BAM 2003 Spring Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board

Karen Brooks Hopkins Joseph V. Melillo President Executive Producer

presents DanceAfrica 2003

Approximate Rhythmic Rites and Rituals: running time: Connecting Cultural Borders 2 hours 30 BAM Howard Gilman Opera House minutes with May 23 & 24 at 7:30pm; May 24 at 2pm; May 25 at 3pm one intermission Artistic director Chuck Davis Lighting design William H. Grant III

Kulu Mele African American Dance Ensemble (Philadelphia) Muntu Dance Theatre of Chicago Resurrection Dance Theater of and BAM/Restoration DanceAfrica Ensemble

Stage manager N'Goma Woolbright Assistant stage manager Normadien Woolbright Production stage manager Janet D. Clancy

BAM 2003 Spring Season is sponsored by Altria Group, Inc.

Major support for DanceAfrica 2003 is provided by AT&T and Morgan Stanley.

Additional support is provided by Con Edison and KeySpan Foundation.

BAM Dance is supported by The Harkness Foundation for Dance.

BAM thanks Theatre Development Fund for its support of this season.

~l PrOQram Rhythmic Rites and Rituals: Connecting Cultural Borders

(Note: A Libation Ceremony in front of BAM precedes the May 23 opening night performance.)

Processional The audience members are asked to remain seated to acknowledge the presence of the elders whose collective knowledge guides us into the future. The dressing of the first two seats honors the Elders who have made the transition to the Ancestral Grounds: Baba Walter P Brown, Papa Scuddie McGee, Mama Sarah McGee, and Baba M.B. Olatunji.

Jalibah Baba Chuck Davis extends the traditional greetings and welcomes all to the Bantaba (dancing ground).

Memorial Homage is paid to those who have made the transition to the Ancestral Grounds. Their lives and contributions will never be forgotten . As the cand lebearers exit through the house, please feel free to call out the name(s) of an ancestor you wish to remember.

Opening ceremony: Council of Elders (opening night only) Before any important event takes place, it must be sanctioned by the Elders.

The Resurrection Dance Theater of Haiti Artistic Director Jacky Asse Company Manager Michael Geilenfeld Director of Advancement Renee Dietrich Dancers Jacky Asse , Gregory Adrien, Waines Cangas, Patrick Caporal , Sony Derazin, Benoit Florestal, Jean Bernard Gustabe, Wi Iter Jean Louis, Fignole Lexis, Rony Romulus Drummers Daniel Jean Mary, Angelo Micho, Bill Nathan Asoto The dancers pay respect to the power and rhythms of the drum and its influence on their lives and the lives of their ancestors. Drum Spirit danced by Fignole Lexis

Kulu Mele African American Dance Ensemble Director Robert Crowder Artistic director Dorothy Wilkie Music director John Wilkie Dancers Dorothy Wilkie, Arisa Ingram, Angela Wastson , Najuma Lagbra , Ama Schley, Mecca Madyun Drummers Robert Crowder (Baba), John Wilkie, Kenneth Fauntleroy, Okikilu Hardy, Ishmale Jackson , Osubi Craig Muntu Dance Theatre. Photo, Kwabena Shabu Obatala Yoruba dance from Nigeria by way of Cuba. The Yoruba religion known as Lucumi (the Spanish term is Santeria) is a religious system with roots in nature and natural forces called Orisha. Obatala, the king of the white cloth, is seen as the embodiment of creativity, peace, and purity. In one hand he carries a white horse's tail, an emblem of his royal power used to purify the surroundings.

Drum Conference Collaborators Baba Crowder, John Wilkie The drum has the power to draw the gods to the dancing ground.

Yololi or Fula Fare Choreography by Youssouf Koumbassa A dance of the Peul (Fulani) people of West Africa celebrating the seventh day in the life of a newborn. Gifts from the family are placed in a calabash.

-Intermission-

DanceAfrica honors three icons: Baba Jean-Leon Destine (Friday evening, May 23) Dr. Henry Frank (Saturday evening, May 24) Mama Katherine Dunham (Sunday matinee, May 25) .1lu PrOQram

Muntu Dance Theatre of Chicago Artistic director Amaniyea Payne Performers Tosha Alston , Babu Atiba , Aissatou Bey , Vau ne Blalock, Mailk Camara , Beverly Carrington , Paul Cotton , Harry Detry, Yaya Kabo , Aly M'Baye , Uche Omon iyi, Aman iyea Payne , Regina Perry, Clifton Robinson

Balante Original choreography by Abdoulaye Camara Enhanced by Idy Ciss & Amaniyea Payne Traditional music arranged by Muntu Musicians Once a year in the Western African countries Guinea Bisseau and Senegal (Cassamance, the southern region) this initiation dance calls for young people of age to rid themselves of mischief, dishonesty, and deceit-to tap into the protective energy that surrounds them , take responsibility for their actions, and acknowledge that discipline is necessary to advance in life, and remember that that which does not kill us makes us strong.

Resurrection Dance Theater of Haiti and BAM/Restoration DanceAfrica Ensemble Tribute to Neg Mawon and Haiti Original choreography by Jacky Asse Enhanced by Baba Chuck Davis & Sis. Karen Thornton-Daniels Original music Bill Nathan and Resurrection Musicians joined by BAM/Restoration DanceAfrica Ensemble Musicians Spirit of Neg Mawon Patrick Caporal Spirit of Haiti Jamal Ara Calendar Salute to Haiti's Independence, and to Neg Mawon, inspired by the statue in Port-au-Prince which depicts the only successful slave revolt in history. It embodies the spirit of freedom of the Haitian people as well as the cost and determination required of such a struggle.

Muntu Dance Theatre of Chicago Djimbe Drum Talk Musical arrangement by Company Musicians A salute to drummers and musicians who carryon traditions with pride, having earned respect by honing their craft. Three sets of rhythms are linked-Sofa (warriors' rhythms), Djagbe (welcome and ce lebration rhythms), and Mendiani (initiation rhythms) as taught by Mamady Keita and Aly M'Baye.

Soli Choreography & musical arrangement by Youssouf Koumbassa Sali- a dance of celebration that is swift, difficult, and demands strength--{)riginated in the Franna and Kissi Dougo villages of the Mandingo people of Guinea, West Africa.

Finale-ensemble The story of Sony Derazin , a member of Resurrection Dance Theater, who spent much of his childhood confined to a crib. He was rescued, taught to walk, and then to dance. This section, an excerpt from a longer work titled Dans Nouva Vi (Dance of New Life) was especially staged for DanceAfrica 2003 by Baba Chuck who is a mentor for Resurrection Dance Theater. \Nho's Who Chuck Davis (artistic director and founding designs appear in the repertoires of the Alvin Elder) is one of the foremost teachers and Ailey American Dance Theater and American choreographers of traditional African dance in Ballet Theatre. He has been resident lighting America and has traveled extensively in Africa designer for The Philadelphia Dance Company to study with leading African artists. Davis for more than twenty years, has taught lighting founded the Chuck Davis Dance Company in design at City College of New York, and is the New York City in 1968 and the African author of A Basic Handbook of Stage Ughting. American Dance Ensemble in Durham, North The National Council for Culture and Art Carolina in 1983. He has been a panelist for presented him with the 1993 Monarch several programs of the National Endowment Merit Award. In his spare time, he is an for the Arts and is a recipient of the AA RP accomplished harp ist. Certificate of Excellence, the North Carolina Dance Alliance Award , the 1990 North N'Goma Woolbright (stage manager) is a native Carolina Artist Award , and the North Carolina of Jacksonville, Florida. He began his career as Order of the Long Leaf Pine. Since 1991, at the a stage manager in 1968 with the Chuck Davis request of the governor, he has served on the Dance Company, where he ultimately became board of the North Carolina Arts Council , and in technical director. He has worked with several 1992 he received the North Carol ina Award in dance companies in and around New York Fine Arts, the state's highest honor. In 1996 City. Until recently, he was the technical Chuck Davis and his African American Dance director for the dance company Forces of Nature. Ensemble were awarded a $100,000 grant Woolbright's credits include Lyon and the Jewel, from the National Dance Residency Program, Frankenstein's Rib , The Greatest of all Times, a three-year initiative launched in 1994 by the and Muhammed Wait for Me. He has been NY Foundation for the Arts and funded by stage manager for DanceAfrica since its the Pew Charitable Trusts. Professional inception in 1977. awards include a Monarch , a "Bessie," and a "BAMmie ." In 1998, Davis was awarded a Normadien Woolbright (assistant stage doctorate from Medgar Evers College and specia l manager) is a graduate of the Performing Arts honors from Duke University for his work in High School, holds a BA in dance education promoting dance across the U.S. Chuck from Lehman College, and has studied with DavisiDanceAfrica were recently named to Chuck Davis since her teens. She became artistic Dance Heritage Coalition's list of "America 's director of the Chuck Davis Dance Company Irreplaceable Dance Treasures: The First 100." when Davis relocated to North Carolina, and moved to Durham in 1989. She now serves William H. Grant III (lighting designer) has as road manager and director of educational designed lighting for dance, opera, and theater projects for the African American Dance throughout the world . He has designed the Ensemble. She remains active in the field of lighting for DanceAfrica since 1989 and also dance through teaching, performing and has designed extensively for the Milwaukee participating in school residencies. Repertory Theatre Company, the Philadelphia Drama Guild , The Alabama Shakespeare BAM/Restoration DanceAfrica Ensemble Festival , the New York Shakespeare Festival, For seven years, Bedford Stuyvesant Restoration and many other regional and off-Broadway Corporation (Restoration) and BAM Education companies as well as for the Negro Ensemble & Humanities have partnered in a youth Company and the Dallas Theatre Center. His development effort with DanceAfrica as its Who's Who focus. In that time, nearly 2,000 students making a consistent artistic statement of have taken part in professional caliber classes . cultural and historical significance. Muntu, a The BAM/Restoration DanceAfrica initiative professional company, stirs audiences with its encourages participants to express themselves unique synthesis of dance, rhythm , and song. around a common theme through dance, The company has received enthusiastic and visual arts, creative writing, and study of the critical acclaim not only in Chicago but cultural history of Africa and the African throughout the U.S. and abroad. Artistic Diaspora, focusing on the country of the visiting director Amaniyea Payne is an accomplished dance company. Chuck Davis characterizes performer and is regarded as a leading this education partnership as "inreach" choreographer in cultural dance. She has because of the way it reaches into the local performed throughout the country, the West community and makes it an integral part of Indies, and Europe and has provided artistic the DanceAfrica festivities . consultation and professional services to numerous arts organizations worldwide. It is Kulu Mele African American Dance a requirement of the company to research the Ensemble , since its creation, has established a cultural and historic significance of the dances national reputation as a unique and dynamic and the societies from which they origi nate . performing company. Kulu Mele, wh ich means In this manner, the troupe is not simply a "voice of our ancestors," offers a repertoire performing company, but a company of teachers which is a blend of West African ancestral as well-an essential element to the perpetua­ tradition and African American creativity. tion of the art form and its accurate transmittal Performances include music and dance of to our audiences. Muntu strives continuously Nigeria , Ghana , Guinea , Senegal , Brazil , Haiti, to increase the level of awareness of, and Cuba, and African America. A force behind a appreciation for, African culture in the context vital African cultural renaissance in Philadelphia, of a professional performing art form. Muntu the ensemble teaches and performs both new understands that there is merit in all cultures, and trad itional works. All dances are authenti­ and seeks to appreciate the differences in cally costumed and choreographed with an order to amplify the similarities. The company eye toward artistic excellence as well as the is a member of the African American Arts meanings of dancing and drumming in the Alliance, Ch icago Dance & Music Coalition, African societies from which these traditions and International Association of Blacks in originate. Kulu Mele's artistic director is Dance . Dorothy Wilkie; the drumming ensemble is led by Baba Robert Crowder, and John Wilkie is Resurrection Dance Theater of Haiti consists music director. of boys who live in a home for former street children in Haiti. Many of their self-choreo­ Muntu Dance Theatre is a Chicago-based graphed dances, with themes relating to their company that performs authentic and progressive experiences from living on the streets, combine interpretations of contemporary and ancient with lively movement and striking costumes to African and African-American dance, music, produce memorable dance theater. Recently, and folklore. The company has existed on the they participated in the Denver Black Arts spirit and unbounded energies of its directors, Festival and Cleo Parker Robinson's workshop, dancers, musicians, and staff since 1972 and and performed at World Youth Day in Toronto. has achieved an acclaimed reputation for The group has performed over the years at Who's Who churches and schools throughout the U.S. and knowledge and passion for African-Haitian Canada. longtime members Benoit Florestal dance, music, and traditions through his and Jacky Asse lead Resurrection Dance teaching. He has taught at New York Dance Theater, choreographing and teaching the Group Studio, New York University School of dances. Florestal was born in Artibonite in the Arts, the lezly School of Dance, and at northern Haiti, joined St. Joseph's Home in UCLA, among other schools. Though most 1988 at the age of nine, and as one of the closely affiliated with teaching in California, longstanding performers in RDT, serves as a Destine continued to tour regularly throughout teacher and role model for the younger boys. the U.S. and to participate in international He studied at the Haitian Academy of Ballet workshops. In 1993 he appeared at the Dance and Arts with Eileen Hertzog. Asse, born in World Festival in Poland. In all his roles as Gonaive, Haiti , has been a member of St. dancer, choreographer, and folklorist, Destine Joseph's since 1993, studied at Haitian has reinforced perspectives about the art Academy of Ballet with Hertzog, and is inherent within Haitian dance and religion, currently studying at Shaka Dance . He showing how the study of a culture can serves as principal dancer, teacher, and vitalize dance. choreographer for RDT. Katherine Dunham , born in 1909 in Chicago, Jean-leon Destine, dancer and choreographer, was raised in Joliet, Il. Noted for her work as was born in Saint-Marc, Haiti to a wealthy a pioneering dancer and choreographer, Dunham family. He spent his career bringing the art of has made an indelible mark on American Haiti to the rest of the world. Always interested history as an anthropologist, educator, author, in the powerful Haitian "vodoun" and the ritual performer, director, producer, and activist. She dances integral to its practice, he studied and attended the University of Chicago, majored in danced as a teenager with Lina Mathon­ anthropology, and studied dance with ludmilla Blanchet, founder of the first Haitian dance Speranzeva, Vera Mirova, Mark Turbyfill, and company that based its work on its own folk Adolph Bolm. Dunham founded the Ballet traditions. He came to New York City with Negre in Chicago in 1931 and the Negro Blanchet's troupe in the early 1940s. He Dance Group in 1937. In 1938, she collabo­ stayed in the city as a journalist, but continued rated with well-known costume and set to study dance and present solo concerts. In designer John Pratt on L'Ag'Ya, a dance drama 1946 he toured with Katherine Dunham's based on Martinique's folklore. Pratt, who company and became known for his perform­ later married Dunham (they have a daughter, ance of the boy possessed in Shango. In 1949 Marie-Christine), designed costumes and stage he formed the Destine Afro-Haitian Dance decor for the acclaimed Dunham Company. Company. A powerful, authoritative performer, The range of Dunham's accomplishments is Destine based his choreography on African, wide. A few examples: her one-night perform­ French, and "vodoun" dances. In 1960 the ance of Tropics/Le Jazz Hot subsequently ran Haitian government requested that he direct for thirteen weeks at NYC's Windsor Theatre; the First Troupe Folklorique Nationale and she created the role of Georgia Brown in appointed him Cultural Attache for the Broadway's Cabin in the Sky ; appeared in Republic of Haiti in the U.S. Influential and Hollywood films including Stormy Weather; respected, Destine toured with both companies produced musicals such as Ba/ Negre; choreo­ throughout Europe, North and South America, graphed Aida at the Met Opera; all while and Asia. Destine continued to pass along his maintaining her company for more than 30 \Nho's \ALho years as the only self-subsidized dance troupe Africa, and Brazil. Frank has given lectures on in the U.S. In 1946 in New York City, the the African preserved religions in the New Dunham School of Arts and Research opened. World-specializing in Vodou religion and other The school offered studies in performing arts, aspects of New World Cultures-at many applied skills, anthropology, languages, museums and universities in the U.S. and percussion, philosophy, and Caribbean abroad including the Sorbonne, France; research . Dunham has received 48 honorary Smithsonian Institution (Washington, DC); doctoral degrees and many awa rds including and the American Museum of Natural History, the Albert Schweitzer Music Award, a Kennedy Columbia University, New York University, and Center Honors Award, and the Samuel H. Cornell University in New York. He served for Scripps American Dance Festival Award . She nine years as assistant director of Caribbean was inducted into the National Museum of Studies in the Education department of the Dance Hall of Fame (Saratoga Springs, NY) in American Museum of Natural History. Frank 1987. A lifelong activist, while in her 80's she has participated in conferences and given went on a 47 -d ay hunger strike to protest the lectures at health care facilities including U.S. government's policy of returning Haitian Yeshiva School of Medicine, Kings County refugees to face starvation and repression in Hospital , Lincoln Hospital, and Woodhull their native land . Her work is performed by Hospital. He has worked as a consultant for Alvin Ailey American Dance Theater and the the Caribbean Cultural Center, an organization Cleo Parker Robinson Dance Company, among that conducts information and disseminates others . She is founder/d irector of the Katherine information on African traditions. From 1982 Dunham Center for Arts and Humanities, until 1990 when he became Consul General of which houses the Katherine Dunham Museum Haiti in New York, Frank served as a scholar and the Performing Arts Training Center in East for the New York Council for the Humanities in St. Louis and the Katherine Dunham Museum their program, "Speakers in the Humanities." Children's Workshop, a performance ensemble. He has participated in many radio and TV Dunham lives in New York City, is writing her programs in the U.S. and Europe, and was a autobiography, and teaches master classes specialist and narrator on African preserved across the country. religion for Finnish Television. He was a consultant for the Vodou segment of the series Dr. Henry Frank , born in Haiti, is an interna­ In Search of Voodoo by Landsburg Productions, tionally renowned Haitian anthropologist and which premiered on WNBC-TV. He consulted has done extensive research on the influence of on the exhibition Sacred Art of African cultures, particularly the religious at the American Museum of Natural History aspect, in the Americas. His research has taken in 1998-99, which attracted more than him to Africa, Europe, the Caribbean, South 70,000 vis itors. Who's Who

DanceAfrica 2003 Mama Adwoa Brown Mama Andara Koumba Council of Elders Baba AI Carter Rahman-Nd iaye Mama Jackie Coban Baba Obara Wali Senior Elders Baba Chuck Davis Rahman-Ndia ye Haija Rahkiah Abdurahman Mama Alice Dinizulu Mama Madeline Yayadole Baba Lee Abramson Mama Rahkiah Eason Nelson Mama Linda Evans Mama Amy Olatunji Elders Mama Doris Green Baba Joseph Placide Mama Kumali Abramson Baba Kwame Ishangi Baba Jonathan Robinson Baba Yomi-Yomi Awolowo Mama Akue Ishangi Mama Mary Robinson Mama Carole Awolowo Baba William Matthews Baba L.J. Sulaimaan Baba Chief Bey Mama C. Katunge Mimy Baba Mensah Wali Mama Barbara Bey Baba Mzee Moyo Mama Lynette White Baba Joe Nash Mama Pearl White

Bedford Stuyvesant Restoration Corporation Restoration/BAM Dance Director Karen Thornton-Daniels President Colvin W. Grannum Dance Instructors Funmilayo Chesney , Robin Executive VP/COO Dyrnest K. Sinckler Gee , Esther Grant-Walker, Jewel Love , Barbara Elaine Pouncie, Michelle Smith Education and Arts Master Drummers Andrew Daniels, Dellwyn Director, Youth Arts Academy (YAA) Peggy Alston Gilkes, Ngor Jallow, Farai Malianga , Montego Associate Director, YAA Carolyn A. Butts Joe, Steve Moss , Ray Phillips Project Director, YAA Sabine LaFortune Customer Service Representative, YAA Edna Fulton Sculpture Garden Visual Arts Skylight Gallery Exhibition Coordinator, Center Saeeda Banks , Derick Cross for Arts and Culture Nykia Omphroy Skylight Gallery Project Coordinator, Center Creative Writing Angeli Rasbury for Arts and Culture Kevin Davis Spoken Word Director/Creative Writing Photographer Mel Wright Coordinator, YAA Atiba Wilson Videographer Gary Wachter

BAM/Restoration Nneka Mitchell Thia Grant Na'imah Ali Khadija Nicholas Thea Grier Daniel Alteon DanceAfrica Isadora Alteon Ensemble Christine Placid Fakoya Jack-Vilmar Amir Andrews Participants Jasmine Poole Qahirah Kibler Camille Bailey Ebony Richardson Elexus Knox Chioneso Bakr Michele Stafford Ashley London Alisha Baptiste Center Stage Acoti rene Su rette- Nia Pittman Kassandra Baptiste Dancers Katrina Baptiste Jungwirth Mianna Questelles Jamal R. Callender Kenya Baptiste Diamond Roach Alia Baynes Kourtney Charles Junior Youth Valencia Springer Candace Blake Danielle D'Avilar Ensemble Michael Walters Isis Chiles Bijan Dentler-Clarke Jenna Clayborne Markita Agard Caithlin Willis Shani Graves Ndia Daniels Olukemi Ajaiyoba Brittney Anne Grier Niamke D'Avilar Camille Bailey Festival Dancers Sarah DeBerry Keisha James Chioneso Bakr Markita Agard Rashid Dendy Breana LaFortune Olukemi Ahaiyuba Alsia DiGravina Alisha Baptiste Melissa Mack Mohammed Ali Jessie Dixon Avril Gause I ~I Who's Who

Quanisha Dixon Chioneso Ife Bakr Nana Yoa Bonsue William MacPhearson Aatifa Drayton Hassan Barksdale Amanqua James McCoy Scyler Nicole Drew Jamal Barry Ismay Andrews Kevin McDonald Nia Farmer Naja Braithwaite Leonard Anthony Mama Sarah McGee Nyle Farmer Warren Chiles Jacqueline Armstrong Papa Scuddie McGee Jeremiah Fayson Yusef L. Clay Bettina Bancroft Denton Melville Dwanee Finley Nyle Farmer Aaron Baxter Moses Mims Laura Ford Elaina Garbutt Talley Beatty Scobey Mitchell Amanda Fynn Nakey Garrett Ayodele Elaine Beener Bill Moore Avril Gause Najah T. Haynes Vernon Brandon Bey Queen Mother Elaina Garbutt Fakoya Jack-Vilmar Jamila Bey Adley Moore Khadija George Ashanti Lee LaRocque Bey Charles Moore Shavon Godbolt Warren Mack Nana Opare Biea Cheryl Zincke Morris Thia Grant Elias Maysonet John Blandford Bubacar Niang Thea Grier Ashlee McArthur Percival Borde Kofi Nkrumah Symphony Griffin Ashton Moore Oscar Beau Brown III Afinya Odak Kyani Hagins Geoffrey Nurse Baba Walter P. Brown Yao Odum Takiya Harrell Powers Pleasant James Butler Noni Olaniyan Najah T. Haynes Brianna Purvis Betty Carter Baba M.B. Olatunji Shaniya Hyndman Issa Styles Alfonse Cimbe Iyalu Opeodu Fakoya Jack-Vilmar PtahHotep Tmu Halika Harriet Clegge Madrina Sunta Osanka Gaumisha Jean-Paul Nailah Asha Walhour Joe Commodore AI Perryman Ta mara Jolly Anna- Li sa Westfield Marion Cooper, Jr. Micheal Peters Lakiesha Jones Rita D'Adamo Larry Phillips Qahirah Kibler Creative Writing Students Assadata Dafora Ronnie Pratt Elexus Knox Na'imah Ali Tony Davis Mama Pearl Damaras Lewis Mohammed Ali Joseph Solomon Deas Omowale Primus Ashley London Isadora Alteon Gregory Myles Dejean Falumi Prince Elias Maysonet Yusef Clay Denise Delapenza Ruby Pryor Jaleesa Miller Sara DeBerry Baba Dele Nancy Quinn Thema Norton Rashid Dendy Aquasiba Derby LeRoy Radcliff Nia Oden Elaine Garbutt Nana Opare Yao Abdul Rahman Stephen Pajotte Darrian Robinson Dinizulu Pearl Reynolds Stephanie Pajotte Kalin Sims Ralph Dorsey Dave Roberson Nia Pittman Lucille Ellis Mama Sandy Royster Powers Pleasant Candlebearers Michelle Fennell Jonathan Schenker Brianna Purvis DeBorah Davis-Gray John Flynn Michael Schwartz Mianna Questelles Pat Dye (PAKA) Syvilla Forte Early Scott Diamond Roach Leslie Gray Aaron Frazier Dr. Betty Shabazz Darrian Robinson Wadiyah Knott Sarah Frederick Keith Simmons Amanda Rodriguez Ali Knott Tommy Gomez Eddie Spencer Valencia Springer Diarra Lansana Mama Mary Gray Phillips Stamps Ajanay Squire Paul Lucas Adoulah Hakim Scobey Stroman Kimberly Synsmir Alicia Matthews Alex Haley Stanley Mamadi Tarzer Samantha Thomas Kamu Mimy Thelma Hill Priscilla Taylor Aisha Toussaint Faluso Mimy Ted Holiday Raymond Taylor Naim Vann Victor Ramos Robert Hudson Ron Taylor Najah Vann Renee Smith Ray Hurrey Alyo Tolbert Rhakima Verley Nakia D. Vieira Yusef Imam Djbril Traoure Ra kesha Verley Aisha White Mama Ince Peter Tumbleston Anna Lisa Westfield Charles E. Inniss Ethel Watkins-Davis Michael Walters Memorial List Mama Adlyn M. Irwin Olukose Wiles Nailah Walthour To those who have passed Clinton Jackson Evelyn "Jessie" Williams Lavasia Warner on to the ancestral Gloria Jackson Jimi Williams Caithlin Willis grounds, we will not forget Jerome Jeffries Lavinia Williams Jetya Wilson you or your contributions Bernard Johnson Tessie Williams Tannia Wilson to the world. Tommy Johnson Tony Williams Ase! Ase! Ase! Mama KeKe Lester Wilson Visual Art Students Hajji Bilal Atxlurahman Mrs. King Mama Willie Wilson Kemi Ajaiyeoba Nana Osunyomi Robert Bob LaPrince Max Allen Afolabi-Sarpong Kolawole Balogun Naimah Ali Nana Adowa Aforiwaa Ron Love Mohammed Ali Alvin Ailey Loremil Machado Emery Archer Doug Allan Earl Mack ~\S RA 1\/1 DancpAfrica Fllnripr, Major sponsors:

~ATQT "'I --- MorganStanley Additional support:

conEdison Programming in the BAM Howard Gilman Opera House is supported and endowed by The Howard Gilman Foundation. Additional endowed support for DanceAfrica is provided by the Lila Wallace­ Reader's Digest Endowment Fund for Community, Educational, and Public Affairs Programs at BAM.

Print media sponsor:

BAM Dance support: The Harkness Foundation for Dance

DanceAfrica Education program in collaboration with Bedford Stuyvesant Restoration Corporation.

Major support for DanceAfrica education is provided by Surdna Foundation, Inc. and Charles Hayden Foundation with additional support from Tribune New York Foundation.

Opening night reception support is provided by The Corcoran Group and Carver Federal Savings Bank.

Your tax dollars make BAM programs possible through funding from: ii NYSCA

BAM would like to thank the Brooklyn Delegation of the U.S. House of Representatives, which-under the leadership of BAM's district congressman, the Hon. Major R. Owens and in close partnership with the Hon. Edolphus Towns and the Hon. Nydia M. Velazquez-has secured a major Federal appropriation for BAM's youth and community initiatives.

The BAM facility is owned by the City of New York and is funded, in part, with public funds provided through the New York City Department of Cultural Affairs with support from Mayor Michael R. Bloomberg; the New York City Council; Council Speaker Gifford Miller; the Brooklyn Delegation of the Council; Councilman James E. Davis; Brooklyn Borough President Marty Markowitz; and Cultural Affairs Commissioner Kate D. Levin.

BAM would like to thank the DanceAfrica Council of Elders for their ongoing participation and support. Con Edison salutes Brooklyn Academy of Music and proudly supports DanceAfrica 2003 Con Edison. ON IT.

(§ conEdison www.conEd.com