Goodbye, Baba Chuck
On Sunday, the dance world lost a gentle giant: Dr. Charles R. Davis, known to most as "Baba Chuck," the man who bridged the world of African dance and drumming between Africa and America.
Davis, 80, died from complications due to cancer. As founder and artistic director of the African American Dance Ensemble (1983) and DanceAfrica (1977), he'd become everyone's mentor and teacher. He stood an impressive 6' 5'', and always had room for one more hug.
Born in Raleigh, North Carolina, he came to dance after taking classes at Howard University, studying with pioneers such as Katherine Dunham, Pearl Primus and the 6' 6"-tall performer Geoffrey Holder, with whom he learned to embrace his height. Baba Chuck later danced with companies formed by Babatunde Olatunji, Eleo Pomare and Bernice Johnson, among others. In 1964, he saw the Sierra Leone National Dance Company perform at New York World's Fair, then in 1968 formed the Chuck Davis Dance Company.
Davis taught African Dance & Drumming classes at ADF
In 1977 when he took his company to Nigeria. This marked the beginning of years of travel and study, and the beginning of DanceAfrica at Brooklyn Academy of Music. Mikki Shepard, the original producer of DanceAfrica recalls, "Chuck Davis built a village. From the very beginning, DanceAfrica was never meant to be just a festival of dance, music, and vendors. For Chuck Davis it was always about building and nourishing community, exchanging ideas, building knowledge, and celebrating and passing on the cultural traditions of Africa and the African diaspora while creating new traditions. The heartbeat of Chuck Davis's village is dance and music."
Baba Chuck was an endearing, yet powerful force to everyone from his colleagues at the International Association of Blacks in Dance, to the very young dancers at BAM/Restoration. Denise Saunders Thompson, president and CEO of IABD remembers: "He helped lay the groundwork for IABD and made sure all benefited from what he had to give. At the close of every conference, he would bring us together in a circle, made us join hands, and repeat "Peace, love, respect ... for everybody!" A mantra that is repeated at every DanceAfrica performance."
For his decades of unwavering service, among many accolades, Baba Chuck received awards from Dance Magazine and The Bessies, plus an honorary doctorate from Medgar Evers College. He is cited as one of America's "Irreplaceable Dance Treasures" by the Dance Heritage Coalition, American Dance Festival dedicated its 2015 season to him, and in 2016, BAM established the "Chuck Davis Emerging Choreographer Fellowship."
Three years ago, Abdel R.Salaam was named Baba Chuck's successor to DanceAfrica. Salaam says, "Forty years ago, Chuck brought many of us together to demonstrate how important the practice of African dance and music are to the living intelligence of African-Americans. He truly believed that dance and music is cultural medicine that has a universal value."
True to form, dance and music remained his medicine until his last days. After one last visit with Baba Chuck, Saunders Thompson says, "We just listened to his stories. Though he was frail, he was lucid and jovial, talking about his next choreographic work, travels to DanceAfrica, his clothes, and even his false teeth. And when I kissed him on his cheeks, and held his face in my hands, his eyes said that everything was going to be all right. I was comforted by his faith."
Baba Chuck's legacy lives on in so many of us.
"Chuck Davis realized his big vision and leaves a unique legacy in dance. Unique because he leaves behind a village of people who don't just attend or perform in DanceAfrica, they own it," Shepard says.
"The love Chuck and I shared is like that of father and son," says Salaam. For DanceAfrica, now in its 40th year, he adds, "As I continue to build on his legacy and trace a path of my own, I will always be true to his vision."
It's no secret that affording college is a challenge for many students. And for dancers, there are added complications, like the relative lack of merit scholarships that take artistic talent into consideration and the improbability of a stable salary to pay off loans post-graduation. But no matter your budget, a smart approach to the application process can help you focus less on money and more on your training.
According to Drexel University performing arts department head Miriam Giguere, figuring out the kind of financial assistance a school offers is just as important as navigating what kind of dance program you want. Here's how to incorporate finances into your decision-making process:
When dancers get injured, they often think they should eat less. The thought process goes something like, Since I'm not able to move as much as I usually do, I'm not burning enough calories to justify the portions I'm used to.
But the truth is, scaling back your meals could actually be detrimental to your healing process.
With her fearless demeanor onstage, it's easy to see how Washington Ballet apprentice Sarah Steele attracted the keen eye of former American Ballet Theatre stars Julie Kent and Ethan Stiefel. Promoted mid-season from the studio company by artistic director Kent, Steele was cast by Stiefel as the lead in Frontier, his world premiere for The Washington Ballet, this past spring. For the space-themed piece, Steele donned a black-and-white "space suit" onstage, exhibiting dual qualities of strength and grace. Most evocative about Steele's dancing might be her innate intelligence—she was accepted to Harvard on early admission, and plans to resume her studies there in the future. But first, she'll dance.
Lots of college groups do stepping—a form of body percussion based on slapping, tapping and stomping—but Step Afrika! is the first professional dance company to do it. They are currently at New York City's New Victory Theater, presenting The Migration: Reflections on Jacob Lawrence, a show based on the painting series by Harlem Renaissance artist Jacob Lawrence about The Great Migration of the 1900s, when millions of African Americans fled the Jim Crow South and traveled by train to the North for a better life. The Great Migration transformed the demographics of the country, and Jacob Lawrence's paintings became famous for their bold color and evocative power.
We always figured that stretching made us more flexible by loosening up our muscles and joints. Some of us, ahem, might have even tried to fall asleep in our middle splits to get our stubbornly stiff inner thighs to let go.
But it turns out that might not actually be how stretching works.
A new review published in the Scandinavian Journal of Science & Medicine in Sports suggests that increased flexibility actually comes from your brain growing more used to the tension.
Efficient movement is easy to recognize—we all know when we see a dancer whose every action seems essential and unmannered. Understanding how to create this effect, however, is far more elusive. From a practical perspective, dancing with efficiency helps you to conserve your energy and minimize wear and tear on the body; from an artistic point of view, it allows you to make big impressions out of little moments, and lasting memories for those watching.
So much struggle and determination goes into your training that it can be difficult for early-career dancers to recalibrate their priorities toward simplicity and ease, says Laurel Jenkins, freelance performer and Trisha Brown Dance Company staging artist. "Your aesthetic might shift, and you might have to find new things beautiful." Mastering the art of effortless movement requires a new perspective and a smart strategy—on- and offstage.
As we approach Thanksgiving, there's much to be grateful for. Perhaps one of the most important things on your list is dance. Whether you're a full-time company member, an aspiring professional, an audience member, or you simply delight in dancing in your daydreams, this art form is a creative escape.
That's not to say that being a dancer is easy: Pursuing such a competitive career can be heartbreaking, especially when you're faced with rejection.
La Folía, a short dance film by director Adam Grannick that was recently released online, echoes these sentiments in under 12 minutes.
It took two years of intense nutrition counseling and psychotherapy to pull me out of being anorexic. My problem now is that I've gained too much weight from eating normally. Is there no middle ground? I can't fit into my clothes, but I don't want to go back to being sick.
—Former Anorexic, Weston, CT
Whatever your feelings about Wayne McGregor's heady, hyper-physical choreography, we can all probably agree on one thing: We'd really, really love to pick his brain. And tomorrow, Dance Umbrella, a UK-based dance festival, is giving everyone the chance to do exactly that.
"Women are often presented as soft, fragile little creatures in ballet," says Léonore Baulac. "We're not." The Paris Opéra Ballet's newest female étoile is discussing her unease at some of the 19th-century narratives she portrays. "It was real acting," she says with a laugh of La Sylphide. "James kills her by taking away her wings, yet she tells him not to worry and goes to die elsewhere onstage!"
Sitting in the canteen of the Palais Garnier, Baulac embodies some of ballet's contradictions in the 21st century. With her fair curls and dainty features, she could easily pass for a little girl's fantasy princess. As Juliet, she exuded a girlish ardor that felt entirely natural; her reservations notwithstanding, her Sylphide was committed and carefully Romantic in style.
Yet the 27-year-old is no ingénue. At Garnier that day, her sweater reads "I can't believe I still have to protest this s**t," a feminist slogan; last winter, Baulac proudly wore it over a Kitri tutu on Instagram. And her repertoire is as thoroughly modern as she is offstage. A versatile performer even by Parisian standards, she is equally at home in Nutcracker as she is in the works of Pina Bausch and Anne Teresa De Keersmaeker.