Hotfoot Online Edition 6: Contents

Welcome

1. Editorial: from Jeannette Brooks

2. Think Piece:‘Making Moves –Creating Opportunity’ by ADAD Advisory Panel

3. Review: Resolution 2007: by Laura Griffith

4. Interview: ’21 and looking young’ Corrine Bougaard interviewed by Jeannette Brooks

5. ADAD Asks… Thea Barnes

6. Review: Ballet Black ROH2, by Francis Angol

7. ADAD Update: Pamela Zigomo

8. Insight:‘Journey of the Artist’: Zeze Kolstead, Diane Mitchell, Menelva Harry

9. Credits and Notes

Editorial

Welcome36 months have past –another period of evolution and change traversed and now once

again ADAD stands at the crossroads of another development.

For the past five years ADAD has been an integrated organisation within Dance UK, suckled

by that supportive relationship of established administration and fledgling organisation. That

is about to change as ADAD moves office, changes management and staff and flies from

the nest that was Battersea Arts Centre to Finsbury Town Hall near Sadler’s Wells Theatre.

So to celebrate that moment of funded and independent organisation status, this Hotfoot

Online issues poses the most fundamental of questions… Is there a cohesive African

Peoples Dance Community in the UK? We have asked the sector to repond and a snapshot

of the responses are written here. The advisory committee of ADAD also step into the

printed spotlight to share their views and an interesting interview from the long establish

name in the UK dance scene, artistic director Corrine Bouggard.

At the moment Hotfoot looks like it also will be taking a pause to breath and perhaps refresh

its mission given the new faces in the office. They will bring their own flavour and points to

raise in this magazine. So at least for now, this is my final Hotfoot Online as Editor. I hope

you have at least one good read in the last two years…

See you soon.

Jeannette Brooks

Hotfoot Online Editor

Interview…

Making Moves & Creating OpportunityAs ADAD enters another phase of evolution in response to the sector’sneeds,

we catch up with three members of the Advisory Panel –those backstage

movers and shakers who volunteer their time and experience to the cause. We

ask, so why are you involved on the work of ADAD? Their answers are here.

When did you join the ADAD Advisory Panel?

‘Well, I joined the ADAD steering committee in

2001. Sheron Wray was chair at the time.’ says

Funmi Adewole. ‘Then I managed the organisation

from 2003 to 2004. I’ve been chair of the

organisation since 2005; however I will be leaving

the steering committee in May.’

Francis Angol said ‘I joined the panel 5 years ago

but was not very active before the last 18 months’.

Why are you a member?

Ukachi Akalawu replied, ‘For me, I am a member of

ADAD because I understand the importance of

supporting the only organisation that represents practitioners of African Peoples Dance.’

Francis has another standpoint, ‘I am a member of ADAD because I want to contribute to,

and influence change in British dance.’

What do you bring to the organisation?

I offer the organisation my skills as a dance researcher.’ says Funmi. ‘I’ve been able to act

as advocate for events and programmes which have taken the discussion about dance in

the APD/Black dance sector beyond the debate about definition.’

Francis, an experienced and reputed practitioner adds, ‘I bring the organisation my wealth of

knowledge and expertise of working in the arts as well as my knowledge of the African/

British Black dance sector and many national and internationally links and contacts.’

What would you like to achieve in this role for dance?

‘My achievement,’ replied Francis, ‘would be to successfully help to place ADAD in a

position where it has an equal voice to that of any other major arts organisation that causes

and influences change in British dance.’

Ukachi says, ‘I would like to achieve a raising of the profile of African dance practitioners;

the work that they do and the issues they face. I would also like to give them the opportunity

to develop themselves through further training such as through the Trailblazer fellowship.’

What are your biggest aspirations for ADAD?

My biggest aspiration for ADAD, is to unite Black dance in Britain.’ says Francis.

Ukachi makes another point, ‘That we become an organisation that is independent of the

Arts Council and other organisations which do not always seem to have our best interests at

heart.’

She continues ‘That we have our own space so we can hold regular platforms for our

choreographers, and have room for our people to come and develop their ideas. That we

are able to raise funds so we can pay to have enough full-time members of staff and

develop a major central resource centre for the development of the artist and the forms the

organisation advocates for.’

What have been the major influences on your work from your cultural and ethic

foundations?

A major influence on my work has been my experience of growing up in both Britain and

Africa,’ says Funmi. ‘Traditional compounds and urban barracks, in black families and white

families–I think this gave me an interest in the role of performance in society.’

‘My major influences have been the experiences that have led me to work/travel abroad (in

Europe, Africa and America), thus being exposed to different forms of dance, and having the

chance to learn from dance practitioners who are at the top of their game.’ Ukachi offers.

But for Francis ‘The major influences on my work are people, culture, the environment,

history and current affairs.’

I must also say that it was invaluable to have resources such as Badejo Arts’ Bami Jo

Summer School, which for myself and many other dancers, was the one opportunity per

year to train in the UK in African dance intensively with internationally renowned

professionals.’ continues Ukachi. ‘This and many other experiences (unfortunately all too

short) have allowed me to expand my knowledge and skills which has impacted upon my

abilities as a dancer, upon my teaching, and upon my understanding of the roots of the

many dance forms that are practised here in the UK.

In five years time what would you hope to see in the dance sector of dance of the

African Diaspora?

I would like to see a new crop of British dance practitioners making their mark in the theatre

and the community in Britain and abroad. With lots being written about them…of course.

Francis says… Ukachi says…

a) I hope to see a framework for the

development of dance of the African

Diaspora.

b) At least 3 place where an individual

can undertake a course of study that

leads to a professional qualification.

c) A substantial increase in the numbers

of professional practicing performance

based companies.

a) That we finally have our own building

where we can congregate, discuss,

practise, and share (congratulations to Irie!

Dance Theatre who have managed to

secure a building for their organisation. It’s

been a long time coming. However, for the

whole sector, we need something on a

much larger scale).

d) Increase in the number of trained

qualified tutors teaching dance forms of

the African Diaspora in Britain.

e) At lease 3 major high profile

choreographers working within dance of

the African Diaspora.

f) ADAD as the recognized body for the

development of Black dance in Britain.

Wazzzup Snapshot

Does a group of similar and sympatheticaesthetics in dance unite a group of artistsunder the banner of Black Dance or dancefrom the African Diaspora?

Arguably. APD was never a very happyterm to embrace Western “Black Dance” forms (tap, jazz, ballet, contemporary,street, hip hop etc) and it’s in the wider Diaspora area that “APD” or “Black Dance” (or what you will) has its highestprofile and greatest public impact. It’s the “uniting under a banner” bit that APD failed so dismally to deliver, despite activesupport and encouragement (and a lot ofempty talking) in the 1990s. Maybe thiswill change as the younger generation ofpractitioners come through, andmeanwhile there is lots of good work goingon within APD or Black Dance.(Anon)

b) That we have a system of training or a

fully developed module that can coherently

fit into dance/performing arts courses at

recognised institutions.

c) That we manage to develop a full-time

two year course in African dance and music

(a module is a positive step, but we do

need to aspire to have a course that can

truly investigate and teach the full range of

information under that massive umbrella

term ‘African dance’ –NOT African

peoples’ dance, as that is too wide, and

dance disciplines such as Jazz can be

studied to a high level already in this

country).

d) That our artists receive a consistent level

of sensitive and long-term support to a

point where we can start to have

functioning African dance companies once

more.

e) That the wider dance industry (venues,

programmers, festival organisers, writers,

funders, teachers of other dance forms,

etc), begin to develop a respect and

understanding for the work that we do and

consequently change their practises which

currently marginalise, stereotype, ghettoise,

and tokenise us. Although these are strong

words, the process of developing the points

a - d will work together to forge a depth of

understanding from the wider dance

industry.

Review…

Resolution 2007The Place, London

Reviewed by Laura Griffiths

Avant Garde Dance Karensa Louis Adesola Akinleye

iPod and I Flicker Climbing with Bare Feet31st January 2007 9th February 2007 9th February 2007

iPod and I, Choreography: Tony Adigun and Company

Tony Adigun and his cast of dancers transport the audience through a

multifaceted urban journey in ‘iPod and I’.

Welcomed by a vacant stage, Adigun’s morning

routine is illustrated in a home video type

cinematic projection as our iPod adventure

commences. Adigun with backpack in tow,

mechanically meanders through the stage. An

unexpected chorus of dancers breathtakingly

explode into the blank, shadowed space whilst

Adigun weaves through them, sharing

intermittent flickers of action as the mottled

music echoes through his veins.

A thread of narrative begins to build as Adigun voyages through his music library which acts

as a quirky guide. This structure succeeds in arranging the masses of movement and

movers about to descend upon the audience. The articulation of Adigun’s ‘soundtrack to life’

as it were, is mainly through a marriage of Hip Hop and contemporary dance. The realms of

Hip-Hop clearly dominate the movement language, with intervals of comedy, parody and

lyricism adding depth to the simplicity of the dance subject.

In an attempt to expose the way in which a choreographers’mind works, Adigun co-exists in

space with his dancers who behave as his sub-conscience. Enhanced by the juxtaposition

of music genres and dance, transitions between scenes are sharp, polished and eye-

catching. Spatial compositions are cleverly compact and symmetrically balanced, which is

pleasing to the eye.

The use of tableau in the work allows for some spectacular images, especially the use of a

flat yellow colour on the back screen against a group of dancers in blackout. This illustration

plainly recreates the iconic ‘iPod’ TV ads; and such compositions reinforce the fact that

Adigun’s creation is a product of the climate in which we are all living. On this level it is

successful; however some abstract subtlety towards the narrative would make for a greater

appreciation of Avant-Garde Dance Company.

Aside from this the movement vocabulary is casual and accessible to the audience.

Adigun’s inspiration for the work is represented quite literally and reinforced with

exaggerated mime, which weakens the overall display.

Flicker, Choreography: Karensa Louis

Louis expertly explores the mental and physical

harm we inflict upon ourselves using her

physicality as a site of contestation.

Karensa’sbody expresses the notion of both acting in and

acting out through its fierce, dynamic opposing behaviour.

Transforming from a temperate melting substance into a

serrated icy construction she survives in space roaming

between different levels and tempos. With dim lights and

pulsating, wooden music the underground atmosphere

enlightens her character with a raw and mysterious edge.

Appearing in three phases, Louis’ body reacts to a different

musical score and environment in each, which most

definitely keeps the audience stimulated.

In the first two instances the slow and fluvial methods she adopts, make her seem neither

human nor alien, creature like her figure becomes soulless and bare. This starkness gently

unfolds into a calculated final phrase where her focus begins to meet us, allowing us to

enter into her environment.

In the early stages of the work, Louis rarely identifies her audience, ‘acting in’ her body

profile is composed as she isolates the shoulders, hips, head and arms away from her body.

Reaching away from her inner core she perfectly expresses the concept of acting out as her

centre becomes redundant. Louis opens the dance on her knees, in the far right of the

stage, her actions are gestural and her upper body repetitively collapses into the softness of

her thighs before her, this motif is developed as she grows and evolves into the space and

into higher levels. Her torso is thematically inverted and separated from the rest of her body

in a mechanical realisation of how ‘women act out by acting in’. Fragments of feeling knead

the three sections of the dance together, Louis makes use of her ability to disjoint and layer

contemporary movement as she forms her own landscape, mapping out the space as her

own territory, she is unique.

Appearing effortless her body becomes a vehicle for expressing pain/passion/power in her

verbalization of the dance matter. She embodies grace layered with pulse and a solid

adherence to the constraints of gravity, as she rarely elevates. There are occasionally still

moments, which become a salient feature of the dance, and as her eyes eventually stare out

towards us they ache with relief grasping our attention in an abandoned moment.

ClimbingwithBareFeet,ChoreographyandVideo: Adesola Akinleye

Using ‘light’ as a choreographic tool, Akinleye cleverly manipulates visibility

as a means of structuring the performance and highlighting the dancers in

space.

Inspired by Ralph Ellison’s novel ‘Invisible Man’

Akinleye’s production ‘Climbing with Bare Feet’is

an athletically balanced performance by Sean

Graham and Daniel Baird. The set on stage

consists of a long rectangular sheet of white

fabric, raised to knee level and divided into a

triangular shape.

The stage is darkened and as the two performers dash and dodge each other, rolling under

the screen energetically thrashing through the available space, a projection appears upon

the fabric. After a moment one realizes this is the product of a reflection using a mirror to

bounce the projected images onto the screen. Most impressive, and as Lucy Howlett the

‘Light Dancer’ cautiously walks through the space, the dancing images travel across the

stage.

Two bodies suddenly become eight, then four, then twelve…. And the dancing images on

the screen become symmetrical to those in the space. They duplicate to become a live

painting on display in a gallery, there is a different dance to see, and visibility becomes a

selective process. The screen is periodically moved, to mark each change of space the

lights turn to full beam, and Howlett begins to adjust the set, this adds a sense of practicality

to the work and again, makes us feel as though we are part of an art installation. Akinleye

successfully changes the space in each transition of movement dynamic, set and musical

accompaniment, allowing us to feel refreshed and almost watching a new dance.

There is a large reliance on elevation and contact work in the dance, however at times this

is disappointing; transitions are sometimes weak and seem deliberate rather than organic.

This however does not detract from the exciting combination of sound, light and music in an

exploitation of architectural stature.

Adesola Akinleye was awarded the Bonnie Bird new chorographers award in 2006.

Interview…

21 and looking young!Corrine Bougaard, interviewed by Jeannette Brooks

When I look out over the sea of dance, with either my national or international

binoculars on, I hope to see kindred spirits, role models, names and faces that

inspire or challenge. And especially as a female voice in our field, I want to

know that a woman can have the positions of influence and profile that change

the landscape of Dance of the African Diaspora.

Realistically however, in the UK, those individuals that demand respect for the

above reasons are not that numerous. In fact they are few and far between –

but not because the talent is not there, perhaps the dance sector just does not

allow for long lived careers, or the professional opportunities that hold onto

the experienced and knowledgeable few.

Therefore, it is with pleasure that we have an interview with the often publicly

quiet Corrine Bougaard.

Jeannette Brooks (JB):

I would love to know when you started your affair with dance.

Corrine Bougaard (CB):

I started very young, 7 years old in fact. I loved mime classes and the imagination needed

there. I was also good at P.E. and did well in high jump and running. Plus my mother was

very good in performing arts. She was an actress and painter but there was a general

artistic influence from my family too; and now my husband, Peter Emina is a television

producer and director.

Linking things again to my family, as children we where encouraged to do as much as

possible. I got into the discipline side of dance, so ballet exams and grades and maybe that

part relates back to my church upbringing. I also took up contemporary dance classes (and

trained with Roland Joffre, the film director of the Killing Fields). Mum took me to see

Othello very young and Dad was an educationalist. All very stimulating stuff.

Another influence was of course the

family’s move from Cape Town, South

Africa and the Apartheid system, to the

UK in the late 50’s. We had to start over,

re-qualify for things and look for a new

home.

JB:

At the beginning of your dance relationship, did you have role models that you

wanted to be like? What or who did you aspire to as a dancer and then

choreographer?

CB:

I’m not that kind of person. My heroes and heroines where more political figures like Che

Guevara. I wasn’t inspired by dance and ‘dancey’ things and the fluffy ballet stuff was a bit

scary!

I would say that I was just as connected to sports people like tennis champion Arthur Ash

and his achievements. And then Mandela–and people like that captivated me.

I am nevertheless, fascinated by many choreographers’works and I think my work can be

seen as an anamnesis of different choreographic influences. Ailey and London

Contemporary Dance Theatre are close to me - but these are influences not role models.

And now, the work we (Union Dance) always focuses on is identity and enlightening

peoples lives. It all must relate and be relevant to the audience. That is what’simportant for

the dancers–that the company is a vehicle for change.

When I first started the company I was into quantum physics. It helped me to see that in life

everything moves, even down to the smallest particle. Spontaneous movement you know!

We are part of the mystery of Nature –harmonious and complex designs. Union Dance

refers to this in its’holistic philosophy. We are all interlinked at some chemical molecular

level. Artistically speaking, taking a cross section of things, looking at identity again,

highlighting the unity in all things and how the unconscious is brought into the body and

joins the mind, body and spirit, this is what we communicate in the company, but is not a

quick fix meaning of Union Dance. It’snot a very euro centric conscious approach but a

global approach to communication - our form of expressing ourselves as an organisation. So

through the love of dance I have been able to unite many of my other interests and thoughts

and take that artistic expression into peoples understanding.

JB:

What have been the major influences on your work from your cultural and ethnic

foundations?

CB:

I think what I’ve done is introduce as many non-European styles into the core of the

company’s identity.Everyone who sees the company’s work,has a different point of view

and this is what it is progressive. We don’t just throwin things; people are chosen carefully

to work with us.

So looking at Mickael Joseph –he is the benchmark for the company style - using the wave

work, Hip Hop, yoga, his 21 years of his work with young people and his knowledge of

media and camera work, give strength to us all.

It’s about focus and not being broken by tokenism. Most that goes on around us is

generational, and the issues of twenty years ago are changed but not radically different.

The subjects we touch on are critical to this company and they allow each person to be seen

as unique, giving them space to spiritually grow. Even the Union logo includes the circle for

the holistic perspective.It’s been said in the past ‘Planet Union’!

JB:

And in the future,

what would you

hope to see?

CB:

I think it’s very relevant to understanddeeply one’sidentity, past and present. Important for

a movement framework to have that knowledge and respect the knowledge, but not be

confined by it. It’s finding a balance - reaching forward to break out of confines of tradition.

Union Dance has worked a lot with Chinese, Asian and African movement languages so it is

about the art form first and foremost.

Union has had a positive effect on so many people and audiences. We hope to provide

challenges and expressions for young people and audiences and that is part of our mission,

to empower others through the arts.

Union Dance is celebrating their 21st Birthday this year.

Born in South Africa, Corrine’sdistinguished career at Ballet Rambert preceded her role as founder

member, choreographer, teacher and Associate Director of Extemporary Dance Theatre.

Corrine went on to found Union Dance in 1986. Awarded the first Arts Council bursary for an Artistic

Director of dance, Corrine was also a recipient of the Winston Churchill Fellowship: the first British

choreographer to research contemporary dance in Cuba. She has choreographed for many Union Dance

productions, including most recently a commission for The Henley Festival of Music & the Arts. Corrine

has spoken and given papers at conferences in Miami, Bologna and Shanghai and her interest is also in

the developing field of new technologies with dance. This she furthers as Associate Lecturer on the MA

Course in Design at Central St Martin’sCollege of Art & Design, London

Wazzzup Snapshot

Is there really a UK based African People Dance sector?

Yes, in terms of dance activity happening. Not really, in terms of a “community” within the performing arts sector having a sense of identity and common purpose, sector leaders or acommon development agenda. Despite the excellent efforts of ADAD (who provide a genuinecollective visibility and forum), APD has a surprisingly low profile in the wider dance orperforming arts world, far lower than in the 1980s/1990s.(Anon)

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

Thea Barnes1. On a day to day basis what makes up the content of your working life as a

dance practitioner?

As the Resident Dance Supervisor for the West End

production of The Lion King my days vary between

being teacher and administrator.

I audition, train, and manage all artists working with the

show. I work along side the Director, Musical Director

and technical staff by recommending then implementing

rehearsal and production strategies that keep the

integrity of the choreography intact and performed to the

highest level of excellence. It is my responsibility to

maintain the choreography of this West End Production

as set by the artistic vision of Director Julie Taymor and

Choreographer Garth Fagan.

As an independent dance researcher I write articles on dance and critiques of

performances and discuss investigations into dance practice. My particular interest is in the

research of the practice of dance within the African Diaspora. I also mentor up and coming

choreographers and tutor undergraduate dissertation students.

As a practitioner of movement I maintain a rigid personal regime of yoga, cardiovascular

and weight resistance training with ballet classes added in for good measure when ever my

schedule allows.

2. The UK dance scene. In what ways do you interact professionally with British

based dancers, companies, theatres, or organisations?

I am both a participant and observer of the British Dance community.

During Lion King auditions and then hiring of UK trained talent I am able to assess the

quality of training as well as aptitude for performance to meet the riggers of our production.

As an audience member, my work as a writer and

researcher allows me to see trends in movement,

plus with my association with organisations like

ADAD, Irie! Dance Theatre, Arts Council England,

Equity, Dance UK, The Place, LABAN Centre,

Surrey University and others, I am able to assess

cultural, social, and political impacts that affect the

practice of dance in Britain.

However, my attendance of conferences and meetings both here and aboard also provides

me with a global sense of dance practice. I try to understand dance as a universal practice

that each person in a given community does differently.

3. If you had complete artistic and financial freedom what kind of event or project

would you devise to promote African Peoples dance and all its styles to UK

audiences and venues?

I envisage a 10 year project with two years pre-planning of the initial event, making a total of

12 years. This event would be a three week engagement presenting dance for

entertainment and arenas for discussions related to, but not necessarily all about, dance.

There would be performances, areas designated for dance as a participatory activity and not

necessarily as spectacle, lecture demonstrations and conferences where papers on

particular subject areas are presented. Awards would be given perhaps for excellence but

also to dance practitioners in movement therapy, teaching or for having been active in

dance for an era.

This conference would certainly target dance practitioners, but ultimately strategies would

be devised to draw in members of the media and general public with less experience of

dance and its varied manifestations. Goals for the initial planning period and subsequent

years should be broken into 2 categories: short term and long term. Short term goals would

focus on the presentation of notable companies, presentation of papers and discussion

topics current for each year.

Long term goals would be designed to benefit practitioners and dance enthusiasts by

targeting areas of need within the British context; research to archive the work of a

practitioner, establishment of a youth group within a target area or schemes to provide 10

year support for a young choreographer and their company or other dance organisations of

a sort or even support for young movement therapists to work in health clinics in areas of

need through out Britain.

The yearly event is how interest is generated for the next year and so on till end of the 10

year period. The 1st year is also the time to choose the activities that will continue for the

next 10 years on a year in and year out schedule. Feedback, reports/lectures, or

performances resultant from the long term activities will be presented in each year during

the main event. Hopefully short term activities will keep the enthusiasm going while long

term activities continue in the community throughout each year. It is also hoped that long

term activities will continue pass the 10 year period.

A plan like this would be geared toward establishing dance activities that tap Africanist

dance practices; traditional/contemporary, hybrid or authentic, theatre and social recreation,

sacred, holistic and experimental practices. This plan also seeks to establish roots in target

communities to hopefully insure not just the practice but also high visibility over an extended

period of time.

4. Have you ever sensed a kind of glass ceiling in your career?

Of course but I always knew it was there and never allowed it to plunge me into thinking I

was any less capable.

5. What dreams / ambitions have you seen pass you by and what ambitions in your

career would you still like to achieve?

DREAMS: I auditioned and was asked to join the Alvin Ailey Dance Theatre while studying

with Dance Theatre of Harlem so you could say I missed a real in depth relationship with a

tutu…..

AMBITIONS: There are so many but they are personal goals… so, hummm, which will I

share in this forum? I’d like to achieve a yogic full arm balance!

6. As a dance practitioner what three words sum up your work as a performer,

choreographer and or teacher?

Keep on movin’…….!*

7. Do you feel there are any steps missing in ones career path for UK dance

artists?

It has been my experience that some dance artists in the UK lack a sense of legacy

especially those artists with strong interest in dance forms of the African Diaspora. The

history offered in dance training is incomplete and what is offered is Eurocentric and with

regard to Africanist expressions within the British context, the history is ill-informed or

unavailable - in effect, invisible. If the Africanist Presence in Britain is not reclaimed, restored

in name, protected and respected, we who do know will have but ourselves to blame.

No dance comes to fruition in a bottle. Whilst dance practices share on many levels, an

acknowledgement of basic tenets would go a long way in providing ALL UK dance artists a

true sense of their place in the evolution of dance in this country and the world.

I also believe training that encourages a dancing body capable of several different ways of

knowing movement is the final benchmark for dance training in this country.

8. What is your present interpretation of African Peoples Dance (APD)/Black

Dance and its relevance to the overall British dance scene and why?

At the beginning of the 20th century in America, dance mobilized its ideals and fortified its

belief systems for all American dance practitioners and particularly for Africanist practices.

African American practitioners set about re-writing dance history, acknowledging role

models and articulating their methods for dance making - rewritten to acknowledge many

overlooked dance practitioners and to dispel myths and misconceptions.

Dances, from theatre productions to social recreation, from traditional and sacred practices

to mergers with contemporary and classical ballet - became a means to soothe the spirit and

build confidence for African American communities.

In this 21st century universities and public establishments like the Schonberg Library, New

York Performing Arts Library, Library of Congress in the States now carry dance programs

and libraries stocked with everything from videos to notation scores to newspaper clippings

to encyclopaedias detailing the dance practices of all Americans. The Africanist presence is

there. African American dance practice and practitioners are acknowledged and have

established their credibility and recognition. The evidence is clear and there is no doubting

the undeniable contribution and indelible effect and presence of Africanist dance practice on

all American dance.

The contribution of Africanist dance practice in performance, social and recreational

forms in Britain is also just as present and prevalent.

In this country though the history is still unwritten, credibility unsubstantiated, recognition,

marginal. However, write African Dance Classes in your internet browser, narrowing your

search to the UK and you will hit several individual sites and links offering classes.

Performances at Sadler’s Wells, The Place and the Barbican Centre list companies with an

African presence.

Africanist dance practices form the foundations that enable creativity in jazz and break

dancing and its derivative, street dance.

Street dance has revolutionised dance

performance in the music and film

industry just as vernacular jazz dance

revolutionised dance performance for

early 20th century musical theatre. Street

dance is not just popular, it is endemic

being taught everywhere from leisure

centres to Pineapple Dance Studios in

London.

Musical theatre also owes much of its early development to Africanist music and dance

traditions found in American minstrelsy. British musical theatre benefited from this

transliteration of Africanist expressions. Practices from the continent of Africa, related

expressions from South America and Caribbean add to social forms with samba, salsa and

Capoiera illustrating the practice of Africanist forms in Britain is on going.

The demise of major dance groups Kokuma and Adzido with their overt African expressions

is only the demise of these high profile companies. It is certainly not the demise of the

practice.

9. What keeps you focused and motivated?

Faith.

10. What advice or ‘words of wisdom’ could you offer to those people working in

the APD / Black dance arena?

Never lose sight of your dreams. Inspiration and belief in your self and strength in your body

can make any goal obtainable. Trust.

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.

Review…

ROH2 presents

Ballet Black31 January–3 February 2007

Royal Opera House,

Linbury Theatre

Reviewed by

Francis Angol

The stealth of a gazelle poised with the grace and elegance of a Nubian spirit

is the only way one can describe the amazing opening of Ballet Black’s

current season of works by four choreographers.

Audiences were enthralled with the return of this flagship ballet company to the

Linbury with four works that demonstrated the skill and professional delivery of the

performers and thus the company.

The works, a revival of Antonia Franceschi’s Shift, Trip….Catch, set to a live cello score

specially composed and performed by Zoe Martley; Bawren Tavaziva’s 2004 Place Prize

finalist work, Umdlalo KaSisi is transformed into a classical ballet, fused with traditional

African movement drawing its inspiration from the death of a loved one, and accompanied

by his own musical composition; Liam Scarlett’s brand new work Hinterland - inspired by

the music of Shostakovich, and Taniec, a classical trio choreographed by company ballet

Master Raymond Chai.

The main high points of the evening were to

see the company perform Hinterland and

Shift, Trip….Catch. Hinterland –one of two

ensemble piece of the night gave the company

the opportunity to showcase its talent. Never

the less both works really allowed the

performers to illustrate the skill of their art,

allowing audiences to really appreciate and

acknowledge the depth of quality in technique

and style.

In the first piece, Taniec, dancer Hugo Cortes leaps on stage with an overwhelming rush of

creative energy that is projected far back into the upper galleries of the Linbury Theatre of

the Royal Opera House. The work was captivating in its fluidity and elegance of particular

note was Chantelle Gotobed the only female in the trio. She held the piece together and

engaged the audience with a strong performance.

Umdalalo KaSisi, in contrast, was an emotive piece where one felt the pain of loss

juxtaposed with hope that can come through the coming together of people. This ensemble

piece was performed well with a powerful music score that had an African sensibility. One

would have liked to see this piece performed with a stronger ballet signature rather than too

much of a contemporary dance placement.

Shift, Trip….Catch, was an exciting and enjoyable combination which came to life in a

frenzied second half which was marked by powerful dancing from Damien Johnson, So-

Yeon Kim and Monica Stephenson.

Ballet Black does not receive any regular sponsorship but relies on the generosity of its

supporters and the dedication of its company members. Artistic Director Cassa Pancho, who

herself trained at the Royal Academy of Dance founded BB in 2001, a year later the BB

school and in 2004, the BB Association Programme, which currently has over one hundred

members.

The company is now housed at the

Royal Opera House, Covent Garden.

The company continues to inspire

young aspiring dancers by offering

open classes, training side by side

with company members.

Cassa views BB as a vehicle to showcase the skills and talents of black and Asian dancers

working in the field of classical ballet, producing role models and setting standards for future

generations.

The Linbury Theatre was well suited for the staging of the evening’s presentation and was

very well attended. The audience in a sense represented the nature of the company’s work

–diversity hand in hand with ethnicity in an all embracing mode of entertainment that was

delivered with precision. The crowd, an equal balance of the gender spectrum consisted of a

wide range of age groups made up of what appeared to be an amalgamation of friends,

families, staunch supporters and interested individuals from the general public. This was a

most pleasing spectacle to see a company of this nature making ballet accessible to a new

and wider audience - well done Ballet Black.

Overall a most enjoyable and entertaining evening’s performance that proved to be good

value for money. This company is one with a grounded philosophy with crowd pulling skills

through its work and hopefully will have a great and long future.

The production was supported and mentored by the Royal Opera House’s ROH2

programme.

Vision

ADAD is committed to making Dance of the African Diaspora (DAD) visible and valued at

the centre of dance practice and appreciation - enhancing its contribution to the social,

cultural and educational development of a multi-cultural Britain.

Mission

ADAD exists to support the practice and to enhance the appreciation of Dance of the

African Diaspora (DAD), primarily within the subsidised theatrical dance sector.

Infrastructurearticle…

ADAD NewsBy Pamela Zigomo, current ADAD Development Manager

It’s a new Season for ADAD!Over the past thirteen years ADAD has been the main representative voice of

Black dance or Dance of the African Diaspora (DAD) within England.

Over the past four years, ADAD have benefited from of a mentorship under the Strategic

Alliance with Dance UK which has enabled us to initiate key changes and develop as an

organisation in skills and experience.

Changes to come

In the next financial year ADAD is working on becoming an independent organisation with

the legal structure of a charity and company limited by guarantee. The next five years of

activity will see ADAD focusing on consolidating its advocacy role and maintaining the gains

made in communications while building capacity as a new independent organisation. The

vision and mission statements of the organisation have been changed to the following:-

New places and faces

After over 10 years in the exciting and creative

atmosphere of Battersea Arts Centre in

Clapham Junction, ADAD has moved offices

with Dance UK to another artistic venue,

Finsbury Town Hall in Rosebery Avenue in

central London.

ADAD is also currently recruiting for a Director and Communications Officer as part of the

move towards becoming an independent organisation.

This will be the first time in ADAD’s history that the organisation will have a Director. From

the time since ADAD was formed in 1994 till 2004, members of the ADAD Steering

Committee, would work on a near voluntary basis in the office dealing with administration,

management of the database and production of the quarterly newsletter. ADAD was able to

recruit a full time Programme Development Manager in October 2004 and in March 2005

ADAD attained ACE Regularly Funded Organisation (RFO) status and increased the staff

team with additional part-time administrative and financial support. After the new staff

recruitments, ADAD will begin the process of increasing its board members in summer 2007.

Benefits of the Strategic Alliance

The strategic alliance with Dance UK has proved to be extremely beneficial to both parties.

During the period of the Strategic Alliance ADAD has re-launched the Hotfoot magazine

online, delivered successful forums in London, the North West and South West regions and

produced a landmark exhibition; Black Dance in Britain 1930’s – 1990’s Moments... ADAD

also improved its communication and branding strategies: producing a new logo, website,

an up-to-date promotional brochure and other successfully received profile raising publicity.

These activities have revitalised ADAD and provided the opportunity to further focus ADAD

activity.

On the other hand Dance UK has gained greater

knowledge of dance forms of the African Diaspora and

increased contact with professionals working with these

dance forms. This has enabled Dance UK to diversify and

expand its membership and attendees at mainstream

dance events.By providing ADAD’s members with a year’s

free membership to Dance UK, Dance UK has been able

to raise awareness of the organisation’s work within the

African Dance sector.

What will the future hold?

ADAD and Dance UK will continue to work collaboratively during and beyond the exit

process to deliver the objectives of the organisation, lay the foundations for future growth

and manage expectations of its pivotal role in the dance community. The organisation will

also look to nurturing new relationships and find partnerships and to facilitate and support

original projects whilst also lobbying on behalf of the sector to continue to enhance both the

appreciation of and funding to the Black Dance sector.

As the organisation continues with its restructuring and recruiting of new staff and board

members we hope you will continue to support and engage with us in order to achieve

ADAD’score objectives as it positions itself as a valued, respected and essential member of

the Dance sector in the UK.

Wazzzup Snapshot

Is there really a UK based African People Dance sector?

I am very alert that African People’s dance is everywhere and has in part been taken up by urban youth culture across the UK. It is however, not one homogeneous set of dances; it is itselfculturally diverse dependent on origin, aspiration and context(Anon)

Insight

Journeys of the ArtistsIt seems obvious that time and experience affects our work

and lives. How this is transmitted to our art and expression

is less clear.

However Hotfoot has asked three practicing dance artists; each at a different

point on the career ladder ‘so what is it all about and how does it happen!’.

Taking the time to think through our questions are Zeze Kolstad, Diane

Mitchell and Menelva Harry.This is what they had to say…

1. How and why did you start dancing? What was the catalyst…?

Zeze Kolstad Diane Mitchell Menelva Harry

Having a mother from the

dancing nation Brazil has

always been a strong

influence.

I started taking ballet

classes at the age of ten

with a friend from school,

and decided at the age of

fifteen that this was

something I wanted to

peruse.

The catalyst for me when it

comes to dancing was the

joy dance in itself gave me.

I‘ve always had a love of

dance and music.

Throughout my teenage

years, I performed with a

local youth steel band, and

rehearsed in the same

building as Kokuma Dance

Company.

I remember peering

through the windows and

thinking, ‘I wanna do that’.

It was several years later

while living in France that I

put those words in

practice.

I studied African dance

(movement language of

the Fon/Ewe tradition,

Senegambian and Congo

regions) under the

auspices of Jean Fortune

de Souza and Lolita

Babindamana, which

quickly progressed into

performing career.

I became interested in

dance at secondary

school, when my deputy

head teacher, Mr. Turner,

invited a group of us pupils

to watch London

Contemporary Dance

Theatre. I was about 10 or

11 years old and was

blown away by their

performance. Dance then

became my best new

thing. We pupils talked

about it so much that Mr

Turner set up a dance

class for two terms with

LCDT dancer Annie

Annick.

My enthusiasm for dance

was in no way looked at

as a career. I was

committed to gymnastics

and dance helped my floor

routines which I enjoyed

creating. But by the time I

was 14, I realised I was

increasingly involved in

dance and less in

gymnastics.

2. Did you always feel part of the dance world you entered as a young dancer /

artist and where there any events that changed your thinking towards your dance

outlook?

Zeze Kolstad Diane Mitchell Menelva Harry

No, I didn't always feel

part of the dance world. I

grew up in Norway in a

very white environment

and didn't at the time have

many black role models in

dance.

The ‘dance sector’ can

often seem like a strange,

amorphous thing, which is

matches my career’s

constant ebbs and flows.

NO. I don’t think I felt a

part of the world until I

finished my training at the

Northern School of

Contemporary Dance.

This changed when I

moved to England.

I have worked with several

black dance companies

here, like RJC, ACE Music

and Dance, State of

Emergency projects etc. I

have had the privilege

working with skilled black

dancers and

choreographers like David

Hamilton, Donald

Edwards, Gail Parmel,

Joanne Moven, Bawren

Tavaziva and many more

have inspired me.

England is such a rich

country when it comes to

the arts. There are artists

from all over the world and

with different heritage,

who collaborate and work

together. This will always

have a positive effect in

the arts.

Sometimes I have been

highly active in

performance, other times

more reflective

undertaking research, and

even nursed a serious

injury. All these things

affected how much I have

felt part of the dance

world.

I think that I have often felt

on the margins, although

as I’ve gotten older I have

really begun to see more

clearly my peer group and

feel very much part of it.

Being a part of something

often includes involvement

and I’ve had moments,

now and then, that made

me feel part of the dance

world.

However, I feel more

involved in the dance

world when I am in the

studio improvising,

devising, researching

material. This is when I

can be completely

immersed in what I am

creating, plus when I am

also involved with funders,

other artists and

auditioning new dancers.

Nina Fonaroff, who taught

choreography at NSCD,

turned my love of dance

and performance into a

focus on choreography.

3. What are the biggest influences on your artistic development–is there

something or a message that you try to express?

Zeze Kolstad Diane Mitchell Menelva Harry

I think one of my biggest

influences would be my

mixed heritage, having

roots in Brazil and

Norway. I get inspiration

from both cultures.

Regarding my

choreographic work I am

still trying out what comes

to mind or ideas that pop

up. I do not want to restrict

myself to a specific theme

or message. I want to be

able to express myself

freely.

However I am interested in

the relationships between

people. When I look at the

works I have created in

the past, I would say that

they are theatrical, playful

and articulate.

My great influences have

been those

choreographers who can

delve deep into a cultural

movement language and

infuse it with a

contemporary language,

as oppose to

contemporary dance.

Vincent Mantsoe, for

example, brings a richness

and freshness to how his

body fills time and space

through intense South

African ritual and

spirituality.

This is what I try to

achieve and have worked

with Vincent to understand

his processes and

practices.

Seven years ago, whilst

looking for an added

ingredient to my artistic

development and

creation of movement

through improvisation, I

discovered what is now

the biggest influence -

Bagua martial Arts.

Two years later I enrolled

on an intensive course in

China. Five years on I

continue to develop/

create my own language

using Bagua and other

martial arts forms.

However my message is

feminine strength.

4. What are the biggest challenges / obstacles to you achieving exactly what you

want artistically and how do you want audiences to receive your work?

Zeze Kolstad Diane Mitchell Menelva Harry

I think every

choreographer’s challenge

is how to get your idea

clearly across to your

dancers and for them to

understand, embrace and

execute the idea with

energy and passion.

It is important for a

choreographer to have

good communication

skills, being able to

challenge the dancers,

inspire them and be a

good leader.

I know that not everybody

will like the work that I

create. But it is important

for me that

It reaches a broad

audience, and that people

generally - not dancers or

those particularly into the

arts, can enjoy my work.

Alongside my performing

career in dance

companies, I have worked

with international

choreographers to create

two solos. I have

performed them in the UK,

and had an international

performance in Armenia.

However, I still feel way off

from where I would like to

be.

The solos did not really

get a chance to have a life

in order to evolve and

grow.

Apart from the usual

struggle to gain funding, it

also relates to the difficulty

in achieving any sort of

career progression or

growth upwards and

forwards. I think this is

one of the major

hardships.

It’s afinancial struggle as

we all know, trying to

create work, earn a living,

maintain a high level of

performance and training,

in addition to funding,

accommodation, travel….

Space! With Pegasus

Theatre, Oxford closing in

April 08 (which will

increase my project

budgets by 25%-35%),

trying to negotiate a

reasonable fee for space

in Oxford is becoming one

of my biggest challenges.

I would like my audience

to be challenged, inspired

and feel a sense of

enjoyment, experience the

unconventional through

dance, music, costume

and design.

5. In five years time what would you hope to see in the dance sector of dance of

the African Diaspora?

Zeze Kolstad Diane Mitchell Menelva Harry

I would like to see a

greater growth of dance of

the African Diaspora and

hopefully see some more

collaboration across

boarders.

I hope to see artists in the

UK achieving more large

scale productions and

tours, particularly on

stages such as Sadler’s

Wells. And greater

support for female

choreographers here.

I would like the sector to

embrace artists of African

decent whose work also

embraces non African

traditions and styles.

The African Diaspora lead

to the settling of people

around the world, and it

would be equally

interesting to see how the

movement of people has

challenged what we see

as dance from the African

Diaspora.

Hotfoot Edition 5 - Credits and NotesNotes:

Our thanks to all the contributing photographers

Thanks to:

Clarie Middleton and Adzido