La Danse Noire Magazine Premier Issue No 1

ISSN 2376-452X (print)ISSN 2376-4511 (online)

NO 012 0 1 5

EXCLUSIVE INTERVIEW “A DAY OF DUNHAM” RED CARPET HONOREEFRANCES TAYLOR DAVIS

SPECIAL FEATURE:My Journey in Dance

Panel Discussion with the experts

Restoring Our LegacyHalifu Osumare

FASHION: WHAT IS YOUR PERSONAL DANCE STYLEHOW DO YOU VISUALLY DEFINE AND CHOOSE TO DRESS FOR YOUR ART?

VANOYE AIKENSA LEGACY TO KEEP!

The Relevance of Dunham

It all matters . . . the groundwork

is in place!

PREMIER ISSUE, LIMITED EDITION

HONORING THE LEGACY OF KATHERINE DUNHAM

GO WITHIN EVERY DAY AND FIND THE INNER STRENGTH SO THAT THE WORLD WILL NOT BLOW YOUR CANDLE OUT.KATHERINE DUNHAM

La Danse Noire, Inc. – Mission 6 Letter of Support Martin Luther King III 8 Letter of Support Rev. Dr. C. T. Vivian 9 Letter of Support Mother Amelia Boynton Robinson 10 From the Publisher 12 Board of Directors/Board of Advisors 13

Restoring Our Legacy 14

Tourist Destinations 18 The Katherine Dunham Museum Former Dunham Private Residence

The Katherine Dunham Centers for Arts and Humanities 21

Institute for Dunham Technique Certification 22

Katherine Dunham and Her Music 23

Red Carpet Legend Honoree: Frances Taylor Davis 24

Co-Hosts “A Day of Dunham” 30 Order of Programme “A Day of Dunham” 31

Stellar & Special Recognition 32 Ed Brown • Trina Parks • Otis Sallid

Community Service Awards 33 Penny Godboldo • Robert McCray • Derrick Boazman

Posthumous Recognition 34 Vanoye Aikens • Archie Savage • Al Phillips Valjeanne Taylor Grigsby

Vanoye Aikens 36 Vanoye Aikens: Dunham Leading Dancer Vanoye Aikens: A Legacy to Keep

My ‘Katherine Dunham’ Experience 38

Fashion – “What is Your Personal Dance Style?” 40

The Relevance of Dunham 42

My Journey in Dance 43

The Late Dr. Katherine Dunham – International Dance Icon Has Her “Legacy-Inspired” Day in Atlanta 44

Spotlight on Talent 54 April Berry • Lauren Cox • Bruce Hawkins Jai Jones • Halifu Osumare

Be the Change PEOPLE, Inc. 62

Collaborators 63A R E A • Amazing Grace Dance Company • Elevated Places Dance CompanyInstitute for Dunham Technique Certification • Soweto Street Beat Theatre

Dishes for Dancers: 65 “Serve them Shrimp Fettuccine Alfredo”

CON

TEN

T

RESTORING OUR LEGACY

RED CARPET HONOREE

FASHIONWHAT IS YOUR

PERSONAL DANCE STYLE?

COMMUNITY SERVICEAWARDS

POSTHUMOUS RECOGNITION

FEATURED COMMUNITY SERVICE

ORGANIZATIONBE THE CHANGE

PEOPLE, INC.

STELLAR & SPECIAL RECOGNITION32

14

24

6240

33

36

MISSIONLa Danse Noire is a non-profit, educational organization based in Atlanta, Georgia (USA). Its primary mission is to illuminate Black dance through various presentations including print, broadcast, live performances and other public mediums.

The online repository is a compilation of images, photos, reports, articles, obituaries, tributes, events and oral accounts. The print publication will be produced quarterly to celebrate the history of Black dance, its pioneers and the ongoing continuum in the field.

BOARD OF DIRECTORSRobert L. Adams, Ph.D.Kim BurlesonJewel L. Crawford, M.D.Sherri HamiltonJennifer HendersonCarol LloydRobert McCray

BOARD OF ADVISORSAlex BoicelLeah Creque, Ph.D.Kevin H. DonanTony NewtonJohn ParksTrina ParksPeter RuizWalter RutledgeIantha Tucker, Ph.D.

PUBLISHED BY:La Danse Noire, Inc.P. O. Box 361780Metropolitan Atlanta, Georgia 30036

WEBSITEwww.ladansenoire.com

CONTACT678.661.7342

CREATIVE TEAMCarol LloydFounder/Publisher/Executive Producer

Ann E. Harris, Ph.D.Editor in Chief

Jewel L. Crawford, M.D.Copy Editor/Writer

LaTanya DavisCreative Director Jim AlexanderEvent Photographer

Robert C. WalkerPress & PR/Sponsorship Development

CONTRIBUTING WRITERS/ VIDEOGRAPHERSRobert L. Adams, Ph.D.Adawale AdekanbiCalvin AndersonLeah Creque, Ph.D.Kevin H. DonanPenny GodboldoBruce HawkinsJohanna LjungQvist-BrinsonJomo MorrisTrina ParksHalifu Osumare, Ph.D.Walter Rutledge

COLLABORATOROut & About (O&A) NYC MagazineWalter Rutledge, Editor in Chief

7WWW.LADANSENOIRE.COM

... LIFEREQUIRES

DANCE

8 LA DANSE NOIRE MAGAZINE

Ms. Carol LloydFounding PublisherLa Danse Noire, Inc.Post Office Box 361780Decatur, Georgia 30036

Greetings to ever yone involved in this most timely event to celebrate the l ife and wonderful legacy of Ms. Katherine Dunham; a giant in the fields of dance, scholarship and international activism.My mother, Coretta Scott King shared the stage in 1987 with Ms. Dunham when both were being honored by the National Coalition of 100 Black Women at the Candace Awards held at the Metropolitan Museum in New York City. Both women started their careers in the arts with Ms. Dunham as a dancer and my mother an opera singer; but their contributions to society went far beyond the arts to fighting for the rights of marginalized people all over the world. Both women were humble and wise enough to embrace the call of the larger purpose for their individual gifts by being will ing to ser ve humanity. We do well to emulate them.

A LETTERFROM

MARTINLUTHER

KING II I

Atlanta is truly fortunate to host the program highlighting “A Day of Dunham: Restoring the Legacy” in our city; a central location for the struggle for global human rights and an inspiring place for black arts and entertainment . It gives me great pleasure to say welcome and congratulations to La Danse Noire, Inc. on your efforts to promote and protect the rich legacy of Ms. Dunham and all of our people. May God continue to bless and keep you in His care.

Sincerely,

Martin Luther King, III

234 SUNSET AVENUE NORTHWEST • ATLANTA, GEORGIA 30314

THE VILLAGE OF HOPE, INC. Post Office Box 333

Tuskegee, Alabama 36087 Telephone: 334.552.1712—334.209.9419

Email: [email protected] Website: www.villageofhope-tuskegee.com

Board Members: Chief Leon E. Frazier (Ret.), Chairman, Mr. Alphonso Moore, Secretary/Treasurer, Rev. Kenneth G. Jones, Dr. Ronald Scott McDowell and Ms. Sharon J. Hill

“Fulfilling Her Vision and Perpetuating the Legacy of Amelia Platts Boynton Robinson: one Child at a time”

“A vote-less people is a hopeless people!”

M rs. Amelia Boynton Robin-son is a 103 year old wom-

an who has stood for right all of her life. She was Born in Savannah,

Georgia in 1911. Her civil rights activities began at age 9 as she

traveled by horse and buggy with her mother Anna Eliza Hicks teach-ing colored people to register and vote in the 1920s. She moved to Selma and registered to vote in 1932. She and her first husband, Samuel W. Boynton, dedicated their lives to public service by

fighting to enhance the quality of life for Black Americans. They were

discriminated against by Whites; and ostracized by many Blacks. Mr.

Boynton was driven to an early death, and Mrs. Boynton was false-ly arrested on the streets of Selma by Dallas County Sheriff Jim Clark. Moreover, she was beaten-down on the Edmund Pettus Bridge on

March 7, 1965 (Bloody Sunday), by Alabama state troopers and other lawmen. Her differences with law enforcement were reconciled in

2007. Her monument stands at the foot of the bridge thanks to the

National Southern Christian Lead-ership Conference Women’s Or-ganization, alongside U. S. Cong. John Lewis and Civil Rights Icon,

Hosea Williams. She visited Germa-ny, Italy, Bahamas, as well as many

American cities inspiring young people to stand-up for their civil

and human rights. Her awards and honors are too numerous to men-tion. She is a writer, historian and publisher. Approaching 100, Mrs. Robinson dreams of a Village of

Hope, designed to identify and save some of our children from them-selves first, and everything else

next.

October 10, 2014

Mrs. Carol Lloyd Founding Publisher/Executive Producer “A Day of Dunham: Restoring the Legacy” Atlanta, Georgia

Dear Mrs. Lloyd:

It is with great pleasure that I write and send this letter in support of your “A Day of Dun-ham: Restoring the Legacy,” production recognizing the extraordinary contributions of Mrs. Katherine Dunham. You are to be commended for this thoughtful act, as well as all that you have done for me.

As I look back on my life and experience so many people telling me that they are “standing on my shoulders,” I am constantly telling them to “get the heck off my shoulders, because you can-not do anything standing, it is time to move forward.” It is research and productions like yours, which bring forth the legendary contributions of dance pioneer Dunham that ensures that her life was not in vain. Young women like you, Activist Audri Williams, Congresswoman Maxine Wa-ters and countless others also show proof that the 93 years that I dedicated to the human, civil and voting rights movements were not in vain. God is good.

Keep up the good work and do not allow anything or anybody to turn you around. I pray for God’s blessings on your October 25, 2014, endeavor.

Yours Truly,

Amelia Platts Boynton Robinson

.


... DANCEREQUIRES

PASSION

A MESSAGE F R O M T H E

PUBLISHER

Salut!

My journey through dance began in my teenage years in my hometown of Springfield, IL. I was very fortunate to have received specialized dance training from one of Katherine Dunham’s protégé’s from the Performing Arts Training Center (PATC) – Jackie Thompson. Jackie opened The Thompson School of Dunham Technique in an upstairs studio located downtown. I vividly recall the extensive training and rigors of daily practice while dancing barefoot and training in dance for the first time in my life. We were required to wear flesh toned or black tights with leotards and dance girdles every day – replete with colorful geles and lapas when we performed. I loved it! It gave me focus and channeled my creative energies directly into the arts. Also, it opened up a magical Universe where I immediately met people from all over the world. Ms. Dunham hosted artists at the PATC in East St. Louis and Jackie would bring them to Springfield. I met dancers and performing artists from Senegal and Brazil, and was introduced to dances from Haiti, Jamaica and West Africa.

During this time I also met Mr. Archie Savage – principal dancer with Katherine Dunham. It was Mr. Savage who took special care with me. He encouraged me to always maintain good posture and to carry myself with quiet dignity. Of course, I fell in love with him. When I do the math, he must have been in his early sixties then. In me, he saw promise. In him, I experienced compassion. That compassion, coupled with training that I got from Jackie was the foundation of my entrée to the magical Universe of dance. At that time, in addition to dance lessons I was trained on how

EDIT

ORI

AL

to run the studio, how to teach and facilitate classes for the children and how to maintain the studio on a daily basis – all as a sixteen year-old! I was selected to join the company and was able to perform the ritualistic dances on community stages. The standards for everything were extremely high; I felt very, very fortunate.

When I left my hometown, I moved to Denver and eventually danced in my second company (Irepo) with Baba Adetunji Joda (Nigerian father of African drum and dance in the Colorado region). That was the beginning and ending of my career as a dancer. However, my gifts in dance are magnified at the administrative level. La Danse Noire encapsulates my entire journey from the beginning until the end. There was no way I could be at this point and not honor my mentor Katherine Dunham. Not only did she leave me with such a legacy, but she changed the course of my life as she did with so many others. Doors were opened for me without my direct knowledge and many opportunities became available that would not have otherwise. For this, I am eternally grateful.

It was the words of Mother Amelia Boynton Robinson (Mother of the Voting Rights Act) that resonated with me upon moving forward with La Danse Noire. She said “Get off of our shoulders. Stand on your own two feet. It is now time for you to make a difference.”

That is my hope with this publication – to make a difference in Black dance by celebrating, promoting and preserving our rich and meaningful heritage. I invite you to join me as we take the next leg of the journey together!

CAROL LLOYDFounding Publisher/Executive Producer


Board of... DIRECTORS

ADVISORS

ROBERT L. ADAMS, JR., PH.D.

SHERRI HAMILTON

ALEX BOICEL

TONY NEWTON

KIM BURLESON

JENNNIFER HENDERSON

JEWEL L. CRAWFORD, M.D.

ROBERT MCCRAY

KEVIN H. DONAN

TRINA PARKS

LEAH CREQUE, PH.D.

JOHN PARKS

PETER RUIZ WALTER RUTLEDGE IANTHA TUCKER, PH.D.



How can one begin to write about a great human being like Katherine Dunham—a person who affected so many facets of our l ives? One can use terms like world famous dancer, choreographer, author, anthropologist , social activist , or even humanitarian, and one would only begin to fathom the person behind the words. Each one of us is a complex being, but when one comes upon a person of extraordinar y accomplishments like Miss Dunham, the complexity abounds. Born in 1909 during the turn of the centur y Victorian era in the small town of Glen Ellyn, I l l inois to parents of African, French Canadian, and American Indian ancestr y, she was destined to become one of the great international figures of the 20th and early 21st centuries.

What makes Katherine Dunham so great? The fact that she founded the world’s first predominantly black dance company that was internationally recognized could be a part of the answer. Along with the famous colorful costumes and set designs by her designer-husband, John Pratt , the Dunham company became world renowned. It became the launching pad for so many il lustrious careers: Eartha Kitt , Julie Belafonte, Talley Beatty, Archie Savage, Vanoye Aikens, Francisco Aguabella, Jean-Leon Destine, Lucille Ellis, Tommy Gomez,

What makes Katherine

Dunham so great?

KATHERINE DUNHAMRestoring the Legacy

By Halifu Osumare, Ph.D.


Modern dance style that combines Caribbean folk movement, ballet, in the inimitable Dunham modernist approach

and Ruth Beckford, just to name a few. The company performed on six continents between 1938 and 1965, often with a full orchestra and singers, and auditioning dancers while on tour in South America, the Caribbean, Europe, and the U.S. The Katherine Dunham Dance Company was indeed a performing mini-United Nations, and a practical vision of the rhythms, beauty, and pageantr y of the African diaspora, including the U.S.---long before that term was ever coined.

Her personal and professional l ife is a fascinating tale. She started her first fledgling dance company, known as Ballet Negre (the Negro Dance Company), while studying anthropology at the University of Chicago with some of the founders of American anthropology. The famous Africanist Melville Herskovits at nearby Northwestern University also prepared her for her seminal work in the Caribbean. These seminal anthropologists encouraged her to synthesize dance and anthropology, which she did during her fieldwork for her Master’s thesis in Jamaica, Trinidad, Martinique, and what was to become her second home, Haiti. The Katherine Dunham Dance Company, established after her 16-month Caribbean fieldwork, became Katherine Dunham’s vehicle for her major contribution to the concert stage. She translated her vision of dance in the Africa diaspora during nearly 30 years of World Tours, performing her repertoire of over 100 ballets for on famous concert stages, as well as Hollywood, Broadway, nightclubs, and opera.

During the dance company’s touring years, she instituted The Katherine Dunham School of Arts and Research in New York City in 1946, later expanding to The Katherine Dunham School of Cultural Arts in 1952. It was during this period of the school that the world famous Katherine Dunham Technique, a modern dance style that combines Caribbean folk movement, ballet , in the inimitable Dunham modernist approach, was born. The school was unique in that it not


only gave professional dance classes in several genres besides Dunham technique, but also taught music, drama, languages, and anthropological f ieldwork techniques. It became her institutional base where Dunham Technique was developed and codified. The classes were populated by many stage and Hollywood celebrities, making it one of the few places where the races could study together during segregated America. The Dunham School was unique in that it also offered one to three-year certificates, accredited by nearby Columbia University.

Part of her acclaim and mystique was due to her unique approach as an artist-scholar. In anthropology, she continued to lecture after her years at the University of Chicago, including at Yale and the Royal Anthropological Society in Brussels and London. While she directed her company, she published several ethnographies and biographies, including Dances of Haiti (1947, 1956, 1983), Journey to Accompong (1946, 1971), Island Possessed (1959, 1994), and A Touch of Innocence (1969, 1994). Miss Dunham received numerous honors and awards, such as in 1957 the government of Haiti gave her its highest honor with Chevalier of Haitian Legion of Honor and Merit , and in 1983 she received Kennedy Center Honors for Lifetime Achievement in the Arts. Katherine Dunham also received numerous honorar y doctorates from prestigious universities from throughout the U.S.

Yet it is the Dunham Philosophy, dance as a “way of l ife,” after the disbanding of her dance company, which created the next stage of her l ife: the application of her technique and philosophy to community development in the economically depressed black community of East St . Louis. The philosophy behind the Katherine Dunham Technique,

based in the integration of my mind, body, and spirit , became a tool to see if the arts could make a difference in people’s l ives, and the Performing Arts Training Center (PATC) was born in the mid-60s in East St . Louis. During this period she lived both in Port-au-Prince, Haiti , and East St . Louis, I l l inois, and as a world humanitarian she was ever vigilant to the injustices, particularly against her beloved Haitians.

Part of her acclaim and mystique was due to her unique approach as an artist-scholar.


Today, several organizations continue the Dunham Legacy. The Institute for Dunham Technique Certification (IDTC), starting in 1994, maintains her standards for new generations of teachers to become Dunham Certified Instructors with an annual Certification Workshop in various national locations. The Katherine Dunham Center for the Arts and Humanities (KDCAH) is the non-profit organization that oversees the institutions and cultural work that she started in the Southern Il l inois region. The PATC, Institute for Intercultural Communication, The Katherine Dunham Children’s Workshop, and the Katherine Dunham Museum, today are all housed in East St . Louis. KDCAH is administrative guardian of these programs, as well as the Annual Katherine Dunham Technique Seminar each summer. When asked why she chose East St . Louis and Haiti as homes, after l iving in the greatest cities throughout the world, she simply said, “I always go where I am most needed.” Katherine always tried to make a difference and in the process has become one of the world’s great humanitarians.

Over her l ifetime, Katherine Dunham accomplished many firsts as a dancer, choreographer, anthropologist , educator, author, and world humanitarian. She died on May 21, 2006 in New York City, but her legacy continues through the efforts of her daughter, Marie-Christine Dunham-Pratt , and the many organizations that she has left us. Although it was Miss Dunham’s wish to be cremated, she often said that she wanted a simple phrase on her tombstone,” She Tried.” Yet , toward the end of the 90s she changed her mind, and said, “It should read: SHE DID IT!” Indeed she did!

I always go where I am most needed.

Scott Lokitz, Photographer

A TOURIST ATTRACTION


KATHERINE DUNHAM’S PHYSICAL LEGACY IN EAST ST. LOUIS, IL

532 N. 10th StreetEast St. Louis, ILMiss Dunham’s Former Private Residence



1005 Pennsylvania AvenueEast St. Louis, ILThe Katherine Dunham Dynamic Museum


The museum was first established in Alton, I l l inois in 1967 by Miss Dunham and her late husband, John Pratt . The first museum established in East St . Louis opened in 1969 as the Dynamic Museum.

In 1977, Miss Dunham moved her collection of African, West African, and South American art to East St . Louis, IL to the two-stor y English Regency Townhouse formerly owned by Judge Maurice Joyce. This landmark building appears on the Il l inois Historic Register, and is located within the Pennsylvania Avenue Historic District registered with the National Trust for Historic Preser vation.

1005 Pennsylvania AvenueEast St. Louis, ILThe Katherine Dunham Dynamic Museum



THE KATHERINE DUNHAM CENTERS FOR ARTS &

HUMANITIES, INC. (KDCAH)

Katherine Dunham is probably best known as a legendary dancer, who with her dynamic choreography, propelled the awareness of the cultures of the African Diaspora.Her famous dance technique reflects a fusion of many cultures.

Miss Dunham was a true renaissance woman. She was an artist, anthropologist, author, activist, manager, movie star, producer, educator, wife, mother and so much more. Her legacy lives on through a number of events and institutions.The mission of the Dunham Technique Annual Seminar is to provide training and development in Dunham Technique. Its major goal is to provide opportunities for artists from around the world to come together annually for educational, artistic and performance experiences.

The Katherine Dunham Centers for Arts and Humanities is committed to promoting the dynamic legacy of the Dunham Technique. The Center provides opportunities for artists from all over the world to be enriched through exposure to dance masters in a conference environment communities in Metropolitan St. Louis/East St. Louis. Artists learn to perfect techniques and skills in a variety of dance idioms and receive specialized training in Dunham Technique in an annual conference.

“While you are here, please take the time to visit the Dynamic Museum located at 1005 Pennsylvania Avenue and the Children’s Workshop as well. I have dedicated a huge part of my life to the community of East St. Louis and treasure this Seminar experience each year . . . I sincerely hope that you will enjoy your classes and upon your return home, do not forget about us here in East St. Louis. Your continued support through the years will ensure that my vision for the Dunham Technique remains sustainable for many years to come, and all that we are trying to accomplish.” Sincerely, Katherine Dunham (2005)

For additional information:http://kdcah.org/

Your continued support through

the years will ensure that

my vision for the DunHaM

Technique remains

sustainable for many years to

come...

INSTITUTE FOR DUNHAM TECHNIQUE

CERTIFICATIONBy Penny Godboldo

The Institute for Dunham Technique Certification attracted people from around the world.

From July 6-11, 2014 IDTC held its 20th certification Workshop at the beautiful facilities of the University of South Florida in Tampa. Participants travelled from Vermont, New York, Detroit, Saint Louis, Washington, D.C., Los Angeles, Texas, and other parts of the U.S., as well as Toronto, Paris and Barbados. The event was hosted by USF dance professor John Parks, former principle dancer of the Alvin Ailey American Dance Theater. IDTC, now in its twentieth year, holds the honor and responsibility of developing the next generation of Certified Dunham Technique Instructors.

Kicking off the week, the symposium entitled, “Dunham Technique, Isolations, and American Social Dance”, featured speaker Rennie Harris, who wowed the audience with his testimonial of how he began as a street thug and is now a renown choreographer, sharing his artistic genius on stages around the world. His story, told with words and through dance, would have delighted the late Katherine Dunham! He epitomized what Dunham spent her life showing others how to do: using dance and other arts to re-focus and transform counterproductive energy into artistic creations of interest and value. Rounding out the symposium, Dr. Halifu Osumare and Dr. Joanna Dee Das, as well as M.A graduate of Howard University, Saroya Corbett, shared enlightening presentations on various aspects of the work of Katherine Dunham.

The Certification Workshop is composed of lecture/participation training sessions in Pedagogy and History/Theory and intensive training in Dunham Technique, as well as sample teaching by Candidates in Process. The week included Master Classes and public community classes taught by IDTC’s finest certified teachers. Some classes had as many as sixty participants.

The primary purpose of the Certification Workshop is to educate, train and certify those who will continue the legacy of Katherine Dunham through teaching, lecturing and choreographic presentations. The group included 16 certified instructors, 7 candidates-in-process and 12 potential candidates, dance majors from University of South Florida and members of the general public interested in dance, history and Dunham technique.

“We already have ten inquiries for next July, and we anticipate another wonderful Certification Workshop in 2015.”, says IDTC Co-Director Penny Godboldo. She shares that title with Co-Chair Patricia Wilson, both newly elected into their positions.

Dunham Certification Workshop takes place annually in July and those seeking more information about certification may email us at [email protected] or visit our website: www.dunhamcertification.org.

using dance and other arts to re-focus and

transform counter-productive energy

into artistic creations of

interest and value.

(PICTURED IN PHOTO: CERTIFICATION CANDIDATE MICHELLE GIBSON LIVES

IN IRVING,TEXAS. ORIGINALLY FROM NEW ORLEANS, SHE RELOCATED TO

TEXAS AFTER KATRINA. PHOTO CREDIT: PATRICIA WILSON)


KATHERINE DUNHAM AND HER MUSIC


Katherine Dunham brought the origins of African dance to its most eloquent level since its infant stages in the ‘30s that she would create and that would forge the style of the modern dance forever.

Her world renowned Katherine Dunham School in New York opened in 1946 and offered classes where Marlon Brando, Shirley MacLaine, James Dean, Sydney Poitier, Shelley Winters, Gregor y Peck, Warren Beatty and many others attended.

Ms. Dunham choreographed and appeared in many stage plays and movies such as Cabin in the Sky and Emperor Jones. Her award winning dance theatre troupe traveled to over 57 countries in just two decades.

Dunham inspired and brought us greats as Alvin Ailey, Camille Yarbrough, Geoffrey Holder, Debbie Allen and countless others throughout the world over the years.

Ms. Dunham’s vinyl recordings bring Strong Afro-Cuban, Haitian and South American tribal rhythms to her music.

Her humanitarian efforts, music and dance contributions have received Presidential and International awards for her work . She was also an author and has written many books.

bring Strong Afro-Cuban, Haitian and South American tribal rhythms to her music

By Kevin H. Donan

FRANCES TAYLORDAVIS

On Saturday October 25, 2014 A Day Of Dunham at the Westin Airport Hotel in Atlanta, Georgia brought together dancers, educators and teachers in the tradition of Katherine Dunham. This esteemed group of arts professionals honored Dunham with master classes, performances and sharing the histor y and aesthetic through informative discourse. The event was the brainchild of Executive Producer and La Danse Noire Founder Carol Lloyd in association with the Dunham Institute Atlanta, Inc.

The daylong event included morning panel discussions, midday dance classes and an evening banquet honoring dance luminaries both present and posthumous. The honorees in attendance were three former Dunham dancers Trina Parks, Ed Brown and Frances Elizabeth Taylor Davis, with special recognition to Otis Sallid. Each honoree shared experiences from their i l lustrious careers, but it was Davis whose career and life would best be described as grace under fire.

During the second panel discussion entitled My Journey In Dance Frances Davis was the featured panelist along with Sallid and dancer Veronica Russ. Davis and Moderator Walter Rutledge discussed her prolific l ife for the first thirty minutes of the 75-minute session. We had talked via telephone prior to the panel discussion, and the first thing that became clear was her exuberance and zeal for l ife.

It was during our initial “all too short” 60 minute plus telephone conversation that Davis revealed a life embroiled in drama of cinematic proportion. More astonishing than her l ife’s twist and turns, and successes and disappointments is her indomitable yet humble spirit . The only thing more inspiring and faith affirming than talking to Davis was actually meeting her.

The physically diminutive and stil l captivating woman glowed with an inner beauty and warmth that defies time. Her style, grace, elegance and “ole skool” breeding were complemented by her candor, wit and understated loquacious charm. For Davis age is really nothing but a number.

Frances Elizabeth Taylor was born and reared in Chicago, I l l inois. She lived in the famed Rosenwald Apartments; a 421 unit complex, built by businessman and philanthropist Julius Rosenwald in 1930. Rosenwald was part owner and leader of Sears, Roebuck and Company he conceived the complex, located on 46th street and Michigan Avenue in South Side Chicago, as elegant yet affordable housing for middle-class blacks in the segregated city.


FROM MICHIGAN AVE.To The Champs-Élysées

By Walter Rutledge

The Rosenwald Apartments attracted an eclectic mix of middle class Black Chicagoans. Doctors, lawyers, publishers, city workers, local businessmen and entrepreneurs all l ived, thrived and strived together. This made The Rosenwald Apartments one of the jewels of Chicago’s Colored community. Quincy Jones grew up in the Rosenwald Apartments until the age of 10; his mother Sarah managed the complex, and his father Quincy Sr. was one of the carpenters. In Q: The Autobiography of Quincy Jones, one of his childhood friends recalls the Rosenwald Apartments:

“Back then the Rosenwald was THE place for the colored in South Side Chicago. It was for the high-and-mighty of the colored race only. There must’ve been a hundred apartments in that place. Huge places with big bedrooms, stone staircases, a fountain in the plaza, and fine wood floors.”

The southside microcosm provided Frances with an environment void of overt racism, and the limits it imposes on personal aspirations. Her world was fi l led with community pride, and a strong patriarchal family nucleus. At age eight Frances began to study ballet . Dance had become a social requirement and status symbol for middle class “colored” people throughout the Northern and industrial Midwest cities following the first Great Migration (1910 - 1930).

Mildred Hessler, a local white dance teacher, drove in from Ravinia (a former town annexed into Highland Park, I l l inois) to teach ballet to the “colored” girls of Rosenwald Apartments. “At that time we didn’t know anything about the race thing. All I knew is that I was a ballerina. That’s what I wanted to do. I had a passion for ballet . Mildred Hessler would take us to the Opera House and I would watch Alexandra Danilova and Maria Tallchief perform. Those were the names I knew growing up.”

CONTINUED ON 60



Red carpet honoreeFRANCES TAYLOR DAVIS

October 25, 2014

Dear Frances,

Tonight , La Danse Noire is honoring you for your pioneering achievements, among other things, in the world of dance.

For this, I send my sincere congratulations!In knowing you, it is not just what you have accomplished through life, but who you are and how you have done it . Your journey and perseverance have demonstrated such inner strength and determination, personal and physical commitment and fearlessness in the face of great challenge.

You are here today, I believe as you always have been, standing proudly with your accomplishments, but also as a woman who’s visible aura represents an absolutely honorable character and beautiful human being!

With regret I am not able to attend this wonderful event tonight , but from Quito, Ecuador I l i ft my martini (Grey Goose with a twist , heavily bruised. Just the way you like it!) and wish you, and the other esteemed honorees, a heartfelt BRAVO!With love and fabulous birthday wishes,

Robert McCray

October 25, 2014

Dear Frances Elizabeth Taylor Davis,

There are no words left unspoken between us. You have always been a part of me from the beginning of my life with Stephen Papich. Stephen showed and taught me the world of entertainment through ever y second of my life with him. Because of that I have been blessed with knowing Katherine Dunham intimately as well as the many Dunham Dancers. But more importantly the beauty and love of always knowing you! I ’m remembering our date together for the opening of Josephine Baker at the Music Center and the fabulous party afterwards at Mr. Blackwell’s home. How he pushed me aside to take “your” picture in your stunning Travilla gown. As you always say to me, “How do you remember all these things, Brother Dear? You remember more than me!” Well, these things were monumental to me, whereas this was the way your l ife has always revolved and continues to revolve with youth and vitality. You grabbed the brass ring at birth and never let go. You aspired, persevered and succeeded where others had only dreamed. You made it happen and ever y day; not just today, is a celebration with you. I love you so much and miss you more that words can say.

You are so strong that nothing can disturb your peace of mind. You make all your friends feel there is something worthwhile in them. You look at the bright side of ever ything, think only of the best , work only for the best , and expect only the best . You are just as enthusiastic about the success of others as you are about your own. You forget the mistakes of your past and press on to the greater achievements of your future. You give so much time to improving yourself that you have no time to criticize others. You are too large for worr y, too noble for anger, too strong for fear, and too happy to permit the presence of trouble. You think well of yourself and proclaim your face to the world, not in loud words, but in great deeds.

Happy Birthday Honors to my Sister Dear, my Frances, my Love

Robert Wood

Eloise Anderson

Gar y Barrios

Lauren Beck

Harr y Belafonte

Julie Belafonte

Shari Belafonte

Diahann Carroll

Don Cheadle

Wendy & Kenny

Terri Costa

Cher yl Davis

Kenny Dennis

Francesca DeVito

K. Dunham

David Durand

Jean-Pierre Durand

Nicole Durand

Lois Garner

Guido Goldman

Michael Goldman

Fran Jeffries

Diane Ladd

Sal Ladestro

Jim Lauver

BarBara Luna

Deanna Lund

Robert McCray

Johnny Mandel

Harold Melvin

Kevin Mills

Liza Minnelli

Sydney Poitier

Kevin Ritter

Chita Rivera

Ron Scott

Nancy Sinatra

Jerr y Sinclair

Mia Steenbeke

Connie Stevens

Mr. & Mrs. Don Taylor

Mr. & Mrs. Maceo Taylor, Jr.

Marie Taylor

Roger Vorce

Sally & Bob Webb

Vincent Wilburn, Jr.

Nancy Wilson

Robert Woods

A private reception was held at the Westin Atlanta Airport Hotel on Friday, October 24 to celebrate the birthday of Frances Taylor Davis. Her family came from different parts of the countr y, and leadership from the local and national dance communities were in attendance as well. Her honorar y host committee included life-long friends and supporters.


Red carpet honoreeFRANCES TAYLOR DAVISA TRUE GEM!Celebrating ManyYears of Refined EnduranceFriday, October 24, 20147:00 p.m. – 9:00 p.m.WESTIN ATLANTA AIRPORT HOTEL

Family, Friends & Supporters


LESLIE E. MCCOY is the former Vice President, Chief Marketing Officer for Atlanta Life Financial Group. She currently serves as a Communications and Media Consultant for the firm. Leslie brings more than 25 years of experience in marketing, branding and business development in the television, film, sports and entertainment industries. She has held management positions with The Atlanta Committee for the Olympic Games (ACOG) and has managed numerous special projects for Burrell Communications, including the Boston Caribbean Carnival and the West Indian American Caribbean Festival (Brooklyn, NY) for Verizon. Leslie is also a three-time EMMY Award winning journalist and the producer/writer of the award-winning Turner Broadcasting CNN Black History Minutes. Leslie’s professional affiliations include the National Academy of Cable Programming, the National Academy of Television Arts & Sciences, and the Atlanta Association of Media Women.

WALTER RUTLEDGE is a choreographer, director, playwright, author, visual artist and teacher. As a performer, Rutledge has danced with the Harkness Dance Theatre, The Harkness Ballet of New York, The Nanette Bearden Contemporary Dance Theatre, and his own company, The Crew. His original theatrical productions, have featured international icon Eartha Kitt, Tony and Grammy Award winner Jennifer Holliday, and Gospel legends Tramaine Hawkins and Bobby Jones. He has also worked with artists in all performing genres including Roberta Flack, Will Smith, Dizzy Gillespie, and Bunny Briggs. Rutledge is the Associate Artistic Director and resident choreographer of the Nanette Bearden Contemporary Dance Theatre and Editor in Chief of Out and About NYC Magazine.

co-hostsLESLIE E. MCCOY & WALTER RUTLEDGE

La Danse Noire, Inc. in Association with The Dunham Institute-Atlanta, Inc.

Present

“A Day of Dunham: Restoring the Legacy”Saturday, October 25, 2014

WESTIN ATLANTA AIRPORT HOTEL


ORDER OF PROGRAMME6:30 p.m. – 7:30 p.m.

ReceptionSinfo-Nia Youth Orchestra

7:30 p.m. – 9:30 p.m.Tribute

Master of Ceremonies – Kim BurlesonCo-Hosts: Leslie Isaacs McCoy & Walter Rutledge

Dinner Music Provided by Russell Gunn Jazz Ensemble

Dunham Procession

Opening Prayer/LibationMinister Astrid Maurer Evans & Dr. Robert L. Adams

Tribute to Katherine DunhamSoweto Street Beat

Elevated Places Dance Company

Tribute to Al PhillipsAnne Walker

Tribute to Archie SavageXavier DeMar

Tribute to Vanoye AikensInstitute for Dunham Technique Certification

Vanoye Aikens Legacy Scholarship AwardCarol Lloyd

Tribute to Valjeanne GrigsbyJai’Len Josey

Community Service AwardEdeliegba

Tribute to Otis SallidAmazing Grace Dance Company

Tribute to Trina Parks & Ed BrownA R E A

Tribute to Red Carpet Honoree – Frances Taylor DavisVeronica Russ

Russell Gunn Jazz Ensemble

9:30 p.m. – 11:30 p.m.After Dance

Music Provided by Third World Productions

Carol Lloyd, Executive Producer Joel Sule Adams, Apprentice Producer

SPECIAL RECOGNITION


STELLAR RECOGNITION...

EDWARD L. BROWNA graduate of Southern Il l inois University at Edwardsville (SIUE), Ed Brown studied under dance

icon, Katherine Dunham. In addition, he was fortunate to have trained extensively with many of the original Dunham company members and masters to include Archie Savage, Lenwood Morris, Lucille Ellis, Vanoye Aikens and Tommy Gomez, to name a few. Brown performed with the Dunham Company for the world premiere of Scott Joplin’s “Treemonisha” in Carbondale (IL), at Wolf Trap (DC) and in Atlanta (GA) – a collaboration between Morehouse College and the Atlanta Symphony Orchestra at the Civic Center (1972). He performed “Tango” during the

historic Wolf Trap presentation of the Dunham Company (1976). He also was presented with others at New York’s Carnegie Hall upon Miss Dunham’s receipt of the Albert Schweitzer Music Award at “A Katherine Dunham Gala” (1979). Mr. Brown taught many of the accredited courses at the Katherine Dunham Performing Arts Training Center (PATC) at SIUE in East St . Louis. Courses taught included Dunham Technique (Beginning, Intermediate & Advanced), Primitive Rhythms, Body Conditioning, Tap Dancing, Acting, West African Percussion and Drama.

TRINA PARKSTrina Parks was born on (December 26) in Brooklyn, New York. Her father Charles Frazier, was a renowned tenor saxophonist with Cab Calloway’s orchestra. Parks majored in modern dance at the New York High School of Performing Arts. She also studied with Katherine Dunham and subsequently joined Dunham’s professional dance company in 1964. Additional concert dance credits include

Donald McKayle, Anna Sokolow, Talley Beatty, Geoffrey Holder, Eleo Pomare and Rod Rodgers. Parks performed in numerous Broadway productions as a vocalist and dancer, including a lead role in the 10th anniversar y touring production of Duke Ellington’s Sophisticated Ladies. She was the first African American Bond girl Thumper in the 1971 James Bond classic Diamonds are Forever.

OTIS SALLIDIt has always been my objective, as a director, producer and creative, regardless of what genre of the business in which I am working, to build relationships and institutions focused around core values, while proffering a vision that is greater than any one individual, thus ser ving the whole. These objectives are not only sustainable, but speak of a world vision that unites us all regardless of race, creed, religious belief or color. I bring all of my skills as a producer, director, writer, creator, choreographer, f i lm maker, graphic artist , educator, teacher and practitioner of the arts together in ever ything I do. I consider myself a visionar y who knows and understands how

to interface with all aspects of management. I have garnered a 40-year career in the arts that speaks to my ability to embrace all genres and all disciplines both within the non-profit and commercial arena. My experience in education has allowed me to foster strong relationships with colleges, arts institutions, and conser vatories around the world including NYU Tisch, UCLA, Berklee College of Music, Cal-Arts and many more. It is my interest to embrace diversity, allowing access and equity to all people so that they might appreciate and embrace the many facets of the arts. My life’s work has always been in the pursuit of excellence, fostering and bringing together l ike-minded individuals who

embrace these core values. I have always believed that together we can make a difference, not only in the immediate work place, but also in the world.


PENNY GODBOLDO Detroit, MIPenny Godboldo is the current Co-Director of the Institute for Dunham Technique Certification (IDTC). Also Artistic Director of the PG Institute, she works with a wonderful

group of Detroit supporters who helps to maintain the mission: “Preserving the Spirit and Essence of Our Humanity”, serving an intergenerational population with students sometimes ranging in ages 5-78. Godboldo is Associate Professor, and Director of Dance Education at Marygrove College in Detroit and former Chair of Dance, a position she held for l8 years. She has been Michigan’s only certified instructor in the Dunham Technique since 1993, and served as Demonstrator for Ms. Dunham, and performed in her works in St. Louis, Buffalo and Detroit. Professor Godboldo has conducted three dance study trips to Cuba since 1996, where she researched and studied traditional and popular dances such as rumba, salsa and the Orisha dances. She has presented academic papers on Ms. Dunham’s work and Haitian Cultural Dances at the Charles H. Wright Museum of African American History,

Boston University for Kosanba, Wayne State University and in numerous other academic settings. In 1991 she taught Dunham Technique in Japan for a month, in 1996 in Benin, West Africa for two months. One of her proudest accomplishments is that in 1997 she was a guest teacher in the CHAF Conference, La Danse Haitienne: Histoire et Traditions in Port au Prince. Receiving her first training in Dunham Technique from the late Clifford Fears (a former Dunham company member), she has trained with Dunham Co. Members/Master Teachers: Vanoye Aikens, Talley Beatty, Madame Lavinia Williams-Yarborough, Tommy Gomez, Pearl Reynolds, Lucille Ellis. A licensed minister, she is Artistic Director of the Hartford Memorial Baptist Church Liturgical Dance Ministry (Dr. Charles G. Adams, Pastor). Her Company has performed Dunham technique in Saint Louis, Chicago, annually for African World Festival at Hart Plaza, and to tens of thousands of school children over the past four decades throughout the state of Michigan. Ms. Godboldo is Artistic Director of the P.G Institute which offers inclusive instruction in dance and drumming for youth and adults in the Detroit community. Under its umbrella is the Detroit Legacy Project, an organization that promotes the legacy of Madame Katherine Dunham, and others who have greatly influenced the art and culture of Detroit and our world. Each summer the PG Institute hosts a mentoring program for adolescent girls, Discovery: GAP (Girls’ Arts Program).

COMMUNITY SERVICE AWARDS...

ROBERT MCCRAY Los Angeles, CARobert McCray is a native of Worcester, Massachusetts and was raised in Connecticut and New Hampshire. Fascinated by the American Southwest, he attended Arizona

State University where he majored in Architecture and Urban Development. During his professional program, he travelled around the world with Semester at Sea, truly developing an appreciation for travel, languages and all things relatively foreign. He continued to live in Arizona working, at that time, in real estate and the hospitality industry. Heavily involved in the Sister City Program, he was awarded a professional internship in Regensburg, Germany, a place that he still considers his second home. In 1987, Mr. McCray was transferred to Southern California where he continued his work in both the hospitality industry and real estate. Residing in Los Angeles, he has persued an expansive career in interior design and landscape and has recently formed

a design firm focusing on design outdoor urban living. Mr. McCray remains engaged in civic and community concerns having served on the Community Council of Los Angeles and various local organizations, mostly concerned with the greening and beautification of urban neighborhoods. Through 1997, his exposure to the dance world was limited to appreciation. However, through his brother’s marriage to Gina Belafonte at that time, he met Vanoye Aikens of the Katherine Dunham Company. The dear friendship and quasi-family relationship exposed Mr. McCray to the intriguing world of dance and the crazy but wonderful world of dancers. Blessed by a distinctively veteran social group of dancers and renowned performers, Mr Aikens exposed Mr. McCray to many who have greatly impacted the world of dance and other preforming arts. Attending numerous performances and events, many honoring Mr. Aikens and his work, Mr. McCray became a great admirer of the work of Katherine Dunham and other forms of dance. By his side, Mr. McCray accompanied Vanoye Aikens to Barcelona Spain for his last professional classes in 2006 and through his remaining years, understood and emotionally dedicated himself to keeping the legacy of the work of so many great dancers and choreographers alive.

DERRICK BOAZMANAtlanta, GADerrick Boazman, a native Atlantan, was born and reared on Atlanta’s southside. In 1997, he was elected to the Atlanta City Council and was re-elected for his second term in 2001. Council member Boazman resigned his seat on the city council in April 2004. Mr. Boazman is President and CEO of Facilitation Strategies, Inc., which specializes in strategic planning and group facilitation activities. He received his bachelor’s degree in Political Science from Morris Brown College, where he began his political career as President of the Student Government Association. He serves as a certified trainer teaching community leadership and

organizational development skills for Midwest Academy, an instruction entity that travels throughout the country, and at the Fanning Leadership Institute of the University of Georgia in Athens. He has also served as an instructor at the Community Development Institute at Clark Atlanta University. Mr. Boazman contends that “education is an equalizer”, and lives his life accordingly, by formally serving as a Parent-Teacher Association (PTA) officer at Price Middle School and currently as a member of the PTA at Perkerson Elementary School. He is currently very active with the United Youth-Adult Conference (UYAC). In 2000 Mr. Boazman was the recipient of the Concerned Black Clergy of Metro Atlanta, Inc.’s “Award for Outstanding Contribution in Politics” and Morris Brown College’s “Going the Distance – Career Achievement Award”. He was the 1997 recipient of the “Human Service Award” from the Georgia Greater Metro chapter of the Association of Black Social Workers. He also received the 1996 Community Service Award from the Atlanta Project. Being selected as one of ten people to serve on the President’s Summit for America’s Future Committee, by former United States Chairman of the Joint Chiefs of Staff Colin Powell, was one of his

proudest moments. Mr. Boazman was also selected to be a prestigious German Marshall Fund Fellow. In 2002, he travelled abroad throughout Europe studying state, local and national government issues. His travels took him to Brataslava, Slovakia, Berlin, Germany, Marseille, France, Copenhagen, Denmark, and Brussels, Belgium. Mr. Boazman was also selected by the American Council of Young Political Leaders. This organization is a bipartisan leadership development program that identifies promising younger leaders under the age of 40 and provides them with opportunity to travel abroad to examine the impact of U.S. foreign policy. He has also travelled to Egypt and Israel. Councilmember Boazman is an outspoken advocate for the rights of minorities and has appeared on CNN’s Talkback Live, Nightline, Court TV, dozens of nationally syndicated radio programs, as well as being interviewed by the Wall Street Journal, the New York Times and the New Yorker Magazine. Mr. Boazman is a member of Alpha Phi Alpha Fraternity, Incorporated and is very active with the Prince Hall Affiliated Masons where he has attained the 33rd degree. Mr. Boazman is a member of Mount Sinai Baptist Church.


VANOYE AIKENS1917 - 2013

Vanoye Aikens was a native of “bip-bap”, GA. While in his late teens, Mr. Aikens visited New York and, at the advice of Lynwood Morris, auditioned to be in the Katherine Dunham Company. The Georgia native first arrived in New York City as a young Navy veteran with only $32 in his pocket, but by 1943, he was Dunham’s principal partner. Although not present during his three day audition, Miss Dunham received daily reports from Lavinia Williams and Syvilla Fort that there was “one” potential star. The rest is history. Mr. Aikens was accepted into the company

POSTHUMOUS RECOGNITIONand toured with the Original Dunham Dance Company. Aikens toured more than 50 countries over two decades with Dunham and her company. The troupe pioneered African-American modern dance from Broadway and Hollywood to top stages worldwide. The company dissolved in 1963. Aikens performed as a singer and actor, scoring a small part in the movie “Cleopatra” starring Elizabeth Taylor. He settled in Sweden to teach, then moved to Los Angeles and helped Dunham recreate her dances for the Alvin Ailey Dance Company.

Archie Savage made a vital contribution to African-American Dance in the United States. Born in Norfolk , Virginia on April 19, 1919 and raised in New York’s Harlem. Archie’s first introduction to the world of modern dance came when he joined the “Hemsley Winfield’s Dance Troupe” in the 1930′s. In 1939, Mr. Savage joined the “Katherine Dunham Dance Troupe” and later was a part of a nationwide stage production of “Cabin in the Sky”. He became Ms. Dunham’s dance partner and also helped created what is known as the “Afro/Cuban” dance form. He has appeared in 23 fi lms here and abroad and 5 Broadway stage Productions including the original South Pacific. Archie Savage was a pioneer of African-American Dance Histor y. His legacy will l ive on and he will always be remembered for the contribution he made to the world of dance.

Albert E. Phill ips “Al” as he preferred to be called was raised by his mother and grandmother. His grandmother always encouraged him in his God given creative/artistic talents. She also taught him to believe in himself no matter what . Upon moving to the St . Louis area Al knew that design which to him included design on ever y level from event planning to residential and commercial design was his calling. He attended design school and obtained his design degree from South East Missouri State University. He was the owner of two design firm networks that are a conduit from Cape Girardeau (Design Alliance) which is now located in St . Louis, Missouri as “The DesignScapes Group.” Al was the principle designer and strove via innovative “Real Design for Real People” to go beyond the traditional design process by embracing mankind in a way that helped others. The soul of his personal commitment and philosophy was: “To weave quality design in all my work from interiors to public spaces to all aspects of design management, into solutions; that ultimately enhances in a positive way, the ver y way we relate to one another in the communities where we live, work or play, and in the world as a whole.”

ALBERT E. PHILLIPS1960 - 2009

Former Assistant Professor of Health and Physical Education, Clark College, and retired Dance Educator and Teacher in the Atlanta Public Schools, Valjeanne Taylor Grigsby was trained in Ballet , Modern, Jazz, Afro-Cuban, Tap and International Dance. She studied under Jose Limon, June Taylor, Syvilla Fort , Luigi, Don Farworth, Boris Novikoff (Russian American Ballet Studios), DEA, DMA, and at Columbia University (Educational Dance). A strong proponent of Educational Dance, she was a founding member of the Georgia Alliance for Arts in Education ser ving as Secretar y to the Executive Board from 1973-1981; Dance Advisor y Panel, Georgia Commission for the Arts and Georgia Council of the Arts; Charter Member and former Chair of the Dance Panel, Fulton County Arts Council; and Chair of the 1977 State Arts Conference, Georgia Alliance for the Arts.

ON OPPOSITE PAGE: L-R: CAROL LLOYD, KEITH WILLIAMS, BARBEA WIL-LIAMS, ALBIRDA ROSE, PATRICIA WILSON, PENNY GODBOLDO, ED BROWN & JOHNNY HAYES ALL SHOWN HOLDING AIKENS’ SHOES. 35WWW.LADANSENOIRE.COM

VALJEANNE TAYLOR GRIGSBY1923 - 1999

ARCHIE SAVAGE1914 - 2003

Gone but not forgotten

Vanoye Aikens (1917-2013) gained renown as one of the leading dancers in the world famous Katherine Dunham Dance Company. Like many African Americans during World War II and the Great Migration of the twentieth century, Mr. Aikens left his birthplace of Jonesboro, Georgia, served in the Navy, and migrated to New York City. He became a successful dancer and by 1943 was a principal partner and lead dancer for the celebrated Katherine Dunham Dance Company as they appeared on Broadway, in film, and in concert throughout the world.

Among the many performances of the Dunham repertoire for which Aikens received acclaim from critics in New York, London, and other respected journalists are: Tropical Revue (1943), Carib Song (1945), Bal Negre (1946), Caribbean Rhapsody (1948) and Bamboche (1962). After the Dunham company dissolved (1963), Aikens expanded his career as a singer and actor in several films, including a small part in the movie “Cleopatra” starring Elizabeth Taylor.

Mr. Aikens conveyed strength, precision, and masculinity in his portrayal as the leading male partner of Dunham. He is credited with defining for audiences the expressive masculine movement of the African-Caribbean derived aesthetic. As a pioneer of this unique technique,

one of the leading dancers in the world

famous Katherine Dunham Dance Company.

VANOYEAIKENS

DUNHAM LEADING DANCER


By Leah Creque-Harris, Ph.D.

Mr. Aikens continued to teach, living in Sweden until he relocated to Los Angeles where he assisted Dunham in re-creating her dances for the Alvin Ailey Dance Company. For many years, devotees of the Dunham technique flocked to Mr. Aikens’ master classes throughout the United States and to the Dunham Centers in East St. Louis, Illinois.

A LEGACY TO KEEPJohanna LjungQvist-Brinson

I had the pleasure of being Vanoye Aikens’ student, for three years at The University of Dance and Circus, DOCH, in Stockholm, Sweden in the 1980’s.

The first time I met him, my excitement was very hard to contain. When Vanoye entered the dance studio one could sense his power and energy! He was tall, dark and handsome . . .with a really well trained, sculptured body; of course a 17 year old girl in Sweden would be impressed!

He usually wore color matching either jumpsuits/jazz pants, top, matching shoes and a matching sweater hung around his very muscular, broad shoulders. (I think his favorite perfume oil at that time was Patchouli). Vanoye always entered the studio and went

immediately over to the musicians said something “small talk”, placed his things on the piano, put on his glasses and looked up on us while taking attendance. If he had written any comments from his observations of our classes that we taught, he discussed them with us.

Vanoye Aikens Jazz Dance Classes were amazingly tricky, fun and rhythmic in both warm up and choreography/variations. I remember us working really hard and being very focused, Vanoye calling out in his thundering voice “and a half and a whole, and a half and down, and kick your little brother in the derrière … Ha, Ha”! We all kind of lost balance there and had trouble continuing the exercise . . . I loved the Dunham –Technique!

Whether we danced Caribbean, Brazilian, Congo, Haitian or more Modern Dance style, Vanoye had so much to give us!

The Studio walls were shaking with vibes both from the excellent drummer and from all the dancers, letting it all out ! He used to say -- Put some Spanish peppers in it!

Vanoye’s stories about his life as the dance partner of Katherine Dunham and his knowledge about her work, was a treasure (he also told us stories about Josephine Baker).

Looking back, I want to say how very thankful I am for all Vanoye Aikens taught me and how truly blessed I am for having him as my teacher! -- Hanna Q Dance Company


The Studio walls were shaking with vibes both from the

excellent drummer and from all the dancers, letting it all out !

I was asked, by Ms. Dunham, if I would like to perform with

her and the company

I first met Ms. Dunham, in 1963, or “Ms. D., as we, her company members, called her. In 1962 I was a sophomore, at the Performing Arts High School, Dance Department and majored in Modern Dance (Graham Technique). It was located on 46th Street & Broadway, in Manhattan. There were 3 African American, male dancers, in my class. Ben Vereen, Winston Hemsley and Jerry Grimes. In 1963, we all started going (actually walking) to the Dunham school, which was on 49th & 9th Avenue (after class, at 3 p.m.), to take classes from Ms. Dunham, Lucille Ellis, Talley Beatty, Hope Clarke (Ballet) and Vanoye Aikens. Vanoye was Ms. D’s dance partner since the 1930’s. Walter Nicks and other original Dunham company members taught classes there as well.

In early 1964, I was asked, by Ms. Dunham, if I would like to perform with her and the company, at the famous Apollo theater, in Harlem, NY. I responded, “Of course I would!” I started rehearsing Ms. D’s famous piece “SHANGO” -- which is about a 25 minute ‘ritual’ dance and I also performed a Cuban-style dance with Vanoye. That piece was a very fast paced dance and so much fun to do, especially with Vanoye.

MYKATHERINE DUNHAM

EXPERIENCE


I was a junior in Performing Arts in 1964, when I performed with the Dunham Company at the Apollo Theater. I could only perform on the weekend (Friday through Sunday) because I was still in high school. I believe we were there for 2 weeks. The MC was Charles “Honi” Coles (tap dancer) with the famous 1940’s tap group, the ‘Copasetics’. The other star-performers were, Jackie “Mom’s” Mabley & the Tito Puente Latin band. Then Ms. D asked me to join the Dunham company, in Paris, France.

So in June of 1965, after my graduation, I joined the company in Paris, France. It was my first flight on an airline -- and by myself (from New York to Paris)! Ms. D choreographed a musical called “Deux Anges Sont Venus” (“Two Angels Have Come”) at the ‘Theatre de Paris”, in Paris, France. I was the lead female dancer in that production.

We were there for a year and I turned 18 in Paris. After the play closed, in Paris, I joined the ‘PRODIGAL SON” theater company, in Brussels. It was directed by Ms. Vinnette Carroll (“Your Arms Too Short To Box with God”) & my drama teacher in Performing Arts. It was choreographed by Talley Beatty.

When I returned to NY, in 1966, I joined the Talley Beatty Dance Company, as a principal dancer (from 1966 to 1967). It was also in 1966 that Ms. D.

closed her school in NYC and subsequently opened her school in East St. Louis in 1967.by Talley Beatty.

When I returned to NY, in 1966, I joined the Talley Beatty Dance Company, as a principal dancer (from 1966 to 1967). It was also in 1966 that Ms. D. closed her school in NYC and subsequently opened her school in East St. Louis in 1967.

Ms. D choreographed a musical called “Deux Anges Sont Venus” (“Two Angels Have Come”) at the ‘Theatre de Paris”, in Paris, France.

TRINA PARKSWWW.TRINAPARKSTRIBUTE.COM



WHAT IS YOUR PERSONAL, DANCE STYLE ...

By Bruce Hawkins


How do you visually define and choose to dress for your art? What do you wear to class and rehearsal? Should there be a difference?

Choreographers, directors and musicians often look to dancers to be the physical embodiment of their artistic expression. In an art form that uses movement over words, your look tells the story of who you are. How you look and how you dress defines you as a creative and interesting person: one who everybody wants to emulate.

We work like athletes to perfect our bodies and our posture. We spend countless hours insuring that our bodies are pliable enough to bend and twist into formations which are foreign and different for us. Shouldn’t our outer shell reflect this as well when we are dancing?

Some people are body conscious and wear unusual combinations of traditional dancewear and athletic attire, while others wear color and textures to evoke mood and character. Then you have your traditionalists who believe in wearing classic dance attire that suits their body and their discipline.

From the perspective of the audience, our eyes are drawn to beauty and strength. What attracts you when you are watching dance? Are you drawn solely to physical perfection?

How do you visually define and choose to dress for your art? What do you wear to class and rehearsal? Should there be a difference?

It might be the way you wear your dance clothes. It might be the color of your skin and the amount you choose to expose. It can also be experienced in the length and shape of your hair. In our community, there have always been those beautiful dancers that have a unique and individual style, based on indigenous customs and international fashion influence.

With the advent of global technology, we are more exposed to images of people dancing all over the world. Each culture brings a beauty and identity all its own. Today, more than ever before, we see a movement towards fashion experimentation which can sometimes blur racial, age and even gender lines.

Outside of the classroom, your look and your personal style can also be an important determining factor in securing ongoing dance employment.

There are so many people of color who feel stifled by traditional European attire in the dance studio. Our bodies and our form are different. Packaging and visual advertising is everything to a performer’s career.

Outside of the classroom we want to tell our own stories that reflect our own unique life experience. Our bodies and our presence denote that there has to be an international shift in what is perceived to be beautiful and authentic. This all makes for an interesting melting pot of dance artists that tell unique stories of their heritage and their culture.


“The Relevance of Dunham: Preserving the Legacy” was the first in a series of panel discussions centered around the promotion and preservation of the lifelong mission of Katherine Dunham as a dance pioneer of the Dunham Technique. The panel featured dancers, educators and preservers of the legacy, and fostered an expanded dialogue on the viability and sustainability of Dunham Technique as a codified method of dance. The topics of discussion included the basis of the art form, its methods of delivery and the process to be trained and certified as an instructor of the technique. Panelists shared their personal journeys through Dunham and their first-hand relationships with the matriarch of Black dance

– Katherine Dunham.

“The Relevance of Dunham: Preserving the Legacy” was the

first in a series of panel discussions centered around the promotion and preservation of the lifelong mission

of Katherine Dunham”

THE RELEVANCE OFDUNHAM ...

PANELISTS: TRINA PARKS, ED BROWN, PENNY GODBOLDO, KEITH WILLIAMS AND ALBIRDA ROSE. MODERATOR: LEAH CREQUE


PANELISTS: OTIS SALLID, FRANCES TAYLOR DAVIS & VERONICA RUSS. MODERATOR: WALTER RUTLEDGE

MY JOURNEY IN DANCE ...

We were fortunate to

witness the evocative

panel discussion of

these professionals

and icons on how

they entered the field

and their tapestried

journeys in dance.

The discussion

elucidated each

panelist’s trials,

challenges and

triumphs while

working in the field.


Dr. Katherine Dunham is often regarded as the “Mother of Dance” for black people or African Americans. Dr. Katherine Dunham was world famous for her mastery of European Ballet and Modern Dance. Ms. Dunham went on from there to “legitimize” Caribbean, African and ethnic South American dance. She was also instrumental in integrating technique from Big Band Era movement, Asian studies in Martial Arts and pop–culture interpretations in every kind of lady’s shoe available.

What typifies Dr. Dunham’s dedication to her art form was the fact that she could demonstrate ethnic dance and defend it (at the time) at any university. Dr. Katherine Dunham was an

THE LATE DR. KATHERINE DUNHAM – INTERNATIONAL DANCE ICON HAS HER “LEGACY-INSPIRED” DAY IN ATLANTA…

If you dance, you dance because you have to. Every dancer hurts, you know.

KATHERINE DUNHAM

accomplished sociocultural anthropologist with a doctorate from the University of Chicago.

“A Day of Dunham” was organized by Ms. Carol Lloyd who masterminded a very detailed tribute to Dr. Dunham and her “family-practitioners” of the Katherine Dunham “technique” of international dance. The day long tribute included panel discussions and dance demonstrations emphasizing the 1) historic relevance of Dr. Dunham, 2) her pop-culture and academically accepted dance techniques, and 3) the journeys of experiences of her company’s featured artists as master dancers in the world renowned art form. This extremely rare dance art form engagement by so many certified Dunham Technique Instructors and Scholars for the public was historic. The panels and the demonstration(s) were offered from 9 a.m. to 4:30 p.m.

By Calvin AndersonJim Alexander, Photographer


“A Day of Dunham” also included the Awards Dinner which was a gala celebration with a theme, “Restoring the Legacy” from 9:30 p.m. to 11:30 p.m. This was an event that I will never forget . Today it is often said that we understand what our forebearers did for us — struggling to survive chattel slavery, racism, Jim Crow, dismantled businesses getting ready for integration — and we say that , “we stand on the shoulders of those who came before us” but we rarely identify the individual set of shoulders with any depth to indicate what he or she did instrumentally or how well we are doing with the individual or collective legacies that we are empowered to preser ve.

The highly selective program included a reception which featured the Sinfo-Nia Youth Orchestra.


The band the Russell Gunn Jazz Ensemble played classic Miles Davis and thoroughly impressed all in the spirit of great music and dance.

Master of Ceremonies included amazing curators of Dunham… information: Kim Burleson and co-hosts were Leslie Isaacs McCoy and Walter Rutledge.

RUSSELL GUNN JAZZ ENSEMBLE

SOWETO STREET BEAT DANCE THEATRE

The Soweto Street Beat and the Elevated Places Dance Company performed a “Tribute to Katherine Dunham”.


The Dunham “people” who were recognized included: AL Phillips (tribute by Anne Walker), Archie Savage (tribute by Xavier DeMar), Vanoye Aikens (The Dunham Technique Board of Certification), Vanoye Aikens Legacy Scholarship Award (Carol Lloyd), Valjeanne Grigsby (Jai’Len Josey), Community Service Award (Edeliegba), Otis Sallid (Amazing Grace Dance Company), Trina Parks & Ed Brown (AREA Dance Company), Elizabeth “Frances” Taylor Davis (Veronica Russ and Russell Gunn Jazz Ensemble).


This awards ceremony and dinner-dance affair was an intimate celebration of the life and contributions of Dr. Katherine Dunham who is often regarded as the “Mother of Dance” for African Americans because of her national and international recognition and her contributions to the art form as a cultural anthropologist.

AMAZING GRACE DANCE COMPANY


The commodity of the historic Katherine Dunham Dance Company is what is referred to as the “Dunham Technique”. This technique and dance proficiency embodied signature movements of the Dame (Diva of Dance) and her (on the one side) uncompromising technical integrity of the European classical and modern dance forms which she blended into fluid appreciation and adaptations of Caribbean, African, Martial Arts, Big Band Era Pop-Culture Trends, Hollywood Stylized Movement Genres and “world-dance” gestures and interpretations also. Dr. Katherine Dunham essentially verified that Black folks could contribute to ballet and demonstrate world dance never seen before with the passion and dignity it deserved.

XAVIER DEMAR'S TRIBUTE TO ARCHIE SAVAGE

The “family reunion” aspect of the evening included recognition of the Dunham staff, dancers and associates. There was mention that Katherine Dunham had performed in 50 countries. We can only imagine even today how organized and busy the dancers and company were.

The night was tasteful, sensitive, revering Dr. Dunham and those who had traveled around the world many times over through dance by young companies and living legends.

AREA CONTEMPORARY DANCE THEATRE'S TRIBUTE TO ED BROWN & TRINA PARKS


The DJ who allowed us to “party” after the Awards Dinner was from Third World Productions.

Yale University comments about, Who was Katherine Dunham?

“As a strident activist for racial equality throughout her lifetime, Dunham used the mediums, of teaching, choreography and community-based arts centers as a vehicle to instill an ethos of toleration and critical

engagement with the world in both children and adults.

This is a work that she continues to this day, even at the age of 95. Dunham saw a historical analog between the ways that religion and the cultural form of the dance was critical to the liberation of the Haitian people and how they were instrumental to the survival of United States blacks in the pre and post-Emancipation eras. Therefore, her interest in the relation between

cultural forms and social functionality was not merely intellectual, but political and personal as well. Nurtured under the guidance of Chicago’s social anthropology luminaries, Dunham’s interrogation of the relation between form and function in dance rituals has interesting parallels with the symbolic approaches of Victor Turner and Clifford Geertz.”


SPECIAL THANKSRobert L. AdamsJoel Sule AdamsCalvin Alexander

Jim AlexanderAmazing Grace Dance Company

A R E ABrenda M. Berr y

Ed BrownKim Burleson

Jewel L. CrawfordConfiserie Eclectic Gourmet

Xavier DeMarCreative Glue

EdeliegbaElevated Places Dance Company

Eat My Art Creative CakesRussell Gunn Jazz Ensemble

Ann E. HarrisBruce Hawkins

Johnnie Mae HodgesInstitute for Dunham Technique Certification

Ina JoseyJai’Len JoseyAdolph Lovett

Elsie Scott MooreMinister Astrid Maurer Evans

Leslie Isaacs McCoyRobert McCrayTony Newton

Halifu OsumareOut & About (O&A) NYC Magazine

Cynthia Perr yEileen E. RileyVeronica Russ

Sinfo-Nia Youth OrchestraSoweto Street Beat Theatre, Inc.

Third World ProductionsAnne Walker

Robert C. WalkerWyatt Ware



SPOTLIGHT ON TALENT ...

I WASN’T CONCERNED ABOUT THE HARDSHIPS, BECAUSE I ALWAYS FELT I WAS DOING WHAT I HAD TO DO, WHAT I WANTED TO DO AND WHAT I WAS

DESTINED TO DO.KATHERINE DUNHAM


April Berry, a former principal dancer with Alvin Ailey American Dance Theater, has been named the new Artistic Director of Dallas Black Dance Theatre. Ms. Berry brings a wealth of experience as a master teacher, dance educator, choreographer and internationally-recognized dancer. She began her professional training at the National Academy of Ballet and Theatre Arts in New York City and attended the Dance Theatre of Harlem and Alvin Ailey American Dance Theater on scholarship. April Berry replaces Ann Williams who was the founding Artistic Director of the company.

Miss Berry began her studies at the National Academy of Ballet and Theatre Arts. She was a scholarship student at the Dance Theater of Harlem where she studied ballet with Tanaquil LeClerecq and Karel Shook. Berry was a principal dancer with the Alvin Ailey American Dance Theater for eleven years and performed around the world with the company. To her credit, she studied Dunham Technique with Katherine Dunham for a period of 10 years. Miss Berry holds the coveted distinction of being one of only two dancers in the world (after Miss Dunham) to have been chosen by Dunham to perform the female lead in her “L’Ag’ya,” a dance-drama set in Martinique during Alvin Ailey’s presentation of “The Magic of Katherine Dunham.” While working with Miss Dunham, Berry received training in Dunham Technique from several original company members and master instructors including Vanoye Aikens, Tommy Gomez, Julie Robinson Belafonte, Lucille Ellis and received additional mentorship by Ronnie “Yao” Marshall. Subsequently, Berry was the only Ailey dancer that received certification by Katherine Dunham after continued study of the Dunham Technique after working on the “The Magic of Katherine Dunham.” Her accomplishments in the field of dance are accentuated by her extensive training in Dunham Technique and personal guidance provided by Katherine Dunham.

Principal dancer with the Alvin

Ailey American Dance Theater

for eleven years and performed

around the world with the

company.

Spotlight on talentAPRIL BERRYDunham Certified, named new Artistic Director of Dallas Black Dance Theatre


Lauren Cox is a San Francisco born, New York-based professional dancer and up & coming instructor and choreographer. Known for her calming energy off stage and powerful presence on stage, Lauren has appeared on Saturday Night Live, America’s Got Talent and performed with Pharrell, Alicia Keys and Joey Yung (Hong Kong). She has been a guest performer for companies such as Rhapsody En Dance (Rhapsody James), Cecilia Marta Dance Company (Summer Stage NYC), Maria Torres Dance Company and has just started her own company, Humans Collective (humanscollective.com). Lauren has been blessed to work with choreographers such as Fatima Robinson, Nappy Tabs, Luam, Joanna Numata, Kim Sims-Battiste, Jim Cooney, Jermaine Browne and many more. Starting out as a competitive Rhythmic Gymnast and finally placing 20th in the nation, Lauren has since traveled the world studying Ballet, Modern, Jazz Contemporary, Hip Hop/Street Styles, Improv/Freestyle, Street Jazz, Samba/Afro-Brazilian, Haitian Cultural dances and currently studies under the infamous Sheila Barker as her apprentice and assistant. Lauren is on staff at Joffrey Ballet School in the jazz & contemporary department. She has also taught at Broadway Dance Center at Alvin Ailey Extension. Her choreography has been showcased in venues around New York such as Broadway Dance Center, Joffrey Ballet School, Funkbox NYC and Broadway Underground at BB Kings in Times Square. Lauren will be presenting a new work on Joffrey Ballet students at Alvin Ailey in New York on February 15th, 2015. Lauren Cox Dance Collective (LCDC), a dance studio that empowers young dancers to find their honest selves, love of movement and strength through technique is Lauren’s new endeavor. Classes are running Thursdays and Saturdays by herself and Humans Collective company members in Maplewood, New Jersey.

Spotlight on talentLAUREN COX

Known for her calming

energy off stage and powerful

presence on stage


Spotlight on talentBRUCE HAWKINS

Traveled and taught dance

all over the world, working

personally with renowned

choreographers and instructors

Bruce Hawkins (Choreography and Staging) first began his professional acting career at Baltimore’s Center Stage in the musical, “The Me Nobody Knows” and then went on to the Broadway tour of the same show. A graduate of Morgan State College, Bruce received the coveted AUDELCO Black Theater Achievement Award for Outstanding Male Musical Theater Performance for his song and dance work in the New Federal Theater production of Melvin Van Peebles’ musical play about Bessie Smith, “The Champeen’ “, where he played 10 different characters with 27 costume changes. He was also featured in “Golden Boy” at the Billie Holliday Theater, toured the US with Cab Calloway in his “Cotton Club Revue” and played the Scarecrow in the touring company of “The Wiz”. His television acting credits include Guiding Light, All My Children, One Life to Live, Chappelle’s Show, Law and Order, 30 Rock, Kojak, The Equalizer and many other independent films and movies.

For 30 years, Bruce danced in six, New York based Black dance companies and traveled and taught dance all over the world, working personally with renowned choreographers and instructors such as Louis Johnson, Fred Benjamin, Talley Beatty, Katherine Dunham, Rick Odums, Gary DeLoatch, Romare and Nanette Bearden, Otis Sallid, Bernard Johnson, Lynn Simonson, Roumel Reaux, Finis Jhung, George Faison, Debbie Allen, Keith Young, Joel Harrison, Orville Johnson and Maria Broom. Bruce danced as a soloist with the Fred Benjamin Dance Company, Nanette Bearden’s Contemporary Chamber Dance Group, The Louis Johnson Dance Theater Ensemble, Hudson Repertory Ballet Dance Ensemble and The Baltimore Dance Theater. His international dance travels took him to Africa, Japan, Europe, Alaska, the Caribbean, the United Kingdom and throughout the continental United States. Bruce also worked for several years as a puppeteer with the famed Crowations of the Brewery Puppets.

Before he retired from dancing full time in 1995, Bruce eventually ended up teaching on the professional dance faculty of the Alvin Ailey American Dance Theater and he has been an adjunct professor of dance and guest artist at SUNY Purchase, New York University, Adelphi University, Lehman College for the Performing Arts and The University of Washington. A former member of the DC Black Repertory Company Workshop Ensemble, Bruce has worked professionally as an actor with Center Stage, Lincoln Center Institute, the Frank Silvera’s Writer’s Workshop, New Federal Theater and Ernie McClintock’s 127th Street Ensemble. Bruce continues to work as an actor/model and published book author primarily in New York, where he is now a vested, retired member of SAG/AFTRA that still works freelance doing advertising print work, voiceovers and commercials through several top East Coast model agencies in a senior category.


Having evolved into a versatile talent with diverse interests and business savvy, Jai has spent her life pursuing her passion for the Arts. Using surmountable approaches to success, Jai is clearly defined by her focused attitude, inherent work ethic, and her undying commitment to positive change. With a unique ability to merge artistic and analytical skills, Jai is the visionary and founder of an arts brand, AREA, LLC which has locations in Atlanta, GA and Birmingham, AL; a renowned choreographer for television, commercial and stage; an active philanthropist, educating young people in the Arts; and an arts resource and partner with select Atlanta Public Schools, and non-profit Organizations. Celebrating over two decades of serving in the Atlanta arts community, Jai is forging a legacy and trademark of excellence in having launched one of Atlanta’s leading metropolitan centers, Atlanta’s Resource for Entertainment and Arts, in August 2009. AREA Atlanta not only yields the same emphasis on technical dance that has given Jai her current notoriety, but features a broad variety of sophisticated arts and entertainment offerings, including an onsite recording studio and a professional dance company, The AREA Contemporary Dance Theatre. A multidisciplinary performing arts center housed in a contemporary facility in Atlanta’s popular Midtown/Buckhead community, AREA Atlanta is a comprehensive resource and incubator for arts and entertainment novices and professionals. Jai has found a unique niche to cultivate technically trained professional artists and talent who will impact change in the industry and beyond. Jai’s elite clientele of students have gone on to pursue higher learning from renowned institutions to professional and successful careers in all areas of the Arts & Entertainment industry. Jai’s vision of establishing a premiere Arts & Entertainment metropolis for the Atlanta community has garnered notoriety and award from The Atlanta Tribune Magazine, voted as the 2009, 2010, 2011, 2012 and 2013 “Best in Atlanta for Arts & Entertainment!” A veteran of the arts and entertainment industry for over 15 years as a Professional Dancer & Choreographer; BS Degree in Business (Marketing); 28+ years of training and professional development; member of renowned arts organizations; served on adjudication panels and awarded for her artistic prowess, Jai offers a solid analytical and creative vision, professionalism, and “one of a kind” supporting facilities that provides for a fusion of arts and business acumen at its best!

Spotlight on talentJAI MCCLENDON JONESFOUNDER/DIRECTOR, AREA(ATLANTA’S RESOURCE FOR ENTERTAINMENT & ARTS)

Unique niche to cultivate technically trained professional

artists and talent who will impact change in the industry and

beyond.


Spotlight on talentHALIFU OSUMARE, PH.D..DANCE & BLACK POPULAR CULTURE SCHOLAR

Who believed in the integration of the arts and

the humanities to humanize all receptive souls.

Halifu Osumare has combined an over thirty-year career in performing, choreographing, teaching, administrating, researching, and writing about dance and black popular culture internationally. She was a former soloist with the Rod Rodgers Dance Company of New York City in the 1970s, the Founder of CitiCentre Dance Theatre in Oakland, now the Malonga Casquelourd Center for the Arts. She founded the national dance initiative known as Black Choreographers Moving Toward the 21st Century that was produced in San Francisco, Los Angeles, and San Diego from 1989 to 1995. She is also a Certified Instructor of Katherine Dunham Technique and the former Co-Director of the Institute for Dunham Technique Certification. As a choreographer and director she is noted particularly for the theatrical works of poet and playwright, Ntozake Shange, having worked with Ms. Shange in her pre-For Colored Girls Who’ve Considered Suicide When the Rainbow is Enuf tenure in the Bay Area.

Halifu Osumare is full Professor and Former Director of African American & African Studies at University of California, Davis. She holds a M.A. in Dance Ethnology from San Francisco State University and a Ph.D. in American Studies from the University of Hawai`i at Manoa. As a 2008 Fulbright Scholar, teaching at the University of Ghana, Legon’s Department of Dance Studies and conducting research on the effects of hip-hop culture in the capital city of Accra, her second book The Hiplife in Ghana: West African Indigenization of Hip-Hop (Palgrave Macmillan, 2012) is the result. Her first book, The Africanist Aesthetic in Global Hip-Hop: Power Moves (2007) established her as one of the foremost authorities on hip-hop internationally. Having taught and researched in Malawi, Kenya, Ghana, and Nigeria, her work has spanned traditional African performance and ritual to contemporary African American dance and performance. Her vision of social justice and human development is like her mentor’s---the late great Katherine Dunham---who believed in the integration of the arts and the humanities to humanize all receptive souls.

Frances studied with Walter Nicks and soon they became dance partners. The dancing duo Nicks and Taylor began touring as the opening act for the Benny Goodman Orchestra. While performing at the London Palladium Nicks received a call from Dunham requesting Frances join her company in Paris.

Eartha Kitt , who had began to receive notoriety as a chanteuse and actress, had just left the Dunham Company. The Parisian press found the fact that the newest member of the company was an accomplished ballet dancer newsworthy, and Frances quickly became a news item. Dunham was soon asked permission for Frances to perform as a special guest with the Paris Opera Ballet . Her dream to perform with a world-renowned ballet company, a feat that was virtually impossible for her in the United States, had come true. The morning after her performance the two major Paris publications Paris Match and Paris News had dubbed her, “The Leslie Caron of the Tropics.”

Young Frances excelled and so impressed Hessler that she eventually arranged an audition at the Edna McRae School of Dance, at the Fine Arts Building in downtown Chicago. “At my audition I did sixteen fouette turns en pointe. I didn’t know I was the only colored who had ever been in her class. So I wasn’t ner vous - I knew what I could do. I didn’t have to be afraid of my color, it was because of my talent I was auditioning.”

By age sixteen, Frances danced the lead role of the Swan Queen en pointe in McRae’s production of Swan Lake. That same year during a visit by the New York based Katherine Dunham Dance Company Frances auditioned and received a scholarship to the Dunham School. Two years later Maceo Taylor accompanied his eighteen-year-old daughter to New York City to begin studying at the Dunham School.

“My father drove me to New York, set me up with friends of his; he was with me on my first day of watching Dunham technique. He looked at me and said, ‘Do you think you’re going to be able to do that?’ I had been a girl scout , a debutante, over protected, ever ything placed and proper. I guess when he saw all those hip movements…”

CONTINUED FROM 26


The Paris performances were just the beginning of a whirlwind association with the Katherine Dunham Dance Company. Frances toured Europe, South America and the United States and in true Dunham style; the days on tour were constant , non-stop movement. Morning class followed by rehearsals and three act evening performances (sometimes multiple full performances on the same day) were the norm. Dazzling audiences was also the norm and the company was well received worldwide.

The company had a standing engagement at the legendar y Ciro’s on the Sunset Strip in Hollywood, California. Dunham had cultivated a large and affluent West Coast following due to her numerous appearances in motion pictures beginning in the late 1930’s. Percussionist and Bebop pioneer Max Roach saw Frances performing at Ciro’s. “He (Max) went back and told Miles Davis, who he worked with, ‘Man there is a l ittle girl in that Dunham Company who can dance her ass off ’. Well Miles came out to see the show. Needless to say he was smitten and so were others.”

At that time Ciro’s was one Hollywood’s hottest nightspots. Celebrities such as Frank Sinatra, Ava Gardner, Dean Martin, Judy Garland, Betty Grable, Marilyn Monroe, Car y Grant , George Raft , Hugh O’Brian, Ror y Calhoun, Lana Turner, Peter Lawford, Jimmy Stewart , and future Presidents Ronald Reagan and John F. Kennedy were nightly guests. Although Miles Davis’ interest was evident he was one of many backstage admirers vying for Frances’ attention. Davis would eventually have his kismet moment with Frances during a chance meeting three thousand miles away on the streets of New York City.



FEATURED COMMUNITY SERVICE ORGANIZATION

BE THE CHANGE PEOPLE, INC.COMPILED BY BARBARA WILLIAMS EMERSON, PH.D.

OUR ROOTSBe the Change PEOPLE, Inc. is a grassroots charitable organization dedicated to eradicating poverty for children, families and communities in Uganda, East Africa through educational and entrepreneurial initiatives and endeavors. The organization was founded in 2012 by Kathy L. Nicholas, a Flight Attendant, after eleven years of personal partnerships with children and families in Uganda, East Africa. During this period, Ms. Nicholas, with some help from her friends and family, visited Uganda over forty times and privately supported a dozen disadvantaged elementary and high school students. As a new 501(c)(3), Be the Change PEOPLE, Inc. Currently provides scholarships to students pursuing post-secondary degrees and certifications in medicine, physical therapy, dentistry, laboratory science, and education in their homeland where they are committed to remain in order to give service to their country.

OUR STORIESI had the opportunity to spend two weeks living at the Be the Change PEOPLE, Inc. group home in the Kabowa section of Kampala, Uganda getting to know the talented, resilient young people that the organization supports.

Your tax deductible donations are accepted year round. For more information and to send contributions, contact:

Ms. Kathy NicholasBe the Change PEOPLE507 129th Avenue EastMadeira, FL 33708www.bethechangepeople.org

BE THE CHANGE PEOPLE, INC. WAS AN INVITED VENDOR TO “A DAY OF DUNHAM”. IN KEEPING WITH THE DUNHAM LEGACY OF COMMUNITY SERVICE, WE PRESENT THE MISSION OF THIS ORGANIZATION THAT PROVIDES SCHOLARSHIPS FOR STUDENTS PURSUING CAREERS IN HEALTHCARE.

Recognized as the Best in Arts and Entertainment in Atlanta since its inception in 2009, AREA, Atlanta’s Resource for Entertainment & Arts is a multi-disciplinary performing arts center and a comprehensive resource and incubator for arts and entertainment novices to professionals. From dance, to music, and drama; to artist development, music production and recording, AREA is interested in cultivating the entertainment stars of tomorrow. AREA Atlanta is a subsidiary of its umbrella organization and Arts brand, AREA, LLC, which also has AREA Birmingham location in Birmingham, AL and a sister non-profit 501c(3) organization, The Creative Spark Foundation. The mission of AREA is to encourage and create opportunities for all to participate in and appreciate the performing arts and strives to create a place where individuals can realize their creative potential, and where the community as a whole can share, witness and/or participate in this process. AREA features a broad variety of sophisticated arts and entertainment divisions, including: AREA Sound Studios (recording studio), AREA 360 (Artist Development & Branding), AREA Trains (Training & Development School of AREA), AREA In Motion (Arts Education & Outreach), and AREA Contemporary Dance Theatre (professional dance company). In addition, AREA’s key partnerships/collaborators include: Kenny Leon’s True Colors Theatre Company, Hilda Willis Living Your Art, The Dunham Institute-Atlanta, and MK Life Parts Foundation. AREA inspires artistic expression and advances cultural literary and sustainability, and honors a diverse and creative heritage through active community engagement in the Performing Arts. As a gathering place for educational, aesthetic, and intellectual experiences, AREA is committed to grooming leaders in the arts community who are not only gifted artists but model citizens as well!

The Amazing Grace Dance Company was formed in 2006 by Kenya M. Griffin, and is the performing and professional entity of the Amazing Grace Liturgical Dancers, which was formed in 2000. The Amazing Grace Liturgical Dancers was created out of vision to enhance the worship experience, and to give dancers an outlet to interpret the word during worship. Amazing Grace has since grown into a professional dance ensemble that has given dancers who choose to combine their extensive training, passion for dance, spirituality and soul into a non-traditional all genera dance company. Their movement draws you into stories of love, healing, joy, sorrow and redemption. Amazing Grace has raised the standard for inspirational dancers across the nation, and around the world with their precise and powerful movement that is always done in excellence. Amazing Grace is based in midtown Atlanta, Georgia next to the birth home of civil rights leader Martin Luther King Jr. In the heart of the city where its diverse surrounding communities can partake in discounted and free classes, and participate in Amazing Grace’s open rehearsals once a month from January-April. The company is also heavily involved in working with, and bringing awareness to people affected by and living with HIV/AIDS as well as mentoring young girls. Amazing Grace Dance Company is one of the only dance companies to have dancers and choreographers in cities across the country; making the experience of collaborating and being educated by talented, and skilled dancers more accessible. The backgrounds, passion, skill and more importantly the diverse spiritual backgrounds of the company members adds to the dynamic uniqueness of every presentation; affording them opportunities to collaborate with professional and non-professional dancers and artists in both the contemporary and spiritual arenas.

The Amazing Grace Dance Company


COLLABORATORS


COLLABORATORS

Elevated Places Dance Company (EPDC) is comprised of skilled teachers, dynamic students and committed parents. Since 2005, EPDC has been committed to contributing to the arts community the total artistic development of aspiring students. EPDC has evolved to be a center for dance education and training. Whether a student desires to be a leading industr y professional or dance for personal development, EPDC offers a diverse curriculum to meet ever y student’s needs. Classes are offered in the disciplines of ballet , pointe, modern, jazz, hip hop, tap and acrobatics for ages 3-18 years old. Located in the heart of the city of College Park, Georgia, EPDC ‘s mission is to keep arts and dance education thriving in the community. EPDC is a competitive dance company that has received numerous High Score, Judge’s Choice, Platinum and Gold place honors at both regional and national competitions. EPDC emphasizes dance education as a component in the training of ever y class. Dancers are required to learn dance terminology and histor y, which is followed up by weekly examinations for the higher levels of dance. At EPDC dancers learn discipline through the arts as we continuously aim for dance excellence!

Elevated Places Dance Company (EPDC)

Soweto Street Beat Dance Theater

Soweto Street Beat Dance Theater Inc. (SSB) is the only professional South African dance troupe in the United States. We began our work in 1989 in Soweto and relocated to Atlanta in 1992. The SSB is an organization, which incorporated in 1993 and became a 501(c)(3) nonprofit organization in 1994. Our mission is to teach audiences of all ages and cultural backgrounds, especially at risk youth, about the cultural arts and history of South Africa. Executive Director, Peter Ngcobo, and Artistic Director, Isabelle Doll Ngcobo, have fifty years combined experience in African Dance performance and instruction. The SSB began as an organization, which targeted at risk youth surrounded by crime and poverty in Soweto Township of Johannesburg, South Africa. These young men were taught to become professional dancers, cultural ambassadors. They learned methods of channeling their energies that were building up throughout years of Apartheid into positive, creative activities. Today, SSB continues this teaching to South African youth, bringing them to America to study dance and to get valuable academic experience not readily available in South Africa. SSB prepares an annual performance during Black History Month, in addition to special public shows and hundreds of school appearances throughout the year. These performances focus on the history of the Zulu Nation, and our unique dance and music styles that stem from South African ethnic groups Zulu, Swazi, Venda, Shangaan, Bushmen, Sotho, and Xhosa. Over SSB’s history, it has performed for annual audiences totally approximately 10 million persons, which includes academic interactive mini performances for audiences of approximately 800,000(K – 12) students in USA schools. The dance performances of Soweto Street Beat have helped to set a precedent for contemporary dance and culture in the New South Africa. After Apartheid, SSB became the first professional South African dance company to perform at venues and festivals in South Africa, Europe and America.

DISHES FOR DANCERS

SERVE THEM SHRIMP FETTUCCINE ALFREDO

JOMO MORRIS


There’s no reason to eat out , when you can make this classic dish just as easily at home. This comfort food recipe is made from a few simple ingredients found at any neighborhood supermarket .

It’s the dish that feeds a family or just the cook without too much mess or a long cooking time. What’s even better, fettuccine alfredo is versatile. Need more vegetables? Just add them in. There’s no rule against loading it with lots of fresh spinach, green peas and diced tomatoes. This recipe uses shrimp, but it would be just as delicious with a blackened chicken breast or even a piece of gril led salmon.

The secret to this fettuccine alfredo is the addition of fresh basil and a few drops of lemon juice in the sauce. The subtle addition of herbs and a touch of acid brightens the sauce and adds layers of flavor. It ’s a well-known restaurant trick for bringing life to a flat sauce – and oftentimes the reason yours will never taste as good.

What’s best is that this shrimp fettuccine alfredo is loaded with plenty of carbs and veggies to provide nourishment after a strenuous dance performance. There’s no need to wait : in moments such as this, when haste is expedient , cook it fast and ser ve it hot .

2 qt . water1 tsp. salt ½ of a 1-lb. box of fettuccine pasta 1 head fresh broccoli, cut into small f lorets (about 2 cups)½ lb. raw shrimp, peeled and deveined Fresh basil (8 -10 leaves) 3 tbsp. vegetable oil 1 lemon Kosher salt to taste 8 oz. heavy cream 1 cup Parmesan cheese

Prep Time 30 minutes1. Bring the water to a boil. Don’t add

the pasta yet ; blanch the broccoli f irst . It helps it keep that beautiful green color.

2. Cook the broccoli in boiling water for sixty seconds then use a slotted spoon to chill the broccoli in a bowl with water and ice cubes.

3. Drain the broccoli and set aside.4. Time for the fettuccine pasta. Add

vegetable oil to the boiling water. Add the fettuccine and stir ever y two to three minutes to keep pasta from sticking. It should take about 11-12 minutes to cook al dente.

5. In a small saucepan heat the heavy cream and reduce by half. This is important : the cream should be reduced until it is thick and coats the back of a spoon. Whisk in ½ cup of Parmesan cheese and stir until cheese is melted and the sauce is smooth. Remember, Parmesan cheese is salty, so be careful with seasoning.

6. Add the shrimp to the hot sauce. They take about sixty seconds to cook.

7. Add the broccoli and stir well.8. Add the basil, kosher salt , and a few

drops of lemon juice.9. Add the cooked fettuccine pasta .Stir

to coat the pasta in sauce.10. Sprinkle the rest of Parmesan cheese

on each portion before ser ving.Ser ves 6

SERVE THEM SHRIMP FETTUCCINE ALFREDO

JOMO MORRIS

ABOUT THE WRITERFood has always been the first love of author, poet , sous chef, and culinar y critic Jomo Morris. Check out his food blog at www.photochefs.com, or follow Photochefs on Facebook, Twitter or Instagram.



They transitioned from this world after doing their part of enriching our heritage of verse, dance and the arts

Their predecessors met them all at the gate and congratulated them for a well-run race.

Their inspirational performances, were the seeds they were sowing,

To uplift our spirits and help keep us going.

So now Maya and Amiri are dancing and boppin’ and Geoffrey’s new stage is where the ancestors are rockin’

All our beloved dancers who have now transitioned are lined up in place in their heavenly positions.

We were blessed to share their l ives dedicated to the arts. Their legacy lives on in our work and our hearts.

--©Jewel L. Crawford

IN 2014, THE HEAVENS GAINED SOME MOST HIGHLY ESTEEMED ARTISTS TO THEIR HALL OF FAME.

TransitionsMaya AngelouMar y AnthonyAmira Baraka

Fred BenjaminCubie Blake

Bunny BriggsEleanor HarrisMar y Hinkson

Geoffrey HolderCalvin HuntJoan Miller

Janice RedmondMyrna White Russell

Michelle S. Simmons, M.D.

Mr. Baraka with the poet Maya Angelou in 1991 in Harlem during an event at the Schomburg Center for Research in Black Culture. Credit Chester Higgins, Jr./The New York Times

PUBLIC CLASSES will be offered!

Sunday, June 28 - Friday, July 3&

Open to the public!

Sunday, July 5 - Wednesday, July 8Sponsored by:

School of Dance and TheaterTampa, Florida

For more information, please visit:

www.dunhamcertification.org

Damany F. Ransom, Esq.Shareholder

Baker Donelson

Monarch Plaza

3414 Peachtree Road, N.E., Suite 1600

Atlanta, GA 30326

MAHANSA . . . AFRIKAN SON GLOBAL SOUL

“My culture is unique. I must respect yours and you must respect mine to make a better world. Nations are many, Earth is One. Be Passionate. Be Grateful to your Mother land, Be YOU!”

MOST VERSATILE ARTISTESOUTH EAST ENTERTAINMENT AWARDS NIGERIA 2013

. . . MAHANSA 2014 (AFRIKAN SON, GLOBAL SOUL )

US CONTACTCAROL [email protected]

NIGERIA CONTACTANTONIO [email protected]

La Danse Noire Magazine Premier Issue No 1

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Transcript of La Danse Noire Magazine Premier Issue No 1