NGOMA READER
NR
A WASHINGTON, D.C. Magazine for Minority Dance
Do you know how to make a new twist on a bun? Learn from Miss Didi!
Mazi Mutata brings Hip Hop to his community.
Sept/Oct 2014
What’s Inside: How do you choose a dance school? A conversation to parents and students. Michael Bobbit talks about children and his love of D.C.’s theatre scene.
www.ngomareader.org
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Dance Theatre
Founded By Artistic Director Shawn Short in 2007
Washington, DC
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What’s Inside...The Features Hair-a-graphy: Local stylist Didi Green puts a new twist on the traditional ballet bun.
Dancer Spotlight: Devin Hamilton opens up about dance life and what keeps him motivated.
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Child’s Play Michael J. Bobbitt, artistic diretor of Adventure Theatre , MTC speaks on his journey in children’s theatre
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From the streets to the classroom. Mazi Mutata, founder of Words, Beats, Life Inc, explains how Hip-Hop Culture is ideal for eductional enhancement in Washington D.C.
Other Departments/Contributions
Dancer Profile: Devin Hamilton...pg 23-24 Photography Special Back Alley pg 15-22 Health and Beauty: Hair Corner pg 25-27 Opinions Dancing Under Faith...Josie Hoover pg 28-29 Social Entrepreneurship...Bresean Jenkins pg 31-32 Dance Directory: pg 29 Cover Photo: Tony Thomas Photography and Editing 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 advertisement information and news submissions, please email: NRmagazine@ngoma-center-fordance.org
Publisher’s Words As Spanky Wilson says, “It’s the last days of summer!” Welcome back to the Ngoma Reader! The Ngoma Reader (NR) is a Bi-monthly Online publication that gives literary voice to minority dance artists of Washington, D.C. NR speaks through three core components: Community (D.C. Dance Directory), Awareness (Shows, Events, Projects, Season Announcements), Celebration (History, Spotlights). The origin of Ngoma Reader sprang from a need for us at Ngoma to archive vital stories of artists and provide a “go-to” news source for what’s going on in the D.C. minority dance community. “This issue is celebrates leaders in the community and how they continue to provide art space for their communities. Hip Hop founder of Words Beats and Life Mazi Mutata stops through to tell us how his organization uses “urban arts” to show city youth how to positively express themselves. It’s back to school time! Ever wonder about how to choose a dance studio or organization for you or your child? Check out Donovan Johnson’s article on key components to look out for. Always with a smile, Adventure Theatre-MTC Producing Artistic Director Michael Bobbit tells us of his love of D.C. theatre and children. In addition, dance meets concrete and steel in “Back Alley” featuring touring dance professional Tony Thomas. Josie Hoover informs us on “praise” dance and how church and dance connect. Let’s not forget Bresean Jenkins as he tells us how to become better entrepreneurs. Need your hair done for dance class? Hair Corner, feature Didi Green of Networkhair shows us how to make a classic AND elaborate bun with straight and dreaded hair textures. Lastly, budding college dance student Devin Hamiltion, talks about dance and Miami in his Dancer Spotlight.” The weather is hot! Keep dancing and sweating! We hope you enjoy learning about the emerging and established voices of dance artists around the D.C. area!” Yours in Dance,
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The One I Feed Dance Benefit ‘Crossing Cultures’ An Evening of Dance Benefiting the Division of Allergy and Immunology at the John Hopkins Children’s Center
Beyond the Bling
evidence of hip hop’s crossover appeal and potential.
D.C. group taking Hip-hop culture into a new plane: education
“Hip-hop has such a wide appeal because it encompasses many forms of artistic expression. No artist is left out. Lyrical, technical, spatial, and fine art skills are all easily applied. Plus, it’s dope!”
By Damon L. Foster Mazi Mutata loves all things hip hop, breathes all things hip hop. Over the past decade the University of Maryland graduate has quietly built a reputation throughout Washington D.C. schools, using his organization, Words, Beats, and Life, Inc. (WBL), to help youth increase their academic achievement, while building self-awareness. Mutata model’s includes taking the cornerstone elements of hip-hop culture (DJing, break dancing, graffiti arts, and emceeing) and creating a 10-week after-school enrichment program where students, termed “apprentices,” explore their creative talents . Mutata believes that the principles of hip hop are ideal for education enhancement, despite the culture’s ongoing perception in the media as a superficial, hyper-sexual lifestyle that promotes materialism and self-survival. But these images are far from the origins of hip hop, proclaims Mutata, and have little effect on his mission. “The biggest challenge presented to the medium of our mission is not the negative reception of some aspects of mainstream hip-hop culture, but the lack of understanding of the depth and potential of the culture itself,” he says. “When some people hear the word “hip hop”, they think about rappers but fail to consider the DJ’s, graffiti artists, and breakers that make the culture what it is. Hip-hop is perfect for promoting achievement because the culture values critical thinking, community, and the constant acquisition of knowledge. You can find negative examples in all aspects of the arts if you want to find them.” Throughout the year, WBL hosts “All-Sites” events where program participants showcase their respective skills. The events have become widely popular, drawing a wide variety of participants and spectators of all ages and races. Created to also stimulate community awareness, Mutata says the All-Site events, held at the end of each 10-week session, is
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Participating students also have the opportunity to be showcased in the organization’s biannual journal. Annually, over 150 students, ages 13-23, enroll in Words, Beats, and Life education program, which is held at three sites, Martin Luther King Library, St. Stevens Church, and Riverside Recreation Center. A fourth site will be added this fall at Deanwood Public Library. Mutata says piquing their apprentices’ interest in both the arts of hip-hop and academics are the primary objectives. “The majority of our students graduate H.S, pursuing post-secondary education at a variety of universities, colleges, and trade schools. In the past 10 years, WBL has not only seen a growth in the number of our Academy students, but the interests of those students as well,” Mutata says. “Today, we find Academy students who are more concerned with finding skilled master artists who can help shape their craft from a hobby into a professional skill. This matches with the four goals for our students upon finishing their tenure at the academy: skill-set mastery, self-mastery, preparation for post-secondary education/life, and employability.” Despite the organization’s growth in popularity amongst students and educators alike, WBL still finds itself in the rat race of pursuing adequate funding to sustain it operations. The organization faces difficulties from a shift in funding as a number of its major contributors are changing their focus from education, to basic need and food programs. Over the next few years, WBL is looking to expand its reach internationally, sending ambassador artists abroad to Lebanon and Senegal. This, in addition to producing more public art presentations including five new murals to be finished by the end of this summer.
Words, Beats, Life Inc founder Mazi Mutata. Photo Courtesy of Mazi Mutata
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Photo by Shawn Short
“I don’t have the desire to save the world, but I do want to provide a memorable experience for kids—rather they come artists themselves or patrons of the arts,” - Michael J. Bobbit
Rebuilding A Vision Through Little Feet By Damon Foster To the Left: Artists perform at a Words, Beat, Life Inc event. Photo courtesy of Words, Beats, Life Inc. Above: Michael J. Bobbit, Artistic Director of Adventure Theatre-MTC photo courtesty of ADMTC
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Nothing makes Micheal J. Bobbitt smile bigger than hearing the sound of children singing and dancing. A long time staple in the Washington metropolitan area regional theater community and current artistic director of Adventure Theatre-MTC, Bobbitt believes he has found his niche in children’s theatre after years of trial and error.
“I want to make great theater. I saw the enormous potential at Adventure theatre,” he said. “The opportunity couldn’t have come a better time. I was wanting more time with my family. Creatively, I wanted to channel my energy in building an institution. Adventure Theatre already had a long legacy. I wanted to make it better.”
“There is something visually and emotionally rewarding in watching children in their creative process,” said Bobbitt. “With children you think [of] a purer interpretation of the world. Because they are not drawing from life experience, they are expressing exactly what they are feeling and thinking in that moment.”
But his zeal “to make it better” wasn’t readily received board members and long time Adventure Theatre patrons, and Bobbitt found resistance as he sought re-establish the company as a professional entity with a full time operating staff.
Bobbitt said that his position at Adventure Theatre is a lifelong culmination of perseverance and belief in the power of theatre to impact everyday life. The 42-yr old first discovered his love for the stage and performing while in elementary school, where he learned to play the trumpet. “I didn’t like the gym that much. I was drawn to anything creative,” Bobbit said. “I spent years studying music, but as I got older began to gravitate towards theatre and dance.” His growing passion for dance eventually led Bobbitt to study ballet at Washington Ballet and Dance Theatre of Harlem. Yet, dancing alone couldn’t satisfy him. It was musical theatre where Bobbit said he felt everything begin to connect. He would go on to pursue musical theatre training the American Musical and Dramatic Academy (AMDA). Upon graduating, Bobbit continued on in New York City, auditioning wherever he could across the Big Apple, only to be met with frustration. Little did he know that his return to Washington, D.C., would a pivotal turning point. “When I was living in New York auditioning literally everywhere, something was missing. I couldn’t put my finger on it,” Bobbitt said. “I moved back home to D.C. and begun auditioning for regional theatre productions. I didn’t realize that D.C. had such a strong theatre vibe. Things began coming together, and I started getting roles.” Bobbitt would go on to add directing and choreographing to his acting credits. In the last decade, he has directed, choreographed and performed around the greater Washington D.C. region, including at Arena Stage, Ford’s Theatre Society, The Shakespeare Theatre Company, Signature Theatre, Metro Stage, Rorshach Theatre Company, Studio Theatre, Woolly Mammoth Theatre Company, Center Stage, Roundhouse Theatre, The Music Center at Strathmore, The Kennedy Center, The Helen Hayes Awards and the Washington National Opera. Bobbitt directed three shows for Adventure Theatre, which then only operated as community theater group in Rockville, MD, with daily operations handled by its governing board. He saw an opportunity with the 56-year-old company, and sought to become artistic director.
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“I think it was more so a situation where the prevalent mentality was ‘this is how we always done it.’ That mode of thinking never sat well with me, because if methods aren’t consistently producing results, then clearly something does need to change. Otherwise, what is the point? But I understand that for the board and others, Adventure Theatre was very important and it was a struggle to let go, make way for new leadership.” One the highlights of Bobbitt’s early leadership was a merger with Musical Theater Center, a music and dance school, which then had ailing enrollment and was on the verge of closing its doors. Thus the company’s name changed to Adventure Theatre-MTC. Bobbitt said the addition of the school not only gave Adventure Theatre a necessary training ground for new talent, but brought him full circle: providing inspiration and creative expression opportunities to children just as was provided to him at their age. “I don’t have the desire to save the world, but I do want to provide a memorable experience for kids—rather they come artists themselves or patrons of the arts,” Bobbitt said. “Preparing that next generation is a humbling calling. What’s critical is a consistent space for kids to explore their curiosities, to mess up, laugh at themselves all while seriously honing their stage craft.” Kathryn Hnatio Vicere has been the director of education for Adventure Theatre. She says Bobbitt’s dedication to excellence and creativity has kept the school moving in the right direction “I have worked with Michael for over five years, and his passion for exposing young people to the performing arts is contagious and fuels my own work on a daily basis,” she says. “His love for what he does shows in every program, every performance, and in every young person he touches, every day. He has always dedicated himself, his creativity and his talent to making theatrical experiences memorable and fun for all of his audiences, including children and adults alike.” Currently, Bobbitt serves on the board of theatreWashington, Rockville Chamber of Commerce, Non Profit Village and the American Alliance of Theatre and Education. He has served on grants panels for The National Endowment for the Arts and The DC Commission on the Arts and Humanities and the Maryland State Arts Council.
To the right, Bobbitt entertaining students at Adventure Theatre-MTC Photo courtesy of ADMTC
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Dance (Exposure, Vocational, Community) Education: What Would You Like? Written By Donovan Johnson How do you choose a dance school for you or your child? This is a personal question that starts with a simple, “What do you want to do with dance?” When many people think about what they want to do with dance, they of can’t express anything more specific than the fact that they like it. The beauty of dance is that is inclusive at the primal level. But one has to ask, “Do I wish to join a professional dance company, dance on cruise ships, choreography nationally, give back locally, minister to your community or simply dance in the afternoon with friends for a simple competition?” All are valid answers for anyone who enjoys dance in any capacity. But there are three core elements one should look for when choosing a dance program: company landscape, teacher qualifications, and curriculum. First, let us look at the dance “lay of the land,” particularly dance entities of color. For clarity, dance entities can be defined as an artist, choreographer, organization or community group focused exclusively on dance instruction or performance. According to Shawn Short’s 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, The Washington, D.C. Black concert dance as we know it today began in the 1930s under the eye of D.C.’s first dance business studio owner, Bernice Hammond. The history of Washington, D.C.’s dance community is incredibly diverse: social dance/charm school activities that supported the Black Greek life of the U Street’s “Black Broadway” culture; classical ballet schools that developed artists for Dance Theatre of Harlem and supported a local contemporary and classical repertory company that rivaled a budding Washington Ballet; training institutions that has sent thousands of Black talent across the globe; a flourishing African and tap dance community; and emerging hip-hop and modern dance entities that are now making their mark (locally and nationally).
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As of 2012, many factors like poor personnel, financial mismanagement, inferior business education for executives, insufficient leadership succession planning and teacher training, resulted in 63 percent of dance companies with African-American leadership folding between 1980 and 2000, leaving only 17 out of the 27 companies that began in the 1960s. According to Dance Metro DC, Washington, D.C.’s dance service organization, the number of other dance entities of color are just as slim: six Hispanic and 10 Asian. The majority of entities are performance entities, not education institutions. The decline of minority dance institutions with competitive educational visions means there are fewer options for minority dancers wanting a pre-professional education in dance. Now with insight into the landscape of the area, let’s discuss the three elements one should examine when selecting a dance institution. Where you or your child feel comfortable and secure is the first element that is critical to the success of your child’s dance education. It always helps to have friends of similar interest. This could be culturally or ethnically. Ask the question, “Does this entity value you me as an individual?” With so few training institutions of color, this question will aid in deciding if a predominately white institution (PWI) is a good fit for you and your child. Secondly, what about teachers? There aren’t a lot of dance instructors of color who have significant training. How many times did you walk away from a dance class, workshop, program, intensive and your technique questions weren’t answered? Again, one has to ask themselves, “Where do you wish to go with dance?” If you wish to dance on the stages of Europe or the “Great White Way” of Broadway, then you have to gain substantial training from pedagogues not “class givers.” For clarity, pedagogy is the science and art of education. A “class giver” is a term coined by teachers that speaks of an instructor who has knowledge of dance but not a fully developed background to deeply develop students. Lastly, curriculum, curriculum, curriculum. This doesn’t have to be found on an entity’s website; but it helps. Just a brief conversation with the director may suffice. What kind of “ballet” syllabus does the entity follow? Are the modern teachers teaching a codified technique? Which one? Is there a history of alum that have completed a competitive Bachelor’s of Fine Arts (BFA) degree or are working for in nationally-ranked dance institutions. Again, having an
understanding of your short- and long-term educational goals will help tremendously in your mastery and confidence in dance. Now with you these components in mind, go fourth and follow your dance dreams at your school of choice!
Company Dancer William Wilson and Trainees Katie Argueta and Juan Amaya of Dissonance Dance Theatre in Rehearsal. Photo courtesy of Shawn Short
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Back Alley Photography by Shawn Short Dancer Tony Thomas Pg 15
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Dancer Spotlight: Devin Hamilton Dancer
1.Where are you from? Plant City, FL 2. How old are you and what’s your zodiac sign? I am 21 and a Taurus 3. Where do you dance currently? Palm Beach Atlantic University
13. Any advice for emerging college dance majors? My advice is that you should always know that no matter where you train, there is something for you to learn there. Don’t close yourself off because something seems difficult or uncomfortable. Go for it! it will make you a better person and artist. Devin lives in Arlington, VA when in not in college.
4. What’s in your dance bag? In my dance bag are extra tights, extra tops, keys, phone, a water bottle and a journal. 5. iPhone or Android? iPhone, for obvious reasons 6. Who inspires you in the dance world? Do you have a dance mentor? My professors Jin Young Henley and Eileen Hebron inspire me to continue to progress into a better dancer. They are definantly my mentors, they are encouraging, they whip me into shape when needed (often) and they are also very much involved in shaping me into being a better human and artist. 7. What’s your favorite dance style? I really enjoy contemporary balletic movement 8. What’s your dream company to work with? It’s my dream to dance with elements contemporary ballet in Chicago, Illinois 9. Sneaker, Boots, Chucks, Loafers, or High Heels? Boots 10. Single or Dating? Single 11. What would be your funniest dance moment? Freshman year of college I tried demonstrating a sote in skinny jeans and the crotch of the pants exploded in the pliet preparation.
Photos Courtesy of Devin Hamilton
12. What is your dream company? What are your plans after college? After college I plan on auditioning for various gigs and company’s, before accepting a place in Ad Deum 2 in Texas.
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Hair Corner
Getting ready to go back to dance class? NR asks stylist Didi Green to show us how to make a bunn with different hair textures! The 123 Ponytail Bun 1. Prep the hair with a smoothing cream ..such as TIGI’s BeadHead After Party. Apply as needed to smooth flyaways and brush hair. 2. Smooth hair back. Section the hair into 3 sections. Think triangle... part the hair from ear to ear ..smooth hair into ponytail ..secure with an elastic band. Make 2 smaller ponytails underneath. Alternative Way 1 Smooth hair back. Section the hair into 2 sections. Think mohawk ...part the hair from ear to ear...smooth hair into ponytail...secure with an elastic band. Make 2 ponytails. Alternative Way 2 Smooth hair back into a high or low sleek ponytail. Secure with an elastic band. Alternative Way 3 For a more textured look ... Section the hair from ear to ear. Section hair into diagonal partings towards the center to create a braided ponytail. 3. Take a small section of hair and wrap around the ponytail to hide the elastic band. You can keep the hair smooth, braid or twist it...Secure with hair or bobby pin. 4. Continue to take small sections and braid or twist them...wrap around the ponytail and secure with hair or bobby pin. 5. Smooth hair back with a fine tooth comb for a sleek finish. For Locs, pull and smooth bulging locs into ponytail... secure with hair or bobby pin if needed. Add camera ready shine with TIGI’s BedHead Headrush
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Stylist : Ms Didi Green for #Networkhair Location: 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 Pg 26
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Community and Arts Education: Dancing Under Faith by Josie Hoover
I am biased, I tell you. I am of the utmost certainty that liturgical dance is one of the most beautiful forms of movement in the world today. Yes, ballet is graceful and fluid; jazz is bold and full of precision; modern is quirky, yet beautiful; and African speaks to the ancestors with high energy. Yet, because liturgical dance incorporates spirituality into these genres of movement, it is just as (if not more) soul-stirring. Liturgical dance, often called praise or sacred dance, is riveting because of its storytelling and vision. It is dance that attempts to inspire people, transform lives, uplift communities, heal souls and is built on a foundation of Holy Scripture. Another purpose of liturgical dance is to bring the rituals of the church to life as well. When I see movement within a worship service, whether it is on Sunday morning, at a wedding or a funeral, I am excited to see how the Divine will use the moment. What makes liturgical dance different from what might be presented on a stage? It is the intention to not make it a performance but rather, ministry. “Ministry” comes from the Greek word diakoneo, meaning ‘to serve’. Ministry is the work of someone whose vocation is their profession. When one thinks of ministry, the vocation of a pastor comes to mind. However, ministry comes in many forms. And dance is one way to serve. For those who wonder if dance has a place in the life of liturgy and the church, it does. Historically, dance is mentioned throughout the Old Testament and has played a natural and vital role in the life of the Jewish people. For example, there were dances that took place during Jewish festivals; they took place during celebrations; during victorious moments and during marriage ceremonies. Examples in the bible include the story of Moses’ sister, Miriam who led the women in victory when the Israelites were freed from Pharaoh after crossing the Red Sea (Exodus 15:20). Many church-based liturgical dance ministries typically consist of dancers who have little or no dance training. However, what is most important to remember is the heart of the liturgical dancer is what keeps the dance as pure as possible. It is the heart of the liturgical dancer and the manifestation of the Divine that brings joy to individuals who come to church broken and despondent. It is the heart of the dancer and the manifestation of the Divine that builds community.
Challenges within liturgical dance exist but I will address two that I believe are currently impacting dance ministries. One challenge is that potential dancers might look at liturgical dance as a church recreation rather than the ministry that it is. While it is recreational, liturgical dance requires one to understand all that it entails. Words such as humility, submission, service, commitment, discipline, worship, compassion and love come to mind when one thinks about the ministry of liturgical dance. Having a deep and ongoing relationship with God or having a desire to deepen their relationship with God is key to understanding ministry. It is this deep and ongoing desire that drives the emotions of a dancer which, in turn, helps them to tell their story through movement. Finally, this desire to deepen one’s relationship often leads a dancer to take their craft to another level by seeking more education (either in the studio, classroom or both). Those who are involved in liturgical dance sometimes make the assumption that they do not have put in as much work as someone would do if they were in a professional dance company. However, it is the exact opposite. Many professionally trained liturgical dancers will tell you that liturgical dance should be just as good if not better than what is presented in an opera house. The second challenge of liturgical dance includes the church’s passivity or indifference toward dance. Although dance is supported throughout the Bible, many churches do not have or support liturgical dance ministries. It could be that these churches do not see its value. Or it could be due to their outlook of the body as a site of sin as this was a continual debate among early church theologians. However, if one believes that God is the creator of everything, why not see that God created dance? Other traditions tend to believe that the body should not be presented in a way that influences ungodly thoughts. Based upon the religious traditions and upbringing of people, these beliefs can impact the way that someone looks at dance. It is unfortunate that many of these dogmatic views skew one’s outlook on movement because if done ‘correctly’, liturgical dance will do what it is supposed to do. Growing up in a conservative Baptist church in Kentucky, our pastor was so “anti-flesh” that he would not allow the choirs to clap while singing. Our youth choir had to get permission from the pastor to rock from side to side while singing! Growing up in a conservative Baptist church in Kentucky, our pastor was so “anti-flesh” that he would not allow the choirs to clap while singing. Our youth choir had to get permission from the pastor to rock from side to side while singing! Story continues on next page.
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Hence, when I saw dance in church for the first time after relocating to the DC area), I was immediately brought to tears. I wondered what, why and how on earth did those dancers stir up so much emotion in the congregation? I didn’t notice chainés, battements, pointed toes, or full extensions (although these technical skills were on display). Instead, I noticed the heart of the dancers so much so that their emotions drew the congregation in and made us a part of the story they were conveying through movement. I literally felt the presence of God for the first time in my life. In spite of these and other challenges that are apparent in liturgical dance, it is a ministry that is quite popular and continues to flourish. It fosters community amongst dancers; and fosters community by providing an outlet for youth, young adults and adults in the congregation & the larger community. Because there are individuals and communities that are struggling, liturgical dance should be more present outside the walls of the church due to its ability to inspire hope & promote action through expressing God’s hope, love and healing. Thus, I am hopeful that church-based dance ministries will take a leap of faith and continue to use their ministry to inspire lives, uplift the heartbroken, and transform communities that promotes action. There are several liturgical dance companies within the Washington metropolitan area who are intentional about community outreach by spreading the Gospel of Jesus Christ in addition to providing professional dance training & biblical training. In addition, there are liturgical dance pioneers who lead organizations that attempt to get dancers together on national and regional levels for community outreach and training. Liturgical dance is about being authentic and realizing that someone needs to see and feel the message that is being conveyed through movement in order to make a difference in their lives. As it is written in Psalms 149: 3 “Let them praise God’s name with dancing, making melody with tambourine and lyre.”, let us now dance under faith. Picture on the right: Joise worshiping through dance in church. Photo courtesy of Joise Hoover. Picture on the next page: Bresean Jenkins. Photo courtesy of Jack L. Manning III.
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What Would You Build? Becoming a Social Entrepreneur Written By Bresean Jenkins The Red Cross. Alvin Ailey Dance Theatre. The Girl Scouts. Teach for America. These amazing organizations have not only been great examples of excellence, their operational vision has created unmatched brands that have made each of them leaders in their fields. Social entrepreneurs create enterprises whose products are service to mankind. There is nothing as powerful as an idea in heart and mind of an entrepreneur. Social entrepreneurs act as change agents, mobilizing people to take up a cause, push an issue or join a movement. This not only changes the society it was started in, it transforms mankind. More importantly a social entrepreneur’s product is able to facilitate widespread change in a new, fresh, innovative and efficient manner.
As artists, our products are vastly different than other companies. Many times our art, our choreography, teaching or even our paintings are not always profitable ventures, but we are still bound by the confines of our consumer-driven society. If you are like myself, we have tried to cater your skills and talents to for-profits entities only to learn that the feeding of our creative souls would come unsatisfied. We must create businesses that not only feed our souls, but that are able to sustain themselves as well.
Yes, I believe in business and development plans, but nothing replaces the artistic director, CEO or project head being able to pitch their organization in less than two minutes. That “elevator pitch” should be rehearsed, sincere, and direct. That which comes from the heart, is felt by the heart. You will learn that people will support a vision that is clear and simple to follow. Your story will attract what you need. Please do not misunderstand what I am saying. You should have non-porift grant writers on staff. You should have a great accountant and a great office manager, but nothing will replace a well-articulated company story with an excellent product. Everything about the “business” of your enterprise should follow artistic best practices and fall in line with governmental rules, but unless you know what you want to do, who wants what you have, and how are you going to get it to them, it simply won’t work.
What I Know For Sure We were all born to answer a question (or set of questions) or to solve a problem (or set of problems). Most times, to Truthful Soul Searching fulfill this call we must be willing to walk the “path less What really makes you happy? What really feeds your cre- traveled.” This passion will be very frustrating at times, it ative spirit? What would you do for free if you actually win will affect your personal finances in infancy stages, and will the $100 million lottery? These questions are at the heart of sometimes limit your choices. But if you stick with it, your any decision to become a social entrepreneur. Understand creation will be a gift to humanity. You may not have a multhat whatever you build may not see a profit for at least a timillion dollar operational budget, a large staff or Fortune 10 years. What you build could actually not break even for 500 company donors, but you will have the fulfillment of the first five to seven years. What is your true motivation knowing that life is a little less bitter in the area you have for starting your enterprise? Hopefully it is for the love of committed to. the art and for the feeding of your soul. Ideally, your social business should out live you. Its growth and sustainability As you build remember these iconic words of Mother should be based on others being able to “buy-in” to your Theresa: mission and your goals. “People are often unreasonable, irrational, and self-centered. Financing Your Vision Forgive them anyway. If you are kind, people may accuse As bad as we all need it, money is the least of our problems. you of selfish, ulterior motives. Be kind anyway. Money will not solve a flawed vision. Money will not help If you are successful, you will win some unfaithful friends an organization that does not have a clear vision of what it and some genuine enemies. Succeed anyway. If you are wants and where it is going. I’m sure you are reading this honest and sincere people may deceive you. Be honest and article to find out the “do’s” and “dont’s” of fundraising and sincere anyway. What you spend years creating, others financing, but nothing will replace good art executed well could destroy overnight. Create anyway. If you find serenity and put before an audience or consumer who can relate to and happiness, some may be jealous. Be happy anyway. The it. Ninety percent of the grants and foundation awards that I good you do today, will often be forgotten. Do good anyway. have received have come from people with resources saying, Give the best you have, and it will never be enough. Give “I’m going to give you funding, just get this application in your best anyway. In the final analysis, it is between you and ASAP!” In every instance, the decision to fund a project God. It was never between you and them anyway.” I was working on was done rather informally and when I wasn’t expecting it.
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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
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World Dance Companies KanKouran West African Dance Company Assane Konte, Founding Artistic Director P.O. Box 1338 Washingto D.C, 2013 202-518-1213 www.kankouran.org
D.C Contemporary Dance Theatre Miya Hisaka, Founding Artistic Director P.O.Box 9796 Washington, D.C 20016 202-316-5277 www.teatrodedanza.org
Lesoles Dance Project Lesole Z. Maine, Founding Artistic Director 3802 34th street. Mt. Rainer, MD 240-744-6694 www.ldpdance.org
Furia Flamenco Estela Velez ( Director) Joy of Motion Dance Center 5207 Wisconsin Ave NW Washington, D.C 20015 (703) 568-4404 www.furia-flamenca.com
Memory of African Culture Akua Femi Kouyate, Founder MAC, Inc. P.O. Box 50045, Washington, D.C. 20091 (202)210-7120 www.memoryofafricanculture.org
Jayamangala 8600 Waterside Ct, Laurel, MD 20723 (301)617-2712 www.jayamangala.org
Step Afrika Brian Williams, Founding Excetive Director 133 4th street NE Washington, D.C 20002 202-399-7993 ext. 112 www.stepafrica.org Vision Contemporary Dance Katherine Smith, Artistic Director P.O. Box 48087 Washington, D.C 20002 301.909-VCDE (8233) www.visioncontemporarydance.org Urban Artisty Junious Brickhouse (Founder) 8001 Kennett Street Silver Spring, MD 20910 202-431-4202 www.urbanartistry.org The National Hand Dance Association P.O. Box 70006 Washington, D.C. 20024 www.nationalhanddanceassociation.org
Maru Montero Dance Maru Montero, Founder admin@marumontero.com www.marumontero.com Nomad Dancers Christel Stevens( Co Director) Adriane Whalen (Co Director) 4166 South Street, Arlington, Va, 22206 (703) 799-0282 www.nomaddancers.com Silk Road Dance Compay Dr. Laurel Victoria Gray, Founder and Artistic Director P.O. Box 11346 Takoma Park, MD 20913 301-585-1105 www.silkroaddance.com Tehreema Mitha Dance Founding Artistic Director 8509 Pelham Rd, Bethesda, MD 20817 (301) 581-9520 www.tmdancecompany.org
Community Directory Dance Schools and Institutions Angel of Hope Ministries, Inc Rev. Claudia H. Harrison
Developing the Physical through Dance and Health Awareness
www.angels-hope.org
Coyaba Academy Sylvia Soumah, Founder and Artistic Director Dance Place 3225 8th Street Northeast Washington, D.C 20017 (202) 269-1600” www.coyabadancetheater.org Dance Dimensions Dakyia Lambert (Artistic Director) 7979 Parston Dr District Heights ,MD 20747 301-420-1567 www.dimensions-inc.com
Duke Ellington School of the Arts Charles Augins, Dance Chair 3500 R street NW , Washington, D.C 202-282-0123 www.ellingtonschool.org Howard University Theatre Arts Dept - Dance 2400 Sixth St NW, Washington, D.C 20059 howarduniversitydancemajor@yahoo.com 202-806-7050/7052 www.coas.howard.edu/theatrearts/dance Jones-Haywood Dance School Saundra Fortune-Green, Artistic Director 1200 Delafield Place NW Washington D.C 20011 202-441-1099 www.joneshaywood.com
Making Moves Dance Collective Inc Amber L. Comer, Artistic Director Kellie N. Sellers, Artistic Director Dance Institute of Washington 5640 Sunnyside Avenue, Fabian Barnes, Suite E Beltsville, MD 20705 Founder and Artistic Director 301-220-1500 3400 14th street NW, Washington, D.C www.makingmovesdc.org 202-371-9656 www.danceinstitute.org Ngoma Center for Dance Dance Makers INC Ms. Robin Angelica Pitts, Executive Director 9901 Business Parkway, Suite L Lanham, Maryland 20706 301-731-0003 www.marylanddancestudio.com Divine Dance Institute Amanda Standard, Founding Director 505 Hampton Park Blvd., Suite R Capitol Heights, MD 20743 301-333-2623 www.divine-dance.com
Shawn Short, Founding Artistic Director P.O. Box 2377 Washington D.C 20013 202-540-8338 www.ngoma-center-for-dance.org
Northeast Performing Arts Center Rita Jackson (Founder) 3431 Benning Rd NE Washington, D.C 20019 202-388-1274 www.nepag.org Suitland High School Center for the Visual and Performing Arts 5200 Silver Hill Road Forestville, MD 20747 301.817.0092 www1.pgcps.org/suitlandhs
The Davis Center Beatrice E. Davis-Williams 6218 3rd Street N.W. Washington D.C 20011 202-277-6110 www.thedaviscenter.net Ubuntu Nankama Dance Studio 3802 34th Street, Mt Rainier, MD 20722 Words, Beats, & Life Inc. 1525 Newton Street, NW Washington, D.C 20010 202-667-1192 www.wblinc.org Baltimore Area Morton Street Dance Donna L. Jacobs, 3600 Clipper Mill Road, Ste. 108 Baltimore, MD 21211 410-235-9003 www.mortonstreetdance.com Baltimore Dance Tech Stephanie Powell, Director, 5130 Greenwich Avenue (Near Route 40 West) Baltimore, MD 21229 410-233-1101 www.baltimoredancetech.com Connexions School for the Arts 2801 N. Dukeland Street Baltimore, MD 21216 Phone:(443) 984-1418/1419/1420 Fax:(410) 669-4418 www.csfta.org Dance & Bmore Cjay Philip, Director danceandbmore@gmail.com www.danceandbmore.com Coppin State University Vanessa Coles, Chair - Dance Physical Education Complex Rm 212 2500 West North Avenue, Baltimore, MD 21216-3698 dance@coppin.edu www.coppin.edu/dance
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A WASHINGTON, D.C. Magazine for Minority Dance (c) Copyright Ngoma Reader 2013 All Rights Reserved