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African Dancing and Drumming in the Little Village of Tallahassee, Florida Andrea-Latoya Davis-Craig

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African Dancing and Drumming in the Little Village of Tallahassee, Florida Andrea-Latoya Davis-Craig Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Building Community: African Dancing and Drumming in the Little Village of Tallahassee, Florida Andrea-Latoya Davis-Craig Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATER, AND DANCE BUILDING COMMUNITY: AFRICAN DANCING AND DRUMMING IN THE LITTLE VILLAGE OF TALLAHASSEE, FLORIDA By ANDREA-LA TOYA DAVIS-CRAIG A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 Copyright © 2009 Andrea-La Toya Davis-Craig All Rights Reserved The members of the Committee approve the Dissertation of Andrea-La Toya Davis-Craig defended on 03-19-2009. ____________________________________ Pat Villeneuve Professor Directing Dissertation ____________________________________ Patricia Young Outside Committee Member ____________________________________ Marcia Rosal Committee Member ____________________________________ Tom Anderson Committee Member Approved: __________________________________ David Gussak, Chair, Department of Art Education The Graduate School has verified and approved the above named committee members. ii I am because you are. Dedicated to: My grandmother Aline Mickens Not a day goes by that I don’t think of you. I love you grandma. My grandmother Lottie Davis I never met you, but I know my dad and know that he is a reflection of you. My parents Lt. Col. Walter and Andrea Davis Your unyielding support, sacrifice, and example have taught me anything is possible. & My ancestors You fought the fight so that I could walk in the light. Modupe Egun. iii ACKNOWLEDGEMENTS Life calls us to wear many hats. Some people take off the first hat in order to put on any subsequent hats, and others put on all the hats at the same time. I definitely fall into the latter category. So, I must begin my acknowledgements with the people who kept me sane while wearing all those hats. First and foremost, my husband, Osubi Craig, who never doubted for a minute that I could finish this massive undertaking and gave me the gentle nudging and words of encouragement I needed to keep going; my mom who constantly reminded me to eat, sleep, and “take care of myself”; my dad, who just by his presence made me understand that failure was not an option; Kwame Ross, and Bill and Huberta Lowman for my spiritual grounding and centering throughout this entire process; and Kia Epps, who would call with the most positive words and reassuring tone in her voice at just the right time. When ever you volunteered to do something, I knew it would get done and that freed me to focus on my dissertation (or whatever other hat was on top at the time). Many people offered helpful guidance through this process. I wish to thank the members of my dissertation committee: Pat Villeneuve, Marcia Rosal, Tom Anderson, Jeff Brooks, and Tricia Young. I know I was not the most focused graduate student. Thanks to Yolonda Ferris, our Office Assistant, who helped me stay on task with registration and forms. I’d also like to thank Shauna Stephens and Selina Hall, who edited some of my chapters for me; Dr. Barber who provided me with a ton of research literature to read; and Nzinga Metzger, my dissertation writing buddy and soundingboard. To the parents at Prophecy School of the Arts, thanks for always checking on my progress and asking me “how’s it going.” If you ask me now, my response will no longer be “well, it’s going.” Thank you to my friends, whom I have totally neglected, for being supportive and not revoking my friendship card: Latora Joiner-Francis and Walter Jones. Finally, wish to thank my study participants. I thank you for not only participating, but for being the community I describe in my research. I thank you for your energy, your enthusiasm, and sharing my passion, dance. iv TABLE OF CONTENTS List of Tables ........................................................................................................ ix List of Figures .........................................................................................................x Abstract ................................................................................................................. xi 1. INTRODUCTION Statement of the Purpose ............................................................................ 2 Researcher’s Background and Interest........................................................ 2 Perspectives and Point of View ..................................................................5 Significance of the Study.............................................................................6 Definition of Terms......................................................................................7 Overview of Dissertation Chapters ...........................................................10 Conclusion ................................................................................................11 2. METHODOLOGY Research Questions....................................................................................12 Phenomenology..........................................................................................12 Rationale for a Case Study.........................................................................13 Participants ................................................................................................15 Data Collection ..........................................................................................16 Document Analysis ...................................................................................17 Interviews ..................................................................................................22 Focus Groups .............................................................................................24 Participant Observations ...........................................................................26 Data Analysis ............................................................................................26 Establishment of Rigor .............................................................................28 Conclusion ................................................................................................29 3. HISTORY OF WEST AFRICAN DANCE AND DRUM Introduction ...............................................................................................30 Geography of Africa .................................................................................30 African Dancing and Drumming in Context .............................................31 Significance of Music ...................................................................31 Significance of African Drumming ..............................................32 Characteristics of African Dance ..................................................33 Community Participation ..............................................................34 The History of African Dance in the United States of America ...............35 Slaves Retain the Dance ................................................................35 African Dance Hits the U.S. Stage ................................................36 John Warner Dafora Horton ..............................................37 Ismay Rozena Andrews ....................................................40 v Momadu Johnson ..............................................................41 Charles Williams ...............................................................42 Effiom Odok .....................................................................43 Nana Yao Opora Dinizulu ................................................43 Recent Pioneers .................................................................43 Drum Pioneers in the United States of America ...............45 African Dance and Drum Gain Popularity ....................................46 Summary................................................................................................... 49 4. RELATED LITERATURE Introduction ...............................................................................................51 Literature on Sense of Community ...........................................................51 The Concept of Community ..........................................................52 Developing a Definition of Community .......................................53 Others Using the McMillan and Chavis Model ........................................54 The Community Concept in Dance ...........................................................55 Other Related Studies ...............................................................................56 Summary ...................................................................................................59 5. TALLAHASSEE, FLORIDA’S AFRICAN DANCE AND DRUM HISTORY Introduction ...............................................................................................61 Tallahassee and its African Dance Scene .................................................62 Why Tallahassee? .....................................................................................62 In the Beginning – 1960s ..........................................................................64 The 1970s ..................................................................................................65 1980s .........................................................................................................67
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