Welcome Issue 3: Spring 2006

Contents Training and Professional Development 1. Editorial, from Jeannette Brooks

2. Training –Study, Experiences and Results, by Judith Palmer

3. ADAD Forum Training Day with Jermaine Acogny

4. Review: Greg Maqoma, reviewed by Francis Angol

5. “ADAD Asks”… Jackie Guy

6. Diaspora Dictionary Part 2, by Thea Barnes

7. “Wassssup!” To Krump or not to Krump? That is the question, by Georgina Harper

8. Review: Impact Dance “Underworld”and ZooNation “Into the Hood” reviewed by Thea Barnes

9. Developing A Professional, by Godiva Apedo

10. The Mission Training Debate, by Thea Barnes

11. Credits and notes Welcome

2006 has kicked of with a wealth of touring products and companies from the African People Dance genre. Rumble, Urban Classicism, Zoo Nation, Tavaziva Dance to name a few. Dance days, training events and a number of opportunities have all gotten us off to a flying start following the winter freeze.

In this issue our focus is on keeping those flames burning bright with the training and development needed to maintain high standards and push creativity and quality.

Training and continuing professional development is critical to us all no matter where you are in this industry or your career. We talk to Jackie Guy about how to get the best out of the relationship of director with dancers and to Judith Palmer about her impressions of APD training courses.

There are reviews of Greg Maqoma, Zoo National and Impact Dance and feedback from The Mission 2005 on black dance training in the mainstream.

And finally, Hotfoot reaches it’s first birthday. I hope you have enjoyed the articles and feel Hotfoot is giving the sector a voice for critical thought and analysis. One of the major aims of this magazine is to up the stakes for national recognition of the various genres in African Peoples Dance. This means I need contributions - articles that force reaction and cause debate. Contact me with your ideas on content and if you would like to include something in a future edition. After all the fight for a part of the already crowded dance sector needs to happen on all fronts and the written voice can be very influential.

Please read on and feedback on the new online layout of Hotfoot through the ADAD website.

Jeannette Brooks Hotfoot Online Editor Think Piece…

Training: Study, Experiences and Results By Judith Palmer

When I started dancing nearly 22 years ago, there were more than 10 African peoples dance companies in existence in the UK…

…Delado in Liverpool, Kantamantu in Manchester, Ajah in Derby, Odienne in Sheffield, Kalubash Nottingham, Lanzel Wolverhampton, Sankofa Watu Wazuri Dance de l’Afrique and Kokuma in Birmingham, Yaa Asantewa, Adzido and IRIE! Dance theatre, London and Ekome, Bristol –and those were just the ones I knew about.

Of all those companies only one remains today and that is IRIE!

My reason for pursuing dance in my late teens was to fulfil a hunger for knowledge of my ‘roots’ as expressed to me through Rastafari doctrine. The Rastafarian faith portends the birthplace of humanity as being in Africa, once regarded as a land of Gods. In Egyptian history it is written that man communicated with the gods through telepathy, clairvoyance, music and dance.

In the words of author Dennis Forsythe “Folklore proper must therefore be seen as the ancient sublime and profound wisdom of the gods which have become the actual inheritance of the group…There is great wisdom to…grounding ourselves firmly on the wisdom of our ancients, particularly for the scattered and dismembered tribes that have lost their way (in the Diaspora).” ‘Rastafari - healing of the nations’ 1999.

I was amongst the radical people of the early eighties that advocated Black pride against a back drop of racial discrimination in Nottingham. Our artists were caught up in an anomaly, we wanted to learn about our heritage and the only way to do that was to join a dance company with no scope for development other than to perform.

Early experiences When I started with Adzido in 1986 it was an inspiration. The company had just secured a 2nd year of government funding to run a YOP (Youth Opportunities Programme) aka ‘The Scheme’which enabled the company to transform the George Orwell School building into a training centre for African dance and music forms.

By 1988, ‘The Scheme’ had run out of funds and had to be suspended. However, Adzido was granted revenue funding by the Arts Council in the same year, which provided a new focus for the company with reference to touring and performance work as opposed to training.

In my opinion, Adzido at this early point of its existence constituted the Diaspora’s equivalent of a classical ballet company.

My 10 years spent with Adzido was a huge learning curve. I battled commercialism, communism and racial prejudice! In reality, why I think I survived (i.e. lived to tell the tale) because of my passion for knowledge and cultural awareness.

After two weeks of shameless bawling –I still couldn’t believe Ihad left what I considered to be home for me and my children after 10 exhausting, soul destroying, but educational years and went off to the University of Surrey to ‘find my fortune’.

I felt like it was my first day at school (except that there were more black kids at school), I was not allowed to study at BA level as I had just been employed as an associate lecturer on the BA programme, so I was offered a place on the MA programme with a major in Anthropology (which swallowed up the Dancers Resettlement insurance I had accumulated at Adzido). Well if anthropology meant that I could study my dance forms in detail then I’ll take that, I thought.

There were two books in the library that related to my chosen studies. One called ‘African Dance’by Prof. Opoku, may he rest in peace (who I am proud to say lectured me at the Black Dance Development Trust summer school in 1987 along with other greats artists - Nii Yartey, C.K. Ladzekpo, Peter Badejo, Jackie Guy, Sheila Barnett, Barry Moncrieffe, Nomsa Caluza and Joe Legwabe); and Edward Thorpe’s ‘Black Dance’! I fondly recall the verbal wrestling matches that I had with my lecturers as to why APD wasn’t just another style of dancing represented at their university. It was difficult to argue my case as documentation was not available.

To add more detail to that historical situation, I see some APD forms as not just styles of dancing, they are a way of life, a whole different culture. It is how our ancestors communicated with their gods, how they gave thanks for food, water, life and even death; how they waged war, won battles and relayed history –another part of me that I wanted to learn about.

Mainstream acceptance? By the time I had received my postgraduate diploma (just short of an MA), I realised that the University of Surrey ‘neva ready fi me’.

As an organisation it had a lot of growing to do to cover this area of dance. Ironically, IRIE! is conducting research into the place of African & Caribbean dance in mainstream education, and the results are not dissimilar to when I was at university 9 years ago.

“The problem in education is not only that standards of achievements have been too low; they have also been too narrow. An education system, which focuses only on one mode of intelligence or on a limited range of cultural experiences, is underestimating the larger part of children’s natural capacities and resources. If education is to develop human resources, we must first recognise how rich and various these resources really are…a balanced education must provide opportunities…to explore and develop the different aspects of…intelligence, through a balanced curriculum and challenging processes of teaching and learning.”Quote taken from Professor Ken Robinson (NACCCE), quoted in ‘Taking Stock & Making it Happen’ Glean & Lehan, 2005.

Now I’m at the dawning of my fourth decade, I’ve been with IRIE! For 5 years, my experience when I first arrived would have put anyone off for life. The funding for the accredited courses for which I was employed as co-ordinator had run out and the programme had to be suspended (not unlike Adzido’s YOP)so I was really there to wind everything down and pursue alternative finances but to no avail.

Support for the arts in this country is quite fickle. Today you’re flavour of the month (embracing their political issues), tomorrow your old news… …and although the powers that be have tried to relegate IRIE! Dance theatre to their dusty shelves as old news our story lives on. The company continues as a reflection of Britain’s multicultural society with a diversity of backgrounds that need to be reflected in the education system if the government wants to achieve a knowledgeable and productive workforce.

IRIE!’s catalogue of achievements:  21 years in existence  Commissioned research into Archiving for APD  Initiated Europe’s first accredited training programmes in APD  Conducted research into APD and mainstream HE  Secured funding for Moonshot, a dedicated space for the practice, resource and preservation of APD in the UK Reaching for the moon Moonshot is a £3 million refurbishment programme to regenerate a disused community centre. The centre was originally set up and run by the Black community in Deptford, and there is a huge commitment to retaining its legacy; in respect of this, the Black community’s culture and diversity forms the foundation of the new Moonshot. London Borough of Lewisham awarded the project a grant of £2.4 million, with the remainder of the funds raised by the other consortium members who include: IRIE!, Surestart and Deptford Green Secondary School.

IRIE!’s remit and space within the building allows us to work with a range of partners to make Moonshot a focal point for the practice of APD. Current partnerships are:

IRIE! & ADAD working towards the development of an Archive programme covering the practice of APD in the UK. IRIE! & Birkbeck College, University of London, working towards the development of a Foundation degree in African & Caribbean dance studies. IRIE! & City and Islington College, working towards the development of Professional experience platforms for dance students. IRIE! & London Borough of Lewisham towards the development of APD within Education & Community Outreach.

Aside from the large open plan office space with adjacent library and archive with viewing and listening booths; the building will host 2 large dance studios, 2 state of the art ICT suites, 1 Seminar room, 2 teaching/meeting rooms, 1 small Café, Nursery and crèche facilities, 1 drama studio and 2 music/teaching rooms.

IRIE! intends to be collaborative in its approach to work and to create opportunities for other dance companies and individuals to create work, develop projects and to deposit physical archive material at Moonshot.

CGI image of Moonshot taken from the Irie! Dance website, www.irie.inuk.com ADAD Forum Saturday 18th February 2006

Guest Artist: Germaine Acogny

This year, the ADAD forum sessions focus on the theme of celebrating the vast heritage and achievements of African Peoples’ Dance.

It was apt that the first ADAD forum of 2006 profiled an artist who has contributed worldwide to the development of African dance since the 1960s. ADAD hosted Senegalese choreographer and dancer, Germaine Acogny at Interchange Studios, London.

The day kicked off with Germaine teaching a masterclass to 35 dancers ranging from African dance enthusiasts, to dance students, to seasoned professionals. And from the feedback collected, it was apparent that all three categories of dancers took inspiration from Germaine’s refreshing approach, and were keen for her to return in the near future.

Germaine Acogny has developed a dance technique which combines the traditional base of West African dances with the structural elements of classical ballet and western modern dance. From her unique mode of delivery, these three forms not only influence, but actually enable each other. Her class was disciplined, thought provoking, and enlightening. It also provided much needed insight into the numerous subtleties contained within African dance forms that can be overlooked.

After a hearty lunch, the forum resumed with Germaine being interviewed by dance practitioner Akosua Boakye. Through the interview, and subsequent question and answer session, forum attendees learnt about; the beginnings of Germaine’s explorations into dance, her journey to accept her abilities as an artist as well as gain acceptance by her many critics, her approach to choreography, her vision for African dance, and her determination to consistently provide opportunities for dancers to train in African dance to a professional level.

Germaine was joined by her husband and manager Helmut Vogt, who shared with the forum his and Germaine’s 20 year voyage to build the multi-disciplinary arts institution in Senegal - L’ecole des sables(The school of sands).

The publicity for this institution describes L’ecole des sablesas a place where young dancers from all over Africa can benefit from a professional education, giving them a strong foundation and preparation for the life of an artist, as well as opening them up towards other horizons. Forum attendees watched an excerpt from a film made about the centre, and it was evident that L’ecole des sablesis not only a great place to find (or recall) one’s inspiration with regards to African dance, but it also offers valuable opportunities to collaborate with artists of other disciplines in an honest quest to be a ‘total’ artist.

Germaine is often termed ‘The Mother of Contemporary African dance’. Through meeting her and observing her approach and philosophy, it became clear as to why she has earned that name. It is not only because she began experimenting with African dance movement vocabulary back in the 1960s, and established institutions where dancers could train in African dance, (most notably Mudra Afrique which was founded in 1977, and offered students a three year full- time course in the performing arts), but it is also because she understands the importance of continuously nurturing and supporting the next generation. In her own words - “I cannot do what they can do, yet they cannot do what I can do”. So, whilst she still performs her own work, and choreographs for her dance company Jant-Bi, she generously shares her wisdom and experience with younger dancers, and encourages them to develop their own individual styles of expression.

Germaine and Helmut kindly donated the film of L’ecole des sablesto the ADAD archive, as well as a copy of Germaine’s book African Dance. Both film and book are available for ADAD forum members to look at. For a full transcript of the interview with Germaine, please contact Pamela Zigomo at ADAD.

ADAD hopes to invite Germaine Acogny back to the UK later on in the year. Please ensure that you are on the ADAD database in order to find out about future forums at the earliest opportunity.

The ADAD Forums provide a voice for the sector and a meeting, consultation and advocacy point. The Forums offer the opportunity to share skills and experience, and develop a cross- form community based on mutual aspirations and needs. Review… Vuyani Dance Theatre “Beautiful Me –Part Of” and “Beautiful” Reviewed by Francis Angol

Lilian Baylis Theatre Saturday 4th March 2006

The artist - a landscape of ever shifting metaphors!

As part of the season of special projects by Sadler’s Wells, Gregory Maqoma, a South African based artist who has been described as one of the most talented choreographers to emerge from the new generation of South African artists, presented an evening of dance at the Lilian Baylis Theatre.

The programme was co –produced by Centre National de la Dance (France) and Vuyani Dance Theatre (South Africa) with the support of AFAA –Ministere des Affaires Etrangeres and A.K.C.T Ltd, the charitable arm of the Akram Khan Company.

The two works; “Beautiful Me – Part Of” and “Beautiful”, are part of the trilogy which looks at the beauty of human beings as juxtaposed with the beauty of things and the seasons that contribute to the wholesomeness of the universe’says Greg in Arts Alive.

As the audience entered the Baylis theatre to take their seats, they where presented with a stage void of wings encapsulating a set that one can only describe as somewhat surreal in nature and beautiful in sculpture. A visionary landscape of two organic bodies, one female the other male set within a rectangular space outlined by a perimeter, a path constructed so as to represent a daisy field - green grass with beautiful different coloured daisies sparsely positioned around the route. The costumes were simple in design, pastel green fabric tailored to the body worked well in portraying a simplistic organic view of beauty. The lighting was soft and plain in design but effective in creating a feeling of harmonised intimacy between the body and its environment

The 75 minute programme presented an interesting view of the use of African dance within a theatrical presentation. Approached from a very contemporary perspective, the style of expression and choreographic structure gave an insight into Maqoma’s influences and training. Contemporary dance expression laced with an African resonance that gave the work an engaging edge.

Sharp shoulder expressions with bounded and extended lower body movements created a mesmerising display of a movement signature that is inevitably Maqoma’s trademark. The use of repetition reinforced statements of expression, injecting a dynamics that played on movement metaphors. At times sweeping contemporary dance motifs and gestures set against a backdrop of cultural expressions made it difficult to position the style of expression into one defined category. The female dancer moved with poise and elegance, shifting and flowing from one dynamic gesture to the next, creating a sentiment of harmony with every executable step.

Maqoma’s tall prominent stature animated the landscape with a griot like presence, exhibiting the skill and confidence of one well versed in their art. The movement vocabulary was rooted in placement and angular in outline. Free flowing sharp precise motifs and transitions exhibited an interesting meeting of forms. A style and structure that can be described as circular intensions interconnected through parallel planes within a defined arena of expressions.

A most satisfactory evening of solo and duet work that allowed the voice of contemporary Africa to be made visible. Through this presentation one can only hope that, this kind of work and collaboration will help to influence the development of similar artists working in comparable genres and by doing so educate individuals and further enhance the diverse richness of British dance. Regular Feature… ADAD Asks

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

This edition, we meet Jackie Guy

1. In your wide experience as a director, what would you say are the most essential qualities needed to manage/develop the dancers working with you? It is important that dancers you employ know and understand the mission, ethos and history of the company they are working with.

This is key, especially for dancers working within the APD sector. Experience has shown that dancers who are not trained in the particular style are at a disadvantage in articulating and understanding the particular dance aesthetics. Once you overcome this, managing and developing the company becomes less of a struggle in defining who you are, and what you are about within the dance ecology.

Also as an artistic director you should have a solid dance background and some knowledge of management. 2. In an ideal world, what training events would you regularly schedule for the ongoing needs of a dance company? While today's dancers are physically stronger, it is advisable that companies who practise African and Caribbean dance forms where traditional nuances are utilized continue to implement training courses, such as history and music. These additional events will enhance the skills of those dancers and choreographers who draw on traditional dances for inspiration and synthesis.

3. As your career has progressed what has been the most significant or defining training or study you have undertaken? I have personally gained from the various courses and international forums and dance conferences I have attended looking at dance culture of people from the African Diaspora.

In addition, I have further researched my own Caribbean heritage, which helped me to advance my own 'JaGuy Technique', as well as studying the dynamics of archiving and to a less extent, dance notation.

4. What new courses could the UK dance establishment include in its vocational training of Dance of the African Diaspora? There are people teaching dance that perhaps lack certain essential requirements for effective instruction. Possibly, the APD sector could look at 'Training the Trainers', for example in teaching methodology, principles of movement and anatomy.

Never the less, there are also experienced teachers and lecturers who can offer training and advice and we can look forward to the continuation of the Irie! Dance Theatre Diploma course in African and Caribbean Studies.

5. What steps can still be made with the sector itself to build resources including artists’ development? A proper survey and needs analysis must be undertaken within the sector, so an effective developmental programme can be implemented. There is a need for show-casing young choreographers work and a dancehouse/space for experimentation with links with the Smithsonian Institute in Washington, The International Institute for Blacks in Dance in Philadelphia, the Jamaica School of Dance, and other dance institutions throughout Africa, Cuba and Haiti is also critical.

6. What is your present interpretation of African Peoples Dance (APD)/Black Dance? There are so many interpretations of the practice of African Peoples dance or Black dance in Britain that at times leads to tension. It is unfortunate that the legacy of Black Dance Development Trust, established in 1986, has gotten lost along the way of progress.

I personally feel that artists with the APD sector should celebrate their cultural heritage and be sensitive to the African Diaspora while embracing the dynamics of the contemporary world we live in today. Issues begin when the 'fertiliser becomes the soil' and we loose the essence of purpose by over blending and then placing APD in a category defined by someone else ideas on what we should be doing culturally and who we are.

7. Is the APD / Black dance sector relevant to the overall British dance scene and why? Yes, APD is more than relevant to the British dance scene, it is part and parcel of the multi-cultural society we live in and demands respect in terms of its diversity.

Dance forms which came out of the blood, sweat and tears of Black people needs no justification in contemporary Britain. The fact is it was through these artistic expressions that we have overcome adversity from the up-rooting in Africa, through to the middle passage and migration to England. As a son of the Caribbean, I salute the work of Irie! Dance Theatre, Kokuma Dance Theatre, Carl Campbell, Caroline Muraldo and others who's contribution to Black dance forms (especially from the Caribbean) since 1979 often gets lost in the recognition chart.

So the 'and why' in the question is - we need to constantly pay homage to our ancestors.

8. Career path. Are you at the point in your professional development you hoped to be right now? Yes, but not resting on my laurels. I like the opportunity to diversify my skills. I teach and lecturer in various universities, schools and colleges and recently choreographed the stage version of the movie 'The Harder They Come'. I work with elders and I am about to do a short solo for the Royal Opera House. Presently I am the chairman of (ECAS) Education Culture Arts and Sports committee of the Jamaican Diaspora UK.Finally have completed my research to write my book.

9. What keeps you focused and motivated? My Christian faith underpins all what I do: to love, serve and to be proud of my cultural heritage. I am motivated when human beings gain self-confidence and express their talents to the fullest.

10.What advice or ‘words of wisdom’ could you offer to those people working in the APD / Black dance arena? Remain focused. Strive for excellence. Encourage positive debate. Celebrate each other achievements. Try to help ourselves more and avoid justifying what we do and who we are. Diaspora Dictionary 2005-2006 By Thea Nerissa Barnes

This glossary contains words that allude to specific cultural practices and/or political stances that precipitate dance making or characterise aesthetic preferences for performing and enjoying Dance of the African Diaspora.

Part 2: J –Q J

Jazz Dance \ a broad term for American social and stage dance employing in the first instance popular social, jazz or jazz-influenced or even classical music depending on the choices of dancer or choreographer. As social dance the term vernacular is also used to describe those moves done for social or recreational activities. As a vernacular form, jazz dance originated in early 19th century African American social dances and were derived from several African, Western and South, movement vocabularies and affinities.

Ballroom and Tap dance also figure along side this genre as first a vernacular practice that developed into theatrical practice that finds its roots in African and also European social dance practices. The verbal vocabulary of these dance forms often reflected the character and body usage of the movement; Pigeon Wing, chicken wing, black bottom, snake hips, monkey, and mashed potatoes are just a few others. In the early 20th century diluted forms of African American social dances were adopted into mainstream social dance. Charleston, Jitterbug, foxtrot and twist, have movements traceable to African and early slave dances or European couple dancing adapted to jazz rhythms. These forms were also adapted for minstrel shows, vaudeville, revues, and early musical comedy. By the second half of the twentieth century a style emerged that drew on ballet, the modern dance expressions of practitioners like Katherine Dunham, and tap dance. It emphasized Europeanist body linearity and flexible torso, fast, accurate footwork with the feet basically natural or parallel and poly rhythmical exaggerated movements of individual body parts, such as the shoulders and hips.

Jitterbug \ American couple dance popular in the 1930s and 1940s, typically danced with great energy to big-band swing or similar syncopated music. Similar to the lindy hop, Jitterbug had a variety of steps and sometimes acrobatic swings, usually executed while holding one or both of the partner's hands. During World War II the jitterbug was spread worldwide by the United States armed forces. A more sedate version of the dance, jive, fast dance done to jazz or swing music, appeared in the 1950s as a popular rock music dance.

K

Kalinda \ is a stick-fighting dance tradition practiced during Carnival in Trinidad and Tobago possibly originated in the 19th century. It is also thought to be performed at wakes. It involves two fighters/dancers, each accompanied by a drummer and a chantwell singer. The chantwell singer's main purpose is to “trash- talk”the opponent fighter/dancer. It is believed that this tradition helped to bring Carnival to the streets. Kalinda is probably related to Maculelê.

Kumina \ Jamaica\ a sacred dance of the Bantu speaking peoples of the Konga origin; Jamaican rite of ancestral worship usually associated with wakes and entombments but may also be performed at births, anniversaries and thanksgivings. Dance and music are the strongest elements of Kumina ceremonies with the drum playing an integral part in the dance ritual. L

Limbo \ dance of the West Indies where dancers pass under a horizontal pole; Trinidad and Tobago; competitive dance originally seen at Wake ceremonies for the dead

Ladja \ French Caribbean-fight dance of Martinique that resembles the kadjia of Benin; also called damié and formerly spelled l’ag’ya; Related to Kalinda, Capoeira is probably Maculelê if in not in origin, in form and executio.

M

Mambo\ believed by some to be the precursor to break dancing, mambo is a Cuban ballroom dance resembling the rumba or cha-cha; 20th century son music with two variations in dance; also a Vodou priestess

Minstrelsy \ primarily a white institution, the minstrel show was a three-part show presented in semi-circle arrangement with the music and dance influenced by traditional African forms. While minstrelsy was a compilation of African and European forms, music and dance that emerged contributed enormously to many subsequent musical genres.

The leading vehicle for popular music in the United States in the 19th century, minstrelsy banjo music influenced the development of ragtime, and its clog dancing, the evolution of tap dance. Minstrelsy presented grotesque parody derived from American racist ideologies. Originating and developed in the United States in the first half of the 19th century the minstrel show consisted of songs, dances, and comic repartee probably evolved from two types of entertainment popular in America before 1830: the impersonation of African Americans by European American actors between acts of plays or during circuses; and performances of African American musicians who sang, with banjo accompaniment, in city streets. Providing artificial, class and racial distinctions, minstrelsy allowed characters to talk about things that were generally discouraged and dialogue to introduce many controversial ideas that did not exist in other places.

In Britain, where minstrel shows became absorbed in music hall and revue, performances continued to attract large audiences in the west end of London until the 1950s.

Moko Jumbie \ Trinidad and Tobago carnival masquerader on stilts.

Maculelê \ Brazil \ an Afro-Brazilian stick-fighting dance where a number of people gather in a circle called a roda with one or more atabaques drums positioned at the entrance of the circle. While the Maculelê rhythm plays on the atabaque individuals enter the circle brandishing a pair of long biriba wood sticks called grimas. Maculelê though in the past and occasionally currently is performed with machetes. Also, traditionally in Maculelê, the players wear dried grass skirts.The people in the circle participate by singing, those with sticks strike rhythmically. When the leader gives the signal to begin playing Maculelê, two people enter the circle. On the first three beats, they strike their own sticks together, making expressive and athletic dance movements, and on each fourth beat, they strike each other's respective right-hand stick together. This makes for a dance that looks like "mock stick combat". Maculelê is related to Capoeira and Samba de roda. All three of these art forms evolved together in the Recôncavo Baiano.

N

Nation Dance \ Caribbean - resembling the kele the Nation Dance is a type of ancestor ritual also known as the Big Drum Dance or simply saraca (sacrifice)

O

Orisha (USA), Orisa (USA), Orixa (Brazil) \ divinities, deities or divine spirits that manifest through dancing in Yoruba-based religions: in Cuba Santería, Lucumí, or Yoruba; in Trinidad and Tobago, Shango P

Polyvalent \ Polyglot \ Pluralistic\ adjective used to describe the quality of taste, movement vocabulary, and aesthetic preference of a choreographer who resources several distinct movement languages and genres which in themselves have distinct aesthetic expressions of their own. The choreographer who combines dependent elements extracted from self and dancers’ movement experiences with varied genres. There are many words used to label this process and ability of choreographers within the African Diaspora who synthesise, extrapolate, and reinvent movement vocabularies for works presented in western contemporary dance theatre. Metisse, melange, syncretic, hybrid, and fusion are used similarly.

Priprí \ social dance ensembles and accompanying dance of eastern and south western regions of Dominican Republic each with its own distinctive ensembles and music.

Q

Quadrille \ Cuadrilla in Dominican Republic; eighteenth and nineteenth century set dance. Danced throughout the Caribbean with varied dance/music synthesises resultant of creolisation and other types of African and European amalgamations found in Jamaica, Haiti, Cuba, Virgin Islands, French Caribbean and St. Croix. French quadrille was derived from English-French contredanse or contradanza francesa in early nineteenth century. French quadrille was a set dance composed of five numbers: le pantalon, l’été, la poyule, la trénise, and the finale.

The Diaspora Dictionary –written and researched by Thea Barnes, is not meant to be a finite, complete or definitive work. It is however, to be taken as a piece to stimulate debate and support the enjoyment of dance. Regular item…

Wazzzup! It’s your shout

Your turn, your voice, your article. Do you have something to express? Then express it here. You want to expose some injustice or shout about a success you’ve had? Doit here.

To Krump or not to Krump? That is the question.

By Georgina Harper

Rize Up 'Ghetto Ballet' is the description that one dancer gives to the new dance form emerging from the streets of LA.

Krumping isn't just a dance style, it’s a state of mind. The word can be used as a verb; 'to krump' or to 'get krump' and to 'be krump' is a compliment.

A new documentary film, Rize, (went on general release at the end of December 2005), introduces the very latest development in hip-hop dance. Krumping expresses the hardships and frustrations of a whole generation of America's poorest underclass.

Directed by fashion photographer David LaChapelle and set against the race riots of 1965 and the Rodney King riots of 1992, the film portrays a group of young people who discovered that dance could provide an alternative to the gang culture that pervades life in the ghettos of South Central Los Angeles. At the opening of the film a young dancer, Dragon, declares 'this is not a trend, repeat, this is not a trend. You ain't never seen life expressed like this.'

In light of the social tensions exploding on the streets of France and the recent riots in Birmingham, the film's message about the value of artistic expression to socially deprived communities reaches European shores at a poignant time.

Following Tommy the Clown, creator of the 'Clowning' dance style and a breakaway group of ex-clown dancers who have developed their own style called 'Krumping', the film explores the dancing against the harsh backdrop of the ghetto.

These dance forms are strongly rooted in the traditions of Hip Hop, both in a physical sense and a philosophical one. Physically we see the creation of a circle of participants within which people take turns to dance, the incorporation of movements like body popping and the competitive 'battle' aspect.

Philosophically Krumping goes back to the most authentic foundations of Hip Hop; the use of dance and music as a response to oppression. Whilst echoes of Hip Hop remain, this new style has many original features. The clowns have colourful painted faces and Krumpers sport a pared down, more stylised camouflage. The facepaint acts as a mask, allowing the dancers to assume a new persona and express themselves in new ways. Tommy describes the painted face of his clown character as his 'weapon' and dancing as his 'getaway'. The sheer speed of the movement is also a defining feature.

In Krumping the dancers often achieve a trance-like state, lashing out at a breakneck pace, pushing each other, scrambling and releasing pent up aggression. Most importantly is a shift in attitude; the dancers are clear that they don't agree with commercial Hip Hop's glamorisation of ghetto life and Krumping is about more than dancing the latest moves. Through Krumping dancers express their anger and frustration and channel the negative into a positive, facing and exorcising their demons.

A new artistic voice or a very old one? Hip Hop dance artist Jonzi D first brought Tommy the Clown and the Hip Hop Krumpers to the UK two years ago to perform at Sadler's Wells Hip Hop Festival Breakin' Convention. He suggests that the most innovative new dance and music forms have often originated in poor African American neighbourhoods, including Blues, Jazz and Tap dance and that these forms have eventually been assimilated into mainstream arts and entertainment. He also points out that many of the main elements of these dance and music styles have developed from within African traditions. The film draws parallels between Krumping and traditional African dance forms, from the use of face paint to create 'masks', the circle formations and the trance-like state which the dancers assume.

LaChapelle includes archive footage of traditional African dances highlighting these similarities. The astounding thing is that the dancers, without access to formal dance education of any kind, had never seen footage or even re- constructions of traditional African dance practice. They believe their dance to be 'in their blood' and that the imprint of certain modes of expression have surfaced in Krumping almost beyond their control.

Krumping is certainly an interesting example of the way that dance and movement styles migrate from one continent to another and surface in different locations at different times.

Written by Georgina Harper Re-edited for Hotfoot by Jeannette Brooks Reviews…

Breakin’ Convention presents Zoo Nation – “Into the Hood” Impact Dance – “Underworld”

Peacock Theatre 3 & 4 February 2006

Reviewed by Thea Barnes

Hip Hop dance theatre is establishing and confirming the cultural and artistic value of the art form through it’s message of living life positively in a global, culturally pluralistic world.

“Underworld”and “Into The Hood”alike are danced metaphors using visceral movement and verbal text to speak to a generation.

A video projection in black-and-white of a bus ride begins Into the Hood. Members of Zoonation enter the bus but a young child, played by Chante Simpson, sitting in her seat is so excited about the various commotions going on around her.

The bus arrives at its destination and everyone gets off. Simpson and her friend, played by Russell Royer, run down the street escaping from the others. Simpson and Royer are robbed and chased Into The Hood and thus the adventure takes a scary twist.

The story continues… the children meet the landlord of the Tower Block, portrayed by Frank Wilson. Wilson’s task for the children is to obtain a white ipod, a red hooded top, yellow weave and gold trainers as birthday gifts for his daughter. When the goods are obtained he will help the children leave the hood and find their way back to their companions.

The Wizard of Oz theme comes to mind but program notes state that Kate Prince, director of Zoonation’s Into The Hoodfound inspiration from Stephen Joshua Sondheim’s musical Into the Woods (1987).

The projection changes from high rise to a kitchen and a young woman scrubbing the floor, Spinderella. More break dancing and interaction and we move from this view to the man in apartment 10E, aptly called Wolf. The gist is, Prince’s Into The Hood presents alternative parodies of several well known fairy tale themes; Cinderella, Jack and the Beanstalk, Little Red Riding Hood, Snow White, Rapunzel and other sundry characters from these and other tales.

The children purloin the gifts from tenants in the Tower Block through slight of hand and coincidence tricks. But it all seems for nothing when the daughter complains to her father that the gifts are not brand new! The pilfering of these items has also caused anguish in the hood and several lessons are being taught along the way - honesty, loyalty and resilience being the most apparent. Standing at a make believe bus stop all the characters have lost something; particularly a sense of self. As they sit or stand the children return the goods and restore harmony.

The music (arranged by DJ Walde, Mark Harte, and Kate Prince) throughout the work facilitated the storytelling with the odd lyric punctuating poetry in movement as well as offering metaphoric words of advice.

As the work ends the children return to reality; the adventure was Simpson’s dream that in this Hip Hop dance theatre work ruptured negatives and presented positives. Hakeem Onibudo’s Underworld for Impact Dance, incorporates video footage, costume and set design all inspired by the film of the same name.

There is an age old battle between two factions, the Lycans, lead by Steven Eniraiyetan and Leticia Simpson and the Elegantes who are lead by Anthony Mills, A’Jai Felicisimo and Natasha Bisarre. As the story evolves through movement and gesture, Bisarre falls for Eniraiyetan with the product of their union being a baby boy. The Father takes care of the child despite his partner’s consternation played impressively by Leticia Simpson.

Time moves on and the Lycans are still battling the Elegantes. Finally a confrontation results in Eniraiyetan’s death followed bya battle between the factions. As each group sends its soldiers into the dance circle answering that challenge, individual styles are demonstrated; accomplished b-boy and b-girl moves, body waves, popping, locking, crazy legs, windmills, freezes, chest, arm and full body ticking.

Both sides are fierce but Simpson’s dramatic interpretation afforded a deeper understanding of the plight of the Lycans that superseded the typical Romeo and Juliet scenarios that Underworld conjures up. Rival gangs face off and do battle but love whether for man or child has no time, place or ethnic boundaries.

Ultimately this dance story is a pretext for the danced predilection of Hip Hop culture; the challenge… Article… Developing A Professional By Godiva Apedo

My parents were not impressed by my 7 day a week physical training regime filled with frequent visits to the ballet school in Balham and local visits to the basketball courts. So I was told that I had to make a choice, which as a child brought up by strict Ghanaian parents was rare. I chose to stick to the ballet. My parents were relieved and reminded me that it should remain just a hobby…. Little did they know!

During my time at school I had the opportunity to join the Inner London Education Authority Youth Dance Company. A group that gave young and enthusiastic dancers the opportunity to train perform and work with known and unknown Choreographers. It was great; I remember performing at Chisenhale Dance Space wearing a home made costume with accessories from a shop called ‘What She Wants’. My Passion for dance increased and led me on to joining a two year foundation course at Lewisham College, London training in the areas of jazz, ballet and contemporary dance plus choreography. For me, it was an excellent course and its track record shows a number of well known professional dancers and choreographers trained there.

After the disappointment of not getting into ‘The Place’ (London Contemporary Dance School) I found my self at an audition for Ballet Rambert School. By now I was convinced that all along my parents were right about this ‘interest’ being just a hobby, but after a very sweaty audition where I was the only black person in the room, I was offered a place. Then followed three tough and exposed years to the world of ballet and its prejudices. It was a challenge being there - a challenge that when completed led me on to join Phoenix Dance. After my 2 year burst of company life, its pleasantries, and politics, it was time to move on. I moved back to London after Phoenix and took the opportunity to work with Chorographers like Richard Riley of Ballet Negres, Sharon Wray, Jonzi D and Lyrical Fearta. Working as a freelancer was very refreshing for me at this time and the variation in the work, although at times ‘ad hoc’, kept me motivated.

The frequency (or infrequency) of jobs allowed me the time to look into other areas of interest and I enrolled on a part time access course in IT. I was very much aware of the impact and changes in technology on our daily lives. With some encouragement from my lectures went on to do the a degree in Information Systems Design (Bsc Hons) at Kingston University

Throughout, I kept dancing along side my full time study at University and in my second year of study I was also doing an 8 show week at the Lyceum Theatre as an ensemble member of the Lion King. Lectures from 9am-4pm at university, then the dash for the train to get to the theatre for 6pm to start the show at 7.30pm. I was optimistic enough to get through what with hindsight, was a crazy schedule.

An opening came up for me to work at PricewaterhouseCoopers (PwC) as an IT Support Professional, this while also working a second time for the Walt Disney Theatre production of the Lion King. With the added blessing of my first born child, life became more and more interesting.

Teacher of autistic pupils-fashion designer, barrister-musician, journalist-vicar, scientist-poet, English teacher-film director, as brothers and sisters you could say diversity runs in the family! Anyway who’s to say that you are only allowed one occupation/career per life?

In 2003 I was asked to be on the Panel for the Constellation Change film festival (CCSDF), this then led on to me working as an arts administrator for the Carol Straker Dance Foundation (CSDF) where I was able to utilise some of my IT and media expertise. Within the film festival, courses for further professional development within Choreography and film were available. The dance world as we know it continues to change with the prospect of a wider audience - this being the ‘Global Village'. Constellation Change makes a doorway available forprofessionals and those still training to be exposed to international dance, around the world. See http://www.constellation-change.co.uk/ Changing Fortunes Never the less, few of the opportunities and courses I had over the course of my training are still available now. It seems that for many people, the options available for their professional dance development in Britain are limited. Many take the opportunity to go abroad as it seems that more variety is available, especially in the area of black Classical dance and history.

This is why Carol Straker and her foundation school are important. As a well known dancer and choreographer, Carol trained at Le Gat School of Russian Ballet then went on to Urdang Academy. After graduating she left to go to America, to join Dance Theatre of Harlem, then later at the age of 21 joined Alvin Ailey. On returning to England she formed the Carol Straker Dance Company along side her dance foundation.

For 15 years now, the Foundation has provided opportunities for over 300 students, young and old (from 3-45 years) to train in different areas of dance. From ballet and tap, to contemporary and urban dance styles. But the future of the foundation remains vague, with no clear backing or provision being made for a new building for the school by local authorities.

Parents and students are shocked as the foundation has made a huge contribution to the residents of the area and world wide. An irony as with the changes in the local council grant system that used to be available when I was training, it now means that many people looking to continue their training, may have to step into the area of Student Debt - this when an organisation aims to be accessible and offer lowered tuition costs, its future in unknown. The current CSDF building lease will run out in 2006, where the organization will move to next or if the lease can be exchanged are questions that remain currently unanswered.

A small amount of Student Funds and scholarships are available but with almost *50 applicants to one place auditioning for some schools and only 1,560 scholarship places allocated to 29 schools in England for vocational dance training, competition is high and places available are short. (See www.he.courses-careers.com/dance.htm) www.cdet.org.uk.

Despite the obstacles individuals may come across (and in my own experience it was being continuously reminded that my physic was incompatible for classical dance) whether you are told you are too tall, fat, short, black, faire, or slim - if you aspire to dance, go out and do it. Debate… Black Dance in Training and Education The Mission 2005, Birmingham By Thea Barnes

This debate was an opportunity for those present to examine provision and strategies for including Black Dance training in the curriculum. The discussion would also touch on what training includes and what the outcomes of this training might be.

Present for this debate was Professor Christopher Bannerman, ResCen, Middlesex University, Veronica Lewis, Director, London Contemporary Dance School, Anthony Bowne, Director, Laban, Funmi Adewole, Dance Researcher and Dance Artist, with Thea Barnes, Dance Researcher hosting. Ginnie Wollaston, Arts Council England, West Midlands, Deborah Baddoo, and David Massingham, Director, Dance Exchange were also present.

For the host, the debate was an opportunity to problematise the beliefs behind having Black Dance in formal training and education. Was Black Dance a creditable course of study in a curriculum? Or was Black Dance training just a strategy to encourage students of particular ethnicity to study dance? Currently London Contemporary Dance School (LCDS) offers Kathak taught by Gauri Tritathi. This course though is Director Veronica Lewis’ initiative to have a course of this nature in LCDS curriculum. This course was also in response to Shobana Jeyasingh, choreographer/artistic director of Shobana Jeyasingh Dance Company who is finding it difficult to hire dancers living in Britain or imported from India who have accomplished skill in both Indian Classical and conventional contemporary dance techniques.

Laban has African/Caribbean out reach/access classes taught by Carolyn Muraldo for adults wishing to take dance classes for enjoyment. These classes are enrolled on a term by term basis. These classes are not accredited and cannot be taken towards a degree. Laban utilises the artist-in-residence model for their degree students. Laban’s students have had Benji Reid, Jonzi D, and Robert Hylton, exponents of the use of break dancing concepts and forms within the fabric of contemporary dance making, leading workshops and repertory classes for short periods during the academic year.

Citing a lack of credible rigour within the form as a major hindrance, Middlesex University currently has no provision for Black Dance. Panel members pointed out though the demographics for dance training have changed drastically in the past twenty or so years. It is almost impossible for young men and women whether black or white to obtain financial support to train in dance that discretionary grants and the like had provided in the past.

Even with current educational initiatives designed to target specific ethnicity and gender, the targeted groups do not select dance as a career. Dance just has not proven to be a financially viable career in the British context.

Thoughts on the Debate on Black Dance in Training and Education: The lack of credible rigour in African dance practices is a problem here in Britain. Black dance performance, with its root sources in Africa, Caribbean and associates in Asia is individualistic. There are general characteristics that can be examined and taught but given locations and purpose is manifested in numerous ways. These propensities may give the impression of chaos and a lack of logic, but this assumption is far from the actuality.

Present practitioners would do well to develop written documentation strategies that articulate the practice of Africanist, Caribbean, and South Asian expressions. Artists also need to be more rigorous in presenting methods for developing skills required for performing their particular expressions. Africanist expressions require more research to verify continuity or discontinuity with British dance practices and relation to other practices within the African Diaspora. Africanist practices need to be made more articulate here in Britain if for no other reason than to dispel the myths there is no theory to write a course of study with an effectual outcome.

It is also thought that those educational institutions that prioritize and privilege Eurocentric, Western techniques limit their students’ potential for post modern, cross cultural dance making that has been in evidence since Britain’s New Dance era.

Currently the appropriation of Hip Hop culture’s breakdance, African/Caribbean forms, Classical Indian, martial arts, body therapies, jazz, urban forms, and other ethnic forms are common sources of inspiration for choreographers in Britain. Training in conventional techniques is only superficially adequate for students whose lived experiences are implicitly intertextual and cross cultural.

Update A follow up discussion was held by DanceXchange 27 January 2006. Northern School of Contemporary Dance, Laban Centre and British Arts Council were in attendance. Several courses of action were suggested to spearhead initiatives for African, Asian, and Oriental dance practices to be included in British HE and private/public school curriculum. It was agreed statistical analysis is needed to examine current demographics of enrolment for illustration and verification of the need and quality of future advocacy. If nothing else, statistics would assist in determining the number of students of varied backgrounds, electing to study dance and then choosing it as a career. Also statistical analysis will reveal what British institutions are in fact doing. With this information any number of courses of action can be either dropped or refined in the wake of those findings. Hotfoot Edition 3 - Credits and Notes

Photo Credits: Hotfoot Logo: Photo by Anthony Crickmay of dancer John Akoto Annan/Adzido

ADAD Forum Training Day: photo Ukachi Akalawu

The Mission Training Debate: photo 1 dancer Jake Nwogu, Ballet Black - photo by William Potter, copyright Ballet Black 2002

Review: Greg Maqoma: photo Suzy Bernstein

“ADAD Asks”… Jackie Guy: photo Vanley Burke

Review: Impact Dance “Underworld”: photo Belinda Lawley

Developing Professionals: photo

Notes: Wazzzup article reproduced the kind permission of londondance.com A full version of this article was published on www.londondance.com December 2005.

Thanks to: Claire Middleton and Adzido for Hotfoot logo image