.

*Dates Subject To Change. Please Check Website for current performances.

www.ddtdc.org "One of the 11 small-but-mighty dance companies outside of LA and NYC" - Dance Spirit Magazine (c) Shanathon Photography 15

Photo Credit of Shawn Short 16

Dancer Spotlight

Jessica Potts Dancer Jessica Potts has called Washington D.C. home for five years. A recent graduate of Howard University, the 23-year old is in her second year with Dissonance Dance Theatre, and finally “finding her groove.” She speaks to NR about balancing her dance pursuits and living everyday life. Where are you from? I am originally from West Palm Beach Florida. How old are you and what’s your zodiac sign?

I am 23 years old and I am a virgo !! Where do you dance currently?

I am currently an Apprentice with Dissonance Dance Theatre. What’s in your dance bag?

What’s an Android? lol (She’s an iphone owner) Who inspires you in the dance world? Do you have a dance mentor? Dancers who have technical control and who tell a story or narrative through their dancing. A dancer that comes to mind would definitely be Momo Sakai who is a company member of Dissonance. From day one I have always admired the way she translates movement in her body and how she creates her personal inner narrative. As far as a dance mentor, I would have to say that my mentor is Patrice Clarke. She was the dance director

over the dance ministry at my home church and she was the first one to introduce me to dance. Without her I would have never discovered my love and passion for dance and liturgical movement. What do you love about dance? I love that dance is the evolution of “self”, with every step of my life its internal meaning changes according to my experiences. Before my college experience dance was a form of worship and praise in that my body was used as an instrument in a spiritual experience. This had always been my motivating force until I became a dance major at Howard University. As a student my spiritual experience through dance began to change, because I became overly focused on my deficiencies. I lost track of myself in such a rigorous environment for a bit. I never could relate to the saying “blood,sweat, and tears” until Howard (she laughs). Although, being a dance major tested my emotional, physical, and mental parameters, my evolution of “Self” matured. I fell in love with the fact that dance gave me a sense of power and confidence in being a women of color. Which was a reflection of how I felt about my inner self and my confidence as a black women at the time. Even now as a dancer in the company, Im starting to see growth in my artistry because I am beginning to let go of my inner self criticism and doubt. My love for dance has truly been a journey through all of my experiences, discoveries, and accomplishments at the end of the day, I will never let dance go. What’s in your dance bag?

I usually always pack a light snack like crackers or chips, my heating pad to help warm up my tight back ( I’ve had it for years). My wig named Stacey that I wear to work during the day( She’s fierce), toiletries, water and my cell phone minus the charger ( it’s literally always about to die). What’s your dream dance gig to work with? When I was a student at Howard I use to think that I wanted to dance with Dallas Black Dance Theater in Dallas, Texas. But as of late my vantage point of my “Dream Dance Gig” has shifted. I’m starting to notice things about myself that I never noticed before while I was a student. I’ve always been the type of person that has her hand in a lot of different things; I need more than one thing to stimulate me. I want to do it all. I want to dance, and have multiple sources 17

of income through teaching and owning my own business. So with that being said I’m not sure If I want to dance full-time in the future, but at the same time I also want to maximize my potential. So I’m constantly going back and forth within myself on my next steps within the next three years. So to answer the question I currently don’t have a “Dream Dance Gig” Sneakers, Boots, Chucks, Loafers, or High Heels?

A lady always keeps her heels and standards high. Through my pursuit and membership of my sorority Alpha Kappa Alpha Sorority, Inc., Alpha Chapter, I’ve learned that High Heels are a necessity. Almost all of my shoes are heels, I can’t see it any other way.

How do you envision your dance career over the next 10 years?

In 10 years, I envision myself having multiple dance studios in the Atlanta and DC/Maryland area. I still see myself dancing, but at the same time I also see myself owning my own dance institution and facilitating my own dance conference for liturgical dance. By that time I will build a network of liturgical dance ministries, and my conference will be largely successful and lucrative. My studios will have an abundance of students and it will also have a strong faculty of instructors. Lastly, once all of this is in place I see my career branching off in strategic partnerships with different cultural institutions, and schools.

Single or Dating?

Hmm, I’m slightly dating but I’m finding that it’s very hard to manage with so much on my plate. Between school, work, rehearsals, and the pursuit of my teaching certification, I barely have time to date myself. I might think about it next semester after I graduate and accomplish some of my short term goals. What would be your funniest dance moment?

My funniest dance moment was my freshman year. I was so paranoid that I would miss my 6:30 am dance class, that I would sleep in my leotard and pop up at random times of the night like at 2 am, 3 am and scream, “OMG I HAVE DANCE CLASS!!!”. Every time I did this, it would scare my roommate because I would pop out of my bed out of nowhere. I was so afraid to miss class because I didn’t want to get kicked out of the program. It was so stressful I even would make a mistake and show up to class at like 4 am in a half sleep frenzy. I thought I was running late, when in actuality it was hella early. lol Favorite dance moment?

My favorite dance moment was at Dissonance Dance Theatre. Our Director Shawn Short gave me the opportunity to perform a solo in his work 12 by 6. This solo was actually the longest solo part that I have ever gotten the chance to perform in a professional setting. This is the first time that I have ever danced alone where I haven’t gotten extremely anxious. This time I allowed myself to let go of my inner inhibitions and truly feel the sense of freedom and genuine love for dancing. 18

Photo Credit of Shawn Short

Black Girl Joy #Dance Taken on a day of learning and laughter, these young ladies of Ngoma Center for Dance express their enthusiasm for movement and gleeful expression. Photography by Shawn Short

#Black Dancers Matter Training Equals No Concert Dance Jobs Commentary by Shawn Short

Today we hear and read about Black Lives Matter across social media. With the rise of dance diversity inclusion programs in nationally ranked schools producing concert dancers, more dancers of color are finding places to train and grow. Traditional dance training spaces pump out graduates every year as well.

But where do these dancers of color go? Where are the jobs to sustain them? There is the old adage, “If you build it, they will come.” But will it provide a large enough space for Black dancers? There are new dance initiatives launched all the time, but oftentimes, Black dancers don’t have access to them. Across the United States, there are dance spaces that expose and inspire generations of dancers. Washington, D.C. is no exception. And yet, the number of professional dance ensembles, in DC and nationally, that employ a large number of Black dancers are minimal. There is a need for new Black-managed concert dance organizations and concert dance artist associations. In the United States, there are nine major Blackmanaged concert dance organizations. Of the 138 22

major U.S. ballet companies and twice as many modern/contemporary dance companies, less than 10 percent overall are Black-managed, according to Wikipedia. According to the web article “State of the Arts,” the NEA reports that dancers include the largest percentage of racial and ethnic minority creatives in the U.S.—by far—at 41 percent. The next group after them is “other entertainers” at 27.7 percent. The national labor force’s percentage of minorities is 31.7 percent. Though the article was written in 2011, the marketplace hasn’t changed. African Americans still look at dance as a vocational possibility, particularly concert dance. Secondly, there is strength in numbers. Currently, Black dance on has one association to voice and raise awareness of their concerns. However, I believe that one organization cannot support the diverse population of African-American dance artists. Only through the combined efforts of an association consortium, with strong ties to the various niche styles Black dancers serve, can we really start to effect change. If we don’t find new sustainable Black voices at the table of concert dance, we will continue to have a large demand, no supply and slough of Instagram stars that only gain followers and post tilts.

The Critic Speaks Dance Journalism on the Rise in the Capital An Interview With Rachel Turner. Damon Foster, Interviewer

The DC Dance Journalism Project has a mission to renew the presence of the dance critic within the Washington D.C. dance community. Whether revered or despised, dance criticism has remain a quiet hallmark in the dance world. When mere words can uplift or signal the demise of an artistic effort, DC Dance Journalism Project Director Rachel Turner, opens up on the world of movement criticism. 1) What motivates you, personally, to become a dance critic? How long have you been covering the industry? My motivation for critiquing dance comes from my experiences as a dancer and as a choreographer. I was lucky enough to be reviewed in high school and college dance productions, which I think gave me an idea of the value that a review can bring. As a choreographer, I think that feedback is extremely important. So my own experiences receiving, and not receiving but wishing for, reviews really motivated me to pursue this. I am actually about as new to the world of dance criticism as the DC Dance Journalism Project is. My initial interest in journalism began in high school, where I was a photojournalist for our schoolâ&#x20AC;&#x2122;s paper. In college, I started as a photographer for the Columbia Spectator, but after a year, I decided to try my hand at writing. I mostly wrote for the sports section of our paper doing recaps and a column series about sports science. As director, while I had the great chance to review Dance Theatre of Harlem, I mostly am editing and organizing. I think that my experience in journalism, combined with my years teaching middle school English, have prepared me for the specific role that I have in this project.a 2) Is dance journalism a relic and antiquated? We live in the social media age, where performers can selfgenerate buzz and affirming content about their art and performances. What makes the dance critic still relevant in 2016? I think that it is always important to have an outside, non-biased source providing content about art; while a performer can market themselves, anything they say about their workâ&#x20AC;&#x2122;s quality is biased. That has not changed with the age of social media. If anything, in the age of social media, where anyone can post whatever they want, it can be even more important for the input and clarity of a reputable critic.

I also think that the social media age does not diminish the role of the dance critic as a proxy for the audience. I think that it is so important for dance work to consider the experience of the audience in its creation. A lot of dance stemming from post-modern trends can be very processbased, which I have used in my own work and which I think is valuable. However, I believe that when you ask people to give their time and money to come see a show, there is a responsibility to consider the audience and their experience. This doesn’t mean that art should be created to fit what the audience wants (since often some of the strongest artistic statements reflect what the audience may not want to hear), but that the audience experience is considered at some point in the process. 3) Dance Journalism is such a specific niche. What trends have you observed in the last 5 years? In the last five years, existence of dance critics is on the downswing, and production of art is on the upswing. There is more art being created, but less of it being reviewed. Oftentimes what gets reviewed is the work of established, canonized companies and choreographers, and smaller, newer groups are left out. Additionally, our canon of “high art” has not been kind in general to female artists and artists of color, so I think it is particularly important to try to revive dance criticism to make our dance community more inclusive at all levels. 4) Dance Critics can be revered, feared, hated, and or loved. How would you describe the relationship dynamic between the critic and the performing artist. What gives a critic’s words weight and power? I think that the fact that a critic sat in the audience and experienced the performance gives their words weight and power. The critic is a proxy for each and every audience member, and while their words may not reflect the experience of every audience member, they are still representative of this. I think critics walk a thin line between offering opinion and accountability. I think the critic does have a role of calling someone on what they are not upholding – a ballet company exhibiting poor technique, a self-proclaimed innovative dance group presenting a stale, mimicry of the work of others. I also think that it is valid for critics to offer their own opinion – and this I think is often where some of the labels of “revered, feared, hated, and or loved” come into play. As an editor, I think it is important to justify your opinions and not state them as fact. Of course, the line between opinion and fact is blurry, and even things like technique and innovation that I mentioned in the previous sentence can be subjective. I think first and foremost, that it is important for both the artist and the critic to be open to each other and have respect for each other.

5) In your opinion, what makes a good or bad critic? I think that a good critic offers a combination of description, analysis, and critique of a performance. A good critic can take what the artist created and bring it to their work so that each reader can taste the performance. A bad critic may not do this by either giving too much or too little detail. A good critic is informed about what they are writing about – both through familiarity with the dance world (in this case), reading the program, and approaching a show with an open mind. A good critic is not afraid to express their opinions but is committed to explaining and justifying them. A good critic seeks to express the artistic intent (through background information from the program and description) as well audience experience. A good critic is insightful and brings their own experiences to the act of reviewing. I frequently think about a review that I received on a show that made me, as the creator, think in a new way about my own work. I don’t know how to quantify that in words, but that writer was a good critic. 6) How do you hope to impact the Washington DC dance community with your newly dance journalism project? Why the DC area? How would you describe the state of the DC dance community at large to warrant the need for increased journalism coverage. In terms of impact, I want the Dance Journalism Project to both lift and promote DC artists while also helping artists develop themselves by giving them a look at the audience experience. I have been a part of the DC dance community for about 3.5 years now, and my involvement with this community led me to see this need for more dance criticism. In my observations, it is hard for companies that are not performing in the Kennedy Center or Sidney Harman (or similar big ticket venues) to get a review. Additionally, these venues are frequently filled with touring companies, so at the end of the day, very few DC companies are reviewed, even those that have been around for many years. 7) How did the relationship with Dance Metro DC develop?After I came up with this idea, I approached Stephen Clapp at Dance Metro DC with it. I felt that the DC Dance Journalism Project’s mission fit in with Dance Metro DC’s work as a service organization for dance in the area. This special partnership provides the Journalism Project with a place to host articles that is already known and frequented by dancers, and the Journalism Project provides Dance Metro DC with new web traffic from fans and friends of reviewed performers.

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 32

KanKouran West African Dance Company Assane Konte, Founding Artistic Director P.O. Box 1338 Washingto D.C, 2013 202-518-1213 www.kankouran.org Lesoles Dance Project Lesole Z. Maine, Founding Artistic Director 3802 34th street. Mt. Rainer, MD 240-744-6694 www.ldpdance.org Memory of African Culture Akua Femi Kouyate, Founder MAC, Inc. P.O. Box 50045, Washington, D.C. 20091 (202) 210-7120 www.memoryofafricanculture.org Step Afrika Brian Williams, Founding Excetive Director 133 4th street NE Washington, D.C 20002 202-399-7993 ext. 112 www.stepafrica.org Vision Contemporary Dance Katherine Smith, Artistic Director P.O. Box 48087 Washington, D.C 20002 301.909-VCDE (8233) www.visioncontemporarydance.org Urban Artisty Junious Brickhouse (Founder) 8001 Kennett Street Silver Spring, MD 20910 202-431-4202 www.urbanartistry.org The National Hand Dance Association P.O. Box 70006 Washington, D.C. 20024 www.nationalhanddanceassociation.org

World Dance Companies D.C Contemporary Dance Theatre Miya Hisaka, Founding Artistic Director P.O.Box 9796 Washington, D.C 20016 202-316-5277 www.teatrodedanza.org Furia Flamenco Estela Velez ( Director) Joy of Motion Dance Center 5207 Wisconsin Ave NW Washington, D.C 20015 (703) 568-4404 www.furia-flamenca.com Jayamangala 8600 Waterside Ct, Laurel, MD 20723 (301) 617-2712 www.jayamangala.org Maru Montero Dance Maru Montero, Founder admin@marumontero.com www.marumontero.com Nomad Dancers Christel Stevens( Co Director) Adriane Whalen (Co Director) 4166 South Street, Arlington, Va, 22206 (703) 799-0282 www.nomaddancers.com Silk Road Dance Compay Dr. Laurel Victoria Gray, Founder and Artistic Director P.O. Box 11346 Takoma Park, MD 20913 301-585-1105 www.silkroaddance.com Tehreema Mitha Dance Founding Artistic Director 8509 Pelham Rd, Bethesda, MD 20817 (301) 581-9520 www.tmdancecompany.org

Community Directory Dance Schools and Institutions Angel of Hope Ministries, Inc Rev. Claudia H. Harrison Developing the Physical through Dance and Health Awareness www.angels-hope.org Coyaba Academy Sylvia Soumah, Founder and Artistic Director Dance Place 3225 8th Street Northeast Washington, D.C 20017 (202) 269-1600 www.coyabadancetheater.org Dance Dimensions Dakyia Lambert (Artistic Director) 7979 Parston Dr District Heights ,MD 20747 301-420-1567 www.dimensions-inc.com

Duke Ellington School of the Arts The Davis Center 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

Dance Institute of Washington Fabian Barnes, Founder and Artistic Director 3400 14th street NW, Washington, D.C 202-371-9656 www.danceinstitute.org

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

Dance Makers INC Ms. Robin Angelica Pitts, Executive Director 9901 Business Parkway, Suite L Lanham, Maryland 20706Â 301-731-0003 www.marylanddancestudio.com

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

District Dance Arts Cristine Davis, Director Classes held at the Capoeira Spot 2008 Rhode Island Ave NE Washington, DC 20018 www.districtdancearts.com

Northeast Performing Arts Center Rita Jackson (Founder) 3431 Benning Rd NE Washington, D.C 20019 202-388-1274 www.nepag.org

Divine Dance Institute Amanda Standard, Founding Director 505 Hampton Park Blvd., Suite R Capitol Heights, MD 20743 301-333-2623 www.divine-dance.com

Suitland High School Center for the Visual and Performing Arts 5200 Silver Hill Road Forestville, MD 20747 301.817.0092 www1.pgcps.org/suitlandhs

Beatrice E. Davis-Williams 6218 3rd Street N.W. Washington D.C 20011 202-277-6110 www.thedaviscenter.net Ubuntu Nankama Dance Studio 3802Â 34th Street, Mt Rainier, MD 20722 Words, Beats, & Life Inc. 1525 Newton Street, NW Washington, D.C 20010 202-667-1192 www.wblinc.org Baltimore Area Morton Street Dance Donna L. Jacobs, 3600 Clipper Mill Road, Ste. 108 Baltimore, MD 21211 410-235-9003 www.mortonstreetdance.com Baltimore Dance Tech Stephanie Powell, Director, 5130 Greenwich Avenue (Near Route 40 West) Baltimore, MD 21229 410-233-1101 www.baltimoredancetech.com Connexions School for the Arts 2801 N. Dukeland Street Baltimore, MD 21216 Phone:(443) 984-1418/1419/1420 Fax:(410) 669-4418 www.csfta.org Dance & Bmore Cjay Philip, Director danceandbmore@gmail.com www.danceandbmore.com Coppin State University Vanessa Coles, Chair - Dance Physical Education Complex Rm 212 2500 West North Avenue, Baltimore, MD 21216-3698 dance@coppin.edu www.coppin.edu/dance 33

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Ngoma Reader is looking for committed, and enthusiastic writers to join its team. Is that you?

Ngoma Center for Dance

The Ngoma Reader (NR) is a bi-monthly online publication that gives literary voice to the minority dance artists of Washington, D.C.

Internships Experience the thrill and rewards of working in Ngoma Center for Dance and its programs! Whether you’re a high school student looking for summer employment, or a college or graduate student seeking a substantive internship supporting the arts in D.C., there’s no limit as to how far our opportunities can take you. At Ngoma Center for Dance, you’ll have the opportunity to gain insight into a budding dance organization, explore new career avenues and acquire lifelong skills. Our two programs, (1) Production, and (2) Administration, enable students to obtain job experience in a in the theatre and in the back office. The opportunities are endless—and they all start right here. Begin by finding out which program is right for you, or speaking with our director about an internship with Ngoma Center for Dance and its programs. Contact Shawn Short, Director at sshort@ngoma-center-for-dance.org for more information. Check out more at www.careersushi.com/ngomacenterfordance Ngoma Reader is looking for committed, and enthusiastic writers and photographers to join its team. Is that you? The Ngoma Reader (NR) is a bi-monthly online publication that gives literary voice to the dance artists of Washington, D.C. QUALIFICATIONS: Current major/Interest in Journalism, Communications, dance, or English Strong news judgment Quick and accurate editing/writing skills Thorough attention to detail Knowledgeable in the local DMV dance scene and/or other arts-related events The ability to multi-task with little-to-no supervision

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

Interested writers send your writing sample and resume to: NRmagazine@ngoma-center-for-dance.org (In the subject line type: Potential Writer for NR Magazine) WWW.NGOMAREADER.ORG WWW.NGOMA-CENTER-FOR-DANCE.ORG

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