Issue 3 - One Dance UK

Welcome
Issue 3: Spring 2006
Contents
Training and Professional Development
1.
Editorial, from Jeannette Brooks
2.
Training –Study, Experiences and Results, by Judith Palmer
3.
ADAD Forum Training Day with Jermaine Acogny
4.
Review: Greg Maqoma, reviewed by Francis Angol
5.
“ADADAsks”… Jackie Guy
6.
Diaspora Dictionary Part 2, by Thea Barnes
7.
“Wassssup!
”ToKr
umpornott
oKr
ump?Thati
st
hequest
i
on, by
Georgina Harper
8.
Review: Impact Dance “
Underworld”and ZooNation “
Into the Hood”
reviewed by Thea Barnes
9.
Developing A Professional, by Godiva Apedo
10.
The Mission Training Debate, by Thea Barnes
11.
Credits and notes
Welcome
2006 has kicked of with a wealth of touring products and companies from the
African People Dance genre. Rumble, Urban Classicism, Zoo Nation, Tavaziva
Dance to name a few. Dance days, training events and a number of opportunities
have all gotten us off to a flying start following the winter freeze.
In this issue our focus is on keeping those flames burning bright with the training
and development needed to maintain high standards and push creativity and
quality.
Training and continuing professional development is critical to us all no matter
where you are in this industry or your career. We talk to Jackie Guy about how to
get the best out of the relationship of director with dancers and to Judith Palmer
about her impressions of APD training courses.
There are reviews of Greg Maqoma, Zoo National and Impact Dance and feedback
from The Mission 2005 on black dance training in the mainstream.
Andf
i
nal
l
y
,Hot
f
ootr
eachesi
t
’
sf
i
r
stbi
r
t
hday
.Ihopey
ouhav
eenj
oy
edt
hear
t
i
cl
es
and feel Hotfoot is giving the sector a voice for critical thought and analysis. One of
the major aims of this magazine is to up the stakes for national recognition of the
various genres in African Peoples Dance. This means I need contributions articles that force reaction and cause debate. Contact me with your ideas on
content and if you would like to include something in a future edition. After all the
fight for a part of the already crowded dance sector needs to happen on all fronts
and the written voice can be very influential.
Please read on and feedback on the new online layout of Hotfoot through the
ADAD website.
Jeannette Brooks
Hotfoot Online Editor
Thi
nkPi
ece…
Training: Study, Experiences and Results
By Judith Palmer
When I started dancing nearly 22 years ago, there were more than
10 African peoples dance companies in existence in the UK…
…Delado in Liverpool, Kantamantu in Manchester,
Ajah in Derby, Odienne in Sheffield, Kalubash
Nottingham, Lanzel Wolverhampton, Sankofa Watu
Wazur
i Dance de l
’
Af
r
i
que and
Kokuma
in
Birmingham, Yaa Asantewa, Adzido and IRIE!
Dance theatre, London and Ekome, Bristol – and
those were just the ones I knew about.
Of all those companies only one remains today
and that is IRIE!
My reason for pursuing dance in my late teens was to fulfil a hunger for knowledge
ofmy‘
r
oot
s’asex
pr
essedt
omet
hrough Rastafari doctrine. The Rastafarian faith
portends the birthplace of humanity as being in Africa, once regarded as a land of
Gods. In Egyptian history it is written that man communicated with the gods
through telepathy, clairvoyance, music and dance.
In the wor
dsofaut
horDenni
sFor
sy
t
he“
Folklore proper must therefore be seen as
the ancient sublime and profound wisdom of the gods which have become the
act
uali
nher
i
t
anceoft
hegr
oup…Ther
ei
sgr
eatwi
sdom t
o…gr
oundi
ngour
sel
v
es
firmly on the wisdom of our ancients, particularly for the scattered and
dismembered tribes that have lost their way (in the Diaspora).”‘
Rast
af
ar
iheal
i
ngoft
henat
i
ons’1999.
I was amongst the radical people of the early eighties that advocated Black pride
against a back drop of racial discrimination in Nottingham.
Our artists were caught up in an anomaly, we wanted to learn about our heritage
and the only way to do that was to join a dance company with no scope for
development other than to perform.
Early experiences
When I started with Adzido in 1986 it was an inspiration. The company had just
secured a 2nd year of government funding to run a YOP (Youth Opportunities
Pr
ogr
amme)aka ‘
The Scheme’which enabled the company to transform the
George Orwell School building into a training centre for African dance and music
forms.
By1988,‘
TheScheme’hadr
un out of funds and had to be suspended. However,
Adzido was granted revenue funding by the Arts Council in the same year, which
provided a new focus for the company with reference to touring and performance
work as opposed to training.
In my opinion, Adzido at this early point of its existence constituted the
Di
aspor
a’
sequi
val
entofacl
assi
calbal
l
etcompany.
My 10 years spent with Adzido was a huge learning curve. I battled
commercialism, communism and racial prejudice! In reality, why I think I survived
(i.e. lived to tell the tale) because of my passion for knowledge and cultural
awareness.
After two weeks of shameless bawling –I still coul
dn’
tbel
i
ev
eIhad left what I
considered to be home for me and my children after 10 exhausting, soul
destroying, buteducat
i
onaly
ear
sandwentof
ft
ot
heUni
v
er
si
t
yofSur
r
eyt
o‘
f
i
nd
myf
or
t
une’
.
I felt like it was my first day at school (except that there were more black kids at
school), I was not allowed to study at BA level as I had just been employed as an
associate lecturer on the BA programme, so I was offered a place on the MA
programme with a major in Anthropology (which swallowed up the Dancers
Resettlement insurance I had accumulated at Adzido).
Wel
li
fant
hr
opol
ogymeantt
hatIcoul
dst
udymydancef
or
msi
ndet
ai
lt
henI
’
l
lt
ake
that, I thought.
There were two books in the library that related to my chosen studies. One called
‘
Af
r
i
can Dance’by Prof. Opoku, may he rest in peace (who I am proud to say
lectured me at the Black Dance Development Trust summer school in 1987 along
with other greats artists - Nii Yartey, C.K. Ladzekpo, Peter Badejo, Jackie Guy,
Sheila Barnett, Barry Moncrieffe, Nomsa Caluza and Joe Legwabe); and Edward
Thor
pe’
s‘
Bl
ackDance’
! I fondly recall the verbal wrestling matches that I had with
myl
ec
t
ur
er
sast
owhyAPD wasn’
t just another style of dancing represented at
their university. It was difficult to argue my case as documentation was not
available.
To add more detail to that historical situation, I see some APD forms as not just
styles of dancing, they are a way of life, a whole different culture. It is how our
ancestors communicated with their gods, how they gave thanks for food, water, life
and even death; how they waged war, won battles and relayed history –another
part of me that I wanted to learn about.
Mainstream acceptance?
By the time I had received my postgraduate diploma (just short of an MA), I
realised that the University of Surrey ‘
nev
ar
eadyf
i
me’
.
As an organisation it had a lot of growing to do to cover this area of dance.
Ironically, IRIE! is conducting research into the place of African & Caribbean dance
in mainstream education, and the results are not dissimilar to when I was at
university 9 years ago.
“
Thepr
obl
em i
neduc
at
i
oni
snotonl
yt
hats
t
andar
dsofachi
ev
ement
shav
ebeen
too low; they have also been too narrow. An education system, which focuses only
on one mode of intelligence or on a limited range of cultural experiences, is
under
est
i
mat
i
ngt
hel
ar
gerpar
tofc
hi
l
dr
en’
snat
ur
al capacities and resources.
If education is to develop human resources, we must first recognise how rich and
v
ar
i
ous t
hese r
esour
ces r
eal
l
y ar
e…a bal
anc
ed educat
i
on must provide
oppor
t
uni
t
i
es…t
o ex
pl
or
e and dev
el
op t
he di
f
f
er
entaspect
s of
…i
nt
el
l
i
gence,
through a balanced curriculum and challenging processes of teaching and
l
ear
ni
ng.
”Quote taken from Professor Ken Robinson (NACCCE), quoted in
‘
Taki
ngSt
ock&Maki
ngi
tHappen’Gl
ean&Lehan,2005.
Now I
’
m att
hedawni
ngofmyf
our
t
hdec
ade,I
’
v
ebeenwi
t
hI
RI
E!For5y
ear
s,my
experience when I first arrived would have put anyone off for life. The funding for
the accredited courses for which I was employed as co-ordinator had run out and
the programme had to be suspended (notunl
i
keAdz
i
do’
sYOP)so I was really
there to wind everything down and pursue alternative finances but to no avail.
Support for the arts in this country is quite fickle. Todayyou’
r
ef
l
avourof the
month (embracing their political issues), tomorrow your old news…
…and although the powers that be have tried to relegate IRIE! Dance theatre to
their dusty shelves as old news our story lives on. The company continues as a
r
ef
l
ec
t
i
onofBr
i
t
ai
n’
smulticultural society with a diversity of backgrounds that need
to be reflected in the education system if the government wants to achieve a
knowledgeable and productive workforce.
I
RI
E!
’
scat
al
ogueofachi
evement
s:
 21 years in existence
 Commissioned research into Archiving for APD
 I
ni
t
i
at
edEur
ope’
sf
i
r
staccr
edi
t
edt
r
ai
ni
ngpr
ogr
ammesi
nAPD
 Conducted research into APD and mainstream HE
 Secured funding for Moonshot, a dedicated space for the practice, resource
and preservation of APD in the UK
Reaching for the moon
Moonshot is a £3 million refurbishment programme to regenerate a disused
community centre.
The centre was originally set up and run by the Black
community in Deptford, and there is a huge commitment to retaining its legacy; in
respect of t
hi
s,t
heBl
ackcommuni
t
y
’
scul
t
ur
eanddi
v
er
si
t
yf
or
mst
hef
oundat
i
onof
the new Moonshot. London Borough of Lewisham awarded the project a grant of
£2.4 million, with the remainder of the funds raised by the other consortium
members who include: IRIE!, Surestart and Deptford Green Secondary School.
I
RI
E!
’
sr
emi
tand space wi
t
hi
nt
he bui
l
di
ng al
l
owsust
o wor
k wi
t
har
ange of
partners to make Moonshot a focal point for the practice of APD.
Current
partnerships are:
IRIE! & ADAD working towards the development of an Archive programme
covering the practice of APD in the UK.
IRIE! & Birkbeck College, University of London, working towards the
development of a Foundation degree in African & Caribbean dance studies.
IRIE! & City and Islington College, working towards the development of
Professional experience platforms for dance students.
IRIE! & London Borough of Lewisham towards the development of APD within
Education & Community Outreach.
Aside from the large open plan office space with adjacent library and archive with
viewing and listening booths; the building will host 2 large dance studios, 2 state of
the art ICT suites, 1 Seminar room, 2 teaching/meeting rooms, 1 small Café,
Nursery and crèche facilities, 1 drama studio and 2 music/teaching rooms.
IRIE! intends to be collaborative in its
approach
to
work
and
to
create
opportunities for other dance companies
and individuals to create work, develop
projects and to deposit physical archive
material at Moonshot.
CGI image of Moonshot taken from the Irie! Dance website, www.irie.inuk.com
ADAD Forum
Saturday 18th February 2006
Guest Artist: Germaine Acogny
This year, the ADAD forum
sessions focus on the theme
of celebrating the vast
heritage and achievements
ofAf
r
i
canPeopl
es’Dance.
It was apt that the first ADAD
forum of 2006 profiled an artist
who has contributed worldwide
to the development of African
dance since the 1960s. ADAD
hosted Senegalese
choreographer and dancer,
Germaine Acogny at
Interchange Studios, London.
The day kicked off with Germaine teaching a masterclass to 35 dancers ranging
from African dance enthusiasts, to dance students, to seasoned professionals. And
from the feedback collected, it was apparent that all three categories of dancers
t
ooki
nspi
r
at
i
onf
r
om Ger
mai
ne’
sr
efreshing approach, and were keen for her to
return in the near future.
Germaine Acogny has developed a dance technique which combines the
traditional base of West African dances with the structural elements of classical
ballet and western modern dance. From her unique mode of delivery, these three
forms not only influence, but actually enable each other.
Her class was disciplined, thought provoking, and enlightening. It also provided
much needed insight into the numerous subtleties contained within African dance
forms that can be overlooked.
After a hearty lunch, the forum resumed with Germaine being interviewed by dance
practitioner Akosua Boakye. Through the interview, and subsequent question and
answer session, forum attendees learnt about; the beginni
ngs ofGer
mai
ne’
s
explorations into dance, her journey to accept her abilities as an artist as well as
gain acceptance by her many critics, her approach to choreography, her vision for
African dance, and her determination to consistently provide opportunities for
dancers to train in African dance to a professional level.
Germaine was joined by her husband and manager Helmut Vogt, who shared with
t
hef
or
um hi
sandGer
mai
ne’
s20y
earv
oy
aget
obui
l
dt
hemul
t
i
-disciplinary arts
institution in Senegal - L’
ecol
edess
abl
es(The school of sands).
The publicity for this institution describes L’
ecol
e dessabl
esas a place where
young dancers from all over Africa can benefit from a professional education,
giving them a strong foundation and preparation for the life of an artist, as well as
opening them up towards other horizons. Forum attendees watched an excerpt
from a film made about the centre, and it was evident that L’
ecol
edessabl
esis not
onl
yagr
eatpl
acet
of
i
nd(
orr
ecal
l
)one’
si
nspi
r
at
i
onwi
t
hr
egards to African dance,
but it also offers valuable opportunities to collaborate with artists of other
di
sci
pl
i
nesi
nanhones
tquestt
obea‘
t
ot
al
’
ar
t
i
st
.
Ger
mai
nei
sof
t
en t
er
med ‘
TheMot
herofCont
empor
ar
yAf
r
i
can
dance’
.
Through meeting her and observing her approach and philosophy, it became clear
as to why she has earned that name. It is not only because she began
experimenting with African dance movement vocabulary back in the 1960s, and
established institutions where dancers could train in African dance, (most notably
Mudra Afrique which was founded in 1977, and offered students a three year fulltime course in the performing arts), but it is also because she understands the
importance of continuously nurturing and supporting the next generation.
In her own words - “
Icannotdowhatt
heycando,y
ett
heycannotdowhatIcan
do”
.So,whi
l
stshest
i
l
lper
f
or
msherownwor
k,andchor
eogr
aphsf
orherdance
company Jant-Bi, she generously shares her wisdom and experience with younger
dancers, and encourages them to develop their own individual styles of
expression.
Germaine and Helmut kindly donated the film of L’
ecol
edess
abl
esto the ADAD
ar
chi
v
e,aswel
lasacopyofGer
mai
ne’
sbookAfrican Dance. Both film and book
are available for ADAD forum members to look at. For a full transcript of the
interview with Germaine, please contact Pamela Zigomo at ADAD.
ADAD hopes to invite Germaine Acogny back to the UK later on in the year.
Please ensure that you are on the ADAD database in order to find out about
future forums at the earliest opportunity.
The ADAD Forums
provide a voice for the
sector and a meeting,
consultation and
advocacy point. The
Forums offer the
opportunity to share
skills and experience,
and develop a crossform community based
on mutual aspirations
and needs.
Rev
i
ew…
Vuyani Dance Theatre
“Beautiful Me –Part Of”and“Beautiful”
Reviewed by Francis Angol
Lilian Baylis Theatre
Saturday 4th March 2006
The artist - a landscape of ever shifting metaphors!
As part of the seasonofspeci
alpr
oj
ec
t
sbySadl
er
’
sWel
l
s
,
Gregory Maqoma, a South African based artist who has
been
described
as
one
of
the
most
talented
choreographers to emerge from the new generation of
South African artists, presented an evening of dance at the
Lilian Baylis Theatre.
The programme was co –produced by Centre National de
la Dance (France) and Vuyani Dance Theatre (South
Africa) with the support of AFAA –Ministere des Affaires
Etrangeres and A.K.C.T Ltd, the charitable arm of the
Akram Khan Company.
The two works; “
Beaut
i
f
ulMe–Par
tOf
”and“
Beaut
i
f
ul
”
, are part of the trilogy which looks
at the beauty of human beings as juxtaposed with the beauty of things and the seasons
t
hatcont
r
i
but
et
ot
hewhol
esomenessoft
heuni
ver
se’says Greg in Arts Alive.
As the audience entered the Baylis theatre to take their seats, they where presented with a
stage void of wings encapsulating a set that one can only describe as somewhat surreal in
nature and beautiful in sculpture.
A visionary landscape of two organic bodies, one female the other male set within a
rectangular space outlined by a perimeter, a path constructed so as to represent a daisy
field - green grass with beautiful different coloured daisies sparsely positioned around the
route. The costumes were simple in design, pastel green fabric tailored to the body worked
well in portraying a simplistic organic view of beauty. The lighting was soft and plain in
design but effective in creating a feeling of harmonised intimacy between the body and its
environment
The 75 minute programme presented an interesting view of the use of African dance within
a theatrical presentation. Approached from a very contemporary perspective, the style of
expression and choreographic structure gave an insight into Maqoma’
si
nf
l
uencesand
training. Contemporary dance expression laced with an African resonance that gave the
work an engaging edge.
Sharp shoulder expressions with bounded and extended lower body movements created a
mesmerising display of a movementsi
gnat
ur
et
hati
si
nev
i
t
abl
yMaqoma’
st
r
ademar
k.The
use of repetition reinforced statements of expression, injecting a dynamics that played on
movement metaphors. At times sweeping contemporary dance motifs and gestures set
against a backdrop of cultural expressions made it difficult to position the style of
expression into one defined category. The female dancer moved with poise and elegance,
shifting and flowing from one dynamic gesture to the next, creating a sentiment of
harmony with every executable step.
Maqoma’
st
al
lpr
omi
nentst
at
ur
e ani
mat
ed t
he l
andscape wi
t
h a gr
i
otl
i
ke pr
esence,
exhibiting the skill and confidence of one well versed in their art. The movement
vocabulary was rooted in placement and angular in outline. Free flowing sharp precise
motifs and transitions exhibited an interesting meeting of forms. A style and structure that
can be described as circular intensions interconnected through parallel planes within a
defined arena of expressions.
A most satisfactory evening of solo and duet work that allowed the voice of contemporary
Africa to be made visible. Through this presentation one can only hope that, this kind of
work and collaboration will help to influence the development of similar artists working in
comparable genres and by doing so educate individuals and further enhance the diverse
richness of British dance.
Regular Feature…
ADAD Asks
In each Hotfoot newsletter, ADAD interviews an experienced dance
professional with connections to the APD / Black dance sector and ask them
10 direct questions.
This edition, we meet
Jackie Guy
1.
In your wide experience as a director, what
would you say are the most essential
qualities needed to manage/develop the
dancers working with you?
It is important that dancers you employ know and
understand the mission, ethos and history of the
company they are working with.
This is key, especially for dancers working within the APD sector. Experience has
shown that dancers who are not trained in the particular style are at a
disadvantage in articulating and understanding the particular dance aesthetics.
Once you overcome this, managing and developing the company becomes less of
a struggle in defining who you are, and what you are about within the dance
ecology.
Also as an artistic director you should have a solid dance background and some
knowledge of management.
2.
In an ideal world, what training events would you regularly schedule for
the ongoing needs of a dance company?
While today's dancers are physically stronger, it is advisable that companies who
practise African and Caribbean dance forms where traditional nuances are utilized
continue to implement training courses, such as history and music. These
additional events will enhance the skills of those dancers and choreographers who
draw on traditional dances for inspiration and synthesis.
3. As your career has progressed what has been the most significant or
defining training or study you have undertaken?
I have personally gained from the various courses and international forums and
dance conferences I have attended looking at dance culture of people from the
African Diaspora.
In addition, I have further researched my own Caribbean heritage, which helped
me to advance my own 'JaGuy Technique', as well as studying the dynamics of
archiving and to a less extent, dance notation.
4. What new courses could the UK dance establishment include in its
vocational training of Dance of the African Diaspora?
There are people teaching dance that perhaps lack certain essential requirements
for effective instruction. Possibly, the APD sector could look at 'Training the
Trainers', for example in teaching methodology, principles of movement and
anatomy.
Never the less, there are also experienced teachers and lecturers who can offer
training and advice and we can look forward to the continuation of the Irie! Dance
Theatre Diploma course in African and Caribbean Studies.
5. What steps can still be made with the sector itself to build resources
i
ncl
udi
ngar
t
i
st
s’devel
opment
?
A proper survey and needs analysis must be undertaken within the sector, so an
effective developmental programme can be implemented.
There
is
a
need for
show-casing
young
choreographers
work
and
a
dancehouse/space for experimentation with links with the Smithsonian Institute in
Washington, The International Institute for Blacks in Dance in Philadelphia, the
Jamaica School of Dance, and other dance institutions throughout Africa, Cuba
and Haiti is also critical.
6. What is your present interpretation of African Peoples Dance (APD)/Black
Dance?
There are so many interpretations of the practice of African Peoples dance or
Black dance in Britain that at times leads to tension. It is unfortunate that the
legacy of Black Dance Development Trust, established in 1986, has gotten lost
along the way of progress.
I personally feel that artists with the APD sector should celebrate their cultural
heritage and be sensitive to the African Diaspora while embracing the dynamics of
the contemporary world we live in today. Issues begin when the 'fertiliser becomes
the soil' and we loose the essence of purpose by over blending and then placing
APD in a category defined by someone else ideas on what we should be doing
culturally and who we are.
7. Is the APD / Black dance sector relevant to the overall British dance
scene and why?
Yes, APD is more than relevant to the British dance scene, it is part and parcel of
the multi-cultural society we live in and demands respect in terms of its diversity.
Dance forms which came out of the blood, sweat and tears of Black people needs
no justification in contemporary Britain. The fact is it was through these artistic
expressions that we have overcome adversity from the up-rooting in Africa,
through to the middle passage and migration to England.
As a son of the Caribbean, I salute the work of Irie! Dance Theatre, Kokuma Dance
Theatre, Carl Campbell, Caroline Muraldo and others who's contribution to Black
dance forms (especially from the Caribbean) since 1979 often gets lost in the
recognition chart.
So the 'and why' in the question is - we need to constantly pay homage to our
ancestors.
8. Career path. Are you at the point in your professional development you
hoped to be right now?
Yes, but not resting on my laurels. I like the opportunity to diversify my skills. I
teach and lecturer in various universities, schools and colleges and recently
choreographed the stage version of the movie 'The Harder They Come'. I work
with elders and I am about to do a short solo for the Royal Opera House. Presently
I am the chairman of (ECAS) Education Culture Arts and Sports committee of the
Jamaican Diaspora UK. Finally have completed my research to write my book.
9. What keeps you focused and motivated?
My Christian faith underpins all what I do: to love, serve and to be proud of my
cultural heritage. I am motivated when human beings gain self-confidence and
express their talents to the fullest.
10. Whatadvi
ce or ‘
wor
ds ofwi
sdom’coul
d you of
f
er t
ot
hose peopl
e
working in the APD / Black dance arena?
Remain focused. Strive for excellence. Encourage positive debate. Celebrate each
other achievements. Try to help ourselves more and avoid justifying what we do
and who we are.
Diaspora Dictionary 2005-2006
By Thea Nerissa Barnes
This glossary contains words that allude to specific cultural practices
and/or political stances that precipitate dance making or characterise
aesthetic preferences for performing and enjoying Dance of the African
Diaspora.
Part 2: J –Q
J
Jazz Dance \ a broad term for American social and stage dance employing in
the first instance popular social, jazz or jazz-influenced or even classical music
depending on the choices of dancer or choreographer. As social dance the term
vernacular is also used to describe those moves done for social or recreational
activities. As a vernacular form, jazz dance originated in early 19th century African
American social dances and were derived from several African, Western and
South, movement vocabularies and affinities.
Ballroom and Tap dance also figure along side this genre as first a vernacular
practice that developed into theatrical practice that finds its roots in African and
also European social dance practices. The verbal vocabulary of these dance forms
often reflected the character and body usage of the movement; Pigeon Wing,
chicken wing, black bottom, snake hips, monkey, and mashed potatoes are
just a few others. In the early 20th century diluted forms of African American social
dances were adopted into mainstream social dance. Charleston, Jitterbug,
foxtrot and twist, have movements traceable to African and early slave dances or
European couple dancing adapted to jazz rhythms. These forms were also
adapted for minstrel shows, vaudeville, revues, and early musical comedy.
By the second half of the twentieth century a style emerged that drew on ballet, the
modern dance expressions of practitioners like Katherine Dunham, and tap dance.
It emphasized Europeanist body linearity and flexible torso, fast, accurate footwork
with the feet basically natural or parallel and poly rhythmical exaggerated
movements of individual body parts, such as the shoulders and hips.
Jitterbug \ American couple dance popular in the 1930s and 1940s, typically
danced with great energy to big-band swing or similar syncopated music. Similar to
the lindy hop, Jitterbug had a variety of steps and sometimes acrobatic swings,
usually executed while holding one or both of the partner's hands. During World
War II the jitterbug was spread worldwide by the United States armed forces. A
more sedate version of the dance, jive, fast dance done to jazz or swing music,
appeared in the 1950s as a popular rock music dance.
K
Kalinda \ is a stick-fighting dance tradition practiced during Carnival in Trinidad
and Tobago possibly originated in the 19th century. It is also thought to be
performed at wakes. It involves two fighters/dancers, each accompanied by a
dr
ummerandachant
wel
lsi
nger
.Thec
hant
wel
lsi
nger
'
smai
npur
posei
st
o“
t
r
asht
al
k”the opponent fighter/dancer. It is believed that this tradition helped to bring
Carnival to the streets. Kalinda is probably related to Maculelê.
Kumina \ Jamaica\ a sacred dance of the Bantu speaking peoples of the Konga
origin; Jamaican rite of ancestral worship usually associated with wakes and
entombments but may also be performed at births, anniversaries and
thanksgivings. Dance and music are the strongest elements of Kumina
ceremonies with the drum playing an integral part in the dance ritual.
L
Limbo \ dance of the West Indies where dancers pass under a horizontal pole;
Trinidad and Tobago; competitive dance originally seen at Wake ceremonies for
the dead
Ladja \ French Caribbean-fight dance of Martinique that resembles the kadjia of
Benin; also called damié and formerly spelled l
’
ag’
ya;Related to Kalinda,
Capoeira is probably Maculelê if in not in origin, in form and executio.
M
Mambo\ believed by some to be the precursor to break dancing, mambo is a
Cuban ballroom dance resembling the rumba or cha-cha; 20th century son music
with two variations in dance; also a Vodou priestess
Minstrelsy \ primarily a white institution, the minstrel show was a three-part
show presented in semi-circle arrangement with the music and dance influenced
by traditional African forms. While minstrelsy was a compilation of African and
European forms, music and dance that emerged contributed enormously to many
subsequent musical genres.
The leading vehicle for popular music in the United States in the 19th century,
minstrelsy banjo music influenced the development of ragtime, and its clog
dancing, the evolution of tap dance. Minstrelsy presented grotesque parody
derived from American racist ideologies. Originating and developed in the United
States in the first half of the 19th century the minstrel show consisted of songs,
dances, and comic repartee probably evolved from two types of entertainment
popular in America before 1830: the impersonation of African Americans by
European American actors between acts of plays or during circuses; and
performances
of
African
American
accompaniment, in city streets.
musicians
who
sang,
with
banjo
Providing artificial, class and racial distinctions, minstrelsy allowed characters to
talk about things that were generally discouraged and dialogue to introduce many
controversial ideas that did not exist in other places.
In Britain, where minstrel shows became absorbed in music hall and revue,
performances continued to attract large audiences in the west end of London until
the 1950s.
Moko Jumbie \ Trinidad and Tobago carnival masquerader on stilts.
Maculelê \ Brazil \ an Afro-Brazilian stick-fighting dance where a number of
people gather in a circle called a roda with one or more atabaques drums
positioned at the entrance of the circle. While the Maculelê rhythm plays on the
atabaque individuals enter the circle brandishing a pair of long biriba wood sticks
called grimas. Maculelê though in the past and occasionally currently is
performed with machetes. Also, traditionally in Maculelê, the players wear dried
grass skirts.The people in the circle participate by singing, those with sticks strike
rhythmically. When the leader gives the signal to begin playing Maculelê, two
people enter the circle. On the first three beats, they strike their own sticks
together, making expressive and athletic dance movements, and on each fourth
beat, they strike each other's respective right-hand stick together. This makes for a
dance that looks like "mock stick combat". Maculelê is related to Capoeira and
Samba de roda. All three of these art forms evolved together in the Recôncavo
Baiano.
N
Nation Dance \ Caribbean - resembling the kele the Nation Dance is a type of
ancestor ritual also known as the Big Drum Dance or simply saraca (sacrifice)
O
Orisha (USA), Orisa (USA), Orixa (Brazil) \ divinities, deities or divine spirits that
manifest through dancing in Yoruba-based religions: in Cuba Santería, Lucumí, or
Yoruba; in Trinidad and Tobago, Shango
P
Polyvalent \ Polyglot \ Pluralistic\ adjective used to describe the quality of
taste, movement vocabulary, and aesthetic preference of a choreographer who
resources several distinct movement languages and genres which in themselves
have distinct aesthetic expressions of their own. The choreographer who combines
dependentel
ement
sex
t
r
act
edf
r
om s
el
fanddanc
er
s’mov
ementex
per
i
enceswi
t
h
varied genres. There are many words used to label this process and ability of
choreographers within the African Diaspora who synthesise, extrapolate, and
reinvent movement vocabularies for works presented in western contemporary
dance theatre. Metisse, melange, syncretic, hybrid, and fusion are used
similarly.
Priprí \ social dance ensembles and accompanying dance of eastern and south
western regions of Dominican Republic each with its own distinctive ensembles
and music.
Q
Quadrille \ Cuadrilla in Dominican Republic; eighteenth and nineteenth
century set dance. Danced throughout the Caribbean with varied dance/music
synthesises resultant of creolisation and other types of African and European
amalgamations found in Jamaica, Haiti, Cuba, Virgin Islands, French Caribbean
and St. Croix. French quadrille was derived from English-French contredanse or
contradanza francesa in early nineteenth century. French quadrille was a set
dance composed of five numbers: le pantalon, l
’
ét
é, la poyule, la trénise, and
the finale.
The Diaspora Dictionary –written and researched by Thea Barnes, is
not meant to be a finite, complete or definitive work. It is however, to
be taken as a piece to stimulate debate and support the enjoyment of
dance.
Regul
ari
t
em…
Waz
zzup!I
t
’
syourshout
Your turn, your voice, your article. Do you have something to
express? Then express it here. You want to expose some
i
nj
ust
i
ceorshoutaboutasuccessyou’
vehad?Doit here.
To Krump or not to Krump? That is the question.
By Georgina Harper
Rize Up
'Ghetto Ballet' is the description that one dancer gives to the new dance form
emerging from the streets of LA.
Krumping isn't just a dance st
y
l
e,i
t
’
sast
at
eofmi
nd.The word can be used as a
verb; 'to krump' or to 'get krump' and to 'be krump' is a compliment.
A new documentary film, Rize, (went on
general release at the end of December
2005),
introduces
development
in
the
very
hip-hop
latest
dance.
Krumping expresses the hardships and
frustrations of a whole generation of
America's poorest underclass.
Directed by fashion photographer David LaChapelle and set against the race riots
of 1965 and the Rodney King riots of 1992, the film portrays a group of young
people who discovered that dance could provide an alternative to the gang culture
that pervades life in the ghettos of South Central Los Angeles.
At the opening of the film a young dancer, Dragon, declares 'this is not a trend,
repeat, this is not a trend. You ain't never seen life expressed like this.'
In light of the social tensions exploding on the streets of France and the recent
riots in Birmingham, the film's message about the value of artistic expression to
socially
deprived
communities
reaches
European shores at a poignant time.
Following Tommy the Clown, creator of the
'Clowning' dance style and a breakaway group
of ex-clown dancers who have developed their
own style called 'Krumping', the film explores
the dancing against the harsh backdrop of the
ghetto.
These dance forms are strongly rooted in the traditions of Hip Hop, both in a
physical sense and a philosophical one. Physically we see the creation of a circle
of participants within which people take turns to dance, the incorporation of
movements like body popping and the competitive 'battle' aspect.
Philosophically Krumping goes back to the most authentic foundations of Hip Hop;
the use of dance and music as a response to oppression. Whilst echoes of Hip
Hop remain, this new style has many original features. The clowns have colourful
painted faces and Krumpers sport a pared down, more stylised camouflage. The
facepaint acts as a mask, allowing the dancers to assume a new persona and
express themselves in new ways. Tommy describes the painted face of his clown
character as his 'weapon' and dancing as his 'getaway'. The sheer speed of the
movement is also a defining feature.
In Krumping the dancers often achieve a trance-like state, lashing out at a
breakneck pace, pushing each other, scrambling and releasing pent up
aggression.
Most importantly is a shift in attitude; the dancers are clear that they don't agree
with commercial Hip Hop's glamorisation of ghetto life and Krumping is about more
than dancing the latest moves. Through Krumping dancers express their anger and
frustration and channel the negative into a positive, facing and exorcising their
demons.
A new artistic voice or a very old one?
Hip Hop dance artist Jonzi D first brought Tommy the Clown and the Hip Hop
Krumpers to the UK two years ago to perform at Sadler's Wells Hip Hop Festival
Breakin' Convention. He suggests that the most innovative new dance and music
forms have often originated in poor African American neighbourhoods, including
Blues, Jazz and Tap dance and that these forms have eventually been assimilated
into mainstream arts and entertainment. He also points out that many of the main
elements of these dance and music styles have developed from within African
traditions. The film draws parallels between Krumping and traditional African dance
forms, from the use of face paint to create 'masks', the circle formations and the
trance-like state which the dancers assume.
LaChapelle includes archive footage of traditional African dances highlighting
these similarities. The astounding thing is that the dancers, without access to
formal dance education of any kind, had never seen footage or even reconstructions of traditional African dance practice. They believe their dance to be
'in their blood' and that the imprint of certain modes of expression have surfaced in
Krumping almost beyond their control.
Krumping is certainly an interesting example of the way that dance and movement
styles migrate from one continent to another and surface in different locations at
different times.
Written by Georgina Harper
Re-edited for Hotfoot by Jeannette Brooks
Rev
i
ews…
Br
eaki
n’Convent
i
onpr
esent
s
Zoo Nation –“I
nt
ot
heHood”
Impact Dance –“Under
wor
l
d”
Peacock Theatre
3 & 4 February 2006
Reviewed by Thea Barnes
Hip
Hop
dance
theatre
is
establishing
and
confirming the cultural and artistic value of the art
form t
hr
oughi
t
’
smessage of living life positively in
a global, culturally pluralistic world.
“Underworld”and “Into The Hood”alike are danced
metaphors using visceral movement and verbal text
to speak to a generation.
A video projection in black-and-white of a bus ride
begins Into the Hood. Members of Zoonation enter the
bus but a young child, played by Chante Simpson,
sitting in her seat is so excited about the various
commotions going on around her.
The bus arrives at its destination and everyone gets off. Simpson and her friend,
played by Russell Royer, run down the street escaping from the others. Simpson
and Royer are robbed and chased Into The Hood and thus the adventure takes a
scary twist.
The story continues… the children meet the landlord of the Tower Block, portrayed
byFr
ankWi
l
son.Wi
l
s
on’
st
as
kf
ort
hechi
l
dr
eni
st
oobt
ai
na white ipod, a red
hooded top, yellow weave and gold trainers as birthday gifts for his daughter.
When the goods are obtained he will help the children leave the hood and find their
way back to their companions.
The Wizard of Oz theme comes to mind but program notes state that Kate Prince,
director of Zoonat
i
on’
sI
nt
o The Hood found inspiration from Stephen Joshua
Sondhei
m’
smusi
calI
nt
ot
heWoods(
1987)
.
The projection changes from high rise to a kitchen and a young woman scrubbing
the floor, Spinderella. More break dancing and interaction and we move from this
view to the man in apartment 10E, aptly called Wolf. The gist is, Pr
i
nce’
sInto The
Hood presents alternative parodies of several well known fairy tale themes;
Cinderella, Jack and the Beanstalk, Little Red Riding Hood, Snow White, Rapunzel
and other sundry characters from these and other tales.
The children purloin the gifts from tenants in the Tower Block through slight of
hand and coincidence tricks. But it all seems for nothing when the daughter
complains to her father that the gifts are not brand new! The pilfering of these
items has also caused anguish in the hood and several lessons are being taught
along the way - honesty, loyalty and resilience being the most apparent. Standing
at a make believe bus stop all the characters have lost something; particularly a
sense of self. As they sit or stand the children return the goods and restore
harmony.
The music (arranged by DJ Walde, Mark Harte, and Kate Prince) throughout the
work facilitated the storytelling with the odd lyric punctuating poetry in movement
as well as offering metaphoric words of advice.
Ast
hewor
kendst
hec
hi
l
dr
enr
et
ur
nt
or
eal
i
t
y
;t
headv
ent
ur
ewasSi
mpson’
s
dream that in this Hip Hop dance theatre work ruptured negatives and presented
positives.
Hakeem Oni
budo’
s
Underworld for Impact
Dance, incorporates video
footage, costume and set
design all inspired by the
film of the same name.
There is an age old battle
between two factions, the Lycans, lead by Steven Eniraiyetan and Leticia Simpson
andt
heEl
egant
eswhoar
el
eadbyAnt
honyMi
l
l
s,A’
JaiFel
i
ci
si
moandNat
asha
Bisarre. As the story evolves through movement and gesture, Bisarre falls for
Eniraiyetan with the product of their union being a baby boy. The Father takes care
oft
he chi
l
d despi
t
e hi
s par
t
ner
’
s const
er
nat
i
on pl
ay
ed i
mpr
essi
v
el
y by Let
i
ci
a
Simpson.
Time moves on and the Lycans are still battling the Elegantes. Finally a
confrontation results in Eniraiyetan’
s deat
hf
ol
l
owed bya battle between the
factions. As each group sends its soldiers into the dance circle answering that
challenge, individual styles are demonstrated; accomplished
b-boy and b-girl
moves, body waves, popping, locking, crazy legs, windmills, freezes, chest, arm
and full body ticking.
Bot
h si
des ar
ef
i
er
ce butSi
mpson’
s dr
amat
i
ci
nt
er
pr
et
at
i
on af
f
or
ded a deeper
understanding of the plight of the Lycans that superseded the typical Romeo and
Juliet scenarios that Underworld conjures up. Rival gangs face off and do battle but
love whether for man or child has no time, place or ethnic boundaries.
Ultimately this dance story is a pretext for the danced predilection of Hip Hop
culture; the challenge…
Ar
t
i
cl
e…
Developing A Professional
By Godiva Apedo
My parents were not impressed by my 7 day a week physical training regime filled
with frequent visits to the ballet school in Balham and local visits to the basketball
courts. So I was told that I had to make a choice, which as a child brought up by
strict Ghanaian parents was rare. I chose to stick to the ballet. My parents were
r
el
i
ev
edandr
emi
ndedmet
hati
tshoul
dr
emai
nj
ustahobby
….Li
t
t
l
edi
dt
heyknow!
During my time at school I had the opportunity to join the Inner London Education
Authority Youth Dance Company. A group that gave young and enthusiastic dancers
the opportunity to train perform and work with known and unknown Choreographers.
It was great; I remember performing at Chisenhale Dance Space wearing a home
madecos
t
umewi
t
haccessor
i
esf
r
om ashopcal
l
ed‘
WhatSheWant
s’
.MyPassi
on
for dance increased and led me on to joining a two year foundation course at
Lewisham College, London training in the areas of jazz, ballet and contemporary
dance plus choreography. For me, it was an excellent course and its track record
shows a number of well known professional dancers and choreographers trained
there.
Af
t
ert
hedi
sappoi
nt
mentofnotget
t
i
ngi
nt
o‘
The
Pl
ace’(
LondonCont
empor
ar
yDanceSchool
)I
found my self at an audition for Ballet Rambert
School. By now I was convinced that all along my
par
ent
swer
er
i
ghtaboutt
hi
s‘
i
nt
er
es
t
’bei
ngj
us
ta
hobby, but after a very sweaty audition where I
was the only black person in the room, I was
offered a place. Then followed three tough and
exposed years to the world of ballet and its
prejudices. It was a challenge being there - a
challenge that when completed led me on to join
Phoenix Dance. After my 2 year burst of company
life, its pleasantries, and politics, it was time to
move on.
I moved back to London after Phoenix and took the opportunity to work with
Chorographers like Richard Riley of Ballet Negres, Sharon Wray, Jonzi D and Lyrical
Fearta. Working as a freelancer was very refreshing for me at this time and the
v
ar
i
at
i
oni
nt
hewor
k,al
t
houghatt
i
mes‘
adhoc’
,keptme motivated.
The frequency (or infrequency) of jobs allowed me the time to look into other areas of
interest and I enrolled on a part time access course in IT. I was very much aware of
the impact and changes in technology on our daily lives. With some encouragement
from my lectures went on to do the a degree in Information Systems Design (Bsc
Hons) at Kingston University
Throughout, I kept dancing along side my full time study at University and in my
second year of study I was also doing an 8 show week at the Lyceum Theatre as an
ensemble member of the Lion King. Lectures from 9am-4pm at university, then the
dash for the train to get to the theatre for 6pm to start the show at 7.30pm. I was
optimistic enough to get through what with hindsight, was a crazy schedule.
An opening came up for me to work at PricewaterhouseCoopers (PwC) as an IT
Support Professional, this while also working a second time for the Walt Disney
Theatre production of the Lion King. With the added blessing of my first born child,
life became more and more interesting.
Teacher of autistic pupils-fashion designer, barrister-musician, journalist-vicar,
scientist-poet, English teacher-film director, as brothers and sisters you could say
diversity runs in the family! Anywaywho’
st
o saythat you are only allowed one
occupation/career per life?
In 2003 I was asked to be on the Panel for the Constellation Change film festival
(CCSDF), this then led on to me working as an arts administrator for the Carol
Straker Dance Foundation (CSDF) where I was able to utilise some of my IT and
media expertise. Within the film festival, courses for further professional
development within Choreography and film were available. The dance world as we
know it continues to change with the prospect of a wider audience - this being the
‘
Gl
obalVi
l
l
age'
.Cons
t
el
l
at
i
onChangemakesadoor
wayav
ai
l
abl
ef
orprofessionals
and those still training to be exposed to international dance, around the world.
http://www.constellation-change.co.uk/
See
Changing Fortunes
Never the less, few of the opportunities and courses I had over the course of my
training are still available now. It seems that for many people, the options available
for their professional dance development in Britain are limited. Many take the
opportunity to go abroad as it seems that more variety is available, especially in the
area of black Classical dance and history.
This is why Carol Straker and her foundation school are important. As a well known
dancer and choreographer, Carol trained at Le Gat School of Russian Ballet then
went on to Urdang Academy. After graduating she left to go to America, to join
Dance Theatre of Harlem, then later at the age of 21 joined Alvin Ailey. On returning
to England she formed the Carol Straker Dance Company along side her dance
foundation.
For 15 years now, the Foundation has provided opportunities for over 300 students,
young and old (from 3-45 years) to train in different areas of dance. From ballet and
tap, to contemporary and urban dance styles. But the future of the foundation
remains vague, with no clear backing or provision being made for a new building for
the school by local authorities.
Parents and students are shocked as the foundation has made a huge contribution
to the residents of the area and world wide. An irony as with the changes in the local
council grant system that used to be available when I was training, it now means that
many people looking to continue their training, may have to step into the area of
Student Debt - this when an organisation aims to be accessible and offer lowered
tuition costs, its future in unknown. The current CSDF building lease will run out in
2006, where the organization will move to next or if the lease can be exchanged are
questions that remain currently unanswered.
A small amount of Student Funds and scholarships are available but with almost *50
applicants to one place auditioning for some schools and only 1,560 scholarship
places allocated to 29 schools in England for vocational dance training, competition
is high and places available are short.
(See
www.he.courses-careers.com/dance.htm)
www.cdet.org.uk.
Despite the obstacles individuals may come across (and in my own experience it
was being continuously reminded that my physic was incompatible for classical
dance) whether you are told you are too tall, fat, short, black, faire, or slim - if you
aspire to dance, go out and do it.
Debat
e…
Black Dance in Training and Education
The Mission 2005, Birmingham
By Thea Barnes
This debate was an opportunity for those present to
examine provision and strategies for including Black
Dance training in the curriculum.
The discussion would also touch on what training includes and what the outcomes
of this training might be.
Present for this debate was Professor
Christopher Bannerman, ResCen, Middlesex
University, Veronica Lewis, Director, London
Contemporary
Dance
School,
Anthony
Bowne, Director, Laban, Funmi Adewole,
Dance Researcher and Dance Artist, with
Thea Barnes, Dance Researcher hosting.
Ginnie Wollaston, Arts Council England,
West Midlands, Deborah Baddoo, and David
Massingham,
Director,
Dance
Exchange
were also present.
For the host, the debate was an opportunity to problematise the beliefs behind
having Black Dance in formal training and education. Was Black Dance a
creditable course of study in a curriculum? Or was Black Dance training just a
strategy to encourage students of particular ethnicity to study dance?
Currently London Contemporary Dance School (LCDS) offers Kathak taught by
Gaur
iTr
i
t
at
hi
.Thi
sc
our
set
houghi
sDi
r
ect
orVer
oni
caLewi
s’i
ni
t
i
at
i
v
et
ohav
ea
course of this nature in LCDS curriculum.
This course was also in response to Shobana Jeyasingh, choreographer/artistic
director of Shobana Jeyasingh Dance Company who is finding it difficult to hire
dancers living in Britain or imported from India who have accomplished skill in both
Indian Classical and conventional contemporary dance techniques.
Laban has African/Caribbean out reach/access classes taught by Carolyn Muraldo
for adults wishing to take dance classes for enjoyment. These classes are enrolled
on a term by term basis. These classes are not accredited and cannot be taken
towards a degree. Laban utilises the artist-in-residence model for their degree
st
udent
s.Laban’
ss
t
udent
s hav
e had Benj
iRei
d,J
onz
iD,and Rober
tHy
l
t
on,
exponents of the use of break dancing concepts and forms within the fabric of
contemporary dance making, leading workshops and repertory classes for short
periods during the academic year.
Citing a lack of credible rigour within the form as a major hindrance,
Middlesex University currently has no provision for Black Dance.
Panel members pointed out though the demographics for dance training have
changed drastically in the past twenty or so years. It is almost impossible for young
men and women whether black or white to obtain financial support to train in dance
that discretionary grants and the like had provided in the past.
Even with current educational initiatives designed to target specific ethnicity and
gender, the targeted groups do not select dance as a career. Dance just has not
proven to be a financially viable career in the British context.
Thoughts on the Debate on Black Dance in Training and Education:
The lack of credible rigour in African dance practices is a problem here in Britain.
Black dance performance, with its root sources in Africa, Caribbean and associates
in Asia is individualistic. There are general characteristics that can be examined
and taught but given locations and purpose is manifested in numerous ways.
These propensities may give the impression of chaos and a lack of logic, but this
assumption is far from the actuality.
Present practitioners would do well to develop written documentation strategies
that articulate the practice of Africanist, Caribbean, and South Asian expressions.
Artists also need to be more rigorous in presenting methods for developing skills
required for performing their particular expressions. Africanist expressions require
more research to verify continuity or discontinuity with British dance practices and
relation to other practices within the African Diaspora. Africanist practices need to
be made more articulate here in Britain if for no other reason than to dispel the
myths there is no theory to write a course of study with an effectual outcome.
It is also thought that those educational institutions that prioritize and privilege
Eurocentric, West
er
nt
echni
quesl
i
mi
tt
hei
rst
udent
s’pot
ent
i
alf
orpostmoder
n,
cr
osscul
t
ur
aldancemaki
ngt
hathasbeeni
nev
i
dencesi
nceBr
i
t
ai
n’
sNew Dance
era.
Cur
r
ent
l
yt
he appr
opr
i
at
i
on ofHi
p Hop cul
t
ur
e’
sbr
eak
danc
e,Af
r
i
can/
Car
i
bbean
forms, Classical Indian, martial arts, body therapies, jazz, urban forms, and other
ethnic forms are common sources of inspiration for choreographers in Britain.
Training in conventional techniques is only superficially adequate for students
whose lived experiences are implicitly intertextual and cross cultural.
Update
A follow up discussion was held by DanceXchange 27 January 2006. Northern School of
Contemporary Dance, Laban Centre and British Arts Council were in attendance. Several
courses of action were suggested to spearhead initiatives for African, Asian, and Oriental
dance practices to be included in British HE and private/public school curriculum. It was
agreed statistical analysis is needed to examine current demographics of enrolment for
illustration and verification of the need and quality of future advocacy. If nothing else,
statistics would assist in determining the number of students of varied backgrounds,
electing to study dance and then choosing it as a career. Also statistical analysis will
reveal what British institutions are in fact doing. With this information any number of
courses of action can be either dropped or refined in the wake of those findings.
Hotfoot Edition 3 - Credits and Notes
Photo Credits:
Hotfoot Logo: Photo by Anthony Crickmay of dancer John Akoto Annan/Adzido
ADAD Forum Training Day: photo Ukachi Akalawu
The Mission Training Debate: photo 1 dancer Jake Nwogu, Ballet Black - photo by William Potter,
copyright Ballet Black 2002
Review: Greg Maqoma: photo Suzy Bernstein
“
ADADAsks”
… Jac
ki
eGuy
:phot
oVanley Burke
Review: Impact Dance “
Underworld”
: photo Belinda Lawley
Developing Professionals: photo
Notes:
Wazzzup article reproduced the kind permission of londondance.com
A full version of this article was published on www.londondance.com December 2005.
Thanks to:
Claire Middleton and Adzido for Hotfoot logo image