hotfoot online issue 2 for web - one dance uk · and your dancing just warming up so let hotfoot...
TRANSCRIPT
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HHHoootttfffoooooottt OOOnnnllliiinnneeeWelcome
Issue 2: Autumn 2005
Contents
1. Editorial - from Jeannette Brooks
2. The Career Curve - by Maria Ryan
3. The Creative Streak - Robert Hylton, interviewed by
Jeannette Brooks
4. Review -Breakin’ Convention, by Natasha Bunbury
5. Wasssup!–Strictly African Dancing on the BBC, by Bill Harpe
6. Review - Compagnie Kafig, by Maria Ryan
7. ADAD Asks… Beverley Glean
8. Managing, Mentoring, Mothering - by June Gamble
9. Making Big Things Happen - Alistair Spalding, interviewed by
Jeannette Brooks
10.ADAD Glossary - by Thea Barnes
11.ADAD News
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Welcome…to the second Hotfoot Online magazine. The summer break may be finished
and your dancing just warming up so let Hotfoot get you thinking about your
‘next steps’!
This edition focuses on The Artist. We have articles from the manager’s point
of view, a choreographer’sinterpretation and a venue managers’ perspective
on the dancer creator.
Reviewers, Maria Ryan and Natasha Bunbury, feedback their thoughts on
Compagnie Kafig from France and the Breakin’ Convention event at Sadler’s
Wells Theatre respectively.
Pamela Zigomo of ADAD gives us an overview on all the new developments
within the organisation. Our regular item ADAD Asks features some thought
provoking opinions from Beverly Glean and then in our ongoing push to move
on the debate around the interpretation and definition of Dance of the African
Diaspora (DAD), ADAD launches the Diaspora Dictionary with Thea Barnes.
But that’s not all.
You’ll have to read on.
African dance on the BBC is featured in Wasssup! Wasssup! is aimed at
making sure Hotfoot is and remains pertinent, direct and representative by
asking you to contribute your own work. Get in touch if you’re ready to write
for the next edition of the magazine.
Finally as this is the second mailout please let me know your thoughts on the
Hotfoot’s delivery to your inbox so far. Do you have any suggestions for
content or features, design or direction? Don’t hesitate to get in touch.
Jeannette Brooks
Hotfoot Online Editor
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Think Piece
An artist that once was
The Career Curve
By Maria Ryan
I’m not quite sure I strictly fit the bill
anymore… that of an artist I mean. As
of 1 June this year I have been
employed by Tavaziva Dance as
company manager.
This is a step that I had intended to take eventually but I did not think the
dance manager role would happen quite so soon. I am 34 this year and
as I started dancing at 18, (training for six years) have only had 10 years
in the business as it were and I felt I was just beginning to understand
the art of performance.
I co-founded Wild Roots Collective in 2001 and received positive
feedback from audiences, venue managers and promoters. All showing
interest in the work, I was even awarded some funds from Arts Council
England but (and it’s a huge BUT!) I need regular income to eat and
clothe myselfand my new and unrelenting responsibility… my daughter.
Being a young, free and single person performing, teaching and
workshopping all over the UK is one thing, having an extra little human
bundle in tow is quite something else, and I desperately want to know
how so many before me have managed the freelance career and
mummyhood at the same time!
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It’s the organising that does it…. its project management in itself. So I’vehad
to make a choice and I’ve settledfor the easy option, I think… I’vequit
travelling around and work from home so I could be there for my daughter.
I have experienced a number of ups and downs as a dancer, these have
made me the dancer and person I am today. I have also known others to fall
apart under really stressful circumstances. Some extremely talented dancers
have lost the will to dance. That is the saddest part–those who gave so
much to dance have often left it behind them feeling dejected, unfulfilled and
bitter.
I’m not bitter… no, yes I am!
I feel I should have achieved more as performer. I feel I can achieve so much
more as a choreographer but that road is a hard and bumpy road to travel,
and I have come as far as I could given my circumstances.
I was afraid of starting my own company because I had worked with other
choreographers, watched them struggle through projects only to have their
funding cut when it seemed that what they really needed was funds to
develop their work. Yet, I have learnt that we dancers are so good at
complaining about what we don’t get, moaning about what we should get and
who is getting what we’re not.
Of course the poor old Arts Council England bears the brunt of this–the ‘dark
force’ who owes us so much! It can’t do right for doingwrong. Life-coaching
and self-help advice is “if you want something done, do it yourself –you want
change, what are you waiting for? - you are the key to your future destiny–
feel the fear and do it anyway”.
If I want things to change, I have to be the one to get in there and change
them.
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I have ideas of grandeur. In my mind, I can be the first dance manager to
manager my own company and someone else’s too?! No… There would be
surely be a serious conflict of interest. Never the less, Wild Roots Collective
excites me because I think it’s quite unique in its attempt to address issues
that relate specifically to the Black British community through dance and
spoken word. The use of writer Rommi Smith’s texts adds a layer of intensity
and drama to the work, so the intention is very clear. For this reason, I will
strive to build on what we, Joanne Moven, Rommi Smith and myself have
started.
But for now I have put Wild Roots Collective on the backburner. I fully intend
to re-consider my options as a choreographer when I feel I have settled in to
this management role.
I’m currently experiencing a massive learning curve. I needed to challenge my
brain in a different way after years of tondues and triplets. I’m embarking on a
new journey, one of management courses, legal and financial seminars,
meetings and conferences. I’m going back to school to do I.T. and I’m doing it
to make a difference; to facilitate change and encourage the people I work
with to be the best they can be.
I feel strongly that I if I excel in this role I can enable dancers to enjoy their
dance experience - making their lives a little easier and their dance path a
little smoother.
As an advocate for ADAD I hope that the dance community can forge new
pathways to both honour the past and create a glorious future for black dance.
As a teacher I want to pass on all the knowledge that has been passed on to
me. As a choreographer I want to question all the rules and make the
audience think, feel, smell, touch and taste the dance. As a manager I want to
assist in making someone else’s dream happen, to do it successfully and
efficiently AND get paid well!
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I may have shed a negative light on my dance experience. Don’t get me
wrong, I don’t regret a single moment. I loved being in ballet class at 8.45am
every day for three years, I adore the wonderful people I have met along the
way, travelling around the world, the excitement and adrenalin rush in the
wings before a show, I totally miss Graham technique classes, I even long for
that deep muscular pain on return to work from a short break from dancing!
I have different priorities now, my responsibilities are no longer just to myself
so the choices I have made reflect this. It’s very clear that you and your needs
come second to your children’s. My slightly larger human bundle now goes to
nursery and to a childminder four days a week and I am able to discuss
current affairs again, instead of complaining about the price of nappies and
debating whether breast is better than bottle.
During my career so far, I have been a performer, a teacher, a creative
workshop leader, an education officer, a project manager, an advocate for
black contemporary dance artists, now I am all of the above plus a company
manager.These certainly are challenging times….bring it on!
I have learnt there is nothing I cannot be taught and nothing I cannot
achieve.
As for the new generation of successful black dance managers–watch this
space!
Maria trained at the London School of Contemporary Dance and danced with Bunty
Matthias, Yael Flexer, Henri Oguike, Jonzi D and Phoenix Dance Company. In 2001 she
choreographed Raw Material for Nubian Steps and co-choreographedIt’s the Way… for
Wild Roots Collective (with Joanne Moven) in The Mission 2001 tour.
Maria has a Diploma in Arts Management (from the Roehampton University) and spent
two years as Dance Education & Access Officer at Swindon Dance. She is now a
freelance dance artist and is co-director of Wild Roots Collective.
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Interview
“The Creative Streak”
Robert HyltonIn conversation with Jeannette Brooks
Jeannette Brooks (JB)
How did you start dancing?
Robert Hylton (RH)
I started dancing at home in the living room when I was really little. I
remember doing The Robot at around 10 years old! I danced after school at
the local youth club and went to a breakdance club some Saturday afternoons
in Newcastle called Tiffany’s (an occasional treat; single parent, five kids, no
money and all that).
Popping was always my thing. I was never the best breaker, but that period of
my life set the foundations for where I am now. I laugh sometimes as 20 years
later I am doing the same thing I did when I was 15.
As soon as I got a job, that was it. With my own money I would go to jazz
clubs. I got my dance fix with ‘bamboozle’, the crew I was in (super fast
footwork and knee spins). We would travel: Manchester, Leeds, Sheffield,
London and take like three pairs of shoes, five t-shirts…
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It was always the whole culture. The clothes, the attitude, the moves, the
people, being cool! This was the pre ‘corporate’ era of clubbing (hip hop and
house). In those days you couldn’t get into a club unless you were spick and
span–shoes, nice hair cut and all that. Then one day I found myself at Dance
City (before it became the National Dance Agency) in Newcastle.
(JB)
When did you start to think you could do this for a living?
(RH)
At no point did I think of dance as my career. It’s the same now, although it is
actually; it’s taken a while to accept the fact.
I started my working life as an apprentice printer and, in working class
tradition, stuck at it whilst, and this is very ‘Saturday Night Fever’, still clubbing
and dancing as much as possible.
Then naively and enthusiastically I auditioned for the Northern School of
Contemporary Dance and got in.
Dance in myschool days in the northeast just didn’t exist. It was sport only.
Plus in my case coming from a “white” area and being of mixed ethnicity there
was always that sense of not belonging. Dance and hip hop navigated me into
a clearer understanding of myself, my culture and global cultures.
As regards to doing this as a living, I see myself as a permanent student, their
is so much to learn and popping demands constant study, my work is my
hobby, plus I still have to maintain my other dance techniques and creative
process–lots to do.
(JB)
And your career now?
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(RH)
Currently I am responsible for a unit of 11 people–
that’s eight on the road including me and three in
the new office based at Laban and with the current
new status as an RFO ‘Regular Funded
Organisation’.
I have to lead. Work out strategies for training and
teaching the company, education inniatives as well
as make choreography and perform within our
national and international touring schedules.
(JB)
Do you remember your first choreography?
(RH)
Yeah, yeah. It was when I was at college in Leeds.
A solo to the music poetry of Gil Scot Heron, The Revolution Will not be
Televised. I created it on a dancer called Alan Hudson. I liked it and still like it
–it worked. That was in 1992.
(JB)
How do you think the Revenue Funded Organisation support from Arts
Council England will change things?
(RH)
Less work and more work! I am able to have guests teaching company class.
That’s good for me –provides me with time to focus on choreography and
let’s me train too and be more physically aware. The office is better resourced
too. I feel Urban Classicism is able to act not react. Things get done.
The support also means I can shift my mind onto artistic planning, not
fundraising and look closer at production values, get it all together properly.
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(JB)
So what is Dance of the African Diaspora to you?
(RH)
Lots of good stuff! We currently have a generation of artists who explore,
create, experiment and define their work from a personal point of view which
is more British than previous generations. Although guided by other Diaspora
dance techniques and cultures, I feel the balance is translated in physical and
artistic languages that present a clear new genre from the UK scene.
It’s using your own voice and style, and less about racial stereotypes of
blackness and presenting a new outlook both within the traditional dances and
experimental dance.
(JB)
Where do you find your inspiration?
(RH)
By understanding life, both physical and spiritual and knowing I always have
more to learn. I am a dance junkie so there is always something new for me to
find. I can sound a bit hippie at times but living and experiencing life is an
inspiration in itself.
I am constantly inspired by the people I work with, for example Billy Biznizz,
the performers in the company and working in the studio is a blessing. I am
fortunate to have that continuous source. Plus there is the ever growing new
generation and their enthusiasm.
(JB)
What methods for choreography do you use?
(RH)
The music with DJ Biznizz. I build the dance at the same time as the music is
created. I use the music as a metaphor and sequence for abstraction, along
with different movement techniques such as contemporary, hip hop and ballet.
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There is always a narrative within my work but I tend to stop that process
before it becomes too literal.
I also challenge the boundaries of what can be done in the improvisation
moments. I want to confront the dancers and look for what they can’t do not
what they can do. It becomes less ordinary, dealing with the unknown.
(JB)
What challenges do you have for your artistic development?
(RH)
In the past my work might have been confusing– ambiguous, and I didn’t
mind that. Now I want the work to be clearer. I want to make all the elements
of the production bond like they do in film making.
Also the future– I want to put things in place for the next generation. I’m a
nerd, I study hip-hop history–scanning the net for archives, meeting the
originators, sourcing reading and video documentation. Street dance must be
studied as a discipline and come from a true real starting place. It is more
than a few well known moves - headpins or moonwalks. Other artists may
take the tourist route to hip hop dance–a few shapes, a couple of nice
moves, buy the track suit and they’re off.
Hip hop is a real culture with many elements, pioneers and philosophies.
People miss the history of the form and I want a space for the youth to learn
more about that. Although my work is far from pure hip hop, my heart isn’t.
Just as my contemporary training gave me an awareness of Cunningham,
Graham, Isadora Duncan. Street dance practitioners should have the same
inner knowledge of the form.
Lastly, I would like to inform people, provide them with the knowledge to
further excel. As for the company, I hope to see them grow and achieve
artistically the things I can only dream of.
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Review
Breakin’ ConventionSadler’s Wells Theatre, London
13 May Hip Horror and
16 May Main Stage
From Natasha Bunbury
In a discipline where Hip-Hop culture and dance is not taken
seriously, Breakin’ Convention is a necessary and relevant
event–doing its part in breaking stereotypes.
The various dance forms in the hip-hop genre face a mountain of simulated media
images of bling, sin and its shallow symbolism propagated and perpetuated by the
music industry. Breakin’ Convention focuses and uniquely platforms the work of the
prolific dancers and choreographers in this area as ‘Art’ and ‘Theatre’.
BC (Breakin’ Convention) is an international event with major Hip-Hop dance
countries such as France, the USA and Korea represented alongside UK groups and
artists. The Russians were a new addition to BC ’05 - a fact spotlighting the growth
and development in the art form globally.
Never the less, it needs to be said that there is a short distance yet to be covered by
the UK groups. The artistic development was in general not as rich or established as
say the French.
Lets take the magnificent physical strength in movement displayed by Wanted posse,
or the inventiveness of Cie Revolution AMAZONES. In both these French
compositions you saw dancers with a ballet and contemporary dance training using
Hip-Hop in a very experimental unbridled way.
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Inspiring the audience, which included young people, Breakin Convention brought us
dancers moving in a way that may never normally be seen on these shores. Their
performances clearly underline the benefits of being financially backed and creatively
supported by their arts council.
Having said this, overall I still preferred the content of the UK dance groups. With an
undeniable history and influence in the understanding of contemporary / jazz
choreography, they where the storytellers. Contributors in Lillian Baylis Theatre, such
as Irven Lewis and D-physics, demonstrated very thoughtful work that lingered with
the spectators and provoked discussion.
However the USA’s works represented a pure and traditional repertoire, handed
down through the years uncomplicated by having to adapt to another format in order
to be recognised and valued.
Shonn Boog, with his great dance family roots, is the youngest member of the
Electric Boogaloos (the EBs). The son of Poppin Pete, Shonn is carrying the torch for
preserving origins, by perfecting his uncle Boogaloo Sam’s repertoire. The EBs, new
to this year’s great performance platform, presented a family piece that defied the
generation gap. Sam was effortless; Pete was dynamic and Shonn electrifying.
Also deserving of a mention was Korea’s Project Soul whose technical abilities where
simply breathtaking.
In fact each country had their own version and style of dance and so brilliantly
demonstrated their inherent cultures. The whole event proved how ‘world wide’ this
art form has become.
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Coming from that perspective, the spirit of B-boyin’ (Break dancing), i.e. personal
character, individuality and funkstyling, is shown as each country becomes that
countries “B-Boy / Funkstyling crew”, competing in an international “battle”.
Therefore it is an absolute must for crews to be able to ‘REPRESENT’ on the dance
floor and overall the UK Crew needs to step up a level (with the backing and creative
support financially to do this). The majority UK groups on their second appearance to
BC showed minimal progression in the intervening 12 months. For example Boy Blue
where outstanding in 2004 and much anticipated again this year. Although they still
produced a great show, the potential of this group is huge but was not maximised.
As a foot-note, Twitch– another eagerly anticipated group from BC’04 didn’t even
appear, due to not receiving funding. In Contrast Robert Hylton was able to produce
fresh, new work for BC ‘05.
Dance is just one of the elements of Hip-Hop culture and in its own way reflects
Traditional African dance and culture, as it too was born out of the African Diaspora.
People all around the world now walk, talk, listen, and live for hip-hop. It is absolutely
fundamental for us all involved in dance to allow Hip-Hop dance forms to have that
freedom to evolve just as African dance has. So… watch this space!
Breakin’ Convention run from 13th–16th May 2005
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“Wasssup?”
It’s your shout.
Strictly African
dancing on the BBC
by Bill Harpe
“Respect!” is a word much used by people of African
descent today. It’s also a word which the producers of
BBC 1’s Strictly African Dancing (broadcast July 9) would
have been well advised to keep in mind when working on
this programme.
On one level it may seem that a programme promoting African dance, as part
of the BBC Africa Lives season, could hardly be lacking in respect. After all,
the six celebrities taking part in this contest–Antonia Okonma, Tupele Dorgu,
and Louis Emerick (actors), Tunde Baiyewu (singer), Tessa Sanderson
(Olympic Gold Medallist) and Robbie Earle (ex-footballer and pundit)–were
comprehensively filmed in performance, in rehearsal, and in Africa. In
performance, they all gave movingly spirited performances of the dances
allocated to them, a remarkable achievement in itself given only two weeks
(and sometimes less) of rehearsal. Overall, the programme was a popular
success with an audience of 4.6 million watching.
But when making television programmes it is always a tricky business to
maximise your audience while also respecting your material. Strictly African
Dancing was, of course, conceived as a spin-off from BBC1’s phenomenally
successful Strictly Come Dancing.
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There, however, the judges and the viewers were comparing couples
performing the same or similar Ballroom dances. Here it was performances of
dances, which had nothing more in common than that they came from the
same continent. Would the producers have thought it equally reasonable, as
part of a Europe Lives season, to conflate the whole of the continent of
Europe into one programme, judging between choreographed performances
of such astonishingly different dances as the Tarantella, Hornpipe, Gopak,
Minuet and Morris dance?
While the votes were counted we were invited to watch an African Samba–
though having been told that it was danced barefoot, the performance was in
fact danced in high heels. But, perhaps, the failing of the producers was as
much one of nerve as of respect. Sometime during the preparations for the
programme the producers must have decided that just over a minute of
traditional drumming to accompany each dance would be too much for a
television audience. Accordingly, South African style melodies were
superimposed. It may seem like an innocuous gesture to make the drumming
“palatable”, but, given that the drums provide the all-important cues for the
dancers to follow, such melodic intrusions were culturally inappropriate and
served to misrepresent the dance and on occasion to confuse the dancers.
So, what might have been done by the producers to represent Africa–surely
a continent richer in dancing traditions than anywhere else in the world–with
appropriate respect? Perhaps the answer was present in the programme itself
when, after the voting had been completed, performers from The Lion King
took to the stage with their glorious “Circle of Life” sequence featuring dancers
as giraffes, antelopes, zebras and tigers. Why not a Strictly African Dancing in
which all the contestants perform dances inspired by the living creatures of
Africa? And then why not another Strictly African Dancing devoted to
courtship dances? Respect–and enthusiasm–might generate a series.
Come on BBC4. We know you can do it.
Originally printed in Dance Today, September 2005 issue.
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Review
Compagnie Kafig Corps Est GraphiqueWycombe Swan, 28 May 2005
Reviewed by Maria Ryan
It’s been quite some time since I
felt the urge to get up and dance
in the aisle at the theatre.
The last time was during the Alvin Ailey Company performance of Revelations
two years ago at Sadler’s Wells Theatre. So it was an unexpected experience
to be sat in sleepy High Wycombe’s Swan Theatre and want to get up and try
out some moves! (the theatre isn’t sleepy just the town, I hasten to add).
To say I was impressed by the physical skills and presentation of this
production by Compagnie Kafig is a massive understatement, and I was
pleasantly surprised by how well crafted the work was. In my opinion,
generally when choreographers use hip hop movement vocabulary the
choreographic structure and intention of the work is sometimes weak, but not
this time.
Corps Est Graphique explores the nature of male/female relations, the
dynamics between the two sexes and explores gender stereotypes.
Choreographer and artistic director, Mourad Merzouki, sets up a number of
situations in which we see these relationships unfold using some clever,
humorous, entertaining and remarkably physical choreography.
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The curtain raises, and on stage we see araised ‘box’ centre stage, three
white door frames, three screens of different sizes and a fourth screen on the
front of the raised platform.
Four men enter through the door frames with black and white cubes over their
heads, reminiscent of the liquorice sweet character, Bertie Basset. They step
forward, slow and controlled, as if walking on the moon, stopping to perform
headstands and balances on their square heads. They exit through the door
frames and these become the entrance and exit points throughout the piece.
Baggy pants and simple tops look as if they have been drawn on the dancers
in graffiti style with warm oranges, yellows and reds soaked in to the material.
The music by AS’N evokes a sense of an Arabic land, with an undercurrent of
electro beats. The screens project images of skeletons mirroring the
movements performed on stage, Arabic writing and various other shapes.
Four women enter and they body pop sensually across the space in unison,
stepping in to cubes of light on the floor, building pathways through the space
before the men return to meet the women. There are many sub-sections
throughout the piece.
A rhythmic battle takes place between two men who bang out drum rhythms
on the platform centre stage, sending images of circles bouncing from one
screen to the other, like a game of table tennis.
Another conflict takes place. Four men in a more traditional hip hop style
compete to pull of the biggest, baddest moves. This section gets the audience
whooping with delight at the spectacular back flips, somersaults, windmills,
flairs and head spin challenges.
A dreadlocked, male dancer performs a solo on the platform which reminds
me of “The Predator” movie character, his creature-like, lockin’ and poppin’
give the impression that he is made of something much more pliable than
bone.
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A quartet, playful and cheeky, in which two men and two women open up the
centre platform. They flip, dive, jump and move behind the platform. Whatever
body parts we are unable to see are cleverly exposed on the screens as x-ray
images of their missing body parts.
I hear myself screaming alongside the younger audience members after each
demonstration of daring skill until, one by one the dancers flipped, spun,
jumped and slipped behind the platform for the very last time.
Overall what impressed me most was the attention to production detail. The
music and lighting compliment each mood of the various sections throughout
the evening, and when it comes full circle back to the beginning state, you feel
you have been engaged in a roller-coaster journey with ups and downs of
emotion. I felt completely satisfied and thoroughly entertained.
Merzouki’s French-Algerian roots, his knowledge of martial arts, hip hop and
circus skills have fused together creating a strong, individual choreographic
voice. He has the ability to choreograph impeccably detailed hip hop
movement that is well rehearsed. Merzouki transfers this predominantly
freestyle genre from the streets to the theatre stage with panache and
integrity.
The dancers seem equally competent with contemporary movement
vocabulary and the hip hop style which is impressively highlighted in a duet
section between the four men and four women. But if I had to be picky, then
I’d have liked to see the women performmore daring physical feats, even
though I know the argument about women not having as much upper body
strength as men. Never the less, a refreshing evening. If you missed this
company make sure you see them some time soon in the near future.
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Regular Feature
ADAD Asks
In each Hotfoot newsletter, ADAD interviews an
experienced dance professional with
connections to the APD / Black dance sector
and asks them 10 direct questions.
This edition, we meet
Beverley Glean, artistic director of IRIE! Dance Theatre
1. As artistic director of your own dance company, how would you
briefly sum up the essence of your company’s work?
The essence of IRIE!’s work is to
educate and entertain through the
delivery of a variety of creative,
artistic and cultural activities; sharing
the spirit of APD, particularly
Caribbean dance and culture. Our
aim is to maintain a strong Caribbean
focus throughout the company’s
performance.
I believe that, that unflinching philosophy has supported IRIE!’s identity as a
key contributor to the sector, whose values reflect the pride and heritage of
APD in Britain over the past twenty years.
2. What event, strategy or initiative of your company best
encapsulates this concept and why?
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It would be difficult to single-out any one particular event, (of which there are
many) but I would have to say the events that had the most impact because of
the number of people who participated and benefited from them were firstly
‘Ancient Futures’in 1996, where IRIE!, in partnership with the Albany
Theatre, hosted a 2 week international black dance festival and conference
with Forces of Nature, USA and L’Acadco, Jamaica.
Then the two initiatives that have stimulated debate and effected change, are
the UK’s first full-time Accredited Course in African and Caribbean Dance,
set up in 1998 and the company’s most recent NESTA funded Dance and
Diversity Action Research Project in 2004, looking at the place of African
and Caribbean dance within mainstream education.
3. Ideally, where next for your company over the next three - five
years?
Where next? That’s an interesting question, and one I often find myself
pondering over particularly because of the challenging nature of arts support,
funding and resources for the APD sector. However, IRIE! has always tried to
navigate its way through adversity.
We are very fortunate to be based in
the London Borough of Lewisham.
Deptford, north of the borough,
where the company is located is a
thriving hub of creativity, especially
for dance. In 2004 the Mayor of
Lewisham committed £2,000 000
towards the refurbishment of a
disused building (Moonshot), which
is due for completion in the summer
of 2006. IRIE! is relocating there and
it will herald the realisation of a
substantial next step for the
organisation. Our aim is to make
Moonshot a focal point for the practice of APD.
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With two large dance studios, teaching rooms, changing rooms, archive and
library the company plans to deliver the accredited qualifications in African
and Caribbean dance, run a professional development programme, extend it’s
education and community outreach work, re-establish the performance
company, broker relationships and provide access to/for APD practitioners.
That’s enough for the next 3/5 yrs don’t you think?
4. What have been the most significant developments or changes in
the Dance of the African Diaspora in the UK dance ecology since
you began your role as artistic director?
Significant developments are:
The establishment of a full time certificate in African and Caribbean dance
accredited by Open College Network and a full time diploma in African and
Caribbean dance accredited by Birkbeck College, University of London;
initiated in 1998 with support from ACE A4E. The above courses, which now
include an access to Higher Education and a part-time foundation degree, will
be re-established from January 2007.
A significant change is that not quite five years into the 21st century, we have
lost two major companies from two major cities. Kokuma, Birmingham in May
2000. Adzido, London in April 2005.
The irony is that while the sector is crying out for stability, infrastructure,
enterprise, creativity, employment, access, audience development etc the
support systems needed to nurture and develop all of the above are becoming
significantly weaker.
5. What is your present interpretation of African Peoples’Dance
(APD)/Black Dance?
Any dance style which, draws its main influences, sensitivities, means of
expression and technical base from the cultural heritage of Africa and the
peoples of Africa living in the Diaspora’.
23
6. What steps can still be made with the sector to build resources
including artists’ development and audience development?
We know that the sector is already stretched and under-resourced and the
current funding climate has done little to alleviate the problems. Existing
companies, individuals and agencies need to find ways of coming together to
share resources, share good practice and inspire critical debate.
Plus the sector needs to value and define its work. This will only happen if we
start to pull together under a focused definition by recognising our similarities
and our differences.
ADAD is making steps in terms of identifying where the gaps are, however
support from the sector is necessary if we are serious about building
resources, empowering artists and attracting new audiences.
7. Is the APD / Black dance sector relevant to the overall British
dance scene and why?
YES! Because, Black people and Black culture is a fundamental part of British
society. Cultural diversity is on everyone’s agenda; Socially and more
importantly, economically we do have a voice, a voice that cannot be ignored.
Slowly but surely mainstream education is realising that there are untapped
areas of APD that are increasingly significant to their development, in terms of
widening participation, access and career paths into the cultural industries.
Emerging styles and fusions such as hip hop and Dance Hall and the work
being done by companies like ACE in Birmingham and IRIE! Dance Theatre,
not to mention notable West End productions such as Lion King and The Big
Life make the case for the relevance of APD within the overall British dance
scene.
8. What keeps you focused and motivated?
Belief and evidence that what I do adds value, changes lives and continues
the legacy of my culture and chosen art form.
24
9. Have you noted any strengths or weaknesses to being a female
Artistic Director?
Strengths! Always strengths.
Personal strengths that I have
noted; I value collective
working, I am a firm believer
in working to people’s
strengths and being as
transparent as necessary.
Certain situations can lead to
feelings of vulnerability and
sometimes, I believe I am
taken less seriously because I am female. But I am usually aware of this and
am often able to use these incidents to my advantage.
10. What advice or ‘words of wisdom’ could you offer to those people
working in the APD / Black dance arena?
APD is part of the British cultural landscape, it’s here to stay; however, when
you are in a situation where there is a dominant culture, as an artist you
should be open-minded.
If necessary, learn to fuse and synthesise, that’s the beauty of cultural
diversity. But always remember who you are, where your roots lie and avoid
being pushed into directions you are not comfortable with.
Beverley Glean–Founder and artistic development director of IRIE! dance theatre has
worked in the field of dance, in particular African Peoples’Dance for over 20 years.
Trained at the Laban Centre London, The Jamaica School of Dance and The Conjunto
Folklorico Nacional de Cuba; she has continued her training and development in dance
& culture by working alongside artists from West Africa, Europe, America, and the
Caribbean.
Beverley founded IRIE! dance theatre in 1985. She also currently shares the
Directorship of the NESTA funded Dance and Diversity project with Rosie Lehan,
Senior dance lecturer at City & Islington College.
25
Managing, Mothering, Mentoring
Written by June Gamble
When I was asked to write this
article, I wanted to change the
working title. Never the less I’ve
used it as the basis of
questioning both myself and the
readers of Hotfoot…
Firstly, let me start by defining managing,
mothering and mentoring.
Managing:Quick definitions (manage)
verb: be in charge of, act on, or dispose of
verb: carry on or manage
verb: achieve something by means of trickery or devious methods
verb: watch and direct
verb: be successful; achieve a goal
verb: come to terms or deal successfully with
I have learnt, as an Arts Manager for the past 16 years, that in order to
effectively manage others, I need to be able to manage myself proactively and
positively.
This has been a lesson, learnt slowly and at great expense over a long period
of time. I now understand this concept, to the point that it has led me to the
importance of both myself and the people I manage having a healthy work/life
balance, hence my new career as a life and business coach.
26
Regarding the relationships between managers and artists, I can see that the
above definitions can be taken literally!
It is true that I have been known to “be in charge of” clients, careers and
projects, as well as “act on” my own and others’initiatives and events and it is
true to say that I have, at times, “disposed of” clients and unwanted work.
However, I have never “achieved something by means of trickery or devious
methods” but I do realise, that there are some artists that believe that this is
what managers do!
I have “watched and directed” both the careers of individuals, the
development of companies and in some cases, elements of dance
productions (when requested by the artist). According to my clients, the
benefits of having a manager include the fact that this reduces their sense of
isolation, as I am able to give them an objective overview, as well as
professional expertise and a business approach to their development.
As a manager, I continually set and achieve goals, as well as come to terms
with or deal successfully with difficult situations, ranging from negotiating with
venues, promoters and funders to managing relationships with clients and
artists.
Mothering:Quick definitions (mother)
noun: a condition that is the inspiration for an activity or situation
(Example: "Necessity is the mother of invention")
noun: a woman who has given birth to a child (also used as a term of
address to your mother) (Example: "The mother of three children")
noun: a term of address for an elderly woman
noun: a stringy slimy substance consisting of yeast cells and
bacteria; forms during fermentation and is added to cider or wine to
produce vinegar
verb: care for like a mother
verb: make children
27
During the past 16 years, I have managed numerous companies, projects and
events, including Badejo Arts, Union Dance, Akshaya Dance Theatre and
ADAD choreographic platforms. Notably I have had long term management
relationships, ranging from three to eleven years, with clients including:
Edwards and Watton, Bullies Ballerinas, Duende Flamenco, City Ballet of
London, Bedlam Dance Company and Sankalpam Dance Company.
Did I “Mother” these artists, I ask myself?
I have always maintained that no matter when I acquired my "children" or
whether they were new born, adopted or fostered, when these artists first
approached me to work with them, they put me on a pedestal and looked to
me as a Mother figure, in a position of experience and authority. However,
over time, our relationship became more of a partnership, as the client (my
baby!) matured and became a teenager who then, either rebelled and left
home or worked through their angst and became my equal.
However, at this point, I would then say that the balance of the relationship
shifted and became more like a marriage, which can make it difficult for either
party to leave without an acrimonious separation. Although, I am proud to say
that I continue to be on good terms with all my ex-partners!
From a personal point of view it is true to say that "mothering" my clients has
meant that I have never felt the maternal urge to procreate. I feel like I have
done my fair share of nurturing and that I have satisfied my maternal instincts.
So, I am now at the point where I do feel like "an elderly woman" who
occasionally feels like "a stringy slimy substance consisting of yeast cells and
bacteria"!
I also feel honoured to have met and worked with all of the gifted artists that I
have had the privilege of being associated with as their Manager. Like yeast,
as it ferments cider or wine into vinegar, I consider that I have been a catalyst
and an enabler producing hardy, well-rounded, valuable and effective artists. I
am a very proud "Mother".
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Mentoring:Quick definitions (mentor)
* noun: a wise and trusted guide and advisor
* verb: serve as a teacher or trusted counsellor (Example: "The
famous professor mentored him during his years in graduate school")
I prefer to refer to myself as a coach, as mentors tend to be associated with
voluntary services and unfortunately, unless the world changes drastically, I
need to be paid for my services.
As a coach, I am focused on helping people to identify, set and achieve their
personal and professional goals in a supported and safe environment. I am a
great believer that human beings are remarkable creatures and can achieve
whatever their heart desires, if they take the time to listen to and trust their
hearts.
I find it liberating that finally, my work is NOT driven by my passion for dance,
but by my passion for empowering and facilitating the personal and
professional potential of PEOPLE. Having been involved with dance since the
age of four, it took me to the age of 34 to admit that dance was no longer my
motivator.
This is substantially due to what I believe to be the poor quality and lack of
variety in too much of the current dance work being made and offered to
audiences and participants.
I think this is the direct result of the lack of long-term, strategic investment in
our best dancers and choreographers. It is also due to my perception that
Dance will continue to be underdeveloped and systematically undermined as
a direct result of the current funding system and the lack of respect for
professional dance and dancers shown by the present Government and its
arts bureaucracy.
29
So, in this changing and unstable climate how do I manage to be "a wise and
trusted guide and advisor" and how do I "serve as a teacher or trusted
counsellor"?
My advice to all my clients is to think about number one. Are you happy and
healthy? If not, what would make you happy and healthy? Once you are
personally well, then you can make progress in your career. After this your
approach needs to be lateral, look at the whole picture rather than just what
you can approach the Arts Council for. All projects must be led by the artistic
impetus, this will in turn help to signpost the potential external partners and
commissioners. Then with a clear time plan, budget and proposal you can
approach these, as well as the Arts Council (if appropriate). And, the secret is
to always have an 'A', 'B' and 'C' plan.
Frequently Asked Questions:
How do I get a full-time Manager?You don't!
The days of a company having a full time Manager are long gone. For 16
years, I have been managing companies on the basis of a maximum of one
day a week (with the exception of City Ballet of London, which was three days
a week). This is the maximum that funding would allow.
Today, unless you are already a Regularly Funded Organisation, your
development as a project funded company is no longer secure (as borne out
by the statistics). There is no guarantee of a ladder to climb towards RFO
status, which means no security for the choreographer or the manager.
Prior to the current funding system, if you continued to develop artistically,
managerially, increasing your touring circuit and audience figures, you could
be 80% sure of a steady growth over a long period of time.
30
So, for example, with the companies I sought funding for, I achieved a 90%
success rate, which enabled me to work with them consistently and
developmentally over several years. As a result of the new Grants for the Arts
system, my current success rate is 40%! And it's not a problem peculiar to
me. These statistics reflect the experience of many of my fellow managers, as
a recent survey of Independent Dance Managers Network confirmed.
So, back to the question. As an artist, it is imperative that you are aware that
for the most part you will be expected to undertake your own management
with the occasional paid support of managers on projects that you are able to
raise money for. Unfortunately, my colleagues and I are less able to take risks
or invest in artists as there is no security or guarantees. Artists will be
expected to pay or make a contribution to work done on their behalf by a
manager.
On a positive note, I strongly believe that the most "successful" artists are
those that understand the importance of administrating their own company
with or without management support and they are the ones who have a long
and healthy career. Bullies Ballerinas, Bedlam, Biserk, Gelede, Darkin
Ensemble, Sankalpam and Robert Hylton spring to mind. The artistic directors
of all these companies were/are completely aware of and committed to
running their own company. In my opinion without this awareness and
commitment, they would not have achieved or continue to achieve their
artistic ambitions.
What can I expect a manager to do? Will they do
everything for me?There are very few managers that will do everything and each artist/manager
relationship is different. You will have to negotiate. This means from the
beginning you need to be clear about your expectations and the manager
needs to be clear about what he/she can and will deliver. This should then be
documented in the form of a contract with a schedule of work, clearly
identifying who is responsible for what and when.
31
However, in my experience, having a manager increases the work of the artist
by at least double if not triple! The increase is due to the amount of work that
needs to be done as you develop artistically and as more opportunities come
your way. Increased success results in increased work. Also, the manager will
require your input every step of the way, as it is your company not theirs.
Once you work with a manager an artist is effectively an artistic director, this
is a very different role to that of a dancer or choreographer and you need to
plan for the transition.
Who can I ask to manage my company?As I have already explained my colleagues and I are in less of a position to
take financial risks, particularly those of us who have been doing it for a long
time. Personally, I may not have children to feed, but I do have godchildren, a
mortgage and goldfish! So, many of us have been diversifying in order to
survive and to maintain a link with the dance world. Hence the training,
consultancy and life coaching work that I do.
At the moment, a lot of us (particularly those of us who have been around for
some time) are in transition and we may be forced to leave the dance world
altogether. This would be very sad, as there is a wealth of information,
experience and knowledge shared between us that is not acknowledged by
the "powers that be".
In fact, in many situations, I am tired of seeing the wheel being reinvented. I,
too, am a tax payer and do not appreciate good money being thrown after
bad, being spent on more bureaucratic administration and projects that "look
good" statistically, rather than investing long term in artists that are identified
by their peers as having an important place and contribution to make to the
UK Arts scene. Managed in this way artists provide economic benefits in the
form of VAT on tickets and sales, National Insurance and Tax paid by the
numerous people employed in the arts, as well as credibility worldwide for
having a vibrant artistic cultural society.
Again, back to the question!
32
A few of us for the past couple of years have been endeavouring to support
emerging freelance managers either independently or through the London
Arts Management Training Scheme. As the Independent Dance Managers
Network (IDMN), we are now looking at funding possibilities (outside of the
Arts Council) to support training programmes for emerging and developing
freelance managers for the independent dance sector. However, this will take
time and may or may not be made possible, with or without the support of Arts
Council England. But it is a ray of light in an ever-darkening landscape.
In answer to the question, if you are looking for a manager, then please email
an 'advert' to the IDMN Coordinator, Natalie Andrews at:
It is also advisable to invite any managers that you are interested in working
with to any showings or performances that you may be presenting. The other
organisation that can provide guidance is The Place Artist Development. If
you are a subscriber, you are currently eligible for one free 1:1 session a year,
as well as receiving Juice, a monthly listing magazine where you can also
advertise for a manager. In addition, they also have a Dance Manager's
Database of freelance Managers and the Self-Managed Artist Scheme, which
provides successful applicants with a management advisor for four meetings
a year. For details contact: [email protected]
Finally, I am not personally planning to manage any new companies;
however, I do offer the four meeting a year option on a private basis and
currently work with artists and companies including Robert Hylton, Hofesh
Shechter, Fleur Darkin, Martin Robinson, State of Emergency, Gelede, and
Biserk.
Whether you are fortunate or unfortunate in your search for a manager, you
need to ask yourself "am I ready to manage my own company"?
In conclusion, I have to confess to being a manager, mother and mentor.
However, I would prefer to be referred to now as a Life and Business Coach!
33
June is a freelance Arts Manager and Consultant and a qualified Life and Business
Coach. Until 23 years old June trained as a dancer in Bridport, Plymouth and London.
Her first Arts Management job was in 1989 at Adzido Pan African Dance Ensemble. In
1990 June moved on to work with Pan African Arts Management who managed Les
Ballets Africains (national dance company of Guinea in West Africa), the Pan African
Orchestra, Femi Kuti & other African artists.
She is currently is an Executive Committee member of the Independent Dance
Managers' Network, Development Coordinator for Sankalpam. Her consultancy and
training clients include Robert Hylton, Martin Robinson, Menelva Harry, IDMN, Dance
South West, Swindon Dance, East London Dance, Dance North West and The Place
Artist Development
|June if a former member of the standing committee of ADAD and worked as the Co-
ordinator for 3 years. June is also on the Board of Directors of Plymouth-based iDC
(integrated dance company).
34
Interview
“Making Big Things”
Alistair Spalding,artistic director and chief executive
of Sadler’s Well’s Theatre
In conversation with Jeannette Brooks
Jeannette Brooks (JB)
Who are you and how did you arrive in your new role?
Alistair Spalding (AS)
I am the principal decision maker at Sadler’s Wells. I took up the position in
October 2004. My path here follows an unpredictable career line. I started as
a teacher in Primary schools in Liverpool. My instinct is still that of an
educator. Later in my career I found myself at Crawley Connection working on
outdoor space presentations. It was then that I had my first contact with dance
work from the Diaspora.
(JB)
You have a strong relationship with dance…
(AS)
I took to dance later in life but it is the main area of my work. An old flame
took me to see Merce Cunningham and I was captivated. I think there is an
honestly about dance. There is a ‘must be able to do it’ about this art form. It
is not fakable. It’s the most open; performers are out there for all to see.
Funnily enough I saw Highland Fling, by Adventure’s in Motion Pictures back
then in Crawley at the Hawth Theatre and now we are working with Matthew
Bourne on the new version.
35
(JB)
What are your plans for Sadler’s Wells?
(AS)
I want big things to happen here. I have three main ambitions for the Theatre.
1. To get the maximum use of the whole
venue. The dance studios, studio theatre,
the stages etc. This is being done with the
introduction of resident and associate
companies. Jonzi D and Still Brok
Productions are resident now. The
relationship should be about more than
just presenting dances. The venue should
be a creative centre with solid educational
links. We will co-produce, commission
and focus on British artists.
2. To become a National Studio for dance.
Meaning we will invite application for
artists to do research here with the view
that these experiments might be
commissioned pieces later on.
3. To invest in the audience by giving them
the greatest quality experience or newest
work. We must continuously examine on
a weekly basis, what has gone on, on
stage.
At the moment audience numbers are increasing. I put it down to their hunger
for new and ‘good’ dance. It creates a snowball of excitement and word of
mouth picks up.
36
(JB)
How does or can your work engage with Dance of the African Diaspora?
(AS)
We have a plan to initiate more small scale ideas and low key opportunities.
This could mean time for artists to use the Lylian Baylis Theatre, to research
in a studio lab atmosphere.
The growing relationship with Jonzi D is also critical. The way we have
developed Breakin’ Convention highlights our commitment to cultural
diversity. Our programming also includes Garth Fagin, Dance Theatre of
Harlem and Alvin Ailey. I must remain committed to running a large scale
venue and finding companies that can fill the stage. Never the less our
principle is inclusion not exclusion and that is the artists, their work plus the
audiences.
(JB)
What is your key to wanting to present a dance or company?
(AS)
The integrity of the work. I am not talking about production values. It’s more
about the substance of the vision. I believe in the proportion or balance of the
work too and that there is sense and intention at its heart. I look at talent and
the craft of choreography, because it’s not about size and that applies to
small or large works alike.
37
New ItemWith the desire to commutate comes the necessity for language.
That language; written, danced, signed, sung or painted needs
understanding and appreciation so, with that in mind, ADAD is
pleased to introduce Part 1 of the ADAD glossary of Dance of the
African Diaspora.
The piece–written and researched by Thea Barnes, is not meant
to be a finite, complete or definitive work. It is, however, (as is this
magazine) a piece to stimulate debate and support the enjoyment
of dance.
ADAD Glossary 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 1: A–I
A
Aficionado \ A fervent admirer; derives from Spanish aficionar, "to induce a liking
for," from afición, "a liking for."; an amateur; lovers of the dance, the arts, etc. who
are themselves not necessarily professionally trained.
AfroCubanismo \ In Cuba African and African-based aesthetic preferences in music
and dance in Cuban culture.
38
Arará \ Having West African ethnic group genealogy this major dance/music tradition
complete with religious system is practiced in Cuba and has distinctive shoulder
movements and cylindrical drums that characterise its various dances.
Àshe \ Yoruba spiritual command; power to create and destroy; metaphysical force
that encourages, summons or enforces attainment of creative perfection in art and
life; spirit invoking, creative benevolence literally means “So be it”, “May it happen”.
B
Bata \ Nigeria-Yoruba; spread to Cuba, Bahia in South America, Caribbean and
America with Atlantic slave trade; is a distinct technique of movement and sound that
in its sacred form is specifically for the appeasement of Yoruba king and deity,
Shàngó.
Batty \ Jamaican patois for buttocks; elicits a gendered, sexually charged discourse
about the female buttocks and the “black bottom” in particular in dance making,
performance and also daily life.
C
Call and response \ antiphony; interaction between two voices expressed through
music, verbally, non verbally or movement with the interaction between the voices
reacting to each other in a conversation like exchange of statements one being a
“call” and the other a “response”.
Chutney \ popular dance and music of Trinidadians and Guyanese with ancestry of
the Indian subcontinent; movement is mostly wining (hip gyrating dance) but may
contain Indian hand gestures or other Indian or Middle Eastern influences.
Conga \ a Cuban processional dance form performed during provincial and national
carnivals particularly Day of the Kings celebration on 6th January; also known as
comparsa; barrel-shaped drums of Congo-Angolan heritage.
Creole, Creolization \ meanings found in historical intertexts within discourses of
racist-purist, racist-hybridist beliefs and négritude but currently used in post colonial
discourses as a synonym of 'hybridity' and 'syncretism' to indicate mixtures amongst
societies in an age of migration and telecommunications; artistically indicates hybrid
Creole (Euro/African) aesthetic.
39
D
Dunham Technique \Katherine Dunham’s anthropological research between1935-
1936 provided her with knowledge of Haitian and Jamaican sacred and secular
dance practices. To choreograph dance works inspired by this knowledge, Dunham
developed a technique that utilises an amalgamation of skills gleaned from her
Caribbean research and her European classical ballet and modern dance
experiences. Technical practice includes a range of experiences examples being
isolations (the ability to move parts of the body in isolation from the rest, i.e. hip or
shoulder rolls), pliés, prances, and leg extensions to refining movement rhythm
and dynamics most associated with Vodun sacred practices like Damballah and
Yanvalou.
Dougla, Douglarization \ in Trinidad/Tobago originally meaning bastard or
illegitimate this word functions in Caribbean discourses as a code-word for
assimilation and racial “dilution”; is currently a post colonial political stance and
identity to unmask power and symbolically re-establish legitimacy of Africanist/Indian
aesthetically hybrid expressions in music and dance.
Dinkimini \ indigenous Jamaican dance form derived from African practices; a
celebration of death with sacred and secular elements intended to “cheer up” the
bereaved with songs and movement especially performed to protect against evil
forces.
E
Ephebism \ An Africanist aesthetic characteristic in dance; from the Greek word for
youth, ephebe, kinesthetic intensity that privileges feeling as sensation rather than
emotion, moving with suppleness and flexibility rather than restraining movement for
alignment; also rhythmic speed, sharpness or abrupt changes in dynamics, force and
attack.
Etu \ indigenous Jamaican though Yoruba-based rite with specific movement
technique for sacred and secular practices.
40
F
Fanga \ West African welcome dance with distinct rhythm in feet and drum; Fanga
means Welcome in Yoruba and this dance was performed to greet new neighbours
and visitors.
Fusion \an action; a compositional device; a dance maker’s strategy to transliterate
or amalgamate the technical or performance skills of diverse movement
vocabularies. The combination of dance styles, merger, or resulting blend of dance
styles or elements from more than one tradition, e.g. Afro Caribbean and
contemporary.
G
Griot \ Mali and Senegal, traditional keeper of cultural traditions and history of the
Mandeng people of West Africa passed through generations kept in form of music
and dance, recitations and metaphorical statements. Usually the music form begins
slow with singing and becomes fast with dance.
H
Hip Hop culture \ As a counterculture that nurtures itself with the reclamation and
revitalisation of Afro-Caribbean/Afro-American musical, oral, visual, dance forms and
practices, Hip Hop culture and its associated art practices are creativity bourn out of
consequence. Its main art practices, break dancing (breakin), rap (rhythmic
accented poetry) music and graffiti evolved in relation to one another. The dance
practices of Hip Hop culture are just over thirty years old and commenced on both
coasts of the States around 1969. Jamaican dubof the late 1960’swas as influential
asDJ’s of the 1970’s disco who sustained the beat for dancers to do the Hustle. The
vogue of the Hustle became the freeze of break dance; an improvised move that
“broke the beat”. B-boy or B-girl is dancers who performed when the DJ broke the
beat. The earliest pioneers danced upright called top rockin. Possibly martial art
films in the 70’s incited the addition of freezes, poses on the ground requiring
extraordinary acrobatic skill and footwork that incorporated a skittering motion
transferring the weight to hands to “make a space” for more aggressive movements
or a kind of mock fighting where the intention was not to touch your opponent; a
philosophy and form reminiscent of Brazilian Capoeira.
41
James Brown with his cut “Get on the Good Foot”, Afrika Bambaataa and the Zulu
Kings pioneered the mock combat Uprock, Rock Steady Crew and members of Zulu
Nation evolved power moves, spinning on head, hands, back, influenced acrobatics
of the form. Boogalo Sam and his group the Electric Boogaloos originated popping,
locking, and boogaloo moves that came out of the funk movement in the 1970’s in
California which are distinct from breakin. Hip Hop culture came to Britain in early
80’s inspiring crews like Kaliphz from Manchester. The form known currently as
street dance taught in dance studios catering to dancers for the current crop of films
and music videos also gets its creative juice from Hip Hop culture.
I
Itutu \ Yoruba, itutu or coolness is certainty of truth and an assuredness that
permeates a person’s spirit demonstrating gentleness and eloquence. Coolness is an
attitude in movement, in disposition combining composure with vitality; in dance or
music; the detached, mask-like coolness in the face of the performer whose body or
energy may be working fast, hard, and hot.
Ingoma \ In Zulu literally means‘song’and is a grouping of male group dances ex:
isikhuze, isicathulo, ukukomika, isiZulu, isiBhaca, umzansi, and isishameni
representative of the complex interaction of traditional dance forms, intermingling of
rural and urban song/dance experiences, labour migration and missionization; began
as militant, suppressed form of popular culture appearing as early as the 1880’s that
by 1939 transformed into urbanised competition activities, urban gang activities and
ritualized conflicts to channel group rivalry. Its multiple forms afforded song and
dance activities that strengthened Zulu cultural identity for the expelled, dehumanized
and dispossessed African masses. Commonly known as a step dance or gumboot
dance, the kinesthetic patterns of ingoma are linked to choral songs in call and
response structure and illustrate complexity of dance and song in Zulu performance
culture.
Thea Nerissa Barnes is Resident Dance Supervisor for The Lion King in London’s West
End. She has had a distinguished performing career with the Alvin Ailey Dance
Company and Martha Graham Dance Company.
Thea holds a Bachelor of Fine Arts Degree in Dance from the Juilliard School, New
York; a Master’s Degree in Dance Education from Columbia Teachers College, New
York; and a Master of Philosophy degree from City University, London.
42
ADAD News
TrustTrust is important in a relationship and one of the most important relationships
for a dance professional is the one between the artist and the funder. Trust
works both ways; it requires transparency and effective 2 way communication.
With this in mind, ADAD’s last forum was organised to bring these two parties
together. Issues discussed Saturday 11 of June were those affecting the
relationship between artists and Arts Council England. The focus was on
dispelling the myths surrounding funding and sponsorship, and gave practical
advice on the best ways to tackle future applications. Although there was no
fairy tale ending with all problems resolved, the afternoon’s dialogue made
significant steps to building on the trust between artists and funders.
TrailblazersIt’s that time of the year when
we say farewell to our
outgoing fellows and welcome
the next year’s intake. Each
year ADAD provides four
fellowships of £2,000 to dance
artists working with dance
forms of the African Diaspora
to develop their careers.
The bursaries can be used to contribute to dance classes, training,
equipment, research trips and other professional development needs. Fellows
are also assigned a mentor and follow a self-directed programme of
professional development for a period of one year.
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Last years’ fellows found that being a Trailblazer, not only offered financial
support for their individual projects, but also gave them the confidence and
motivation to continue striving to reach their artistic goals.
‘The Trailblazers Fellowship has allowed me to begin my journey as a
Choreographer and a director with confidence. Without Trailblazers my
Project would have not come true’. Maria Ghoumrassi.
2005 Trailblazer Applications
Applications for the 2005/6 Trailblazers have been announced and the
deadline was 4pm Monday 3 October 2005. The announcements of this
year’s fellows were made on Monday 10 October 2005.
Trailblazers Alumni Launch
ADAD will be looking into enhancing the Trailblazers programme to extend
the connection with fellows longer than the 12 month programme which
should prove to be more beneficial to the emerging artists and the sector as a
whole. We hope to do this by launching the Trailblazers Alumni in December
2005; the alumni will form a network of all the fellows and allow the formation
of a platform of peer support and continuing professional development.
ADAD in Black History Month
Preserving our work, preserving our bodies -
Archiving seminar and ADAD forumOn Saturday 15 October 2005, we will be holding a forum and seminar at
Stratford Theatre Royal on archiving and healthy dance practice under the
title–‘Preserving our bodies, preserving our work’. We believe that setting up
archives will promote the dance practices of the African Diaspora as a
valuable and distinct part of British dance culture.
Preservation of our work not only helps provide a record of its evolution over
time but also provides a valuable resource for the younger generation of
practitioners looking for role models as well as the general public who
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increasingly want to know more about their heritage. The morning’s seminar
will focus on presentations on the progress that has been made in preserving
our heritage by key contributors such as Beverly Glean of Irie! Dance Theatre,
Leon Robinson, Positive Steps, Rufus Orisayomi and Ralph Cox, Laban.
In the afternoon we will link the day’s discussions on preservation of our work
with a practical session on injury prevention as practitioners of dance of forms
of the Diaspora. With the help of Physiotherapist Caroline Marsh we will
explore preventative measures to ensure long-lasting and healthy careers as
dancers and choreographers.
We hope to see as many of you as possible at the forum as you all have such
a crucial role to play in the preservation of our rich dance heritage as artists
creating valuable work and as researchers and historians with an interest in
the resources available on dance forms of the African Diaspora. Please make
sure you book your place and confirm any access and dietary requirements
as refreshments will be served.
Forging paths; breaking ground
Against all odds–Oral History eveningOn Friday 21 October 2005, ADAD will be playing its part in Black History
month in a bid to honour the many artists who pioneered the way for Black
dance in Britain over the past 50 years. ADAD will hold an oral history evening
titled‘Against all Odds’ at the Theatre Museum, Covent Garden, London from
6.00pm–8.30pm.
This evening will be the first in a series of tributes to those who forged new
pathways and broke new ground as black dancers in Britain in the 1960’s,
1970’s and 1980’s. We will also be celebrating the work of other distinguished
artists such as Namron, Carl Cambell and Jackie Guy and companies such as
Lanzel, Ekome, Adzido, Phoenix, Kokuma, Jiving Lindy Hoppers, Irie!,
Shikisha, Union dance, Dagarti Arts and Badejo Arts to name a few. There
will also be opportunities for you to share how these artists have inspired you
with their work.
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ADAD in Manchester and Bristol in 2005ADAD will be collaborating on two regional events in the busy month of
October. The first will be with Dance Initiative Greater Manchester on the 7 of
October and the second with Kuumba and Dance Bristol on the 29 of October.
Both events will be forum type events that will enable artists working with
dance forms of the African Diaspora to network and interact, and discuss
issues around gaining respect for their work and developing the dance forms
in their regions.
ADAD will be making links with artists in the regions to try and develop a
regional network of volunteer dance advocates whom will work together to
raise the profile of their specific dance forms that fall under the DAD umbrella.
ADAD WebsiteADAD will be launching its website in November 2005. The website will
include the ADAD Directory of dancers and choreographers who are working
and teaching using dance forms and techniques developed within African or
Caribbean cultures and other communities within the Diaspora.
Changes at Dance UKThere have been some changes at Dance UK since the last issue of our
magazine. Following the departure of Dance UK director Ian Bramley; project
manager, Adrienn Szabo and finance manager Fiona Mills. Sian Kendall has
stepped in as the acting director; Katy Spicer is the interim general manager
and Mubeen Hashmat is the new finance officer.
Wanted–ReviewersADAD needs budding journalists who would like to write for the next Hotfoot
magazine due out in January 2006. Please get in touch if you want to review
any of the companies form the Diaspora touring this autumn. Your time and
expenses will be paid and full support given in the writing of a 500–1,000
word article. Call Pamela at ADAD for details.
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Vote Now! Dance UK
Industry Award
Now in its third year, the Dance UK
Industry Award aims to highlight the
many important but often
unacknowledged contributions that
make a real difference to how dance
is created, supported and seen. Do
you know of someone who goes
above and beyond the call of duty to
move dance forward and enable the
dance art form to thrive? If so, please
let us know.
This special award will honour an individual working in dance that has made
an outstanding contribution to the art form. The person could be a dance
manager, a designer, a critic– in fact anyone–who, through their
knowledge, skill and generosity, has made a significant contribution to dance
beyond the scope of their usual role.
To nominate someone for the award, please send a few lines on why that
person should be awarded to: Dance UK Industry Award, c/o Dance UK,
Battersea Arts Centre, Lavender Hill, London SW11 5TN or email
[email protected]. by 28 October 2005.
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Fit to Dance 2
Report of the second national inquiry into
dancers’ health and injury in the UK
Findings of the second national survey of dancers’ health and injury in the UK
were released at a launch event at Sadler’s Wells, London, on 8September
2005.
Fit to Dance 2 follows on from the ground-breaking 1996 publication Fit to
Dance?, instigated by Dr Peter Brinson and Dance UK. Research presented
in Fit to Dance? highlighted the causes and consequences of the high injury
rate among dancers, and called for better understanding and support of
dancers’ healthcare. The 1996 report gave impetusto the national programme
of education and awareness-raising led by Dance UK’s Healthier Dancer
Programme. Fit to Dance 2 presents and compares the health and injury
status of dancers now with that nearly 10 years ago, celebrating the positive
steps thathave been taken in the provision of dancers’ healthcare and
highlighting the areas that still require action.
80% of dancers experience at least one injury that affects their ability to
perform each year. In this latest Dance UK survey professional dancers had
an average of 11.5 days off class, 7.9 days off rehearsal and 6.6 days off
performance due to injury in the previous year, equating to a potential cost of
approximately £1,100 per dancer (over £1 million to the subsidised dance
sector) in lost time alone.
Dance demands a similar level of physical fitness and mental robustness to
that of an Olympic athlete, alongside great artistry and expression. Dancers
therefore need access to specialist healthcare and information if they are to
remain fit and able to perform at their peak.
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Fit to Dance 2 gives the clearest picture of what provision exists for dancers’
health and prevention of injury today following interviews with a broad cross
section of UK dance companies and vocational dance schools, which put
questionnaire findings into context. Updated recommendations for the dance
profession based on these findings pave the way for a better future for dance.
Essential reading for dancers, dance teachers, choreographers, managers,
artistic directors, policy makers, dance scientists, medical practitioners and
funding bodies, this publication provides evidence to support the argument for
improved healthcare for all dancers, and continued research, education and
understanding of the relationships between dance training, psychology,
health, injury and performance. The production of Fit to Dance 2 has been
made possible by the Jerwood Charity and is available from Dance UK.
Full price £8.50 plus p&p, Dance UK members price £7.50 plus p&p,
discounts available for bulk purchase.
ADAD in BloomIt looks like ADAD will be in bloom all year as we have another new addition in
the nursery. ADAD would like to congratulate Hotfoot Editor Jeanette Brooks
who had a baby girl in June 2005.
Hotfoot Edition 2 credits and notes:
Hotfoot Logo:Photo Credit: Anthony Crickmay
Image: dancer John Akoto Annan of AdzidoThanks to: Clarie Middleton and Adzido
Photos:Wild Roots Collective: Hot Pepper Designs
Irvin Lewis: Jamie Kelly