Hotfoot Online Edition 6: Contents

Welcome

1. Editorial: from Jeannette Brooks 2. Think Piece: ‘Making Moves –Creating Opportunity’ by ADAD Advisory Panel 3. Review: Resolution 2007: by Laura Griffith 4. Interview: ’21 and looking young’ Corrine Bougaard interviewed by Jeannette Brooks 5. ADAD Asks… Thea Barnes 6. Review: Ballet Black ROH2, by Francis Angol 7. ADAD Update: Pamela Zigomo 8. Insight: ‘Journey of the Artist’: Zeze Kolstead, Diane Mitchell, Menelva Harry 9. Credits and Notes Editorial

Welcome

36 months have past –another period of evolution and change traversed and now once again ADAD stands at the crossroads of another development.

For the past five years ADAD has been an integrated organisation within Dance UK, suckled by that supportive relationship of established administration and fledgling organisation. That is about to change as ADAD moves office, changes management and staff and flies from the nest that was Battersea Arts Centre to Finsbury Town Hall near Sadler’s Wells .

So to celebrate that moment of funded and independent organisation status, this Hotfoot Online issues poses the most fundamental of questions… Is there a cohesive African Peoples Dance Community in the UK? We have asked the sector to repond and a snapshot of the responses are written here. The advisory committee of ADAD also step into the printed spotlight to share their views and an interesting interview from the long establish name in the UK dance scene, artistic director Corrine Bouggard.

At the moment Hotfoot looks like it also will be taking a pause to breath and perhaps refresh its mission given the new faces in the office. They will bring their own flavour and points to raise in this magazine. So at least for now, this is my final Hotfoot Online as Editor. I hope you have at least one good read in the last two years…

See you soon.

Jeannette Brooks Hotfoot Online Editor Interview… Making Moves & Creating Opportunity

As ADAD enters another phase of evolution in response to the sector’sneeds, we catch up with three members of the Advisory Panel –those backstage movers and shakers who volunteer their time and experience to the cause. We ask, so why are you involved on the work of ADAD? Their answers are here.

When did you join the ADAD Advisory Panel? ‘Well, I joined the ADAD steering committee in 2001. Sheron Wray was chair at the time.’ says Funmi Adewole. ‘Then I managed the organisation from 2003 to 2004. I’ve been chair of the organisation since 2005; however I will be leaving the steering committee in May.’

Francis Angol said ‘I joined the panel 5 years ago but was not very active before the last 18 months’.

Why are you a member? Ukachi Akalawu replied, ‘For me, I am a member of ADAD because I understand the importance of supporting the only organisation that represents practitioners of African Peoples Dance.’

Francis has another standpoint, ‘I am a member of ADAD because I want to contribute to, and influence change in British dance.’ What do you bring to the organisation? I offer the organisation my skills as a dance researcher.’ says Funmi. ‘I’ve been able to act as advocate for events and programmes which have taken the discussion about dance in the APD/Black dance sector beyond the debate about definition.’

Francis, an experienced and reputed practitioner adds, ‘I bring the organisation my wealth of knowledge and expertise of working in as well as my knowledge of the African/ British Black dance sector and many national and internationally links and contacts.’

What would you like to achieve in this role for dance? ‘My achievement,’ replied Francis, ‘would be to successfully help to place ADAD in a position where it has an equal voice to that of any other major arts organisation that causes and influences change in British dance.’

Ukachi says, ‘I would like to achieve a raising of the profile of African dance practitioners; the work that they do and the issues they face. I would also like to give them the opportunity to develop themselves through further training such as through the Trailblazer fellowship.’

What are your biggest aspirations for ADAD? My biggest aspiration for ADAD, is to unite Black dance in Britain.’ says Francis.

Ukachi makes another point, ‘That we become an organisation that is independent of the Arts Council and other organisations which do not always seem to have our best interests at heart.’

She continues ‘That we have our own space so we can hold regular platforms for our choreographers, and have room for our people to come and develop their ideas. That we are able to raise funds so we can pay to have enough full-time members of staff and develop a major central resource centre for the development of the artist and the forms the organisation advocates for.’ What have been the major influences on your work from your cultural and ethic foundations? A major influence on my work has been my experience of growing up in both Britain and Africa,’ says Funmi. ‘Traditional compounds and urban barracks, in black families and white families –I think this gave me an interest in the role of performance in society.’

‘My major influences have been the experiences that have led me to work/travel abroad (in Europe, Africa and America), thus being exposed to different forms of dance, and having the chance to learn from dance practitioners who are at the top of their game.’ Ukachi offers. But for Francis ‘The major influences on my work are people, culture, the environment, history and current affairs.’

I must also say that it was invaluable to have resources such as Badejo Arts’ Bami Jo Summer School, which for myself and many other dancers, was the one opportunity per year to train in the UK in African dance intensively with internationally renowned professionals.’ continues Ukachi. ‘This and many other experiences (unfortunately all too short) have allowed me to expand my knowledge and skills which has impacted upon my abilities as a dancer, upon my teaching, and upon my understanding of the roots of the many dance forms that are practised here in the UK.

In five years time what would you hope to see in the dance sector of dance of the African Diaspora? I would like to see a new crop of British dance practitioners making their mark in the theatre and the community in Britain and abroad. With lots being written about them…of course. Francis says… Ukachi says… a) I hope to see a framework for the a) That we finally have our own building development of dance of the African where we can congregate, discuss, Diaspora. practise, and share (congratulations to Irie! b) At least 3 place where an individual Dance Theatre who have managed to can undertake a course of study that secure a building for their organisation. It’s leads to a professional qualification. been a long time coming. However, for the c) A substantial increase in the numbers whole sector, we need something on a of professional practicing performance much larger scale). based companies. b) That we have a system of training or a fully developed module that can coherently fit into dance/performing arts courses at recognised institutions. c) That we manage to develop a full-time two year course in African dance and music (a module is a positive step, but we do need to aspire to have a course that can truly investigate and teach the full range of d) Increase in the number of trained information under that massive umbrella qualified tutors teaching dance forms of term ‘African dance’ –NOT African the African Diaspora in Britain. peoples’ dance, as that is too wide, and e) At lease 3 major high profile dance disciplines such as Jazz can be choreographers working within dance of studied to a high level already in this the African Diaspora. country). f) ADAD as the recognized body for the d) That our artists receive a consistent level development of Black dance in Britain. of sensitive and long-term support to a point where we can start to have Wazzzup Snapshot functioning African dance companies once Does a group of similar and sympathetic aesthetics in dance unite a group of artists more. under the banner of Black Dance or dance e) That the wider dance industry (venues, from the African Diaspora? programmers, festival organisers, writers, Arguably. APD was never a very happy funders, teachers of other dance forms, term to embrace Western “Black Dance” forms (tap, jazz, ballet, contemporary, etc), begin to develop a respect and street, hip hop etc) and it’s in the wider understanding for the work that we do and Diaspora area that “APD” or “Black Dance” (or what you will) has its highest consequently change their practises which profile and greatest public impact. It’s the currently marginalise, stereotype, ghettoise, “uniting under a banner” bit that APD failed so dismally to deliver, despite active and tokenise us. Although these are strong support and encouragement (and a lot of words, the process of developing the points empty talking) in the 1990s. Maybe this will change as the younger generation of a - d will work together to forge a depth of practitioners come through, and understanding from the wider dance meanwhile there is lots of good work going on within APD or Black Dance. industry. (Anon) Review… Resolution 2007 The Place, London Reviewed by Laura Griffiths Avant Garde Dance Karensa Louis Adesola Akinleye iPod and I Flicker Climbing with Bare Feet 31st January 2007 9th February 2007 9th February 2007 iPod and I, Choreography: Tony Adigun and Company Tony Adigun and his cast of dancers transport the audience through a multifaceted urban journey in ‘iPod and I’.

Welcomed by a vacant stage, Adigun’s morning routine is illustrated in a home video type cinematic projection as our iPod adventure commences. Adigun with backpack in tow, mechanically meanders through the stage. An unexpected chorus of dancers breathtakingly explode into the blank, shadowed space whilst Adigun weaves through them, sharing intermittent flickers of action as the mottled music echoes through his veins.

A thread of narrative begins to build as Adigun voyages through his music library which acts as a quirky guide. This structure succeeds in arranging the masses of movement and movers about to descend upon the audience. The articulation of Adigun’s ‘soundtrack to life’ as it were, is mainly through a marriage of Hip Hop and contemporary dance. The realms of Hip-Hop clearly dominate the movement language, with intervals of comedy, parody and lyricism adding depth to the simplicity of the dance subject. In an attempt to expose the way in which a choreographers’mind works, Adigun co-exists in space with his dancers who behave as his sub-conscience. Enhanced by the juxtaposition of music genres and dance, transitions between scenes are sharp, polished and eye- catching. Spatial compositions are cleverly compact and symmetrically balanced, which is pleasing to the eye.

The use of tableau in the work allows for some spectacular images, especially the use of a flat yellow colour on the back screen against a group of dancers in blackout. This illustration plainly recreates the iconic ‘iPod’ TV ads; and such compositions reinforce the fact that Adigun’s creation is a product of the climate in which we are all living. On this level it is successful; however some abstract subtlety towards the narrative would make for a greater appreciation of Avant-Garde Dance Company.

Aside from this the movement vocabulary is casual and accessible to the audience. Adigun’s inspiration for the work is represented quite literally and reinforced with exaggerated mime, which weakens the overall display.

Flicker, Choreography: Karensa Louis Louis expertly explores the mental and physical harm we inflict upon ourselves using her physicality as a site of contestation.

Karensa’sbody expresses the notion of both acting in and acting out through its fierce, dynamic opposing behaviour. Transforming from a temperate melting substance into a serrated icy construction she survives in space roaming between different levels and tempos. With dim lights and pulsating, wooden music the underground atmosphere enlightens her character with a raw and mysterious edge. Appearing in three phases, Louis’ body reacts to a different musical score and environment in each, which most definitely keeps the audience stimulated. In the first two instances the slow and fluvial methods she adopts, make her seem neither human nor alien, creature like her figure becomes soulless and bare. This starkness gently unfolds into a calculated final phrase where her focus begins to meet us, allowing us to enter into her environment.

In the early stages of the work, Louis rarely identifies her audience, ‘acting in’ her body profile is composed as she isolates the shoulders, hips, head and arms away from her body. Reaching away from her inner core she perfectly expresses the concept of acting out as her centre becomes redundant. Louis opens the dance on her knees, in the far right of the stage, her actions are gestural and her upper body repetitively collapses into the softness of her thighs before her, this motif is developed as she grows and evolves into the space and into higher levels. Her torso is thematically inverted and separated from the rest of her body in a mechanical realisation of how ‘women act out by acting in’. Fragments of feeling knead the three sections of the dance together, Louis makes use of her ability to disjoint and layer contemporary movement as she forms her own landscape, mapping out the space as her own territory, she is unique.

Appearing effortless her body becomes a vehicle for expressing pain/passion/power in her verbalization of the dance matter. She embodies grace layered with pulse and a solid adherence to the constraints of gravity, as she rarely elevates. There are occasionally still moments, which become a salient feature of the dance, and as her eyes eventually stare out towards us they ache with relief grasping our attention in an abandoned moment.

ClimbingwithBareFeet, ChoreographyandVideo: Adesola Akinleye Using ‘light’ as a choreographic tool, Akinleye cleverly manipulates visibility as a means of structuring the performance and highlighting the dancers in space. Inspired by Ralph Ellison’s novel ‘Invisible Man’ Akinleye’s production ‘Climbing with Bare Feet’is an athletically balanced performance by Sean Graham and Daniel Baird. The set on stage consists of a long rectangular sheet of white fabric, raised to knee level and divided into a triangular shape.

The stage is darkened and as the two performers dash and dodge each other, rolling under the screen energetically thrashing through the available space, a projection appears upon the fabric. After a moment one realizes this is the product of a reflection using a mirror to bounce the projected images onto the screen. Most impressive, and as Lucy Howlett the ‘Light Dancer’ cautiously walks through the space, the dancing images travel across the stage.

Two bodies suddenly become eight, then four, then twelve…. And the dancing images on the screen become symmetrical to those in the space. They duplicate to become a live painting on display in a gallery, there is a different dance to see, and visibility becomes a selective process. The screen is periodically moved, to mark each change of space the lights turn to full beam, and Howlett begins to adjust the set, this adds a sense of practicality to the work and again, makes us feel as though we are part of an art installation. Akinleye successfully changes the space in each transition of movement dynamic, set and musical accompaniment, allowing us to feel refreshed and almost watching a new dance.

There is a large reliance on elevation and contact work in the dance, however at times this is disappointing; transitions are sometimes weak and seem deliberate rather than organic. This however does not detract from the exciting combination of sound, light and music in an exploitation of architectural stature.

Adesola Akinleye was awarded the Bonnie Bird new chorographers award in 2006. Interview…

21 and looking young! Corrine Bougaard, interviewed by Jeannette Brooks

When I look out over the sea of dance, with either my national or international binoculars on, I hope to see kindred spirits, role models, names and faces that inspire or challenge. And especially as a female voice in our field, I want to know that a woman can have the positions of influence and profile that change the landscape of Dance of the African Diaspora.

Realistically however, in the UK, those individuals that demand respect for the above reasons are not that numerous. In fact they are few and far between – but not because the talent is not there, perhaps the dance sector just does not allow for long lived careers, or the professional opportunities that hold onto the experienced and knowledgeable few.

Therefore, it is with pleasure that we have an interview with the often publicly quiet Corrine Bougaard. Jeannette Brooks (JB): I would love to know when you started your affair with dance.

Corrine Bougaard (CB): I started very young, 7 years old in fact. I loved mime classes and the imagination needed there. I was also good at P.E. and did well in high jump and running. Plus my mother was very good in performing arts. She was an actress and painter but there was a general artistic influence from my family too; and now my husband, Peter Emina is a television producer and director.

Linking things again to my family, as children we where encouraged to do as much as possible. I got into the discipline side of dance, so ballet exams and grades and maybe that part relates back to my church upbringing. I also took up contemporary dance classes (and trained with Roland Joffre, the film director of the Killing Fields). Mum took me to see Othello very young and Dad was an educationalist. All very stimulating stuff.

Another influence was of course the family’s move from Cape Town, South Africa and the Apartheid system, to the UK in the late 50’s. We had to start over, re-qualify for things and look for a new home.

JB: At the beginning of your dance relationship, did you have role models that you wanted to be like? What or who did you aspire to as a dancer and then choreographer?

CB: I’m not that kind of person. My heroes and heroines where more political figures like Che Guevara. I wasn’t inspired by dance and ‘dancey’ things and the fluffy ballet stuff was a bit scary! I would say that I was just as connected to sports people like tennis champion Arthur Ash and his achievements. And then Mandela –and people like that captivated me.

I am nevertheless, fascinated by many choreographers’works and I think my work can be seen as an anamnesis of different choreographic influences. Ailey and London Contemporary Dance Theatre are close to me - but these are influences not role models.

And now, the work we (Union Dance) always focuses on is identity and enlightening peoples lives. It all must relate and be relevant to the audience. That is what’simportant for the dancers –that the company is a vehicle for change.

When I first started the company I was into quantum physics. It helped me to see that in life everything moves, even down to the smallest particle. Spontaneous movement you know! We are part of the mystery of Nature –harmonious and complex designs. Union Dance refers to this in its’holistic philosophy. We are all interlinked at some chemical molecular level. Artistically speaking, taking a cross section of things, looking at identity again, highlighting the unity in all things and how the unconscious is brought into the body and joins the mind, body and spirit, this is what we communicate in the company, but is not a quick fix meaning of Union Dance. It’snot a very euro centric conscious approach but a global approach to communication - our form of expressing ourselves as an organisation. So through the love of dance I have been able to unite many of my other interests and thoughts and take that artistic expression into peoples understanding.

JB: What have been the major influences on your work from your cultural and ethnic foundations?

CB: I think what I’ve done is introduce as many non-European styles into the core of the company’s identity.Everyone who sees the company’s work,has a different point of view and this is what it is progressive. We don’t just throwin things; people are chosen carefully to work with us. So looking at Mickael Joseph –he is the benchmark for the company style - using the wave work, Hip Hop, yoga, his 21 years of his work with young people and his knowledge of media and camera work, give strength to us all.

It’s about focus and not being broken by tokenism. Most that goes on around us is generational, and the issues of twenty years ago are changed but not radically different. The subjects we touch on are critical to this company and they allow each person to be seen as unique, giving them space to spiritually grow. Even the Union logo includes the circle for the holistic perspective. It’s been said in the past ‘Planet Union’!

JB: And in the future, what would you hope to see?

CB: I think it’s very relevant to understanddeeply one’sidentity, past and present. Important for a movement framework to have that knowledge and respect the knowledge, but not be confined by it. It’s finding a balance - reaching forward to break out of confines of tradition. Union Dance has worked a lot with Chinese, Asian and African movement languages so it is about the art form first and foremost. Union has had a positive effect on so many people and audiences. We hope to provide challenges and expressions for young people and audiences and that is part of our mission, to empower others through the arts.

Union Dance is celebrating their 21st Birthday this year.

Born in South Africa, Corrine’sdistinguished career at Ballet Rambert preceded her role as founder member, choreographer, teacher and Associate Director of Extemporary Dance Theatre. Corrine went on to found Union Dance in 1986. Awarded the first Arts Council bursary for an Artistic Director of dance, Corrine was also a recipient of the Winston Churchill Fellowship: the first British choreographer to research contemporary dance in Cuba. She has choreographed for many Union Dance productions, including most recently a commission for The Henley Festival of Music & the Arts. Corrine has spoken and given papers at conferences in Miami, Bologna and Shanghai and her interest is also in the developing field of new technologies with dance. This she furthers as Associate Lecturer on the MA Course in Design at Central St Martin’sCollege of Art & Design, London

Wazzzup Snapshot

Is there really a UK based African People Dance sector?

Yes, in terms of dance activity happening. Not really, in terms of a “community” within the performing arts sector having a sense of identity and common purpose, sector leaders or a common development agenda. Despite the excellent efforts of ADAD (who provide a genuine collective visibility and forum), APD has a surprisingly low profile in the wider dance or performing arts world, far lower than in the 1980s/1990s. (Anon) Regular Feature… ADAD Asks…

In each Hotfoot newsletter, ADAD interviews an experienced dance professional with connections to the APD / Black dance sector and asks them 10 direct questions.

This edition, we meet Thea Barnes

1. On a day to day basis what makes up the content of your working life as a dance practitioner? As the Resident Dance Supervisor for the West End production of The Lion King my days vary between being teacher and administrator.

I audition, train, and manage all artists working with the show. I work along side the Director, Musical Director and technical staff by recommending then implementing rehearsal and production strategies that keep the integrity of the choreography intact and performed to the highest level of excellence. It is my responsibility to maintain the choreography of this West End Production as set by the artistic vision of Director Julie Taymor and Choreographer Garth Fagan.

As an independent dance researcher I write articles on dance and critiques of performances and discuss investigations into dance practice. My particular interest is in the research of the practice of dance within the African Diaspora. I also mentor up and coming choreographers and tutor undergraduate dissertation students. As a practitioner of movement I maintain a rigid personal regime of yoga, cardiovascular and weight resistance training with ballet classes added in for good measure when ever my schedule allows.

2. The UK dance scene. In what ways do you interact professionally with British based dancers, companies, , or organisations? I am both a participant and observer of the British Dance community.

During Lion King auditions and then hiring of UK trained talent I am able to assess the quality of training as well as aptitude for performance to meet the riggers of our production.

As an audience member, my work as a writer and researcher allows me to see trends in movement, plus with my association with organisations like ADAD, Irie! Dance Theatre, Arts Council England, Equity, Dance UK, The Place, LABAN Centre, Surrey University and others, I am able to assess cultural, social, and political impacts that affect the practice of dance in Britain.

However, my attendance of conferences and meetings both here and aboard also provides me with a global sense of dance practice. I try to understand dance as a universal practice that each person in a given community does differently.

3. If you had complete artistic and financial freedom what kind of event or project would you devise to promote African Peoples dance and all its styles to UK audiences and venues? I envisage a 10 year project with two years pre-planning of the initial event, making a total of 12 years. This event would be a three week engagement presenting dance for entertainment and arenas for discussions related to, but not necessarily all about, dance. There would be performances, areas designated for dance as a participatory activity and not necessarily as spectacle, lecture demonstrations and conferences where papers on particular subject areas are presented. Awards would be given perhaps for excellence but also to dance practitioners in movement therapy, teaching or for having been active in dance for an era.

This conference would certainly target dance practitioners, but ultimately strategies would be devised to draw in members of the media and general public with less experience of dance and its varied manifestations. Goals for the initial planning period and subsequent years should be broken into 2 categories: short term and long term. Short term goals would focus on the presentation of notable companies, presentation of papers and discussion topics current for each year.

Long term goals would be designed to benefit practitioners and dance enthusiasts by targeting areas of need within the British context; research to archive the work of a practitioner, establishment of a youth group within a target area or schemes to provide 10 year support for a young choreographer and their company or other dance organisations of a sort or even support for young movement therapists to work in health clinics in areas of need through out Britain.

The yearly event is how interest is generated for the next year and so on till end of the 10 year period. The 1st year is also the time to choose the activities that will continue for the next 10 years on a year in and year out schedule. Feedback, reports/lectures, or performances resultant from the long term activities will be presented in each year during the main event. Hopefully short term activities will keep the enthusiasm going while long term activities continue in the community throughout each year. It is also hoped that long term activities will continue pass the 10 year period.

A plan like this would be geared toward establishing dance activities that tap Africanist dance practices; traditional/contemporary, hybrid or authentic, theatre and social recreation, sacred, holistic and experimental practices. This plan also seeks to establish roots in target communities to hopefully insure not just the practice but also high visibility over an extended period of time. 4. Have you ever sensed a kind of glass ceiling in your career? Of course but I always knew it was there and never allowed it to plunge me into thinking I was any less capable.

5. What dreams / ambitions have you seen pass you by and what ambitions in your career would you still like to achieve? DREAMS: I auditioned and was asked to join the Alvin Ailey Dance Theatre while studying with Dance Theatre of Harlem so you could say I missed a real in depth relationship with a tutu…..

AMBITIONS: There are so many but they are personal goals… so, hummm, which will I share in this forum? I’d like to achieve a yogic full arm balance!

6. As a dance practitioner what three words sum up your work as a performer, choreographer and or teacher? Keep on movin’…….!*

7. Do you feel there are any steps missing in ones career path for UK dance artists? It has been my experience that some dance artists in the UK lack a sense of legacy especially those artists with strong interest in dance forms of the African Diaspora. The history offered in dance training is incomplete and what is offered is Eurocentric and with regard to Africanist expressions within the British context, the history is ill-informed or unavailable - in effect, invisible. If the Africanist Presence in Britain is not reclaimed, restored in name, protected and respected, we who do know will have but ourselves to blame.

No dance comes to fruition in a bottle. Whilst dance practices share on many levels, an acknowledgement of basic tenets would go a long way in providing ALL UK dance artists a true sense of their place in the evolution of dance in this country and the world.

I also believe training that encourages a dancing body capable of several different ways of knowing movement is the final benchmark for dance training in this country. 8. What is your present interpretation of African Peoples Dance (APD)/Black Dance and its relevance to the overall British dance scene and why? At the beginning of the 20th century in America, dance mobilized its ideals and fortified its belief systems for all American dance practitioners and particularly for Africanist practices. African American practitioners set about re-writing dance history, acknowledging role models and articulating their methods for dance making - rewritten to acknowledge many overlooked dance practitioners and to dispel myths and misconceptions.

Dances, from theatre productions to social recreation, from traditional and sacred practices to mergers with contemporary and classical ballet - became a means to soothe the spirit and build confidence for African American communities.

In this 21st century universities and public establishments like the Schonberg Library, New York Performing Arts Library, Library of Congress in the States now carry dance programs and libraries stocked with everything from videos to notation scores to newspaper clippings to encyclopaedias detailing the dance practices of all Americans. The Africanist presence is there. African American dance practice and practitioners are acknowledged and have established their credibility and recognition. The evidence is clear and there is no doubting the undeniable contribution and indelible effect and presence of Africanist dance practice on all American dance.

The contribution of Africanist dance practice in performance, social and recreational forms in Britain is also just as present and prevalent.

In this country though the history is still unwritten, credibility unsubstantiated, recognition, marginal. However, write African Dance Classes in your internet browser, narrowing your search to the UK and you will hit several individual sites and links offering classes. Performances at Sadler’s Wells, The Place and the Barbican Centre list companies with an African presence.

Africanist dance practices form the foundations that enable creativity in jazz and break dancing and its derivative, street dance. Street dance has revolutionised dance performance in the music and film industry just as vernacular jazz dance revolutionised dance performance for early 20th century . Street dance is not just popular, it is endemic being taught everywhere from leisure centres to Pineapple Dance Studios in London.

Musical theatre also owes much of its early development to Africanist music and dance traditions found in American minstrelsy. British musical theatre benefited from this transliteration of Africanist expressions. Practices from the continent of Africa, related expressions from South America and Caribbean add to social forms with samba, salsa and Capoiera illustrating the practice of Africanist forms in Britain is on going.

The demise of major dance groups Kokuma and Adzido with their overt African expressions is only the demise of these high profile companies. It is certainly not the demise of the practice.

9. What keeps you focused and motivated? Faith.

10. What advice or ‘words of wisdom’ could you offer to those people working in the APD / Black dance arena? Never lose sight of your dreams. Inspiration and belief in your self and strength in your body can make any goal obtainable. Trust.

Thea Nerissa Barnes is Resident Dance Supervisor for The Lion King in London’s West End. She has had a distinguished performing career with the Alvin Ailey Dance Company and Martha Graham Dance Company. Thea holds a Bachelor of Fine Arts Degree in Dance from the Juilliard School, New York; a Master’s Degree in Dance Education from Columbia Teachers College, New York; and a Master of Philosophy degree from City University, London. Review… ROH2 presents Ballet Black

31 January –3 February 2007 Royal House, Linbury Theatre

Reviewed by Francis Angol

The stealth of a gazelle poised with the grace and elegance of a Nubian spirit is the only way one can describe the amazing opening of Ballet Black’s current season of works by four choreographers.

Audiences were enthralled with the return of this flagship ballet company to the Linbury with four works that demonstrated the skill and professional delivery of the performers and thus the company.

The works, a revival of Antonia Franceschi’s Shift, Trip….Catch, set to a live cello score specially composed and performed by Zoe Martley; Bawren Tavaziva’s 2004 Place Prize finalist work, Umdlalo KaSisi is transformed into a classical ballet, fused with traditional African movement drawing its inspiration from the death of a loved one, and accompanied by his own musical composition; Liam Scarlett’s brand new work Hinterland - inspired by the music of Shostakovich, and Taniec, a classical trio choreographed by company ballet Master Raymond Chai. The main high points of the evening were to see the company perform Hinterland and Shift, Trip….Catch. Hinterland –one of two ensemble piece of the night gave the company the opportunity to showcase its talent. Never the less both works really allowed the performers to illustrate the skill of their art, allowing audiences to really appreciate and acknowledge the depth of quality in technique and style.

In the first piece, Taniec, dancer Hugo Cortes leaps on stage with an overwhelming rush of creative energy that is projected far back into the upper galleries of the Linbury Theatre of House. The work was captivating in its fluidity and elegance of particular note was Chantelle Gotobed the only female in the trio. She held the piece together and engaged the audience with a strong performance.

Umdalalo KaSisi, in contrast, was an emotive piece where one felt the pain of loss juxtaposed with hope that can come through the coming together of people. This ensemble piece was performed well with a powerful music score that had an African sensibility. One would have liked to see this piece performed with a stronger ballet signature rather than too much of a contemporary dance placement.

Shift, Trip….Catch, was an exciting and enjoyable combination which came to life in a frenzied second half which was marked by powerful dancing from Damien Johnson, So- Yeon Kim and Monica Stephenson.

Ballet Black does not receive any regular sponsorship but relies on the generosity of its supporters and the dedication of its company members. Artistic Director Cassa Pancho, who herself trained at the Royal Academy of Dance founded BB in 2001, a year later the BB school and in 2004, the BB Association Programme, which currently has over one hundred members. The company is now housed at the Royal Opera House, Covent Garden. The company continues to inspire young aspiring dancers by offering open classes, training side by side with company members.

Cassa views BB as a vehicle to showcase the skills and talents of black and Asian dancers working in the field of classical ballet, producing role models and setting standards for future generations.

The Linbury Theatre was well suited for the staging of the evening’s presentation and was very well attended. The audience in a sense represented the nature of the company’s work –diversity hand in hand with ethnicity in an all embracing mode of entertainment that was delivered with precision. The crowd, an equal balance of the gender spectrum consisted of a wide range of age groups made up of what appeared to be an amalgamation of friends, families, staunch supporters and interested individuals from the general public. This was a most pleasing spectacle to see a company of this nature making ballet accessible to a new and wider audience - well done Ballet Black.

Overall a most enjoyable and entertaining evening’s performance that proved to be good value for money. This company is one with a grounded philosophy with crowd pulling skills through its work and hopefully will have a great and long future.

The production was supported and mentored by the Royal Opera House’s ROH2 programme. Infrastructure article…

ADAD News

By Pamela Zigomo, current ADAD Development Manager

It’s a new Season for ADAD!

Over the past thirteen years ADAD has been the main representative voice of Black dance or Dance of the African Diaspora (DAD) within England.

Over the past four years, ADAD have benefited from of a mentorship under the Strategic Alliance with Dance UK which has enabled us to initiate key changes and develop as an organisation in skills and experience.

Changes to come In the next financial year ADAD is working on becoming an independent organisation with the legal structure of a charity and company limited by guarantee. The next five years of activity will see ADAD focusing on consolidating its advocacy role and maintaining the gains made in communications while building capacity as a new independent organisation. The vision and mission statements of the organisation have been changed to the following:-

Vision ADAD is committed to making Dance of the African Diaspora (DAD) visible and valued at the centre of dance practice and appreciation - enhancing its contribution to the social, cultural and educational development of a multi-cultural Britain.

Mission ADAD exists to support the practice and to enhance the appreciation of Dance of the African Diaspora (DAD), primarily within the subsidised theatrical dance sector. New places and faces After over 10 years in the exciting and creative atmosphere of Battersea Arts Centre in Clapham Junction, ADAD has moved offices with Dance UK to another artistic venue, Finsbury Town Hall in Rosebery Avenue in central London.

ADAD is also currently recruiting for a Director and Communications Officer as part of the move towards becoming an independent organisation.

This will be the first time in ADAD’s history that the organisation will have a Director. From the time since ADAD was formed in 1994 till 2004, members of the ADAD Steering Committee, would work on a near voluntary basis in the office dealing with administration, management of the database and production of the quarterly newsletter. ADAD was able to recruit a full time Programme Development Manager in October 2004 and in March 2005 ADAD attained ACE Regularly Funded Organisation (RFO) status and increased the staff team with additional part-time administrative and financial support. After the new staff recruitments, ADAD will begin the process of increasing its board members in summer 2007.

Benefits of the Strategic Alliance The strategic alliance with Dance UK has proved to be extremely beneficial to both parties. During the period of the Strategic Alliance ADAD has re-launched the Hotfoot magazine online, delivered successful forums in London, the North West and South West regions and produced a landmark exhibition; Black Dance in Britain 1930’s – 1990’s Moments... ADAD also improved its communication and branding strategies: producing a new logo, website, an up-to-date promotional brochure and other successfully received profile raising publicity. These activities have revitalised ADAD and provided the opportunity to further focus ADAD activity. On the other hand Dance UK has gained greater knowledge of dance forms of the African Diaspora and increased contact with professionals working with these dance forms. This has enabled Dance UK to diversify and expand its membership and attendees at mainstream dance events. By providing ADAD’s members with a year’s free membership to Dance UK, Dance UK has been able to raise awareness of the organisation’s work within the African Dance sector.

What will the future hold? ADAD and Dance UK will continue to work collaboratively during and beyond the exit process to deliver the objectives of the organisation, lay the foundations for future growth and manage expectations of its pivotal role in the dance community. The organisation will also look to nurturing new relationships and find partnerships and to facilitate and support original projects whilst also lobbying on behalf of the sector to continue to enhance both the appreciation of and funding to the Black Dance sector.

As the organisation continues with its restructuring and recruiting of new staff and board members we hope you will continue to support and engage with us in order to achieve ADAD’score objectives as it positions itself as a valued, respected and essential member of the Dance sector in the UK.

Wazzzup Snapshot Is there really a UK based African People Dance sector?

I am very alert that African People’s dance is everywhere and has in part been taken up by urban youth culture across the UK. It is however, not one homogeneous set of dances; it is itself culturally diverse dependent on origin, aspiration and context (Anon) Insight Journeys of the Artists It seems obvious that time and experience affects our work and lives. How this is transmitted to our art and expression is less clear.

However Hotfoot has asked three practicing dance artists; each at a different point on the career ladder ‘so what is it all about and how does it happen!’.

Taking the time to think through our questions are Zeze Kolstad, Diane Mitchell and Menelva Harry. This is what they had to say… 1. How and why did you start dancing? What was the catalyst…? Zeze Kolstad Diane Mitchell Menelva Harry Having a mother from the I‘ve always had a love of I became interested in dancing nation Brazil has dance and music. dance at secondary always been a strong school, when my deputy influence. Throughout my teenage head teacher, Mr. Turner, years, I performed with a invited a group of us pupils I started taking ballet local youth steel band, and to watch London classes at the age of ten rehearsed in the same Contemporary Dance with a friend from school, building as Kokuma Dance Theatre. I was about 10 or and decided at the age of Company. 11 years old and was fifteen that this was blown away by their something I wanted to I remember peering performance. Dance then peruse. through the windows and became my best new thinking, ‘I wanna do that’. thing. We pupils talked It was several years later about it so much that Mr while living in France that I Turner set up a dance put those words in class for two terms with practice. LCDT dancer Annie Annick. I studied African dance (movement language of My enthusiasm for dance the Fon/Ewe tradition, was in no way looked at Senegambian and Congo as a career. I was regions) under the committed to gymnastics The catalyst for me when it auspices of Jean Fortune and dance helped my floor comes to dancing was the de Souza and Lolita routines which I enjoyed joy dance in itself gave me. Babindamana, which creating. But by the time I quickly progressed into was 14, I realised I was performing career. increasingly involved in dance and less in gymnastics. 2. Did you always feel part of the dance world you entered as a young dancer / artist and where there any events that changed your thinking towards your dance outlook? Zeze Kolstad Diane Mitchell Menelva Harry No, I didn't always feel The ‘dance sector’ can NO. I don’t think I felt a part of the dance world. I often seem like a strange, part of the world until I grew up in Norway in a amorphous thing, which is finished my training at the very white environment matches my career’s Northern School of and didn't at the time have constant ebbs and flows. Contemporary Dance. many black role models in dance. This changed when I Sometimes I have been Being a part of something moved to England. highly active in often includes involvement performance, other times and I’ve had moments, I have worked with several more reflective now and then, that made black dance companies undertaking research, and me feel part of the dance here, like RJC, ACE Music even nursed a serious world. and Dance, State of injury. All these things Emergency projects etc. I affected how much I have However, I feel more have had the privilege felt part of the dance involved in the dance working with skilled black world. world when I am in the dancers and studio improvising, choreographers like David I think that I have often felt devising, researching Hamilton, Donald on the margins, although material. This is when I Edwards, Gail Parmel, as I’ve gotten older I have can be completely Joanne Moven, Bawren really begun to see more immersed in what I am Tavaziva and many more clearly my peer group and creating, plus when I am have inspired me. feel very much part of it. also involved with funders, other artists and England is such a rich auditioning new dancers. country when it comes to the arts.There are artists Nina Fonaroff, who taught from all over the world and choreography at NSCD, with different heritage, turned my love of dance who collaborate and work and performance into a together. This will always focus on choreography. have a positive effect in the arts. 3. What are the biggest influences on your artistic development –is there something or a message that you try to express? Zeze Kolstad Diane Mitchell Menelva Harry I think one of my biggest My great influences have Seven years ago, whilst influences would be my been those looking for an added mixed heritage, having choreographers who can ingredient to my artistic roots in Brazil and delve deep into a cultural development and Norway. I get inspiration movement language and creation of movement from both cultures. infuse it with a through improvisation, I contemporary language, discovered what is now Regarding my as oppose to the biggest influence - choreographic work I am contemporary dance. Bagua martial Arts. still trying out what comes to mind or ideas that pop Vincent Mantsoe, for Two years later I enrolled up. I do not want to restrict example, brings a richness on an intensive course in myself to a specific theme and freshness to how his China. Five years on I or message. I want to be body fills time and space continue to develop/ able to express myself through intense South create my own language freely. African ritual and using Bagua and other spirituality. martial arts forms. However I am interested in the relationships between This is what I try to However my message is people. When I look at the achieve and have worked feminine strength. works I have created in with Vincent to understand the past, I would say that his processes and they are theatrical, playful practices. and articulate. 4. What are the biggest challenges / obstacles to you achieving exactly what you want artistically and how do you want audiences to receive your work? Zeze Kolstad Diane Mitchell Menelva Harry I think every Alongside my performing It’s afinancial struggle as choreographer’s challenge career in dance we all know, trying to is how to get your idea companies, I have worked create work, earn a living, clearly across to your with international maintain a high level of dancers and for them to choreographers to create performance and training, understand, embrace and two solos. I have in addition to funding, execute the idea with performed them in the UK, accommodation, travel…. energy and passion. and had an international performance in Armenia. Space! With Pegasus It is important for a Theatre, Oxford closing in choreographer to have However, I still feel way off April 08 (which will good communication from where I would like to increase my project skills, being able to be. budgets by 25%-35%), challenge the dancers, trying to negotiate a inspire them and be a The solos did not really reasonable fee for space good leader. get a chance to have a life in Oxford is becoming one in order to evolve and of my biggest challenges. I know that not everybody grow. will like the work that I I would like my audience create. But it is important Apart from the usual to be challenged, inspired for me that struggle to gain funding, it and feel a sense of It reaches a broad also relates to the difficulty enjoyment, experience the audience, and that people in achieving any sort of unconventional through generally - not dancers or career progression or dance, music, costume those particularly into the growth upwards and and design. arts, can enjoy my work. forwards. I think this is one of the major hardships. 5. In five years time what would you hope to see in the dance sector of dance of the African Diaspora? Zeze Kolstad Diane Mitchell Menelva Harry I would like to see a I hope to see artists in the I would like the sector to greater growth of dance of UK achieving more large embrace artists of African the African Diaspora and scale productions and decent whose work also hopefully see some more tours, particularly on embraces non African collaboration across stages such as Sadler’s traditions and styles. boarders. Wells. And greater support for female The African Diaspora lead choreographers here. to the settling of people around the world, and it would be equally interesting to see how the movement of people has challenged what we see as dance from the African Diaspora. Hotfoot Edition 5 - Credits and Notes

Notes: Our thanks to all the contributing photographers

Thanks to: Clarie Middleton and Adzido