Faculty Application for Appointment, Promotion And/Or Tenure

Howard University

Faculty Application for Appointment, Promotion and/or Tenure

Submitted by Dr. Ofosuwa M. Abiola Department of Theatre Arts

Publications digital portfolio: https://ofosuwaabiolaphd.org

Office of the Provost 2013

Howard University

Application for Appointment, Promotion and/or Tenure

This form is to be used in applying for an initial appointment, promotion to faculty rank or tenure. Copies of each publication listed must be supplied by the candidate and submitted with this form. Where necessary, please add pages, such as 6A, 6B, 6C, etc.

The first section of this form is to be completed by the candidate. The second section is to be completed by the Appointments, Promotions, and Tenure Committee of the department, the third by the department chairman, the forth by the Appointments, Promotions, and Tenure Committee of the school or college, and the fifth by the dean of the school or college, according to the deadlines published each year by the Provost. The evaluations are to be conducted according to the criteria established in the Faculty Handbook (2019) and the appointment, promotion and tenure guidelines applicable to the respective schools and colleges and academic departments.

The dean will forward the completed forms and supporting documents to the Provost by the stated deadline.

Table of Contents

Application (Section I) 3

Curriculum Vitae 33

Department of Theatre Arts Scholarly/Research/Creative Work Equivalencies 46

Evicence of Relevant and recent publications and Creative Activities 49

Grant award letters, awards and certificates 50

Evidence of involvement in reviewing manuscripts and grants 51

Evidence of participation of professional development 51

Evidence of service to the university, school/college, department, and the community 51

Evidence of participation in professional societies 52

Leadership activity 52

Teaching activity 52

Student evaluations 52

Honors and thank you 52

Evaluations and Recommendations (Section II) 53

Section I

1. Name of Candidate ______Abiola______Ofosuwa______M.______Last First Middle

2. Present Rank_Assistant Professor__ 3. Proposed Rank ___Associate Professor______

4. School or College Arts and Sciences 5. Department____Theatre Arts______

6. Date of First Appointment at Howard University___August 16, 2016______

7. Date of Last Promotion at Howard University ______N/A______

8. Home Address__3001 Branch Avenue, Apt. 304, Hillcrest Heights, MD 20748______

______

9. Telephone Number: (Area Code)_240_-_205-4019 (cell)______

10. Business Telephone Number: (Area Code)_202_-_806-5462______

11. Home [email protected] Business [email protected]____

12. School of Education (College and University) List all institutions attended. (Begin with the most recent.)

Name and Location of Years Attended Major Degree Date of Institution Received Degree From To Howard University, 2011 2016 African History Ph.D. 5/7/16 Washington, DC Research focus: Mandinka Dance History and African Cultural History

Virginia State University, 2007 2010 Interdisciplinary B.I.S. 12/7/10 Petersburg, VA Studies Graduated Specialization: summa Cultural History cum laude 4.0 GPA

13. Applicants should request that official transcripts for the highest degree be sent directly to the respective department chair at Howard University (initial appointment) N/A

14. Title of Master’s Thesis (Initial Appointment) ______N/A______

15. Title of Doctoral Dissertation (Initial Appointment) ______N/A______

16. Employment History (abridged) (Begin with the most recent)

Position Held Place of Employment Address From To Assistant Howard University, Dept. of 2455 Sixth Street, 2016 Present Professor Theatre Arts NW, Washington, DC 20059

Historian/ National Park Service (NPS) 1849 C Street NW 2014 2016 Researcher Washington, DC 20240

Lecturer Howard University, Dept. of Douglass Hall 2013 2016 Theatre Arts 2419 Sixth Street, NW, Washington, DC 20059

Project Curator National Afro-American 1350 Brush Row 2014 2015 Museum and Cultural Center Rd. Wilberforce, OH 45384

Co-Investigator National Park Service (NPS) NPS and Howard 2013 2014 Grant University, 2419 Sixth Street, NW Washington, DC 20059

Teaching Howard University, Dept. of Douglass Hall 2012 2013 Associate History 2419 Sixth Street, NW Washington, DC 20059

Archivist Wolf Trap National Park for 1551 Trap Road, Summer the Performing Arts, US Vienna, VA, 2012 Dept. of the Interior. 22182

Founder/Artistic Suwabi African Ballet Norfolk, VA 1996 2011 Director

17. Outside Evaluations

Candidates for initial appointment are required to submit at least three letters of reference from their graduate professors or other appropriate professionals in their academic specialty. For recent recipients of the doctoral or other terminal degree, one of these references should be the major advisor for the dissertation or terminal degree project. Letters of reference should be sent directly to the department chair. List the names and addresses of these references here.

Candidates for promotion and/or tenure are required to submit the names and contact information of two professional evaluators in their area of specialization. The department chair (or dean) or an appropriate designee will contact the external reviewers to request the evaluation.

__Professor Shani Collins-Achille: [email protected]______

__Professor Jeremiah Dibua: [email protected]______

18. Honors, Awards, and Other Distinctions (Begin with the most recent)

18a. 2019, CONGRATULATIONS LETTER for the success of the Nankama African Dance Conference. I submitted the proposal for and served as Artistic Director of the two-part scholarly and praxis conference held at Howard University.

18b. 2018, SPOTLIGHT SCHOLAR. Featured as a Spotlight Scholar by the Oldest and most prestigious historical organization, the American Historical Association (AHA).

18c. 2018, AWARD, Outstanding Assistant Professor in the College of Arts and Sciences, Howard University, 2017-2018.

18d. 2018, AWARD, Outstanding Student Advisement, Office on Research Development, Howard University

18e. 2018, CERTIFICATE, Jr. Faculty Writing and Creative Works Summer Academy, Office of Faculty Development, Howard University. Awarded $500.00 for successful completion of the program.

18f. 2017, STATEMENT OF OUTSTANDING SERVICE, for chairing the Search Committee for the Department of Theatre Arts, Dean Mair, College of Arts and Sciences, Howard University.

18g. 2017, CERTIFICATION, Writing Across the Curriculum (WAC), Center for Excellence in Teaching, Learning, and Assessment (CETLA), Howard University.

19. Memberships and Offices in Learned or Professional Societies

National Dance Education Organization (NDEO) Maryland Dance Education Association (MDEA) Association for the Study of the Worldwide African Diaspora (ASWAD) American Historical Association (AHA) Association for the Study of African American Life and History (ASALH) Dance Metro DC

20. Publications (List sequentially all publications submitted with this form, giving complete data and co-authors. Assign a number to each publication and affix the number to the reprint or copy of the publication submitted with the application)

PLEASE NOTE: Extensive research is required to produce much of the performing arts projects in The Department of Theatre Arts. In recognition of this fact, Howard University’s Department of Theatre Arts’ APT Committee devised a Scholarship/Research/Creative Work Criteria Equivalencies guideline where scholarly equivalencies for creative work are delineated for candidates seeking promotion and tenure. (see Department of Theatre Arts Scholarly/Research/Creative Work Equivalencies below on page 46.) Thus, the nature of the list of publications below and throughout this tenure application may differ from other academic units at Howard . However, it is in compliance with the Department of Theatre Arts requirements and standards for tenure and promotion. Last, Ofosuwa M. Abiola is the sole author or producer of all publications, research, or works listed below .

A. Monographs and Scholarly Books A1. History Dances: Chronicling the History of Traditional Mandinka Dance. Monograph. London: Routledge, 2019. A2. The Africana Theatre and Dance Collection. National Endowment for the Humanities (NEH) grant. $99,948.00.

B. Refereed Articles B1. Evoke: A Historical, Theoretical, and Cultural Analysis of Africana Dance and Theatre. Editor-in-Chief. Refereed digital journal, Bepress Digital Commons. Hosted on Howard University’s digital platform. https://dh.howard.edu/evoke. B2. Nankama African Dance Conference. Scholarly international conference and workshops. Convener and Director. Ralph Bunche Center and Ira Aldridge, February 9-10, 2019. B3. Lamban. Choreographer. National Education Association (NEA). African American Women and the Law Conference. September 13-14, 2016. B4. RITES. Ira Aldridge Theatre. Choreographer. April 5-6, 2019.

B5. ABC’s Good Morning Washington. Interview/choreography/performance. ABC Broadcast Network, WJLA. February 6, 2019. https://wjla.com/features/good-morning-washington/howard-universitys- nankama-african-dance-conference

C. General Articles C1. $10,000 Research Grant. Howard University, Office of Research Development. Summer, 2017. C2. Pedagogy Website. Published www.ofosuwaabiola.org, to enhance student learning. Launched 2016. C3. “Step by Step” Dance Spirit Magazine. Provided research and interview for dance magazine article. April 2018 issue, pp. 44-45. C4. Adjudicator. Frederick Douglass National Historic Site, National Park Service (NPS). November 16-17, 2018. C5. History Dances: African Dance Systems as Methodologies. Documentary short. Director and Researcher. https://www.youtube.com/watch?v=yHJNSnaCM0M C6. Grave Revelations: Cultural and Historical Narratives from the Colored Union Benevolent Association Burial Ground. Documentary short. Director and Researcher. https://www.youtube.com/watch?time_continue=1&v=WOU3AT6eKQY C7. Adjudicator. Research Week, Howard University, Office of Research Development. April 12, 2018.

21. Appraisal of Publications (state briefly the nature of the contribution of each publication. Attach the publication along with reviews or critiques (not abstracts) if available. Duplicate the Appraisal of Publications page as necessary. If the publications are numerous, they may be grouped into categories and these categories described and evaluated rather than the individual publication.)

Please refer to the Department of Theatre Arts Scholarship/Research/Creative Work Criteria Equivalencies below on page 46. Each publication description in item #21 will include the number and category in the Department of Theatre Arts equivalency document that qualifies it as a scholarly publication.

The Relevant and Recent Publications section (page 49) of this dossier provides evidence for all publications below. Further evidence for publications are provided in my digital portfolio: https://ofosuwaabiolaphd.org.

21. Appraisal of Publications This Monograph satisfies #3 under the Book Equivalencies heading in the Department of Theatre Arts Scholarship/Research/Creative Work Criteria Equivalencies. See Relevant and Recent Publications, page 49 below.

Candidate’s Statement

Publication No.__A1___ Title __History Dances: Chronicling the History of Traditional______Mandinka Dance______Author(s)___Ofosuwa M. Abiola______Published in/by___Routledge______

Contribution: Monograph, History Dances: Chronicling the History of Traditional Mandinka Dance

The field of history is founded on the interrogation of written documents from the past. However, culture is the center of life in Africa. As a result, in the past – and to a degree in the present – the process for documenting events in Africa was not written, it was performed. History Dances: Chronicling the History of Traditional Mandinka Dance argues that a wealth of information is housed within traditional Mandinka dance and, subsequently, the dances can be used as an African- derived primary source for writing African history.

Mankinka dance particularly and African dance generally, can prove to be a solution to a problem that has existed with regard to Africanist scholarship from the moment it was brought into the realm of Western study. There is a paucity of precolonial African-generated written primary sources. The standardization and use of oral history as a methodology has alleviated a portion of the African source paucity dilemma. However, it is not enough, particularly when other cultural options exist. The study of African dance systems alongside oral tradition can validate prior unsubstantiated claims, refute fallacious notions, and reveal previously unknown facts.

History Dances: Chronicling the History of Traditional Mandinka Dance highlights the overall value of studying Mandinka dance history specifically, and African dance history generally, as well as addressing the issue of scarcity with regard to primary sources for writing African history.

21. Appraisal of Publications This NEH grant is equivalent to a monograph as delineated in item #5 under the Book Equivalencies heading in the Department of Theatre Arts Scholarship/Research/Creative Work Criteria Equivalencies. See Relevant and Recent Publications, page 49 below.

Candidate’s Statement

Publication No.__A2___ Title __The Africana Theatre and Dance Collection______Principal Investigator (PI)____Ofosuwa M. Abiola______Grantor__National Endowment for the Humanities (NEH) ______

Contribution: National Endowment for the Humanities (NEH) grant, The Africana Theatre and Dance Collection.

Major Goals: The Africana Theatre and Dance Collection seeks to accomplish four goals: to preserve significant Theatre Arts documents, photographs, and other materials that are housed in Howard University's Founders Library; to teach students archival methods and instill them with basic conservation knowledge; to encourage the use of the Theatre Collection at Founders; to make unique documents and materials accessible to Howard University faculty and students, surrounding universities, and all library patrons from the surrounding areas and beyond.

The Africana Theatre and Dance Collection is a project that seeks to enhance humanities teaching and learning in general, and the Theatre Collection specifically, in Founders Library at Howard University. The celebrated Channing Pollock Collection specializes in Shakespeare, English, and 19th century American theatre. However, it does not reflect the culture, or the historic or contemporary experiences of the population it serves on Howard’s campus or the surrounding community. Additionally, Founders Library currently houses thousands of uncatalogued historic and contemporary theatre and dance documents – plays, photographs, oral history interviews, etc. – that were produced by Howard University’s Theatre Arts Department. There are also uncatalogued Africana manuscripts, documents, and photographs in Founders Library with no connection to Howard University’s Theatre Arts Department. To date, these Howard University historic theatre arts materials and other Africana arts items have not been catalogued or digitized, nor were any preventive measures taken to preserve the materials. Establishing an Africana Theatre and Dance Collection will alleviate all these issues. Since Howard University Libraries are open to the surrounding communities, the Africana Theatre and Dance Collection will be accessible to library patrons who are not connected with colleges and universities in the greater Washington area, and to Howard University undergraduate and graduate students, faculty, and staff. When the items in the collection are uploaded into Howard University’s digital card catalog, they will automatically also be accessible to students, faculty and staff at the ten Washington Research Library Consortium (WRLC) colleges and universities who share digital card catalogs.

21. Appraisal of Publications Founding and/or serving as Editor-in-Chief of a journal are equivalent to a Refereed Article as delineated in item #5, under the heading, Refereed Article Equivalencies in the Department of Theatre Arts Scholarship/Research/Creative Work Criteria Equivalencies. See Relevant and Recent Publications, page 49 below.

Candidate’s Statement

Publication No.___B1__ Title __Evoke: A Historical, Theoretical, and Cultural Analysis of____ Africana Dance and Theatre______Author(s)___Ofosuwa M. Abiola ______Published in/by__Bepress Digital Commons, Howard University’s Digital Platform______

Contribution: Peer reviewed journal, Evoke: A Historical, Theoretical, and Cultural Analysis of Africana Dance and Theatre

Evoke: A Historical, Theoretical, and Cultural Analysis of Africana Dance and Theatre is an interdisciplinary peer-reviewed digital journal, that I established via Howard University's digital platform. The journal fosters research, critical analysis, and vigorous discourse, on Africana dance, acting, and filmmaking. Evoke seeks to bring Africana performing arts into scholarly discussions thereby documenting, preserving, and providing exposure to under-researched narratives in Africana vernacular and professional dance and performing arts. By extension, Evoke also provides a forum for scholars of African, African American, and African Diaspora dance, theatre, and film.

Evoke accepts submissions for its March issue in diverse formats including but not limited to: print, film/video, podcasts, and other digital humanities formats. Scholars from all disciplines are welcome to submit articles and digital content, providing their submissions uphold the aims and scope of the journal. Reviews of books, dance concerts, plays, and films, that are in accordance with the aims and scope of Evoke are also welcome.

21. Appraisal of Publications Founding and serving as Artistic Director of The Nankama African Dance Conference are equivalent to a Refereed Article as delineated in item #5 under the Refereed Articles heading in the Department of Theatre Arts Scholarship/Research/Creative Work Criteria Equivalencies. See Relevant and Recent Publications, page 49 below.

Candidate’s Statement Publication No.___B2__ Title __The Nankama African Dance Conference______Artistic Director __Ofosuwa M. Abiola ______Produced by__Howard University Department of Theatre Arts Dance Program______

Contribution: Scholarly Conference, The Nankama African Dance Conference

NANKAMA AFRICAN DANCE CONFERENCE (NADC), FEBRUARY 9-10, 2019 Theme: Dancing Identity

Identity has historically been an elusive phenomenon to define. It is both static and dynamic, and is constructed, deconstructed, preserved and appropriated, by individuals, groups, and nations. Elusiveness notwithstanding, African dance displays and defines identity in ways that words cannot. The conference theme, “Dancing Identity” sought to foster critical analysis and rigorous discourse regarding identity and the performance of dance in Africa and the African Diaspora thereby enriching and improving teaching, student learning, curriculum development, and professional development.

The Nankama African Dance Conference (NADC) was a two-day immersion in Africana performance scholarship and African and African diaspora dance and drum workshops. On the first day of the NADC, scholars from diverse regions of the country including California, Florida, New York, Chicago, Connecticut, Ohio, and locally in Washington, DC and Maryland, gathered to share their research on Africana Dance. There were ten papers, two demonstrations, and a Screendance viewing followed by a talkback.

On February 10th, NADC's second day, participants connected with the prior day of research through firsthand experience. The second day of the NADC was filled with African and African Diaspora dance and drum workshops from generationally trained artists from Guinea, Senegal, and Cuba.

The goal of the NADC is expose scholars and students to the rich narratives housed within African and African Diaspora dance systems and to encourage scholars to consider Africana dance systems as primary sources for research. By extension, the conference will also enrich and improve teaching, student learning, curriculum development, and professional development.

21. Appraisal of Publications This Creative Contribution (choreography) is equivalent to a Refereed Article as delineated in item #4, under the heading, Refereed Article Equivalencies in the Department of Theatre Arts Scholarship/Research/Creative Work Criteria Equivalencies. See Relevant and Recent Publications, page 49 below. Candidate’s Statement

Publication No.__B3___ Title _Lamban______Choreographer__Ofosuwa M. Abiola______Produced by African American Women and the Law Conference/Transformative Justice______Coalition______Sponsored by National Education Association (NEA)______

Contribution: Choreography, National Education Association (NEA), African American Women and the Law Conference, September 13-14, 2016.

The killings of Eric Garner, Tamir Rice, and Mike Brown have precipitated a significant movement and national discourse regarding anti-Black police violence. This movement depicts a long overdue demand for pervasive police reform and culpability. Black women are also killed by police. Yet their names and experiences are scarcely known. The African American Women and the Law (AAWL) Conference sought to expose the occurrences and vulnerability of Black girls and women to anti-Black police violence, and to agitate for police accountability.

I was commissioned to choreograph the opening ceremony. I choreographed and directed a drum call, procession of dancers and committee members, and a culminating African dance. Afterwards, the audience was invited to join the dancers in the dance space for comradery and affirmation of purpose via an African dance workshop.

The traditional African dance I chose to choreograph for this event was the Mandinka dance Lamban. The complete Mandinka name of the dance is "Lamban jali don" which is "dance of the jali" in English. A jali (also known as jeli depending on the region in Africa) is a person who houses the history of a lineage, a location, a political, cultural, or social event, or all of the above in their mind. The jalis are trained for years to remember incomprehensible amounts of historical information. The information is then conveyed through song, music, and dance. Thus, jalis are also stellar musicians and vocalists. Jalis are found throughout West Africa, but the dance Lamban is from the Mandinka class found in Mali, Senegal, The Gambia, Guinea, and other neighboring countries. Although prevalent in the Greater Senegambia region of West Africa – which extends beyond the colonial era created borders of Senegal and The Gambia – jalis are not a universal phenomenon on the continent. It is important to note that jalis were often called upon to settle disputes initially in the royal courts, and later within laymen families. As such, they were revered as fair and their judgement was respected by king and commoner.

A female jali is called a jalimuso. I chose the dance Lamban to accentuate the importance of women in society and the value of their experiences and contributions to that society. Moreover, women performing Lamban highlight the significance of women preserving, conveying, and validating their own experiences and histories.

21. Appraisal of Publications This Choreographic work is equivalent to a Refereed Article as delineated in item #1, under the heading, Refereed Article Equivalencies in the Department of Theatre Arts Scholarship/Research/Creative Work Criteria Equivalencies. See Relevant and Recent Publications, page 49 below.

Candidate’s Statement

Publication No.___B4__ Title _____RITES______Choreographer ______Ofosuwa M. Abiola______Produced by_Howard University, Ira Aldridge Theatre______

Contribution: Choreography, RITES, April 5-6, 2019

My choreographic work, RITES, is comprised of two traditional dances from West Africa – Djole and Dundunba.

In addition to the keeper of the secrets of life, the masquerade dancer in West Africa teaches the community to respect and adhere to tradition and the path the ancestors laid out for them. RITES depicts the rite of passage process young initiates undergo after they have been warned to comply with tradition by the masked spirit.

The Dances:

Djole (Pronunciation: joh-lay): Although the dance Djole originates with the Temne people in Sierra Leone, it is widely also performed in Guinea in the region where the two countries share a border. From there, it spread to other regions of Guinea. Djole is traditionally a celebration masked dance. In Sierra Leone, it was originally played on Siko drums. It has been adapted for the djembe (pronunciation: jem-bay) and dundun drum family.

Dundunba (Pronunciation: doon-doon-bah): The dance dundunba should be thought of as originating more with the Mandinka ethnic group than a specific location in Africa, although it is practiced widely in Guinea. The Mandinka ethnic group is also known as Malinke, Mandingo, Mandinko, Manding, Mandingue, among other names, depending on the region in West Africa where they reside and/or traveled to historically. Dundunba is an ancient dance and was introduced to many regions of West Africa by Mandinka merchants, travelers, etc. As can be inferred by the meaning of its name, "dance of the strong men," the dance was originally performed solely by men. Over time, women also began to perform the dance. Although Dundunba is represented by twenty or more rhythms, the dance movements are consistent regardless of the rhythm played.

21. Appraisal of Publications This creative contribution is equivalent to a Refereed Article as delineated in item #4, under the heading, Refereed Article Equivalencies in the Department of Theatre Arts Scholarship/Research/Creative Work Criteria Equivalencies. See Relevant and Recent Publications, page 49 below.

Candidate’s Statement

Publication No.___B5____ Title __ABC’s Good Morning Washington ______Choreographer_Ofosuwa M. Abiola______Published by_ABC’s Broadcast Network______

Contribution: Choreographer/Interview/Performance, ABC’s Good Morning Washington

I was invited to appear on ABC's Good Morning Washington to discuss my research, mention my recently published book, my National Endowment for the Humanities grant, and the Nankama African Dance Conference. I choreographed the dance Mandiani (pronounced mahn-jahn-nee), made the costumes, and brought two Howard University dance students to provide a preview of the types of dances that participants will learn at the Nankama conference. Mandiani is a dance traditionally performed by pre-pubescent girls. Today, it is also performed by men, women and girls of all ages at celebrations and social gatherings. Previously confined to the specific regions in West Africa where the Mandinka sojourned, Mandiani is now practiced in many parts of Africa and the African Diaspora.

I selected Mandiani as the dance to be presented in a national/international venue because it is popularly known in the African Diaspora and is therefore ideal to accentuate the link between Africa and the diaspora.

21. Appraisal of Publications This developmental research grant is equivalent to a General Article as delineated in item #5, under the heading, General Article Equivalencies in the Department of Theatre Arts Scholarship/Research/Creative Work Criteria Equivalencies. See Relevant and Recent Publications, page 49 below.

Candidate’s Statement

Publication No.__C1_____ Title __$10,000 Research Grant______Recipient__Ofosuwa M. Abiola______Grantor_Office of Research Development, Howard University______

Contribution: $10,000.00 Research Grant, summer 2017, for conducting research for the Monograph Fire Under My Feet: Historical Perspectives on Dance in the African Diaspora.

To gain a wholistic understanding of the experiences of people of African descent scattered throughout the globe one must engage their dance systems. African diaspora dance systems are living, performed narratives that reveal and simultaneously preserve historic and developing cultural tenets. Whether the dances were brought from Africa via the transatlantic slave trade or grown and nurtured from their African foundations to reflect the particular circumstances of the diasporic experience, African diaspora dance provides a lens to engage the mindset, aspirations, agency, and trials of diasporic people. Dance is exceedingly pliable, and its uses are unrestricted. Thus, African Diaspora dance has been utilized to inform, formulate, and enforce identity, fight injustice, document momentous events, and express universal thoughts without the barrier of language. African diaspora dance systems house colossal amounts of information. Yet, they are repeatedly overlooked or under-researched by scholars. Fire Under My Feet: Historical Perspectives on Dance in the African Diaspora seeks to critically analyze African diaspora experiences, provide a voice for the underrepresented, and preserve culture and history through the vehicle of dance.

Fire Under My Feet is a work in progress. I was awarded a $10,000.00 grant from Howard University’s Office for Research Development to conduct research at the Schomburg Center for Research in Black Culture in New York City, summer of 2017.

21. Appraisal of Publications This pedagogy website is equivalent to a General Article as delineated in item #7, under the heading, General Article Equivalencies in the Department of Theatre Arts Scholarship/Research/Creative Work Criteria Equivalencies. See Relevant and Recent Publications, page 49 below.

Candidate’s Statement

Publication No.___C2__ Title ___Pedagogy website______Webmaster__Ofosuwa M. Abiola______Publisher__Ofosuwa M. Abiola ______

Contribution: Pedagogy website, www.ofosuwaabiola.org

Each detail of one’s present circumstance, no matter how minute, can be traced to a historical experience. Although I was appointed Assistant Professor in Fall 2016, I began teaching Dance History I and II at Howard University in the Fall of 2013 while I pursued my Ph.D., in history. Over a six-year period, it was made apparent that an overwhelming majority of students that enrolled in my classes did not have the faintest idea about African or African Diaspora history in general, and even less knowledge about Africana cultural history. I created and published a pedagogy website to provide supplemental material to enhance student engagement and learning in the dance and cultural history courses I teach at Howard University. The website is updated regularly throughout each semester.

The pedagogy website’s contribution to the field of African and African Diaspora cultural history extends beyond Howard University. According to the website's statistics, last year (2018) 7,504 visitors viewed or utilized the website from as far away as Ukraine and Canada as well as here in the United States.

21. Appraisal of Publications This interview is equivalent to a General Article as delineated in item #3, under the heading, General Article Equivalencies in the Department of Theatre Arts Scholarship/Research/Creative Work Criteria Equivalencies. See Relevant and Recent Publications, page 49 below.

Candidate’s Statement

Publication No.___C3__ Title __”Step by Step”______Interviewee__Ofosuwa M. Abiola ______Published in/by_Dance Spirit Magazine______

Contribution: Research/Interview, “Step by Step,” Dance Spirit Magazine, March 2018 issue.

I was asked to provide an interview for Dance Spirit Magazine's March 2018 issue. I provided historical content for the print and online magazine article on the topic of African American step dancing. In addition to the intensification of percussive foot and body dance styles as a result of the 1739 ban on drumming in the United States, I traced the origin of the root steps that formed the core of African American step dance movements to the forced migration of enslaved Africans first from the Greater Senegambian region of West Africa in the 1400s, and later, from West Central Africa beginning in the 1600s. Since the Portuguese were the first Europeans to arrive in Africa in the 1400s, they were the first Europeans to begin to export enslaved Africans off of the continent. The region of Africa they visited first was Senegal, The Gambia, and their surrounding islands. This research formed the foundation of the article in the Dance Spirit Magazine March 2018 issue.

21. Appraisal of Publications Adjudicating an event is equivalent to a General Article as delineated in item #6, under the heading, General Article Equivalencies in the Department of Theatre Arts Scholarship/Research/Creative Work Criteria Equivalencies. See Relevant and Recent Publications, page 49 below.

Candidate’s Statement

Publication No.__C4___ Title __Frederick Douglass Oratorical Contest______Adjudicator __Ofosuwa M. Abiola______Produced by__The National Park Service (NPS) ______

Contribution: Adjudicator, National Park Service (NPS), Frederick Douglass Oratorical Contest

The National Park Service (NPS) hosts an annual Frederick Douglass Oratorical Contest at the Frederick Douglass National Historic Site. I was asked to serve as judge of the contest in 2017 and 2018. Youth and young adults research and perform the speeches of Frederick Douglass. In addition to the performance, the participants must demonstrate that they understand the content and purpose of the particular speech they select to perform. They must be able to convey the historical context in which the speech was presented, and the purpose for Douglass' choice of venue for giving the speech. To be an effective judge, I must conduct research on African American history during the Slavery era and familiarize myself with Douglass' speeches and historical events occurring at the time the speech was given.

21. Appraisal of Publications Directing is equivalent to a General Article as delineated in item #1, under the heading, General Article Equivalencies in the Department of Theatre Arts Scholarship/Research/Creative Work Criteria Equivalencies. See Relevant and Recent Publications, page 49 below.

Candidate’s Statement

Publication No.__C5___ Title _History Dances: African Dance Systems as Methodologies ______Director__Ofosuwa M. Abiola ______Produced by____Aryzen Pictures______

Contribution: Director, Short-Form Documentary, History Dances: African Dance Systems as Methodologies

I created the short-form documentary, History Dances: African Dance Systems as Methodologies to serve as a supplement to my History Dances: Chronicling the History of Traditional Mandinka Dance monograph. It provides visual support for the argument that African dance systems can be utilized as primary sources for research and writing historical narratives. The documentary short discusses the history and significance of the movements that form the foundation of Mandinka dances. It also highlights the changes and the continuities that exist within Mandinka dance systems.

Candidate’s Statement

Publication No.___C6____ Title __Grave Revelations: Cultural and Historical Narratives from_ the Colored Union Benevolent Association Burial Ground ______Director__Ofosuwa M. Abiola ______Produced by__Aryzen Pictures______

Contribution: Director, Short-form Documentary, Grave Revelations: Cultural and Historical Narratives from the Colored Union Benevolent Association Burial Ground

Identity is often utilized as a tool – on and off stage – to combat oppression, expose injustice, and to affirm the humanity and value of a people and their culture. Off stage, or in extra theatrical spaces, it is presented and rehearsed, and thus, performed in those spaces as well. The short form documentary, Grave Revelations: Cultural and Historical Narratives from the Colored Union Benevolent Association Burial Ground, exposes viewers to the myriad instances of Africanisms in the performance of identity through African American funerary rituals. The short- form documentary acts as a case study by introducing viewers to the practices of African Americans in the 19th century at an African American burial ground discovered in 2005 in Northwest Washington, DC’s Rock Creek Park.

Candidate’s Statement

Publication No.___C7__ Title ___Howard University’s Annual Research Week ______Adjudicator__Ofosuwa M. Abiola ______Produced by_The Office of Research Development, Howard University ______

Contribution: Adjudicator, Research Week, Howard University, April 2017 and 2018

I was adjudicator for the oral and poster presentations, and a reviewer for abstract submissions in the Humanities category at Research Week. The Office of Research Development at Howard University hosts an annual Research Week in the second week of April. It is a University-wide celebration of cutting-edge research. In addition to Howard University scholars, researchers from across the country and internationally are invited and often do participate. There is a keynote address, papers and posters are presented and judged, and winners are announced.

22. Teaching Experience a. List below the titles of courses taught and write a brief description of the course content. If available attach critiques or evaluation of the courses listed as a supplement to this page.

Dance History I THDN 030 01 Dance History I is the first course in a two-course series. Dance History I is a theoretical course that examines the history of dance in the context of the Africana experience specifically, and the global dance experience in general. The course explores the history of dance from antiquity to the seventeenth century. The purpose of the course is to challenge students to think of dance outside of the restrictive notions of entertainment, and to engage the rich historical and theoretical narratives embedded within the artform. Through readings, class discussions, live footage, and online engagement, the course facilitates an understanding of how dance has been used to document momentous events, and express universal thoughts. Students will be exposed to the ways in which dance has been used as a vehicle for communicating joy or sadness, and for addressing cultural, social, and political concerns. Lastly, the course facilitates an understanding of how dance informs, formulates, and enforces identity. Dance History I is an interdisciplinary course. It examines dance through the lens of global history, African and African American history/studies, cultural studies, anthropology, sociology, geography, and the visual and performing arts. Click the link for course syllabus: https://docs.wixstatic.com/ugd/74bf80_a12298ddab3d4499a37fd8c5fdfb00fc.pdf

Dance History II THDN 029 01 Dance History II is the second course in a two-course series. It is a theoretical course that examines the history of dance in the context of the African Diaspora experience during the period from the 1600s to present day. As a continuation of Dance History I, the purpose of this course is to challenge students to think of dance outside of the restrictive notions of entertainment, and to engage the rich historical and theoretical narratives embedded within the art form. The course is also designed to expose the often-unnoticed exploits of dance with regard to the deconstruction of historical stereotypes and fallacies. Dance History II is an interdisciplinary course. It examines dance through the lens of African Diaspora history, global history, political science, cultural studies, anthropology, sociology, African studies, geography, and the performing arts. Click the link for course syllabus: https://docs.wixstatic.com/ugd/74bf80_8854b9e4b6fa431398edbbc31da3a14f.pdf

African Dance II THDN 016 01 African Dance II is the next level following African Dance I and prepares students to present proficient executions of classical African ballet choreography. Students will be introduced to movement concepts, processes, principles, the development of technical skills and artistry, as well as African history and culture. Technique and movement vocabulary specifically germane to the field of African dance will also be introduced. Course material is founded on history and traditional cultures of African dance systems of East, West, North and South Africa. The course is intended for students at the beginner through the intermediate levels. Classes will meet for one hour and thirty minutes twice a week. Click the link for course syllabus: https://docs.wixstatic.com/ugd/74bf80_1e55b75fa3f541c98c9ebe82ee5563da.pdf

Performance and Identity THFD 089 01 Description: This is a Performance Studies course that examines performance in the human experience through an aesthetic lens, and critically analyzes how performance has been used to create, renew, and in some cases, to deconstruct identity. Through an examination of dance, theatre, speeches, and spoken word, literature, visual arts, grassroots movements, rituals, and everyday life, students will examine ways in which performance has historically been used to shape or advance collective and individual identity globally. Although the course is organized thematically, the themes will be examined in historical context. The purpose of the course is to challenge students to critically analyze the societal and global impact of performance. This interdisciplinary course engages the fields of performance studies, history, cultural studies, visual arts, theatre arts, mass communications, international studies, political science, sociology, and comparative literature studies. Click the link for course syllabus: https://docs.wixstatic.com/ugd/74bf80_7170f1944005491ebba532a9cb95ef42.pdf

Theatre History I (WAC) THFD 780 01 Description: Theatre has always been a part of human experience. Humans use theatre to understand their environment, to worship, celebrate, bury their dead, to communicate, for pomp, and for everyday life. In Theatre History I, students examine the global history of theatre from antiquity through the seventeenth century. Students will be introduced to the dominant Western theatre history narratives; however, the purpose of the course is to expose students to ancient non- verbal theatre practices in Africa, Asia, and pre-colonial America, which are often omitted in theatre history accounts. This interdisciplinary course engages the fields of history, cultural studies, visual and performing arts, international studies, and comparative literature studies. Click the link for course syllabus: https://docs.wixstatic.com/ugd/74bf80_832b4976dc1146f0bf5e2246bceeff1b.pdf

Introduction to Theatre THFD 010 03 Introduction to Theatre exposes students to the creative, work-intensive, and rewarding world of theatre. This course will explore theatre as a global phenomenon and through the lens of people of African Descent. The purpose of the course is to introduce students to diverse components of theatre production, and the multifaceted skills, artists, in fields required to mount a theatre production. Introduction to Theatre will also provide students with an understanding of how Black theatre has historically served as a forum for activism, self-expression, and identity. Click the link for course syllabus. https://docs.wixstatic.com/ugd/74bf80_7ba3f3373d064e89ad18fa0bddc8bd0d.pdf

Honors Thesis THFD 187 01 The Honor’s Thesis course prepares honor students for the task of completing an Honor’s Thesis project. The purpose of this course is to guide students during the research process and enable them to produce a complete, polished honor’s thesis project, and an oral presentation outline at the conclusion of the semester. Click the link for course syllabus. https://docs.wixstatic.com/ugd/74bf80_104d89ed9bfb478dadc4d66417bb4cea.pdf

Honors Directed Studies I THFD 186 01 The Honor’s Directed Studies I is the first course of a two-course series that prepares honor students for the task of completing an Honors Thesis which is written in a subsequent semester as a component of the Honors Thesis course. The purpose of the Honors Directed Studies I course is to guide students through an exploratory research process, to facilitate the selection of a potential topic, thesis statement, and the construction of a bibliography. At the conclusion of the semester, students will be prepared to begin official research for the Honor’s Thesis. Click the link for course syllabus: https://docs.wixstatic.com/ugd/74bf80_5bbe3bdc5b9f4b73aa9b634b8dbefc86.pdf

Honors Directed Studies II THFD 186 02 Honors Directed Studies II is the second honors prep course that guides honor students during the process of completing an Honors Thesis which is written in the senior year in the Honors Thesis course. The purpose of the Honors Directed Studies II course is to steer students through the research process, to facilitate the refinement of the selected topic and thesis statement, and the construction of a literature review and a framework for writing the Honors Thesis. Click the link for course syllabus: https://docs.wixstatic.com/ugd/74bf80_267ff5e0618c43389da91dfaae7d093d.pdf

b. List below the titles of dissertations or theses that you are directing or have directed. Indicate doctoral dissertation by “D” and master’s thesis by “M”; indicate the year of each. (Please note that the Theatre Arts Department does not have a graduate program, thus directing dissertations is nonapplicable).

1. I directed the undergraduate Honors Thesis of Jaylen Wilson, “Theatre is a Weapon: The Efficacy of Theatrical Presentation as a Device for Combating Systemic Racism.” Theatre Arts Major, Acting Concentration, Howard University. Selected to present at Howard University Research Week, April 2019.

2. I directed the Honors Thesis of Adanna Paul, “Bound to Post-Black: Examining and Redefining Tenets of the Post-Black Art Movement.” Theatre Arts Major, Acting Concentration, Howard University. The thesis won Most Outstanding Presentation in Arts and Design, Howard University Research Week, April 2018.

c. List below the titles of dissertations or theses that you have read as a member of a student’s committee. Indicate doctoral dissertation by “D” ad master’s thesis by “M”, indicate the year of each.

(Please note that the Theatre Arts Department does not have a graduate program, thus this item is nonapplicable).

d. List below contributions to teaching that you consider important (e.g. title and description of published or unpublished instructional material, description of major curriculum reorganization, instruction of new courses, awards, or citations for outstanding or extraordinary teaching, etc.) Give date of each contribution.

1. In addition to the pedagogy website I published to enhance student engagement (see publication C2 above under Appraisals of Publications), I also published a textbook for my undergraduate Dance History I class, Historical Perspectives on Dance in Africa (Intelligentsia Press, 2020).

Book description: Embedded within the dances of Africa are repositories of historical narratives, invaluable insights on the mindset of ancient and contemporary peoples, and revelations and budding hints of developing cultural phenomena. Such information greatly contributes to and facilitates deeper understanding of undeciphered African artifacts. However, uncovering previously unknown artifacts is futile if their meaning continues to be a mystery. Historical Perspectives on Dance in Africa introduces students in Dance History I specifically, and undergraduate students in general, to previously under-researched African dances and their meanings, and the cultural history that gave birth to them.

2. I created the course Research Methods in Dance, Theatre, and Performance (will be launched Spring 2020).

Course Description: Research Methods in Dance, Theatre, and Performance is designed to develop and/or improve the research skills of students in the fields of Dance, Theatre, and Film. It is an undergraduate course suitable for students at the sophomore level or above. The course discusses methods and theories of research, and their application in the research process. Students will learn how to locate sources in archives, databases, libraries, etc., and how to apply rich primary sources that are often considered unconventional in fields outside of dance, performance and film.

3. I created the course Performance and Identity

Course Description: This is a Performance Studies course that examines performance in the human experience through an aesthetic lens, and critically analyzes how performance has been used to create, renew, and in some cases, to deconstruct identity. Through an examination of dance, theatre, speeches, spoken word, literature, visual arts, grassroots movements, rituals, and everyday life, students will examine ways in which performance has historically been used to shape or advance collective and individual identity globally. Although the course is organized thematically, the themes will be examined in historical context. The purpose of the course is to encourage students to critically analyze the societal and global impact of performance (see syllabus above under teaching experience heading).

4. I received an Outstanding Assistant Professor Award in the College of Arts and Sciences for the 2017/2018 year.

Outstanding Assistant Professor in the College of Arts and Sciences Award Description: This award acknowledges the accomplishments of Assistant Professors in the College of Arts and Sciences in the areas of teaching, research, and service.

5. I received an Outstanding Advisor Award in the College of Arts and Sciences, 2017-2018 academic year.

Outstanding Student Advisor in the College of Arts and Sciences Award Description: This award acknowledges the professor's advising and research guidance for students who won the Most Outstanding Presentation in Howard University's Research Week.

6. I was awarded an NEH grant to establish an archival collection in Founders Library, The Africana Theatre and Dance Collection (see publication A2 above under Appraisals of Publications).

Grant Description: The outcome of the grant is the establishment of The Africana Theatre and Dance Collection in Founders Library. However, the full name of the grant is The Africana Theatre and Dance Collection as a Teaching Resource. The project seeks to enhance humanities teaching and learning. Students attended two workshops on archival techniques and basic conservation practices. After the workshop training the students were paid stipends to sort, identify, research, interpret, and evaluate the neglected Theatre Arts documents and materials in Founders Library. The grant ran from January 2018 through December 2019.

23. Describe your contributions to your field or profession that you wish to be considered as significant professional service (Panel presentations, speeches, talks at professional settings, conferences, symposia, workshops, seminars, etc.) a. Kennedy Center Mock Audition, 2019 Contribution Description: The Kennedy Center’s Dance Education Department hosted a Summer Dance Laboratory in August 2019. The purpose is to prepare dancers for a career in the field of dance. I was commissioned to participate in a mock audition to provide feedback to the participants similar to that which occurs in actual auditions. August 16, 2019, The Kennedy Center. b. Washington, DC Council on Arts and Humanities, 2019 Contribution Description: I was invited to serve on the DC Council on the Arts and Humanities to evaluate $10,000.00 dance grant applications and live dance performances. August 13-15, 2019. c. Project Curator/Research Associate for the National Afro-American Museum and Culture Center, Wilberforce, Ohio, 2016 I served as the guest curator for the exhibit, “Polyrhythm: The Evolution of African American Dance and its African Roots.” I interpreted artifacts, wrote accompanying narratives, and edited the brochure for the exhibit. d. Humanities Specialist, National Hand Dance Association, 2016 Contribution Description: The National Hand Dance Association specializes in the preservation of Washington DC’s rendition of Swing Dancing. I was commissioned to contextualize the history of the artform and

26 evaluate the humanities content in panels and lectures hosted by the organization. Washington, DC, 2016.

24. Research a. Grants for Which You Have Applied Project Title Source Amount Period

The Nankama Department of $3,000.00 February 9-10, 2019 African Dance Education/African Conference Studies AFEE Program

The Africana Theatre National Endowment $99,948.00 Jan. 2018-Dec. 2019 and Dance Collection for the Humanities (NEH), Humanities Initiatives Grant

Fire Under My Feet: Summer Faculty $10,000.00 5/15/17-6/30/17 Historical Research Fellowship, Perspectives on Office of Research Dance in the African Development, Diaspora Howard University

History Restored: Junior Faculty $500.00 Summer 2017 Reconnecting Dance Writing & Creative to the Black Arts Works Summer Movement Narrative Academy, Office of Faculty Development, Howard University

b. Funded Grants Project Title Source Amount Period

The Nankama Department of $3,000.00 February 9-10, 2019 African Dance Education/African Conference Studies AFEE Program

The Africana Theatre National Endowment $99,948.00 Jan. 2018-Dec. 2019 and Dance Collection for the Humanities

(NEH), Humanities Initiatives Grant

Fire Under My Feet: Summer Faculty $10,000.00 5/16/17-8/14/17 Historical Research Fellowship, Perspectives on Office of Research Dance in the African Development, Diaspora Howard University

History Restored: Junior Faculty $500.00 Summer 2017 Reconnecting Dance Writing & Creative to the Black Arts Works Summer Movement Narrative Academy, Office of Faculty Development, Howard University

*Total grants received since initial 2016 appointment: $113,448.00

c. Other Research

For Every Thought There’s a Dance: Historical Musings on Dance, Hegemony, and Resistance in Africa Description: The topic of dance is glaringly omitted from the historical narrative. Yet, understanding the place of dance in African societies facilitates a wholistic appreciation of the African experience in particular, and the African diaspora narrative in general. For Every Thought There's A Dance, engages both sides of the political and social arena in Africa through the lens of dance. The book accentuates the utility of dance as a neutral device often used for activism, political propaganda, identity, religion, and a host of other phenomena not commonly considered within the realm of dance.

“Les Ballets Africains and the Restoration of Black Identity in Africa and the Diaspora” Description: Colonialism attacked African cultural institutions that formed the bedrock of society. During decolonization, the social effects of colonialism silently continued in the background, destroying African identity and the institutions that assured its vitality. Slavery in the African diaspora was declining at the onset of the colonial period in Africa, but its lingering cultural effects mirrored those of colonized African societies. One route to the liberation of African identity in Africa and the Diaspora emanated from an overlooked source, Les Ballets Africains. The narratives conveyed in the dance productions restored historical and cultural awareness to Africans on the continent and in the Diaspora. Through sources including twentieth century newspapers, video footage of live performances, and archival collections, I am in the process of constructing a paper that discusses the historical circumstances surrounding the founding of Les Ballets Africains, and the

28 impact the dance company had on African identity in Africa and the Diaspora in the late twentieth century.

d. Impact of Research Africana – African and African Diaspora – dance is a global force that engages and unifies diverse peoples and cultures. Indeed, traditional African dance styles, Hip Hop and Krumping dance battles, in Hungary, Bangladesh, Taiwan, the United Kingdom, etc., are common occurrences on the internet. The study and practice of Africana dance and performance arts are also often witnessed in academia in countless countries throughout the world. However, Africana performance is part of a larger culture that grew from the experiences, identity, history, and agency of peoples of African descent in Africa and the Diaspora.

Indeed, it is the experiences and the history that African descended people emerge from that makes their art form powerful, alluring, compelling, and dynamic. Thus, immense benefits can be gained if practitioners and scholars of Africana dance were to engage the history that gave birth to the art form. Therefore, the impact – and the goal – of my research is to underscore the importance of scholarship on African and African Diaspora dance and performance history, and to ensure its documentation for research and posterity.

25. Professional Development

Seminars, Courses, Meetings, and Workshops Attended

Title Place Date Wake ‘em Up: Survey Chicago, Illinois. American 1/4/2019 Engagement through Historical Association (AHA) Controversial Topics

Class Preparation: Ensuring Chicago, Illinois. American 1/4/2019 Students Are Ready for Historical Association (AHA) Higher-Level Learning

Alternatives to Traditional Chicago, Illinois. American 1/4/2019 Exams: Getting Students to Historical Association (AHA) Do History

College of Arts and Sciences: Founders Library, Howard 8/28/2018 APT Committee Training University Workshops

General Education Institute: College Hall South 5/30-31/2018 Institutionalizing General (Multipurpose room) Education at Howard

Course: Institutional Center for Excellence in 5/22/17 Assessment Teaching, Learning, and Assessment (CETLA), Howard University

Seminar: Information Literacy Center for Excellence in 6/08/17 Seminar Teaching, Learning, and Assessment (CETLA), Howard University

Course: Helping Students Center for Excellence in 5/24/17 Write to Learn about a Teaching, Learning, and Discipline Assessment (CETLA), Howard University

Course: Helping Students Center for Excellence in 5/25/17 Learn to Write about a Teaching, Learning, and Discipline Assessment (CETLA), Howard University

Course: Handling the Paper Center for Excellence in 5/26/17 Load Teaching, Learning, and Assessment (CETLA), Howard University

Film Screening, “Gurumbe: Blackburn Center Gallery, 11/27/17 Afro-Andalusian Memories’” Howard University and Panel Discussion, “African and the African Diaspora.”

26. List below departmental, school, or University committees on which you have served, the dates of committee membership, and your contribution to each committee.

2019-Present MEMBER, Bylaws Committee for the forthcoming College of Fine Arts. Facilitated on-going effort to construct the bylaws of the new College. Assisted in bylaws revision and proposed new categories.

2019-Present COORDINATOR, Dance Program, Department of Theatre Arts I was appointed Coordinator of The Dance Program in August 2018. My goal as an administrator is to expand the program by updating the curriculum, improving the marketing model, increasing exposure and visibility on a global scale, and ultimately attracting more students on an international level. To date, I have increased the number of auditionees from last year’s (2018) 33 to 40 students auditioning, and by extension the enrollment in the program was more than doubled from last year’s 6 to 17 incoming Freshmen in the 2019/2020 academic year. In an

effort to increase exposure for the dance program, I proposed, convened, and served as Artistic Director of The Nankama African Dance Conference which was held at the Ralph Bunche Center and Ira Aldridge Theatre in February 2019. It was the first, of its kind at an HBCU. Participants attended from throughout the country and workshop instructors were nationals of Guinea, Senegal, and Cuba. I also partnered with the Kennedy Center’s Dance Education Department for upcoming events for Howard University dance students to participate in. My plans for the immediate future include establishing a Study Abroad component to the Dance History II course in 2020. My long-term future plans include establishing an African Diaspora B.F.A. Dance Degree, presently not offered by any other institution, and a Graduate Program. Howard University would be the first HBCU to offer such in the field of dance and dance research.

2019-Present SUPERVISOR, Experiential Learning and On-Campus Placement, Office of Career Services. Supervised and equipped students with life skills needed for success in research fields and performing arts career fields.

2017-2019 MEMBER, Academic Policy, Standards, and General Education (APSAGE) 2019-2021 Committee, College of Arts and Sciences (Reelected) Assessed new course proposals, facilitated construction of and enactment of new academic policies.

2017-2019 CHAIR, Department of Theatre Arts Curriculum Committee As chair of the Curriculum Committee I have worked to facilitate progressive initiatives in the Theatre Arts curriculum. Since my tenure as chair, two new courses have been introduced, an overhaul and reimagining of the curriculum is underway, and conversations with alumni working in the field have been initiated.

2016-2019 MEMBER, Department of Theatre Arts Executive Committee Represented and acted on behalf of the faculty in the Department of Theatre Arts to advise the chair on policy and other department concerns and initiatives. Made suggestions for bylaws amendments, departmental restructuring, faculty hires, search committee members, and best practices, protocols, and policy, for faculty and students.

2016-Present CHAIR, Library Committee, Department of Theatre Arts Liaised with the head of research in Founders Library, assessed weaknesses that impacted student research in the Department of Theatre Arts and proposed solutions. As a result of my activities on the library committee I wrote and obtained a $99,948.00 NEH grant to create an Africana Theatre and Dance Collection in Founders Library to enhance theatre students’ research capacity.

OFOSUWA M. ABIOLA ______Howard University | Department of Theatre Arts | Lulu Vere Childers Hall 2455 Sixth Street NW, Washington DC, 20059 E-mail: [email protected] Website: www.oabiola.org

CURRICULUM VITAE

EDUCATION

2016 Ph.D., History Howard University, Washington, DC Major field: African History Research focus: African dance history; African culture

2010 Bachelor of Interdisciplinary Studies (B.I.S.) Virginia State University, Petersburg, VA Specialization: Cultural Studies Minors: Dance; History Graduated Summa Cum Laude (4.0 GPA)

ACADEMIC APPOINTMENT

2016-Present Assistant Professor of History, Department of Theatre Arts, Howard University, Washington, DC.

EMPLOYMENT AND PROFESSIONAL APPOINTMENTS

2018-Present Coordinator, Dance Program, Department of Theatre Arts, Howard University, Washington, DC.

2018-Present Director, The Africana Theatre and Dance Collection, National Endowment for the Humanities (NEH) grant project, Founders Library, Howard University, Washington, DC.

2017-Present Coordinator, Honors Program, Department of Theatre Arts, Howard University, Washington, DC.

2017-2018 Coordinator, Theatre Arts Minor Program, Department of Theatre Arts, Howard University, Washington, DC.

2013-2016 Lecturer, Department of Theatre Arts, Howard University, Washington, DC.

2014-2016 Historian, Researcher, National Park Service (NPS), Washington, DC.

2014-2015 Project Curator and Research Associate for the exhibit, "Polyrhythm: The Evolution of African American Dance and its African Roots," The National Afro-American Museum and Cultural Center, Wilberforce, Ohio.

2013-2014 Co-Investigator, Ethnographic and Historical Project, National Park Service (NPS), Washington, DC.

2012-2013 Teaching Associate, Department of History, Howard University, Washington, DC.

2012 Archivist, Wolf Trap National Park for the Performing Arts, United States Department of the Interior, Vienna, VA.

1996-2011 Artistic Director/Founder, Suwabi African Ballet, Norfolk, VA.

2005-2011 Director, CampRize! Dance Camp, Norfolk, VA.

2007-2009 Director, Stage Norfolk Theatre Company, Norfolk, VA.

2000-2009 Artist in Residence, Governor’s School for the Arts, Norfolk, VA.

2000-2003 Artist in Residence, Old Dominion University, Norfolk, VA.

2000-2002 Lecturer, Christopher Newport University, Newport News, VA.

PUBLICATIONS

2019 History Dances: Chronicling the History of Traditional Mandinka Dance. London: Routledge.

2019 Evoke: A Historical, Theoretical, and Cultural Analysis of Africana Dance and Theatre. Peer-reviewed digital journal. Founder/Editor-in-Chief. http://dh.howard.edu/evoke.

WORKS IN PROGRESS

For Every Thought There’s A Dance: Historical Musings on Dance, Hegemony, and Resistance in Africa. Monograph.

Fire Under My Feet: Historical Perspectives on Dance in the African Diaspora. Monograph.

Les Ballets Africains and the Restoration of Black Identity in Africa and the Diaspora. Paper accepted at the Association for the Study of the World Wide African Diaspora (ASWAD) biannual meeting, November 5-9, 2019.

Historical Perspectives on Dance in Africa. Textbook.

PUBLICATIONS/PRODUCTIONS: ARTISTIC, DIGITAL, AND PRINT

2019 Rites. Choreography, African Ballet. Ira Aldridge Theatre, Howard University, Washington, DC, April 5-6, 2019.

2019 Nankama African Dance Conference, Artistic Director. African Dance and Scholarly Conference. Produced at Howard University, Washington, DC, February 9-10, 2019. https://www.youtube.com/watch?v=kg7X2lOsWNo.

2016 www.ofosuwaabiola.org, pedagogical website. Published website to enhance student engagement in courses; Dance History I, Dance History II, Performance and Identity, and Theatre History I.

2016 Grave Revelations: Cultural and Historical Narratives from the Colored Union Benevolent Association Burial Ground, digital publication (short form documentary). Producer, Aryzen Pictures. https://m.youtube.com/watch?v=WOU3AT6eKQY

2016 History Dances: African Dance Systems as Methodologies, digital publication. Visual supplement for the published monograph History Dances, short form documentary. Producer, Aryzen Pictures. https://www.youtube.com/watch?v=yHJNSnaCM0M&feature=youtu.be

2016 “Lamban,” African dance choreography, ceremonial reception director. African American Women and the Law (AAWL) Conference. Theme: “Black Women Still Rising: Ending Structural Racism, Patriarchy and Violence.” National Education Association (NEA), Washington, DC.

2014 "It Fits Like a Glove: Women and Black Consciousness in South Africa, 1901-1989," Africalogical Perspectives: Historical and Contemporary Analysis of Race and Africana Studies, Spring Issue, 2014, pp. 77-92.

2008 Wasalunke and the Three Virtues, African dance ballet. Wrote the script, choreographer, producer. The Attucks Theatre, Norfolk, VA.

2010 “Umoja” Suwabi African Ballet’s 14th Annual Kwanzaa Concert, producer, choreography, director. The Attucks Theatre, Norfolk, VA.

2009 “Kujichagulia” Suwabi African Ballet’s 13th Annual Kwanzaa Concert, producer, choreographer, director. The Attucks Theatre, Norfolk, VA.

2009 “Once on This Island,” choreographer. Hampton Roads Academy Newport News, VA.

2009 “Faju,” A Choreographer’s Showcase, choreographer. Old Dominion University, Norfolk, VA.

2008 “Imani,” Suwabi African Ballet’s 12th Annual Kwanzaa Concert, producer, choreographer, director. The Attucks Theatre, Norfolk, VA.

2007 “Nia” Suwabi African Ballet’s 11th Annual Kwanzaa Concert, producer, choreographer, director. The Attucks Theatre, Norfolk, VA.

2006 “Bena,” choreographer. The Governor’s School for the Arts, Norfolk, VA.

2006 “Kuumba” Suwabi African Ballet’s 10th Annual Kwanzaa Concert, producer, choreography, director, The Attucks Theatre, Norfolk, VA.

2006 Imhotep, African dance ballet. Wrote the script, producer, choreographer, director. Live ballet and DVD, The Attucks Theatre, DVD published by Ascension 1 Productions, Norfolk, VA.

GRANTS, AWARDS, AND FELLOWSHIPS

2019 GRANT, U.S. Department of Education/Center for African Studies, Howard University, $3,000.00, Washington, DC.

2018 GRANT, National Endowment for the Humanities (NEH), Humanities Initiatives, $99,948.00, Washington, DC.

2018 AWARD, Outstanding Assistant Professor in the College of Arts and Sciences at Howard University, 2017-2018. Washington, DC.

2018 AWARD, Outstanding Student Advisement, Office on Research Development, Howard University, Washington, DC.

2018 AWARD, Junior Faculty Writing and Creative Works Summer Academy, $500.00, Office of Faculty Development, Howard University, Washington, DC.

2017 GRANT, Summer Faculty Research Grant, $10,000.00, Howard University, Washington, DC.

2011-2016 FELLOWSHIP, Frederick Douglas Doctoral Fellowship, $96,000.00, Howard University, Washington, DC.

2012 AWARD, Special Commendation, Office of the Mayor, Washington, DC.

2011 FULBRIGHT, The J. William Fulbright Foreign Scholarship, Morocco, North Africa.

2010-2011 GRANT, Crispus Attucks Cultural Center, Norfolk, VA, rehearsal space grant, $20,800.00.

2009-2010 GRANT, Crispus Attucks Cultural Center, Norfolk, VA, rehearsal space grant, $20,800.00.

2010 FELLOWSHIP, George H. Benet Fellowship, Petersburg, VA, $1,000.00.

2008-2009 GRANT, Crispus Attucks Cultural Center, Norfolk, VA, rehearsal space grant, $18,000.00.

2006-2008 GRANT, Crispus Attucks Cultural Center, Norfolk, VA, rehearsal space grant, $41,600.00.

2007 GRANT, Newport News Arts Council Grant, Newport News, VA, $4000.00

2006 AWARD, Excellence in the Arts Award, Southeast Virginia Arts Association, Norfolk, VA.

2005 AWARD, Master Folk Artist Award, Virginia Foundation for the Humanities.

2005 AWARD, Outstanding Contribution to Music in the Commonwealth, The Virginia Music Educators’ Association, Norfolk, VA.

2005 GRANT, Partners in the Arts Grant, Richmond, VA, $6,000.00.

2004 GRANT, Hampton Council for the Arts Grant, Hampton, VA, $5,000.00.

2002-2003 GRANT, Peninsula Fine Arts Center, Newport News, VA, $10,000.00

2003 GRANT, Newport News Council for the Arts Grant, Newport News, VA, $2,500.00.

2002 AWARD, Unity Award, Office of Human Affairs, Hampton, VA.

FEATURED SCHOLAR

2018 “Howard Fine Arts Professor Shows How African Dance Chronicled History.” Interviewed by Afro-American Newspaper (December 15, 2018). https://www.afro.com/howard-fine-arts-professor-shows-how-african- dance-chronicled-history/

2018 Featured as a Spotlight Scholar by the American Historical Association (AHA) in their Blog, Perspectives on History (December 6, 2018). https://www.historians.org/publications-and-directories/perspectives-on- history/december-2018/aha-member-spotlight-ofosuwa-m-abiola

2018 “Fine Arts Professor Making Strides In Increasing Awareness On Importance Of African Dance Through New Book.” Howard University Newsroom, Office of University Communications (December 6, 2018). https://newsroom.howard.edu/newsroom/article/9176/fine-arts-professor- making-strides-increasing-awareness-importance-african

2018 “Step By Step.” Interviewed and provided historical content for Dance Spirit article on African American Step Dancing (April 2018 issue): p. 44- 45; https://www.dancespirit.com/the-art-of-stepping-and-how-its-brought- people-together-for-more-than-a-century-2551841621.html

TEACHING EXPERIENCE

HOWARD UNIVERSITY Dance History I: Africa, Antiquity to 1800 Dance History II: Engaging the African Diaspora, 1800 to Present African Dance Performance Workshop African Dance II Performance and Identity Honors Thesis I & II Honors Directed Studies I & II Theatre History I *(WAC): World Theatre to the 18th Century Introduction to Theatre

*WAC, Writing Across the Curriculum. Received WAC certification to teach these courses.

UNDERGRADUATE HONORS ADVISEMENT

2018-2019 Directed the Honors Thesis of Jaylen Wilson, “Theatre is a Weapon: The Efficacy of Theatrical Presentation as a Device for Combating Systemic Racism.” Theatre Arts Major, Acting Concentration, Howard University. Selected to present at Howard University Research Week, April 2019.

2017-2018 Directed the Honors Thesis of Adanna Paul, “Bound to Post-Black: Examining and Redefining Tenets of the Post-Black Art Movement.” Theatre Arts Major, Acting Concentration, Howard University. *Won award for best presentation in Arts and Design, Howard University Research Week, April 2018.

2017-2018 Directed the Honors Thesis of Mary Morris, “Breaking the Cycle: An Investigation of Drama Therapy as an Intervention on the School to Prison Pipeline and At-Risk Youth.” Theatre Arts Major, Acting Concentration, Howard University. Selected to present at Howard University Research Week, April 2018.

UNDERGRADUATE STUDENT MENTORING

2018-2019 Directed the independent study of Ayana Fowler for Honor’s Thesis research on the performance of gender in the African Diaspora, Howard University.

2017-2018 Directed the independent study of Jaylen Wilson for Honor’s Thesis research on the use of theatre to alleviate racial discrimination, Howard University.

UNDERGRADUATE COLLEGE COURSES CREATED

2020 Research and the Arts (Study abroad course in Botswana, forthcoming)

2020 Arts, Libraries, and Archives (Internship course, forthcoming)

2018 Research Methods in Dance, Theatre, and Performance

2017 Performance and Identity

CONFERENCES AND INVITED TALKS

2019 “Les Ballets Africains and the Restoration of Black Identity in Africa and the Diaspora,” presentation. Paper accepted in Association for the Study of the World Wide African Diaspora (ASWAD) conference. November 5-9, 2019, Williamsburg, VA.

2018 “Performance, African Rock Art, and the History of the Earth,” paper accepted in the panel “Making People of African Origins Visible in the STEM Curriculum.” Association for Science Teacher Education (ASTE) International Conference. January 4-6, 2018, Baltimore, MD.

2018 “Dancing Off Blackface: Vaudeville and the Construction of Black Identity in the World War I Era,” presentation. Paper accepted in Association for the Study of African American Life and History (ASALAH) annual meeting and conference. October 3-7, 2018, Indianapolis, Indiana.

2018 “The Africana Theatre and Dance Collection” invited talk. Howard University Annual Research Week Conference 2018, Washington, DC.

2017 “History Restored: Reconnecting Dance to the Black Arts Movement Narrative,” presentation. Jr. Faculty Writing and Creative Works Academy, Howard University, Washington, DC.

2017 “Jondon/Wolosodon,” featured artist, Master Class. Lecture and workshop, Wazee African Dance and Culture, The Hampton Performing and Creative Arts Center, Hampton, VA.

2016 “Nangadef: August Wilson and Ritual,” discussion. The August Wilson Society, Armour J. Blackburn Center, Washington, DC.

2016 “2nd Annual Youth and Young Adult Hand Dance Symposium,” panel discussion, National Hand Dance Association, (NHDA) R.I.S.E. Demonstration Center, Washington, DC.

2015 “Authenticity in Research: Approaches and Methodologies for the Performing Arts Historian,” invited lecturer. The Annual Summer Intensives for Theatre Arts, Howard University, Washington, DC.

2014 “Africa, the Ring Shout, and Hand Dancing: Exposing the Ancient Foundations of DC Hand Dancing,” invited speaker in the panel, “Hand Dance Yesterday, Today and Tomorrow,” the Annual Conference of the National Hand Dance Association, Arena Stage, Washington, DC.

2014 "When They Stood Up: 19th-Century African American Cemetery Ritual,” paper. Organization of American Historians (OAH), Annual Meeting, Atlanta, Georgia.

2013 "Revelations of Africanisms: The History of Washington DC's Emancipation," paper. District of Columbia City Council Emancipation Conference, Washington, DC.

2013 “Research and the Arts,” invited lecturer for the course, Dance History I, Department of Theatre Arts, Howard University, Washington, DC.

2012 “Fortitude and the Embodiment of a Movement,” invited speaker. DC National Archives’ Commemoration of the 150th Anniversary of Emancipation in Washington, DC.

2011 “African Dance and the Utility of Tradition,” invited speaker (and performance and choreography). The International Arts Festival, Chrysler Museum, Norfolk, VA.

2011 “Historic Vistas of African Dance,” invited speaker (and workshop). Norfolk State University Annual Dance Conference, Norfolk, VA.

2011 “History, Traditional African Dance, and the 21st Century,” invited speaker (and performance and choreography). Thomas Nelson Community College Annual Black History Month Conference, Hampton, VA.

2010 “Moving Forward: African American Dance,” invited speaker (and choreography). Norfolk State University Annual Dance Conference, Norfolk, VA.

2010 “Manjani: Conceptualizing the Rite of Passage in Mandinka Dance,” invited speaker. The Office of International and Intercultural Programs, Wesleyan College, Norfolk, VA.

2010 “A Separate Space: Historical Highlights of Gnawa Arts and Culture in Contemporary Morocco,” paper. Cross Cultural Solutions, Morocco, North Africa.

2009 “The State of Black Dance in America,” invited speaker and workshop. Office of Student Affairs Black History Program, Hampton University, Hampton, VA.

2008 “Diversifying Dance Venues,” invited speaker (and performance). National Folk Festival, National Council for the Traditional Arts, Richmond, VA.

2007 “Africa, America, the Arts and Inclusion,” invited speaker (and performance and choreography). America’s 400th Anniversary, Jamestown Settlement, Jamestown, VA.

2006 “Incorporating The Arts in the Homeschool Curriculum,” invited lecturer. Department of Education, Hampton University, Hampton, VA.

2005 “Kasa: Celebration through Traditional Jola Drumming,” invited speaker (and workshop). The Virginia Music Educator’s Association Annual Meeting, Norfolk, VA.

2004 “Faju, Healing,” invited speaker (and choreography). Choreographer’s Showcase, Old Dominion University, Norfolk, VA.

2003 “Deciphering Traditional African Dance Technique,” invited speaker (and choreography), The Regional Choreographer’s Annual Conference, Norfolk, VA.

SERVICE: HOWARD UNIVERSITY

2019-Present MEMBER, Bylaws Committee for the forthcoming College of Fine Arts

2019-Present SUPERVISOR, Experiential Learning and On-Campus Placement, Howard University Student Employment Program (HUSEP), Office of Career Services.

2018-2019 MEMBER, Committee for reinstating the College of Fine Arts.

2018-2019 MEMBER, Department of Theatre Arts Sabbatical Committee

2017-2019 MEMBER, Academic Policy, Standards, and General Education (APSAGE) Committee, College of Arts and Sciences.

2017-2019 CHAIR, Curriculum Committee, Department of Theatre Arts.

2016-Present MEMBER, Executive Committee, Department of Theater Arts.

2015-Present CHAIR, Library Committee, Department of Theater Arts.

2019 JUDGE for poster and paper presentations, Howard University Annual Research Week.

2019 REVIEWER for submissions to Howard University Annual Research Week.

2018 MEMBER, Search Committee, Department of Theatre Arts Lighting Designer.

2018 JUDGE for poster and paper presentations, Howard University Annual Research Week.

2018 REVIEWER for submissions to Howard University Annual Research Week.

2017-2018 MEMBER, Honors Council, Division of Fine Arts.

2017-2018 CHAIR, Department Chair Search Committee, Department of Theatre Arts.

2014-2017 MEMBER, Curriculum Committee, Department of Theater Arts.

2014-2015 CASTING DIRECTOR, “Image,” (documentary). M.F.A. thesis committee, School of Communications.

2014 ADJUDICATOR, Theater Arts Department, Dance Concentration end of semester Jury, Howard University, Washington, DC.

2014 ADJUDICATOR, Dance History Oral Presentation and Choreographic Interpretation Finals, Howard University, Washington, DC.

SERVICE TO THE PROFESSION

2019 ADJUDICATOR, Kennedy Center Dance Lab, John F. Kennedy Center for Performing Arts, Washington, DC.

2019 GRANT REVIEWER AND DANCE ADJUDICATOR, FY20 Arts and Humanities Fellowship in Dance, DC Commission on the Arts and Humanities, Washington, DC.

2019 BOOK REVIEWER, The Griot: The Journal of African American Studies. Peer-reviewed academic journal.

2019 CONSULTANT, BREathe Dance Project, Fort Washington, Maryland.

2018 DANCE DRAMATURGE, “Trials to Freedom,” Seals Dance Project, Washington, DC.

2018 JUDGE, Frederick Douglass Oratorical Contest, National Park Service (NPS), Washington, DC.

2017 JUDGE, Frederick Douglass Oratorical Contest, National Park Service (NPS), Washington, DC.

2017-2019 CONSULTANT, Wazee African Dance and Culture, Hampton, VA.

2016-2017 HUMANITIES SPECIALIST, National Hand Dance Association (NHDA) Washington, DC.

2016 PANEL EVALUATER, Panel Discussion, 2nd Annual Youth and Young Adult Symposium, R.I.S.E. Demonstration Center, National Hand Dance Association (NHDA), Washington, DC.

2016 MEMBER, Planning Committee, African American Women and the Law Conference, African American Policy Forum: Center for Intersectionality and Social Policy Studies, National Education Association (NEA) Washington, DC.

2014 ASSISTANT ADMINISTRATOR, American Historical Association (AHA), Annual meeting, Washington, DC.

2009-2011 JUDGE, Dance Auditions, CampRize, Attucks Theater, Norfolk, VA.

2006-2008 JUDGE, Dance Presentations, Afro-Academic, Cultural, Technological, and Scientific Olympics (ACT-SO), NAACP, Newport News, VA.

2007 Chaperone for ACT-SO (Afro-Academic, Cultural, Technological, and Scientific Olympics) Gold metal finalists’ travel to final competition in Detroit, MI.

CERTIFICATION, CONTINUED EDUCATION & PROFESSIONAL DEVELOPMENT

2017 CERTIFICATION, Writing Across the Curriculum (WAC), Center for Excellence in Teaching, Learning, and Assessment (CETLA), Howard University, Washington, DC.

2017 CERTIFICATE, Faculty Writing & Creative Works Summer Academy, Office of Faculty Development, Howard University, Washington, DC.

2015 CERTIFICATION, Preparing Future Faculty (PFF) Howard University, Washington, DC

PROFESSIONAL MEMBERSHIPS

Association for the Study of the Worldwide African Diaspora (ASWAD) American Historical Association (AHA) Association for the Study of African American Life and History (ASALH) Dance Metro DC National Dance Education Organization (NDEO) Black Theatre Network (BTN)

FIELD WORK AND ARCHIVAL RESEARCH

Senegal, West Africa The Gambia, West Africa Morocco, Northwest Africa Nassau, Bahamas Freeport, Bahamas United States

LANGUAGES

French (Reading) | Wolof (Basic) | Spanish (Basic) | Arabic (Basic)

ADDITIONAL EXPERIENCE

ORIGINAL FULL-LENGTH AFRICAN BALLETS (Wrote the script, produced, directed, drumming arrangements, and choreography)

2008 Wasalunke and the Three Virtues 2006 Imhotep. 2004 Waters of Despair, Waters of Hope

2002 The Voices of Shu 2000 The Dismal Swamp 1998 Africa: A Song of Me

KWANZAA CONCERTS

1997-2011 Directed, produced, and provided all choreography for 14 Kwanzaa concerts which opened on the second day of Kwanzaa, Kugichagulia (Self-determination), from 1997 to 2005, and on the first day of Kwanzza, Umoja (Unity), from 2006 to 2011.

OVERSEAS PERFORMANCES & PRESENTATIONS

Department of Theatre Arts Scholarship/Research/Creative Work Criteria Equivalencies

Below are specific scholarly review equivalencies for Scholarship/Research and Creative Work designed to support the promotion/tenure portfolio review for the Department of Theatre Arts (DOTA). The headings of each section reflect the College of Arts and Sciences (COAS) standard category headings for evaluation for promotion and tenure.

Book Equivalencies

1. Director (incl: Musical/Technical/Rehearsal), Choreographer, Designer, Playwright, Composer, Producer/Administrator, Stage/Production Manager, Performer, Artistic Director, Coach (incl: Vocal/Dialect/Acting/Playwriting/Scholar), Curator, Researcher, Literary Manager or Dramaturge of a full-length work, archival work or special event produced in a regional, national, or internationally recognized venue under a professional contract such as (but not limited to): AEA, SDC, AGVA, SMA, SAG-AFTRA, AGMA, NEA, NEH, ADG* as well as other government or nationally/internationally recognized agencies.

2. Director (incl: Musical/Technical/Rehearsal), Choreographer, Designer, Playwright, Composer, Producer/Administrator, Stage/Production Manager, Performer, Artistic Director, Coach (incl: Vocal/Dialect/Acting/Playwriting/Scholar), Curator, Researcher, Literary Manager or Dramaturge of a performance, archival work or special event recorded for a live broadcast or distribution via broadcast and electronic media, under a professional contract such as (but not limited to): AEA, SDC, AGVA, SMA, SAG-AFTRA, AGMA, NEA, NEH, ADG* as well as other government or nationally/internationally recognized agencies.

3. Publication of a monograph, lead editor of a published anthology, published text book (including but not limited to online publication and electronic format) with a nationally/internationally recognized publisher; creator of a peer reviewed journal with an editorial board sponsored by a national/internationally recognized institution and has at least 4 or more posted articles and ongoing publications.

4. Publication of a composition, compilation series or other scholarly work with a nationally/internationally recognized venue or publisher under a professional contract such as (but not limited to): AEA, SDC, AGVA, SMA, SAG-AFTRA, AGMA, NEA, NEH, ADG* as well as other government or nationally/internationally recognized agencies.

5. Externally sponsored research grant that has financial and other benefits to both the scholarly field and the University under a professional contract such as NEA, NEH* as well as other government or nationally recognized agencies.

6. Visiting professor/residency at nationally/internationally recognized institution.

*Legend AEA – Actors Equity Association SDC - Stage Managers, Directors and Choreographers

AGVA – American Guild of Variety Artists SAG-AFTRA – Screen Actors Guild/American Federation of Television and Radio Artists AGMA - American Guild of Musical Artists SMA – Stage Managers Association NEA – National Endowment Association NEH – National Endowment of Humanities ADG – American Dance Guild

Refereed Article Equivalencies

2. Publication of a refereed article, performance review or critical review in a scholarly journal.

3. Publication of a refereed chapter in a book.

4. Creative contributions to scholarly publications, presentations or full-length works produced in a nationally/internationally recognized venue beyond the university setting.

5. Executive, guest or managing editor for a peer reviewed journal with an editorial board sponsored by a national/internationally recognized institution.

6. Externally sponsored research grants that benefit the scholarly field.

7. Creative contributions to scholarly publications, presentations or full-length works in collaboration or in partnership with nationally or internationally recognized collaborators or partners inclusive of but limited to a university setting.

8. Externally sponsored awards relevant to the field of specialty.

9. Status report on any work that is under review for publication or presentation with a nationally/internationally recognized venue or publisher.

10. Developed new technologies, techniques, and methodologies that advance creative and scholarly capabilities in theatre and dance.

11. Developed ongoing summer theatre/dance program or choreographic repertoire for performance/facilitation inclusive of a university setting or other nationally recognized venue.

General Article Equivalencies

2. Published book reviews, reviews of published creative works, program notes, liner notes or published criticism of creative works.

3. Consulted for and provide interviews relevant to the field.

4. Copies of presentations at conferences, seminars or symposia

5. Developmental research or creative works – conducting interviews, readings and performance presentations that are developmental in nature, creation of peer reviewed journal with editorial board but no articles posted as yet

6. Clinics, master classes, guest lecturer, reviewer, presentations, panels, workshops or adjudications

7. Creation of pedagogy website (not a personal website documenting personal accomplishments)

Quantity of Scholarship/Research Criteria

Although it can be difficult to quantify an acceptable number for a tenure-promotion portfolio given the variety of possibilities, nevertheless, as a reasonable benchmark applicants are expected to satisfy a combination of the criteria listed below over the period of review:

• Book Equivalencies 2 items from the scholarly criteria equivalencies list

• Referred Articles 3 items from the scholarly criteria equivalencies list

• General articles 6 items from the scholarly criteria equivalencies

*Please view my digital portfolio for visual evidence of publications https://ofosuwaabiolaphd.org/

Evidence of Relevant and Recent Publications and of Participation in Creative Activities

A. Monographs and Scholarly Books

A1. History Dances: Chronicling the History of Traditional Mandinka Dance. Routledge, 2019 To read History Dances click the link below: https://docs.wixstatic.com/ugd/74bf80_fdf2b76cc8304fa6a5e69e86d2d5c3f2.pdf

A2. The Africana Theatre and Dance Collection, $99,948.00 NEH grant, January 2018- December 2019. To view the award letter click the link below: https://docs.wixstatic.com/ugd/74bf80_2776c92c53de4fca8542788401a90324.pdf

To view a sample of the grant materials, click the link: https://www.oabiola.org/neh

B. Refereed Articles

B1. Evoke: A Historical, Theoretical, and Cultural Analysis of Africana Dance and Theatre, March 2019 issue. To read Evoke click the link: https://dh.howard.edu/evoke/

B2. Nankama African Dance Conference. Click the video link to view highlights of the conference: https://www.youtube.com/watch?time_continue=1&v=kg7X2lOsWNo The video of the conference can also be viewed on my webpage in my digital portfolio. Please scroll down to the middle of the webpage: https://ofosuwaabiolaphd.org/publications

B3. Lamban. Choreography. National Education Association (NEA). View the program by clicking the link: https://docs.wixstatic.com/ugd/74bf80_4f88a308698841e3b65d693e9df648d5.pdf

B4. RITES. Choreography. Ira Aldridge Theatre, Howard University, April 5-6, 2019 To view the choreographic piece click the link: https://www.youtube.com/watch?v=M9qSexVU62g The video of the performance can also be viewed in my digital portfolio at: https://ofosuwaabiolaphd.org/publications (please scroll down to the middle of the webpage in the digital portfolio to view the video)

B5. ABC’s Good Morning Washington. Interview/choreography/performance. To view my appearance on Good Morning Washington on ABC’s webpage click the link below: https://wjla.com/features/good-morning-washington/howard-universitys-nankama-african-dance- conference

C. General Articles

C1. $10,000.00 research Grant, Howard University’s Office of Research Development, Summer 2017. To view the award letter click the link: https://docs.wixstatic.com/ugd/74bf80_b7d502eddd49437693bb6b3726cc4875.pdf

C2. Pedagogy website, launched 2016: www.ofosuwaabiola.org

C3. “Step by Step” Dance Spirit Magazine article. Read the article by clicking the link: https://www.dancespirit.com/the-art-of-stepping-and-how-its-brought-people-together-for-more- than-a-century-2551841621.html

C4. Adjudicator. Frederick Douglass National Historic Site, National Park Service, November 16-17, 2018. Read the invitation email by clicking the link: https://docs.wixstatic.com/ugd/74bf80_ae9d57666cac4e83a7c1180dcd646be3.pdf

C5. History Dances: African Dance Systems and Methodologies. Director, Researcher. Documentary Short and complement to my monograph History Dances listed above. View the documentary by clicking the link: https://www.youtube.com/watch?v=yHJNSnaCM0M The video can also be viewed in my digital portfolio at: https://ofosuwaabiolaphd.org/publications (please scroll to the bottom of the webpage in the digital portfolio to view the documentary).

C6. Grave Revelations: Cultural and Historical Narratives from the Colored Union Benevolent Association Burial Ground. Documentary short. Director, Researcher. View the video by clicking the link: https://www.youtube.com/watch?v=WOU3AT6eKQY. The video can also be viewed in my digital portfolio by clicking the link: https://ofosuwaabiolaphd.org/publications and scrolling to the bottom of the webpage.

C7. Adjudicator, Howard University Research Week. Click the link to view the thank you letter: https://docs.wixstatic.com/ugd/74bf80_71644bb000524aa4af1a6d61ca24a9a8.pdf

Grant award letters, awards and certificates

NEH Grant: $99,948.00 (also publication A2 above) https://docs.wixstatic.com/ugd/74bf80_2776c92c53de4fca8542788401a90324.pdf

Howard University Research Grant: $10,000.00 (also publication C1 above) https://docs.wixstatic.com/ugd/74bf80_b7d502eddd49437693bb6b3726cc4875.pdf

Department of Education/African Studies AFEE Program, $3,000.00 grant for the Nankama African Dance Conference: https://docs.wixstatic.com/ugd/74bf80_4d295af5aebd4a15b0328d9389a0fb88.pdf

Awarded $500.00 for successful completion of Jr. Faculty Summer Writing Academy, class of 2017. https://docs.wixstatic.com/ugd/74bf80_b92bdc1d375f4f8c8fcffe87ef73ec8a.pdf

Certificate for advising the thesis of a student that won the Most Outstanding Presentation, Research Week, April 2018. https://docs.wixstatic.com/ugd/74bf80_1f92d201b72e4ee68fde6d708d245b9a.pdf

Award for Outstanding Assistant Professor in the College of Arts and Sciences, 2017-2018. https://docs.wixstatic.com/ugd/74bf80_023e4118542746ef8e483818628484f8.pdf

Evidence of involvement in reviewing manuscripts and grants

I was invited to review $10,000 grant applications for DC Commission on the Arts and Humanities, August 13 and 15, 2019. I was contacted through my contacts page on my professional academic website (https://www.oabiola.org/). The email was forwarded to me. To view the forwarded email, click the link below: https://docs.wixstatic.com/ugd/74bf80_994746ac8bec453b9aa4ab21764423cb.pdf

As Editor-in-Chief of the digital journal Evoke: A Historical, Theoretical, and Cultural Analysis of Africana Dance and Theatre, my duties include reviewing manuscripts. https://docs.wixstatic.com/ugd/74bf80_d13ca7df7edf48e7ad6ea3a6965764f4.pdf

Evidence of participation of professional development

The link below depicts a transcript of five workshops I attended through the Center for Excellence in Teaching, Learning, and Assessment (CETLA) at Howard University. https://docs.wixstatic.com/ugd/74bf80_3ff5e41f5ed742d0933d5e89e4794b7c.pdf

This link provides evidence of my registration in the 2019 National HBCU Week Conference. https://docs.wixstatic.com/ugd/74bf80_4ef879d8f03045fabbabe3dc4299d4e9.pdf

Evidence of service to the university, school/college, department, and the community

To view the thank you and follow up letter from the Kennedy Center’s Department of Education for a program collaboration with Howard University’s Dance Program click the link below: https://docs.wixstatic.com/ugd/74bf80_2cf75add497a41cd81d58c013fefa3d4.pdf

I was elected to the Academic Policy, Standards and General Education (APSAGE) Committee in the College of Arts and Sciences for a 2017-2019 term. I was reelected for the 2019-2021 term. To view the notification of election email click the link: https://docs.wixstatic.com/ugd/74bf80_278071c0ac5f4ea7b588ac19028c68e8.pdf

The link below provides evidence of service for the university via my involvement with the Office of Career Services. https://docs.wixstatic.com/ugd/74bf80_1da33fcff76f420e9924519c89b95b67.pdf

I serve as Coordinator of the Dance Program in the Department of Theatre Arts. The link below is of an email from the Chair of the Department of Theatre Arts thanking me for submitting a thorough Coordinator’s annual report. https://docs.wixstatic.com/ugd/74bf80_94af7b1c15414e79917439b907bcb271.pdf

Evidence of participation in professional societies

My paper, “Les Ballets Africains and the Restoration of Black Identity in Africa and the Diaspora” was accepted in the biannual conference of the Association for the Study of the Worldwide African Diaspora (ASWAD), November 5-9, 2019. To view the acceptance email from ASWAD click the link below: https://docs.wixstatic.com/ugd/74bf80_7dde8dc4a2f34fbdaa9cb6d460907156.pdf

My paper, “Dancing Off Blackface: Vaudeville and the Construction of Black Identity in the World War I Era,” was accepted at the annual conference of the Association for the Study of African American Life and History (ASALH), October 3-7, 2018. To view the acceptance email click the link: https://docs.wixstatic.com/ugd/74bf80_b89f296ab42446d49353b882777d634d.pdf

Leadership Activity

In addition to Coordinator of the Dance Program (see the last link under the heading “Evidence of service to the university, school/college, department, and the community”), other leadership positions held include but are not limited to, the Project Director of the NEH grant (see the second to the last entry on the second page of the link below), https://docs.wixstatic.com/ugd/74bf80_f7b7c7488eea474d8ad673f540b3ea98.pdf and the Director of the Nankama African Dance Conference: https://docs.wixstatic.com/ugd/74bf80_6b9301ac13b94569bfa43085422f961d.pdf

Teaching Activity

Please visit my pedagogy website: www.ofosuwaabiola.org

Student Evaluations

The system for collecting and disseminating student evaluations at Howard University has been deficient. During my time as Assistant Professor I have not received many student evaluations. Thus the link below will be a collection of the few student evaluations I have received in addition to student’s letters of support and/or insights on their experiences in courses I have taught. https://docs.wixstatic.com/ugd/74bf80_5391bb28aa3a48edaa69c74f8e389290.pdf

Honors and Thank You

The link below depicts an diverse collection of letters of thanks. https://docs.wixstatic.com/ugd/74bf80_c5d2f0984a8d41f8a798615edefc6d90.pdf

Please view my digital portfolio at: https://ofosuwaabiolaphd.org/

Section II

Evaluations and Recommendation of the Departmental Appointments, Promotions, and Tenure Committee

Received ______Date

1. The following teaching experience satisfies the minimum requirement of years of teaching: (List years, e.g., 1974-1979.)

2. The following publications (give numbers as assigned by candidate) meet the minimum requirements for publication:

3. The candidate’s teaching ability in respect to others of equal experience and rank is as follows: (Check one.)

Below Average ______Average ______Above Average ______Outstanding ______

Attach evaluations or summary of evaluations from faculty members and students.

4. The candidate’s research and publications in respect to others of equal experience and rank are as follows: (Check one.)

Below Average ______Average ______Above Average ______Outstanding ______

5. The candidate’s professional development in respect to others of equal experience and rank is as follows: (Check one.)

Below Average ______Average ______Above Average ______Outstanding ______

6. The candidate’s service performance in respect to others of equal experience and rank is as follows: (Check one.)

Below Average ______Average ______Above Average ______Outstanding ______

7. Give below any comments or additional information that the Committee thinks is pertinent to this application:

Initial Appointment

1. The Committee endorses/does not endorse the appointment of this applicant.

Promotion and Tenure

1. The Committee endorses/does not endorse the promotion of this applicant.

1. The Committee endorses/does not endorse the granting of tenure to this applicant.

Committee Vote: Endorse ______Do Not Endorse ______Abstaining ______Absent ______

______Signature of Committee Chairman

Forwarded ______Date

Evaluation Statements of the Departmental Appointments, Promotions, and Tenure Committee

Evaluation of Publications:

Evaluation of Teaching Experience:

Evaluation of Professional Development:

Evaluation of Service:

______Signature of Committee Chairman

Section III

Evaluations and Recommendation of the Departmental Chairman