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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:

natalie.andrews@dsl.pipex.com

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: Keren.Kossow@theplace.org.uk

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

katy@danceuk.org. 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