Ngoma Reader
NR
A Washington, D.C. Magazine for Minority Dance
From Mambo Sauce to Cheese Steak: Dissonance Dance Theatre’s Soloist Victor Lewis Jr. Begins New Journey With Philadanco
D.C Tap History From Joseph Webb Hip Hop’s D.C. Origins With Esperonto Bean DDT Celebrates 7th Years Black & Asian Dancers Raise Their Voice www.ngoma-center-for-dance.org
jan/feb 2014
- 3 Spacious Dance Studios
- Guest Faculty From NYC & Chicago
- Professional Staff & Faculty
- Classes in Classical Ballet, Beg Pointe Contemporary, Modern, Anatomy, Boys/Men’s Classes, and D.C Dance History
- Before and After Care
Dissonance Dance Theatre Founded By Artistic Director Shawn Short in 2007 Washington, D.C’s Only Black Managed Contemporary Ballet
www.ddtdc.org/summer-intensive.html Pg 2
Phone: 202-540-8338
Summer Intensive at UMCP’s Dance Department June 23rd, 2014 - Jul 20th, 2014 (4 Weeks) “Thank you so much for allowing my daughter to be part of your program. Dedication, discipline and determination is key for our youth. Please continue to keep us in mind for future workshops.” — LaShawn Lewis, Proud Parent of Jakai’la Lewis, Student of Dissonance’s Summer Contemporary Ballet Program
Audition Dates & Location Jan 25th, 2014 UMCP Dance Dept Feb 15th, 2014 UMCP Dance Dept Mar 8th, 2014 UMCP Dance Dept Apr 5th, 2014 UMCP Dance Dept Apr 27th, 2014 UMCP Dance Dept Dates subject to change.
*Scholarship auditions are Jan 25th & Feb15th The audition is contemporary ballet class conducted by Founder Shawn Short and the cost to audition is $25. View the complete schedule, curriculum, guest teachers and pre-register (strongly encouraged) for an audition online at ddtdc.org/summer-intensive.html
DDT’s Soloists Victor Lewis Jr. and Nikki Jackson
Tuition: $800 Ages 10-23Yrs Old “Washington D.C is a vibrant city full of wonderful art, provided you know where to look for it. One place you should be looking is at Dissonance Dance Theatre under the direction of Shawn Short. Shawn is a very innovative choreographer, and he holds a wealth of knowledge about the performing arts. I had the honor of working for him as a dancer in his company and am so thankful for the experience. I learned so much from Shawn and had a wonderful time working with Dissonance Dance Theatre.” — Shanon Castle, Former Dissonance Dance Theatre Dancer Current Garth Fagan Dance Company
Pg 3
What’s Inside...The Features Pg. 14-16
The Changing Face of Hip-Hop Dance in D.C. famed local Urban Dance master Esperonto Bean breaks it down
Brin g tap a ing Bac k rtist Jose the Lov ph W e ebb ...D.C.
Pg. 21 Dissonance Dance Theatre turns seven years old. Founder/Artistic Director Shawn Short speaks on the company’s humble beginnings of Washington D.C.’s only AfricanAmerican Contemporary Ballet Company
Pg. 26-27 Pg. 10-13
Pg. 18-20
Dawn of a third year. Ngoma Center for Dance’s men’s program turns three
Other Departments/Contributions Dancer Profile: Daniel Artis...pg 17 Health: Eat Better, Dance Longer...pg 25 Outlook: Navigating Dance Training in D.C... pg 22-23 Community: Tehreema’s Challenge...pg 24 News: Silk Road Dance Company New MFAs in Dance...pg. 28 Dance Directory: pg 30
Pg 4
DT mer D alks r o f . . s Jr. t r Man Cove ictor Lewi ns to his tV itio solois bout trans hiladanco ..P ya openl nce home. a new d
Dance Injury Clinic Danelle Dickson PT, DPT, OCS
Official launch of an injury clinic for performing artists!! A physical therapy rehabilitative program designed for the active performing artist to enable performing at their best!!
• Foot, ankle and knee injuries • Hip, lower back and neck injuries • Shoulder, elbow and wrist injuries Have an injury that has not been diagnosed ? Have an injury that is slowing you down? Want to know how to perform at your best during the semester and for your performances? Starting on December 14th. By appointment.
Danelle Dickson, PT, DPT,OCS 1712 Eye Street NW, Suite 312, Washington, DC, 20005
Saturdays
8am-1pm
Phone :(240) 292-9512 Physiofitness5@gmail.com
Come in and be assessed so that you can perform better!! Call or email to schedule your appointment today! Danelle Dickson PT, DPT, OCS
physiofitness5@gmail.com.
(240) 292-9512 Pg 5
A Washington, D.C Magazine for Minority
Editor In Chief/Publisher Shawn Short sshort@ngoma-center-for-dance.org
Editor Damon Foster dfoster@ngoma-center-for-dance.org Contributing Writers and Editors Tyler Lewis, William Wilson, Moyston Henry, Tehreema Mitha, Donovan Johnson, Damon Foster, Shawn Short Staff Photographers Jeremiah Jones Jade Enders Shawn Short Sergey Apasov For advertisment information and news submissions, please email: NRmagazine@ngoma-center-fordance.org
Pg 6
Ngoma Reader
NR
Services: Standard 60-Min Deep Tissue Massage $100 Standard 60-Min Swedish Massage $100 High Quality-70 min Deep Tissue Massage $125​ High Quality-70 min Swedish Massage $125
Spa Add Ons: Hot Stone $10 30 min Add On ONLY $40 Extra
RH BodyWorks is a luxury mobile spa massage therapy service that offers the most relaxing treatments in the ​D.C., Maryland and Virginia area.
RH BODYWORKS 240-462-9954 rhfitnessfactor90@gmail.com www.rhbodyworks.com Official Massage Therapist of Dissonance Dance Theatre PWg 7
Publisher’s Words
The Ngoma Reader (NR) is a bi-monthly online publication that gives literary voice to the 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).
(c) Sergey Apasov
I want to invite you to a new day in Washington, D.C dance history. The launch of its first dance magazine dedicated to the minority dance experience.
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 inaugural issue features a celebration of new beginnings. We meet Joseph Webb, the director of American Embassy of Dance (formerly DC Dance Collective). His enthusiastic energy for providing a new space for dance is remarkable. And his impromptu history lesson on tap is vital. Keeping with our exploration of D.C. traditions, house/urban dance historian Esperonto Bean “hips us” to how D.C.’s hip-hop scene originated -- and how it has evolved. Ngoma’s Dawn: A Black Men’s Initiative commemorates three years of assisting aspiring African-American male dancers. Kizlarhon Dusmuhamedova makes a U.S. guest appearance with the Silk Road Dance Festival. And finally, Dissonance Dance Theatre celebrates seven years as D.C.’s only Black-managed contemporary ballet company.”
(c) Tyler Lewis
“New horizons are before us. There is so much richness in the cultural diversity of our nation’s capital. We hope you enjoy the inaugural issue of Ngoma Reader and keep reading, again and again.”
Dawn Participants: Cornell Lyde and Adam Morris participating in group discussion.
Pg 8
Shawn Short, Publisher/Editor in Chief sshort@ngoma-center-for-dance.org twitter.com/dissonancedance
Soloist Catlin Granville in Short’s Caught
Victor Lewis Jr. & Nikki Jackson in Short’s On The One
(c) Ned Granville
Contemporary Ballet
Company in Ryan Tuerk’s Rapture
Pg 10
(c) Jeremiah Jones
Taurean Barber in Ryan Tuerk’s Scar On My Memory
A D.C Multicultural Dance Institution:
Dissonance Dance Theatre By Shawn Short It all began as a group of dancers who wanted to help me start a company that featured minority dancers. In 2007, many Black-managed dance entities in D.C where on the decline. There was a void that needed to be filled. Especially for classically trained modern and ballet dancers of color. A new phoenix to rise from the ashes so to speak. Dissonance Dance Theatre (DDT) has since become a new “go-to” place for training minority dancers, and watching classical and contemporary ballet performances. Through the financial woes that almost crippled the company in its first two years, creative strategy, diligence and ingenuity were born.
“There was a void that needed to be filled. Especially for classically trained modern and ballet dancers of color. A new phoenix to rise from the ashes so to speak. Dissonance Dance Theatre (DDT) has since become a new “go-to” place for training minority dancers, and watching classical and contemporary ballet performances.”
These “reminders” of prosperity provided me with the much needed strength to continue. Any leader and visionary understands there will be challenges in the road to success. I know I am reminded of this daily. But the uncharted terrain I embarked on initially began to develop from quicksand to top soil.
Pg 11
Through educational programs and faith, a community began to embrace the vision of contemporary ballet with an appreciation for the minority dancer. Summer Contemporary Ballet, Men’s Workshop, and Classical Ballet Sunday Training programs unleashed the first wave of dance students with a percentage of becoming company members and professional dancers nationally and internationally. “Dancers came to develop and thrive in the “laboratory.” Hearts open, pockets dismal, eight pair of eyes hungry with an intent to dance their sweaty bodies to exhaustion during a nine hour rehearsal on a Sunday. Oh what great artists I have worked with! Dancers traveled from New York City, Chicago, Philadelphia, New Orleans, San Francisco and Texas to auditions. Not only did their artistic voices lead to wonderful choreographic works, dancers became family for one another.”
This new pact of artisans, intermingling contemporary and classical sophistication prompting my imagination to create humanistic compositions that speak universally to any patron. Our new partnership, director and artist, has allowed the company to perform in New York City, Ohio, and Wisconsin. “Operating now on a three-day a week rehearsal schedule with 12 dancers, Dissonance Dance Theatre has a season of more than 4 productions and 15 performances; with performances in New York City, Charlotte and Conway, SC. That’s a major increase from one show and three performances in 2007.” There is light on the other end of the tunnel. In the end, I only wanted to be a director who got a chance to touch lives through dance. Thanks to the dancers of Dissonance Dance Theatre, I have this lovely gift. Here’s too them and many seasons more. Dissonance Dance Theatre is Washington, D.C’s only Black-managed contemporary ballet company. For more please visit www.ddtdc.org
Pg 12
Dedrick Makle and NIkki Jackson in rehearsal (2009)
Company Member Kelly Trevlyn rehearsing Short’s For You...
(c) Jade Photographie
Men rehearsing Short’s Testament
(L to R) Apprentice William Wilson and company Dominique Atwood rehearsing Short’s Amazon
(L to R) Kelsey Hutchison, Lara Love and Ashley Blondell rehearsing Short’s Amazon
Pg 13
Hip-Hop...But No Hooray Race and Economics permeate Hip Hop dance in D.C Interviewed By Damon Foster You say hip-hop dance, Esperonto Bean says “urban dance.” You say hip-hop crew, Bean will say “family.” If you call hip-hop a step, he will say “language.” Clearly, Bean, a renowned urban dance artist, speaks in a different tone, with a different type of passion when referencing hip-hop culture and movement. For the last 20 years, Bean, a Baltimore native, has witnessed the landscape of hip-hop dance in D.C. transition from the days of clubs and freestyling to the present day of crew, battles, and the myriad of would-be classes that have permeated suburbia. Is it real hip hop? Is urban dance still “Black People” movement? Bean provided some “ nitty-gritty” insight, hoping it will spark change. What was the urban dance scene like in D.C. when you began your dance journey? “In the beginning, there was more freestyle. You weren’t called a hip-hop dancer. You were called a clubdancer. You had your poppers, breakers, and house dancers. The love of movement and individual expression is what united us. There was a strong communal spirit amongst urban dancers. The music was happier---the music offered us more freedom and variety in our expression.” What was the predominant music of that time? “It was house music. The house community was really the ignition point for the urban dance movement in D.C. The house clubs were the spaces that gave all dancers freedom. There was an open atmosphere of expression for everyone to enjoy the music.” What were the first signs of shifting in the urban dance movement? “Two things…First, we lost a lot of clubs when the RFK Stadium was built. As artists we lost our canvas, our social watering holes. Two, the music changed.” When you say “changed” are you referring to the shift into Gangsta Rap? “Yes. By mid-90s you didn’t hear that house music sound anymore on the radio or in clubs. It died out on mainstream radio early 2000’s. There used to be House and Dance remixes on Maxi Singles like CD’s. This was phased out. Gangsta Rap had taken over and music, and lyrics at that time were centered on violence and/or money, painting this façade of luxury living. What was being portrayed in music videos promoted stereotypes, which locally lead to discrimination against urban dance artists.”
Pg 14
How were local urban dance artists discriminated against? “You now had to look a certain way to get entrance into clubs. We were charged extra because we did not look the part or just were flat out denied entrance. Showing up dressed in baseball caps, baggy jeans (not sagging), sneakers—you were labeled a thug. You have to understand that the clubs where all we had. And slowly the clubs became more like lounges were people wore more dressier attire, chilled and drank, instead of dancing.
“Understanding hip hop, and dancing hip hop starts by understanding the music.”
How did you keep dancing? We went underground mostly. There were still a handful a places we could go. We weren’t going to stop dancing. We were artists that had voices that needed to be heard. We relied on each other. Until 2002, the urban dance community in D.C. was filled with diversity, individuality, and a more family feel. We were not clique-ish, divided, or territorial. We had no need to be combative or thuggish. Let’s talk about the migration of urban dance into the suburbs and the meteoric rise of hip hop dance crews. Much of this prominence can be attributed to popular reality TV dance shows like So You Think Can Dance and America’s Best Dance Crews. Has the expansion been healthy one for urban dance at-large? “Not necessarily so, because while I see steps being learned, I don’t see the culture and history of urban dance being passed along with it. The preoccupation is learning choreography. It’s offensive when I witness the teaching of urban dance move, yet the instructors are clueless to the culture and nuances of the movement. That begins with understanding the music. So what happens repeatedly is that I’ll witness people come take my class. Learn a routine then go teach that routine (as their own) in their suburban spaces. They have a fraction of the knowledge; and are thus doing an injustice to hip-hop movement overall. You can’t just teach the step. Do you feel there is a lack of authenticity? As far as suburbia, I take issue with suburban youth who aren’t even from the hood pretending to be something that they are not. You wanna be deviant, thuggish and act criminal like…take that to the street. Go to the hood then. Why bring that negative energy to the art form itself? True urban dance movement is about love and sharing, not about antagonism. You say that the dance crews on ABDC aren’t really “battling.” What do you mean? They aren’t really battling because they aren’t using the music. Understanding hip hop, and dancing hip hop starts by understanding the music. I see groups performing steps, and some quite well, but it’s not authentic urban culture. And so the gap in the disconnect continues to widen as aspiring dancers and teachers use Hollywood as a guidelines for hip-hop culture, as opposed to actually immersing themselves amongst the people in the environments where the movement was born. There is a plethora of self-made styles, identified as urban movement, but it’s all steps. Where is the substance? Is urban dance still the Black people’s movement? Yes, urban dance is still our movement—it’s Black dance and Black music. Have to acknowledge the Latin influence on breaking and b-boy. But hip-hop at large belongs to Black people. You think about all the popular social club dances that are done at all these events from the juke-joint to the black-tie fundraiser…those party moves came from the Black experience---the jetting, the juking, the crumping---these were born in the hood, in the ghettos. The beautiful thing about urban movement is that although it begins with the Black experience, all can be apart of the culture
Pg 15
From the eye of a casual observer, it would appear that hip-hop dance has enjoyed a warm embrace in Hollywood with popular shows such as “So You Think You Can Dance”, “America’s Best Dance Crews”, and the Step Up film franchise. But you challenge the lack Black presence and the implications that trickles down to local studios. Why? “Let’s face it, Hollywood has never been our (people of color) home. Black skin is still not seen as bookable, as opposed to the standard blonde hair, blue-eyed. It is great that urban is beginning to be seen and appreciated via mainstream media by masses of people from all walks of life, but where is the Black face, especially in the film industry? In the 80s when films Beat Street and were produced, the industry had to give us speaking parts, because only we at that time knew the movement. Why aren’t lead roles being given to Black males and females now? What’s happening is that we are sought out for our knowledge and experience, but our faces are not seen. Our young children who love urban dance are not seeing our faces on the silver screen, and when they do, there is usually some criminal, violent, and/or deviant persona attached, further promoting stereotypes. How do you feel the racial fallout here is D.C.? I have students, both youth and adult, who come take my class at non-Black own studios in non-Black areas of town, but won’t speak or hardly acknowledge me outside of the class room. Just goes to show that some things still have not changed. It’s hurtful. So why aren’t there more studios in the Black community? “Because for us, urban dance movement, is not viewed as something we need a class for. This way of movement is instinctive and a part of our everyday existence. Why would they pay for a class to learn something that they can create on the black top after school with a group of friends. This is how crews are formed. The bonds you form in crews can last a lifetime. I’m not saying that hip-hop dance classes can’t be offered in the Black community. Having that formal class structure has its benefits. Classes can provide that safe space for our youth to express themselves just as the clubs did for us.” Esperonto Bean is the Director of H.Y.P.E, Joy of Motion Dance Center’s urban youth dance program. Esperonto has been part of the street dance community for over 20 years. He is well versed in many dance styles, including House, Hip-Hop, Locking and Punking/Waacking. Recognized as one of the original House Dancers from Baltimore City, he has performed in legendary house clubs such as The Sound Factory Bar in NYC, Club Zanzibar in NJ, The Paradox and Club Fantasy’s in Baltimore, MD. Esperonto was the co-recipient of the 2007 Kennedy Center Millennium Stage Imagine Choreographer Award for his House Dance Choreography. www.esperonto.com/ Damon Foster is a freelance writer, dancer, teacher, and fitness instructor based in Washington, D.C. He is also the PR Coordinator for Ngoma Center for Dance. damon.foster53@yahoo.com
Pg 16
(c) Shawn Short
Dancer Spotlight
Hailing from the Washington D.C. area, Daniels joined Dissonance Dance Theatre in 2013. A graduate of the Ngoma Center for Dance’s Dawn: A Black Men’s Initiative Program in 2012, Daniel has received scholarship to Dance Theatre of Harlem’s Summer Intensive in 2012 and 2013. He has trained with faculty from CityDance Center at Strathmore and Dance Institute of Washington. He is a 2013 graduate of Fairmont Heights High School in Prince George’s County, MD. Where are you from? Capital Heights, Maryland How old are you? 19 years old and I’m a Libra Where do you dance currently? I am a trainee with Dissonance Dance Theatre What’s in your dance bag? 3 pair of socks, two tight t-shirts, dance belts, deodorant, lotion, ballet shoes, and food. No iPhone? Yes, it’s always in my pocket!
Do you have a dance mentor? If so, who? Yes, Shawn Short the Artistic Director of Dissonance Dance Theatre What’s your favorite dance style? Ballet (classical & contemporary styles) What’s your dream company to work with? Joffrey Ballet (Chicago), I like what they are doing now. Sneakers, Boots or High heels? Sneakers Single or Dating? Single Him or Her? Her Dream dance date? I don’t have one yet Any Advice for Dancers? Stretch...
Pg 17
Pg 18 (c) Zebra Photography
From Mambo Sauce to Cheese Steak: Dissonance Dance Theatre’s Soloist Victor Lewis Jr. Becomes Dancer With Philadanco Interviewed by Donovan Johnson After gracing the stages of Washington, D.C., helping in the community and making his debut on Fox 5 during VelocityDC 2012, Dissonance Dance Theatre Soloist Victor Lewis Jr. starts his new journey as a principle dancer with national dance company Philadanco in Philadelphia, Pennsylvania. I had the pleasure of conducting an email interview with Victor during his busy schedule. This is what he said about his new dance beginnings. 1. Are you loving Philly? I enjoy living in the city of Philadelphia. I love it! It’s my home! 2. Do you miss D.C.? I don’t miss the cultural climate of Washington, D.C. But I do miss my friends I made from time to time. Sometimes I reminisce about being in the studio, and dancing with Dissonance Dance Theatre. 3. How long were you a soloist with Dissonance Dance Theatre? I was a soloist with Dissonance for three seasons. 4. Did you enjoy your time at Dissonance Dance Theatre? My experience with Dissonance was exciting and life changing. Working with Shawn Short as a dancer helped me explore different avenues in my artistry. Shawn’s concepts and objectives that he created for his repertory were challenging and helpful to my life at the same time. 5. What are some things you will remember while at Dissonance Dance Theatre? My former Artistic Director Shawn Short. What I respect about Shawn is he never allowed his dancers to settle in there insecurities or to be amateur. He pushed everyone including myself to their fullest potential and required us to work hard and not only in rehearsals but our daily lives. Shawn was very inspirational to all his dancers and he saw the future in us. He believed that if we work hard as humans and artists and stay true to ourselves and our craft and not let negativity or our insecurities stop us from who we ought to be in life. 6. Did you feel prepared for the transition? Has it been tough? I believe that any transition in life is challenging whether it’s good or bad. It all depends on how you view your transition. I feel as though every transition is ordained and whether you’re prepared or not it’s still reality and I cherish every transition that I’ve ever had to face in life.
(To the right) Victor Lewis Jr. and Roscoe Boyd in Short’s Reflect Mvmt #3. (c) Jared Traver
7. Dissonance is now in its 7th season and growing strong, does that excite you knowing you had a part in that? I am blessed to say that I have made history in Dissonance. I can’t wait for the future and I hope to see the next 7 seasons. I will never forget the great times I had as a dancer at Dissonance Dance Theatre. 8. Do you keep in touch with everyone in D.C.? I do still keep in touch with some of my former co-workers and friends through Facebook. They are only a few characters away lol. 9. How was Shawn as an artistic director? Shawn as an artistic director is brilliant. He supports and sees our daily challenges, which inspire him to create exciting repertory dance pieces. Shawn is very creative and has grown artistically. He’s never afraid to think outside the box which is why he challenges his dancers to bring life, emote and translate it through his choreography.
Headshot and Magazine Cover Photos (c) Zebra Photography Magazine Interview Courtesy of Philadanco Dance Company
10. Would you encourage others to join the company if they were going to D.C.? I would highly recommend any dancer moving to Washington, D.C. to audition for Dissonance Dance Theatre. The company will change your life. It changed my life.
Pg 20
Bringing Back the Love By Damon Foster
D.C Tap Artist is on Misson
Joseph Webb is in love with the dance. He’s not shy about it. He is not ashamed to proclaim it. And now, as the new director of American Embassy of Dance (formerly D.C Dance Collective), he’s seeking every opportunity he can to share that love throughout the nation’s capital, once considered a tap dance Mecca on the east coast. Located in Ward 5, between Tenleytown and Friendship Heights metro stations, American Embassy of Dance is housed in a two-story building nestled next to an assortment of eateries and retail shops. The building features three studios spaces, and offers classes in tap, hip-hop, bellydance, Capoeira, and more. “I am leaving no stone unturned to let the D.C. dance community know we are here and we have space,” said Webb. “I am grateful for all my travel experiences and the opportunity to share my art. But every time I came home, I realized I never really had a performing arts space that I can really call home. Space is invaluable to any performing artist no matter where you are in your career. You always need a space to rehearse and build with other performing artists.” Webb is an international award-winning dancer, choreographer, actor, educator and poet who has shared the stage with tap legends Jimmy Slide, and more notably, Savion Glover in the Tony Award winning Broadway production, Bring in ‘Da Noise Bring in ‘Da Funk. As much he enjoyed performing on stages internationally, he says teaching holds a sincere, special place in his heart. Feeling a need for a change, Webb jumped at the opportunity to direct American Embassy of Dance when it was presented him and he considers the job the “manifestation of my desires to provide the ultimate service to the arts community.” “It was just time. I grew tired of NYC,” said Webb. “New York has a very specific type of energy. The city literally never sleeps. And while I like so many artists in particular, learn to thrive off that energy, at the same time. The 24/7-ness of the pace was becoming draining. I wanted to come home.” Webb grew up in the Upper Marlboro area. He recalled his mother seeing him run the around the house singing the music of Prince, and decided then that his excessive energy would be put to creative use. He also remembered a quite different dance community back in the late 80s and early 90s. “When I was younger I remember tap dance being far more prominent in D.C.,” Webb said. “There were 4-5 events throughout the years that would draw tap dance artists together from all around the DMV and even the long the East Coast. There were more of communal efforts among tap dancers to have functions that were tap dance centered.” Noting the steady decline in work for tap dance artist both locally and nationally, Webb believes tap dance suffers because it is often considered as “taboo” and “complicated” discipline relative to its ballet, jazz, and hip-hop counterparts. “These days, there is not enough work for tap dance artists. They are not so much in-demand by the industry,” he said. “The art form is difficult with all the complexities like you would find in ballet, but there is so much joy to experience as you master the skills. I still get excited each time I perform. I’d like to see this beautiful art form returned to glory in the media and in film. He notes,“Who can forget the golden era of Hollywood musicals? Every movie featured tap. That time’ has passed and now we live the age of ‘So You Think You Can Dance’, Dancing with the Stars’, and ‘America’s Best Dance Crews’. You won’t see tap widely featured. So I believe there is educating that needs to happen for this next young generation to preserve the movement.” As much as Webb enjoys performing on stages internationally, he says teaching holds a sincere, special place in my heart. He calls American Embassy of Dance the “manifestation of my desires to provide the ultimate service to the arts community.”
Pg 21
Trying To Put On The Ballet Slipper
By William Wilson
Navigating the professional dance world can be a difficult and grueling process for many young dancers, especially as an African-American. The journey to finding an artistic space where you can grow is an exhausting one, particularly if you are looking to sharpen your technique and performance ability. Artists want to showcase their talent, but insufficient knowledge and a lack of professionalism within some host institutions present obstacles to learning process. This has been my experience within D.C. Black dance entities. Living in Washington D.C., as a budding Black pre-professional dancer, I have personally experienced several Black dance organizations that lack curriculum competency, organizational management, and structure. I feel this may be due to minimal investment by teachers in learning codified systems of teaching dance; especially in classical ballet and modern dance such as Graham or Horton Techniques. I have found in my experiences with the more established institutions of classical ballet that pre-professional dancers like me, who are trying to train, explore, and build technique, that we are often received in a tepid manner. More often than not, I was dismissed either because of my age (I’m 21), an assumption about my physicality (I’m 5’8 with a slim, athletic body), or class (I looked “urban”).
William in the studio rehearsing.
“I have observed that there are ugly racial and class barriers in the D.C. dance community”
Yes, I’ve heard that one’s age determines how malleable his body can become. And I’m aware that my late start in dance puts me behind, but all I need is a chance to follow my dreams of becoming a dance artist. I’m a hardworker and willing to demonstrate my dedication if given the opportunity. In addition, many young dancers of color can’t even afford to pay for classes that teach them the skills they need , after paying for food, rent, and other living necessities. Brandeis University’s study on the racial wealth gap (Institute on Assets and Social Policy (2013) states that the “wealth gap between black and whites has nearly tripled over the past 25 years, due largely to inequality in home ownership, income, education and inheritances.” I have observed that there are ugly racial and class barriers in the D.C. dance community. When I first came to D.C. at 18, I had a Julliard-trained, modern dancer say to me, “from the waist up you look like Ailey; from the waist down you look like the last slave.” As a result of these many factors, I believe many aspiring professional dancers of color stagnate training and performing in community dance studios or landing dance jobs that are not professional hoping for an opportunity that isn’t coming. While
Pg 22
William stretching in men’s class.
those opportunities allow these dancers to perform, they are not teaching them the skills they really need. From 18 to 21years old, I traveled Washington D.C. looking for the professional training that would assist me in my aspirations and help me begin my career. My disappointment at not getting the experience I needed prompted me to give up my professional artistic goals – settling for community dance opportunities. This was in part due to my inability to secure a scholarship with a professional institution and my inability to afford the tuition fees of predominately White institution. What was left to me was community dance projects and experiences that, while enjoyable and edifying in may ways, fostered no professional training. My experience in Washington D.C., has taught me the important role that a professional Black dance institution with competitive training can play. These institutions could produce young dancers and aspiring professional artists of color who could compete with the dancers that are coming out of the professional predominantly White dance institutions. To produce more dancers like Misty Copeland, Virginia Johnson, and many others, we have to create spaces, that not only build community, but also provide the training that can be a launching pad for young Black dancers looking to be competitive professional dancers. Luckily, in July 2013, I found Ngoma Center For Dance/Dissonance Dance Theatre, which for me, is that institution in Washington, D.C. – and now I am beginning my journey of becoming a professional dancer. William Wilson is a junior philosophy major at Howard University. He is the Community Engagement Intern at Ngoma Center for Dance, and is also an apprentice with Dissonance Dance Theatre.
Do you have an outlook submissions? If so please email: NRmagazine@ngoma-centerfor-dance.org Subject Line: Outlook
Pg 23
Whenever I see the Martha Graham Company present the dance, “Incense”, originally choreographed and performed by Ruth St. Denise, I grit my teeth and refuse to clap at the end. I wish I could say I found it amusing but it makes the smoke rise out of my head. Do you really think that women from the Indian sub-continent are that sloth, that lacking in energy, power and form?.
Photograph by Aabvaan Barron for Tehreema Mitha Dance Company from, The First Rush and The Middle of Forever.
Of course, I run into this problem all the time when dancing in the U.S. A lot of young people who come to take my class for the first time get a shock. They often come having taken belly dance classes and/or having seen some ridiculous Bollywood movie that is all about moving your hips, jiggling your breasts and behind in order to titillate, and then they come to try out my Bharatanatyam and Contemporary class. Oh! When the thighs begin to hurt, when their shoulder can’t take the weight of their arms anymore, when they have heard me say Elbows up!, and ,Down, down and more down, Turn those knees out, for the ‘nth time, they begin to rethink the pretty image of themselves moving their neck from side to side and doing pretty hand gestures with exotic jewelry draped on their heads. The same problem keeps men away from dancing my style and I bemoan this and gnash my teeth when thinking about this every day. Our dance is athletic to say the least. It is pushing your body to the extreme and enjoying it while doing so. We do everything: stamp percussively on the ground with our bare feet so that in class and practice we do not wear bells so that you develop the clarity and strength in your footwork. We jump in a hundred different ways, as high, as long as you can. We slide, we roll, we turn and we lift each other while still moving our feet to the rhythm in the classical way. In my choreography I celebrate the differences in the bodies of the sexes; each with it’s own beauty and appeal and ability. However, strength is also shown by being vulnerable, willing to explore emotions even when you dance with incredible energy. I believe that this is why a lot of men who think of themselves as macho are unable to explore themselves through dance on stage, while this is the very reason that a lot of women want to hide behind body building and technique while letting their sensitive natures go. To step outside of one’s comfort zone, you need to take risks and let others in. And I invite you to take those steps with us. Leave your preconceived notions and your prejudices outside the door and come and see what it is like to dance with Tehreema Mitha Dance Company. Yes, I’m challenging you!
Pg 24
I’m Challenging You!! By Tehreema Mitha
TMDC is known for its signature presentations: starting with dances from its Classical Bharatanatyam repertoire, it steps forward with its “Bridging items”, and then moves to the Contemporary work. TMDC is a mulit-cultural 501-c3 Dance Company registered in Maryland. Please visit www.tmdancecompany.org for more information.
It’s no secret...eat better, dance longer By Moyston Henry
Dancers have long been praised as having some the best bodies on the planet, but it’s no industry secret that maintaining that picture-perfect physique has so many of times come at a price in way of poor eating habits, the ultimate being potentially fatal eating disorders.
Many dancers worry about gaining weight, and therefore, strictly limit their fat intake. However, a diet too low in fat can impair performance and may cause serious health consequences. Dickson says a dancer’s diet should be composed of about 20-30% fat. Aim to eat foods low in saturated fats, such as avocadoes, nuts and seafood.
According to D.C physical therapist Danelle Dickson, PT, DPT, eating healthy is not just beneficial for reducing illnesses and disease but all to keep the body strong and energized. A dancer’s diet should consist of a balance of carbohydrates, proteins, fats, vitamins and minerals, and adequate fluids.
She also stresses sufficient vitamin and mineral intake to balance the body’s energy production and cell formation, furthering suggesting that dancers eat at least 5 servings of fresh fruits and vegetables per day and choose wholegrain breads and cereals.
“What you put in your body is what you will get back,” Dickson said. “Simple sugars like sodas and other artificial flavored foods are a sources of Carbohydrates, which dancers need to stay away from. Good crab sources include whole grain wheat bread and pasta and instead of white bread.”
“Vitamins and minerals play important roles in the body, such as energy production and cell formation. To obtain all important vitamins and minerals,” Dickson said. ”Dancers should eat at least 5 servings of fresh fruits and vegetables per day and choose whole grain breads and cereals. A multivitamin is suggested for those who do not consume an adequate variety of nutritious foods.”
The International Association for Dance Medicine and Science (IADMS) states on its website that a dancer’s diet should be composed of about 55-60% carbohydrate. Dancers who do not ingest sufficient carbohydrate in their diet will compromise their ability to train because of low muscle glycogen levels. They may feel more fatigued during classes and rehearsals.
And lastly, water is required to regulate body temperature, maintain circulation, maintain salt and electrolyte balance, and remove wastes. Fluids are lost through sweat created by the body’s unique cooling system.
Says Dickson, “Because it is possible to lose large amounts of water before becoming thirsty, dancers should rememIt may be surprising to learn that dancers at the profession- ber to drink small amounts of fluids before, during and al or pre-professional level can burn to 3000 calories a day, after workouts. according to the Center for Dance Nutrition. That’s 1000 Check out these Websites to learn about Dance and calories more than the standard 2000 calories per day diet Healthy Eating as recommended by the Food and Drug Administration. Replenishing such a large quantity can seem daunting or intimidating when trying to watch your weight, especially when it can mean the difference in getting the job. However, fueling your body when it needs fuel is one of the best things you can do to achieve or maintain healthy body composition and stay competitive in the dance world. Another critical component of a healthy dancer diet is protein. Dickson said that pleasing a dancer’s muscles begins with protein. Dancers should consume about 12-15% for their diets. “Eating protein is important for building and repairing the muscles,” Dickson said. “Good sources of protein include lean meats, poultry, beans, legumes and tofu.”
Center for Dance Nutrition www.dancernutrition.com www.livestrong.com International Association of Dance Medicine and Science www.iadms.org Mayo Clinic www.mayoclinic.com U.S. Food and Drug Administration www.fda.gov
Pg 25
Founder Shawn Short with DDT dancers welcoming Dawn auditionees.
Keeping It Personal… Dawn: A Black Men’s Initiative Turns Three By Damon Foster Dawn Participant Adam Morris with DDT Trainee Daniel Artis and DDT company Moyston “Randy” Henry.
Pg 26
This 2013-14 season marks the third anniversary for Ngoma Center for Dance’s all-male training program Dawn: A Black Men’s Initiative. Dissonance Dance Theatre (DDT) Director Shawn Short launched the program in 2011, after observing the ongoing need to provide training opportunities to young AfricanAmerican youth and men who wanted to dance professionally. To fill this void, he created Dawn to offer artistic and practical work experience in dance and arts administration and provide leadership development and mentorship by responsible Black men.
Dawn participants performing with Dissonance Dance Theatre at the Intersections Festival in 2012
Reflecting on his own dance training, Short said he knew right from the start what type of mens program he envisioned for Dawn. “I received a lot of personal attention from teachers throughout the D.C dance community,” Short said. “However, looking back on those times, I had to recognize that my teachers lack of financial resources in their institution or limited knowledge about the dance industry at-large slowed my blossoming as an artist. He said, “Dawn is designed to provide technique training, professional development, and career training so that these young men will know the options that are available to them through the field of dance. Short also recalled the dissuasion of colleagues, who advised that such an undertaking, could be financially disastrous as DDT was only in its fourth season. “Folks told me that launching a men’s program would be a money pit endeavor,” said Short. “I’m so glad I took the challenge financially to launch the Dawn program. No one thought the concept was really needed when I brought it up to close colleagues. I have seen male dancers grown into fine young men with the capacity to give back to the community in dance and in life.” Initially, Dawn worked with aspiring Black male dancers, ages 16-26, living in the Washington, D.C., metropolitan area for eight weeks, and was designed to bridge their interests in dance with the broader fields of business and civic engagement. Due to its increasing momentum, the Dawn project now operates year-round with open enrollment for focused and bright aspiring dance artists looking to train in contemporary dance styles (ballet, jazz, modern, etc..). The program starts in October with a performance in late spring. Selected participants are invited to audition for Dissonance Dance Theatre’s Apprentice program. Yet, with Dawn’s growing popularity, Short has been very specific throughout about his desire to maintain a small number of trainees each season to allow for more personal attention--a feature he feels separates Dawn from other D.C. outreach programs. To date, only 20 trainees have come through the program. Several have gone to pursue dance as a college major and/or performing professionally. “It’s not about numbers, these are people,” Short said. “Because the program’s intent is to provide technique training, professional development and career training, we only accept 5-6 young men into the program each season. It’s important to me that these guys feel that their total needs, not just technique, is being given detailed attention. I believe that is what keeps them coming back.” Former Dawn participant (2011), Eddie Jeffries, recalled Short’s philosophy of personal attention as the deciding factor his decision to audition for the program. “What I loved about Dawn was that Shawn meets you where you are,” Jeffries said. “He affirmed my interests, and help me build my artistic skill and entrepreneurial leadership. Being successful in the dance world, gives me the drive to push Pg 27 myself.”
News
SILK ROAD DANCE FESTIVAL HONORED UZBEK DANCE LEGEND Washington, D.C – While Kizlarhon Dusmuhamedova may not be a household name here in the US, she is a legend in her native Uzbekistan. Her graceful, precise and elegant style earned her the prestigious title of “People’s Artist of Uzbekistan.” During her first US tour in 1979, she inspired American dancer Laurel Victoria Gray to travel to Uzbekistan to study Central Asian dance and the two began a life-long collaboration. The artistic results of this ongoing Uzbek-American cultural exchange unfolded when Kizlarhon made a guest appearance at the Silk Road Dance Festival, held on November 9, at Joe’s Movement Emporium in Mount Rainier, Maryland. The Silk Road Dance Festival focused on the rich diversity of cultures - primarily Muslim - found along the celebrated trade route that connected China with the Mediterranean. The award-winning Silk Road Dance Company (SRDC), performed rare and compelling Uzbek and Afghan dances gifted to the ensemble over the years by Kizlarhon. Elaborately costumed choreographies of Azerbaijani, Kazakh, Persian, Tajik and Uighur origin completed the program. Concert-goers also got a taste of traditional Uzbek cuisine. The Embassy of Uzbekistan brought several huge trays of “plov,” a famous rice dish, to share with guests. A native of Uzbekistan, Dr. Nilufar Rakhmanova, noted that “by sharing the beautiful dances of Uzbekistan with Silk Road Dance Company, Kizlarhon enables Uzbeks in the US to stay connected with our own culture.” In fact, Rakhmanova admits that she has learned more about Uzbek dance history and technique since joining Silk Road Dance Company than she knew in Uzbekistan. She also noted that “Dr. Gray’s pioneering work in sharing our dances has been recognized by Uzbekistan’s Ministry of Culture. Thanks to her efforts, non-Uzbek audiences can discover the global treasure that is our culture.” www.silkroaddance.com
Pg 28
African-American Dancers Receiving MFA’s In Dance Increases in the Greater Baltimore-Washington, D.C Area MFA in Dance, University of Maryland, College Park (Spring 2013) Kwame Opare believes that dance is about building a community. Opare’s talents extend far beyond dance. He works with at-risk youth and challenged schools in Baltimore, using dance as a means of empowerment. In a recent TEDx Talk, Disrupting the Miseducation of African American Youth, which is also his Master’s thesis topic, Opare discusses how dance can be used as a tool to teach African American students to embrace their heritage and understand how it is relevant and connected to the person they are today. He also interns as a teacher at City Neighbors in Baltimore, an arts integration charter school. Kwame founded DishiBem Traditional Contemporary Dance Group in an effort to bridge the gap between traditional West African dance and music and he currently performs with them throughout Maryland. www.youtube. com/user/kwameopare/videos
MFA in Dance, George Washington University (Spring 2013) Helanius J. Wilkins, a native of Lafayette LA, is an award-winning choreographer, performance artist, and instructor based in Washington D.C. A dance undergraduate of The State University of New York (SUNY) College at Brockport, he was honored with the 2008 Pola Nirenska Award for Conteporary Achievement in Dance for artistic excellence and service to dance at the Metro D.C Dance Awards in September 2008. He is the first and only choreographer to be awarded the John F. Kennedy Center for the Performing Arts Local Dance Commissioning Project two times (in 2002 & 2006). Bates Dance Festival, one of the premier festivals in the US, named him the 2002 Emerging Choreographer. Prior to the founding of EDGEWORKS Dance Theater in 2001, Wilkins founded Dimensions Dance Company, a Washington D.C–based modern dance company he maintained from 1995 to 2000. www.hjwedgeworks.org
MFA in Dance, University of Wisconsin - Milwaukee (Spring 2013) Shawn Short, (Arts Administrator, Performing Arts Director, and Artist Research | Education | Marketing | Community Engagement | Production | Program Development) is an avid video game player who is the founder of Ngoma and Dissonance Dance Theatre. In his research Short examined the connection between the performing arts industry and American capitalism as it pertains to African-American dance entities in Washington, D.C. Specifically, he refined and developed a tangible historic timeline of Washington, D.C.’s African-American dance entities from 1932-2010. Secondly, he quantitatively analyze African American dance entities through juxtaposition of cultural trends and historical factors of the late 20th Century that demonstrate the growth and decline of said entities. The goal. To engender new methods and strategies that will strengthen, and stabilize the African-American dance entities of Washington, D.C.
Got A News Submissions? Please email: NRmagazine@ngoma-center-for-dance.org Subject Line: News Article Pg 29
Community Directory African American Dance Companies African Dancers and Drummers Melvin Deal, Founder 1320 Good Hope Rd Southeast Washington D.C 20020 202-399-5252 www.facebook.com/africanheritagedc Cacho Dancers and Drummers Bonita Cacho, Founder/Artisitic Director 202-607-0164 www.CachoAfricanDance.org Coyaba Dance Theatre Sylvia Soumah, Founding Artistic Director 3225 8th Street Northeast Washington, D.C 20017 (202) 269-1600 www.coyabadancetheater.org Dissonance Dance Theatre Shawn Short, Founding Artistic Director Resident Company of Ngoma Center for Dance
P.O. Box 2377, Washington D.C 20013 202-540-8338 www.ddtdc.org EdgeWorks Dance Theatre Helanius J. Wilkins, Founding Artisitic Director P.O.Box 73396 Washington D.C, 20056 (202) 483-0606Â www.hjwedgeworks.org Farafina Kan Mahiri Fadjimba Keita, Founding Artistic Director 3802Â 34th Street, Mt Rainier, MD 20722 http://www.farafinakan.com Just Tap/Sole Defined Quynn Johnson, Ryan Johnson Founding Artistic Director www.quynnjohnson.com
Pg 30
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
Pg 31
Dissonance Dance Theatre Founded By Artistic Director Shawn Short in 2007
Washington, DC’s Only Black-Managed Contemporary Ballet
Summer Intensive at UMCP’s Dance Department June 23rd, 2014 - Jul 20th, 2014 (4 Weeks) Classes in: Contemporary Classical Ballet Boy’s/Men’s Class Beg Pointe & More Audition Dates & Location Jan 25th, 2014 UMCP Dance Dept Feb 15th, 2014 UMCP Dance Dept Mar 8th, 2014 UMCP Dance Dept Apr 5th, 2014 UMCP Dance Dept Apr 27th, 2014 UMCP Dance Dept Dates subject to change.
*Scholarship auditions are Jan 25th & Feb15th The audition is contemporary ballet class conducted by Founder Shawn Short and the cost to audition is $25.
www.ddtdc.org/summer-intensive.html
Tuition: $800 View the complete schedule, curriculum, guest teachers and pre-register (strongly encouraged) for an audition online at ddtdc.org/summer-intensive.html Summer Program is 80 students total.
Ngoma Reader
NR
(c) Copyright Ngoma Reader 2013 All Rights Reserved