Finding The Power
The history goes like this. African Americans in dance have had to gather on their own to celebrate the black tradition in American dance. Modern dance pioneers Edna Guy and Hemsley Winfield held the “First Negro Dance Recital in America” in 1931, and Guy and Alison Burroughs organized a second one, called “Negro Dance Evening,” in 1937. Much later, Alvin Ailey started his company of primarily black dancers in 1958, and Arthur Mitchell and Karel Shook formed Dance Theatre of Harlem for black ballet dancers in 1969. Brooklyn Academy of Music hosted a momentous three-day festival of blacks in dance in 1983.
And in 1988, the International Association of Blacks in Dance assembled to follow in this tradition. Twenty-two years later, IABD is now a force that continues to make this happen. The IABD annual conference has become a forum where African Americans can ask questions and not only get answers but help—particularly in terms of getting visibility. This kind of nurturing is what IABD has always been about.
But even more than that, for young African American artists who perform at an IABD conference, it is almost sure that they will make a connection that will help launch their career. This is not by chance: It is part of the mission of the conference to continue the artistic lineage. And it is part of the spirit of the community that older artists give a hand to younger ones.
Two examples are Camille A. Brown and Rennie Harris. Both were “seen” at an IABD conference, got work, and their careers took off. Brown showed a piece at IABD in 2006 and caught the eye of Ailey director Judith Jamison, who quickly commissioned her. The result was The Groove to Nobody’s Business (2007), which put a different look on Alvin Ailey American Dance Theater. Clearly influenced by urban cool, Brown re-created a ride on the New York City subway with familiar characters, whose daily grind comes through in movement. The tempo is quick and the energy is highly theatrical. Brown’s terse yet fluid movement digs deep into the ground but soars with equal lilt as the cast plays musical chairs, vying for a seat. Brown was instantly recognized as a new voice on the scene (see “Quick Q & A,” Dec. 2007).
Today Brown speaks of how IABD embraced her. “The founders of IABD encourage you to believe that you can do this,” she says. “The love that we received was immeasurable. IABD gives you the space to grow.”
Harris’ story is similar. Baba Chuck Davis, founder of DanceAfrica, met Harris at an IABD conference and invited his then three-year-old company, Rennie Harris Puremovement, to present Students of the Asphalt Jungle for DanceAfrica 1995 at Brooklyn Academy of Music. This was not traditional African dance. Here there were bulked up, bare-chested, sneaker-wearing men of RHPM in loose-fitting white pants who ravaged the stage with their brand of hip-hop-meets-traditional-African-dance. They jumped like the Maasai, and they balanced on their heads and spun; they isolated their movement like East Africans, or they snaked through popping and locking. The BAM crowd went wild.
Harris reflected on being introduced to the concert dance arena through IABD. “This was a major paradigm shift for my company,” he says. “We were proud to be black, but we were like most hip hop heads at the time: We only claimed ourselves; we didn’t acknowledge our African lineage. I became determined to research and educate the masses about our heritage through hip hop. IABD provides an opportunity to continue the legacy of black expression within American culture.”
These exciting beginnings for Brown and Harris brought them a great deal of visibility. Others have followed similar paths; for instance, Christopher Huggins, whose dynamic Enemy Behind the Gates was seen at a 2001 IABD conference. Huggins has subsequently created pieces for many companies, including Giordano Jazz Dance Chicago and Louisiana Dance Theatre, as well as IABD regulars Lula Washington Dance Theatre, Dallas Black Dance Theatre, Cleo Parker Robinson Dance, and Ailey II.
Choreographers must be IABD members for at least two years before they are considered for a festival, and often spend much of that time preparing by creating, rehearsing and testing their works. Then they send in a reel of their work, and if chosen (by committee), they participate in the festival by performing, teaching, and/or speaking on a panel. Once there, this is the place to network, share, and be empowered by African American dance icons that they may have only read about. Previously celebrated legends include Katherine Dunham, Carmen de Lavallade, Donald McKayle, and Eleo Pomare. Camille Brown, who was a student at University of North Carolina School of the Arts when she first attended, says she was afforded the rare opportunity “to be in the presence of legends.”
At the helm, from day one, was founder and artistic director of Philadanco Joan Myers Brown. Back in 1988 she was awarded $5,000 from the Pew Charitable Trusts to make her dream a reality. Myers Brown made good on her dream when approximately 80 black dance professionals—including Lula Washington, Louis Johnson, Denise Jefferson (director of The Ailey School), the late Jeraldyne Blunden (Dayton Contemporary Dance Company), Cleo Parker Robinson, and Ann Williams (Dallas Black Dance Theatre)—attended this first IABD conference.
Each year attendees take master classes, go to provocative political and educational panels, and participate in intergenerational dialogues—plus they get to network and party. Panel discussions cover a range of topics, including the history of African American dance, dance in historically black colleges, the business of dance, issues of artistry, and teaching methods.
The theme of this year’s conference, co-sponsored by Philadanco and the University of the Arts in Philadelphia, is “Back to Basics: Strengthening our Institutions for a New Generation.” From January 13 to 17, Rennie Harris, Zane Booker, Gaynell Sherrod, Kim Bears-Bailey, Karen Brown, and Germaine Goodson will lead classes. Attendees can expect the midnight African dance class with Baba Chuck Davis, plus a late-night hip hop class. The rich array of panel topics includes the goals of presenters in the electronic age, how women of the diaspora are contributing to the arts, career transitions, and alternative medical care for men.
An evening titled “Meet the Philadelphians” will present Rennie Harris Puremovement, Kulu Mele African American Dance & Drum Ensemble, Zane Booker, Eleone Dance Theatre, and Danco 2. A different program includes Urban Bush Women, Philadanco, Dallas Black Dance, Lula Washington Dance Company from Los Angeles, Cleo Parker Robinson Dance Ensemble from Denver, and Camille A. Brown.
From 80 participants in 1988, to upwards of 600 participants today who converge from across the country—and from Europe, South America, Africa, Australia, and the Caribbean—the conference continues to grow. Over the years, the conferences have been held in Los Angeles, Denver, Washington, DC, Philadelphia, Dallas, Dayton, New York, and Toronto.
As Myers Brown looks towards the future, she affirms, “I’m still amazed that the conference continues. Outsiders don’t see or feel the need, but we know there is a need.”
Charmaine Patricia Warren is on faculty at the Ailey/Fordham BFA program and NYU’s Tisch School of the Arts.
Pictured: Alvin Ailey American Dance Theater in Camille A. Brown's The Groove to Nobody's Business. Photo by Eduardo Patino, courtesy AAADT
Over the past 15 years, Gesel Mason has asked 11 choreographers—including legends like Donald McKayle, David Roussève, Bebe Miller, Jawole Willa Jo Zollar, Rennie Harris and Kyle Abraham—to teach her a solo. She's performed up to seven of them in one evening for her project No Boundaries: Dancing the Visions of Contemporary Black Choreographers.
Now, Mason is repackaging the essence of this work into a digital archive. This online offering shares the knowledge of a few with many, and considers how dance can live on as those who create it get older.
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.
The New Jersey native's reaction: "I really need to move home."
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
Get Dance Magazine in your inbox
Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
—Andrea, New York, NY
When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.
The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.