​Drum Tao 30th Anniversary Review
 
On Sunday, February 18th I had the pleasure of witnessing Drum Tao perform at Wells Hall at the Parker in Fort Lauderdale. The company was stablished in 1993 and are based in Oita, Japan. This performance was glorious, divine, and superb! It features the taiko drums and the “beautiful melody of the Japanese Shinobue (flute), Koto (harp), and Syamisen (guitar)” (https://drum-tao.com/en/index.php/about/) and something similar to hand symbols. There was dance, music, martial arts, comedy, singing, and theater. I felt like I was at a rock concert and a musical. The ensemble of 11 artists are storytellers, engaging the audience through visually and aurally stimulating displays of artistry and evocative technical prowess (movement and music). 
 
The set design, lights, and props that included sticks (short and long) which they twirled like other worldly machines. I mean these long sticks where massive, and they spun them effortlessly. There were fans, umbrellas, a spinning silver cube, and let’s not forget the use of skirts/dresses. They wore fluted skirts with shiny silver armlets, fitted tops (leotard cutouts), with black tights and they moved (bodies and skirts). 
 
The movement was FULL. They beat the drums with so much power and force. The visual of the percussionist beating the drum and seeing the rapid action of the stick was cinematic. Then there was the balancing and turning with the drum like they were in a duet with a submissive partner. The movement was “choreographed precision and dynamics” that featured slaps to the floor, big jumps, summersaults/acro, and intricate floor patterns. Some sections were like watching a martial arts movie with those amazingly choreographed fight scenes.
 
There was fighting and dancing with each other and the drums. The movement was internal with lots of looking down and on the floor. And my goodness the ways they lifted those big drums up and down—nothing but core and upper body strength. They used their entire body to beat the drum. The POWER…
 
Some of my favorite moments was the section where the men were seated on the floor, playing the drum. Their backs were arched, sternums lifted to the ceiling, contracting, and releasing honoring Mutha Martha. That bottom sound penetrated my pelvis, my insides vibrated, increasing in speed and power. It was a climatic rush. The sound was hypnotic and mesmerizing, transposing me to another atmosphere.   
 
The second moment was the beautiful solo performed by a man that danced with a white fabric. It was a duet with him and the fabric. The fabric was an anthropomorphic representation of sensuality, playfulness, and tenderness. 
 
The transitions were seamless, sliding the drums in and out, up, and downstage.
 
Connections
This performance reminded me of my MFA thesis concert where I choreographed “Dig Deep.” I used the artist KODO which is a taiko drumming group from Sado Island in Japan. I am definitely resurrecting this work and restaging it (soon). 
 
I saw a connection to African drumming and dancing. I felt and heard the polyrhythm. My body was doing manjani (from Guinea and Mali in West Africa) in the seat to some of these rhythms. I was also reminded of the dundun dance from Guinea, West Africa as I watched the Japanese percussionist engage with the drums.  I saw call and response and elements of the cypher as they transitioned in and out of the center/circle. 
 
I couldn’t get any good pictures because the ushers were in full force policing. It was like you were at a Baptist church and talking while the pastor was preachin’. Bay bay! They were not playin’. Drum Tao will be back in two years and so will I!

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​On Saturday, October 28, 2023, I attended Program 1 of the curated performances of COCO Dance Festival 2023 in Trinidad and Tobago. The evening began with a pre-show performance titled “How We Danced Our Way Back Home” (Nigeria and T&T, 2023) choreographed by Amir Denzel Hall and Ayodamola Okunseinde and performed by PACCINO. The performance took place outside in the courtyard area with the beautiful backdrop of the city lights and buildings. 
 
As Kieron Sargeant and I entered the theater, it took several minutes for us to be seated in the “dance writer/reviewer” area as it seemed no one knew who I was—what a travesty! We were finally seated upstairs in the center section—the seats were decent. After viewing the program, I realized that this was a very full show with 14 pieces. There is absolutely no way to feature every piece in its entirety for this review so, I will write about the works that stood out to me (for various reasons) and I must share beautiful images of each piece featuring the amazing dancers and choreographers that were captured by Karen Johnstone’s Motiontography.
 
ACT 1 opened with a dance film titled “The Color of Transformation” (UK, 2022) choreographed by Ming, Oluwatosin Omotosho and Carolyn Bolton. This work was a celebration of Black women, centered around nature/mother nature, and offered food for thought through the evocative text which stated, “futures unprepared,” “stay small seems like abuse,” “expand yourself,” “I am the color of transformation,” ““You are nature, nature is you” and other powerful nuggets. The women danced to a reggae beat with strength and groundedness. Their bodies undulated demonstrating a clear articulation of the spine. There were high knees, representations of Yemaya, and a movement vocabulary that was rich. The dancing women dressed in black, juxtaposed with the image of the woman in blue, the diety Yemaya was just gorgeous.
 
I have questions concerning the protocol for late arrivals. A whole crew of audience members came sauntering in after the dance film finished which delayed the start of Terminè (USA, 2021) choreographed by Amanda McCorkle.

Tamisha Guy performed “Signals” (USA, 1970), a Merce Cunningham (staged by Jean Freebury) work. Ms. Guy embodied that technique YOU HEAR ME? She began the piece seated in a chair wearing a black top and rust bottom/pants. The stark stage was the perfect canvas to view this phenom execute this work. “All eyes on me” was the unspoken rule. She captivated the audience as she worked in minimalism and counterpoint, effortlessly holding beautiful extensions in a la secondè and arabesque positions. As the dance progressed, I got very anxious, and then just like that, I felt relief when the piece ended.

The second dance film featured was “Ausencia (Absence)”, conceived and performed by Jaruam Xavier. Some late audience members were let in mid performance (why?). People were talking, chatting, and laughing during the performance, so things were missed.  It would have been great to have a talk back so that audience could express their thoughts on areas of the work that may not have been clear. 
 
LaKeisha Johnson’s “4 Women” (USA, 2020), a.k.a Nina Simone’s “Strange Fruit” was interesting. This song is quite profound and recognizable and has been choreographed by many people. I was curious to see what Johnson was going to do with it. The women are exceptionally strong individually, I mean legs, power, strength, and explosiveness but as a collective, I was surprised that these elements weren’t demonstrated as an ensemble. 
 
Dust to Dust: The Final Hour (T&T, 2023) choregraphed by Bridgette Wilson was very reminiscent of the conservatory program that I was enrolled in for undergrad (briefly). The dancers wore light colored unitards with their hair pulled back. The movement is grounded in Graham and Horton technique, and they executed the movements beautifully, fiercely performing motifs of pain/openness, surrender/searching and anguish/redemption.

Un/Bound (USA 2022) choreographed by Daniel Garcia closed ACT 1. During intermission the audience viewed “Since Though Wast Precious In My Sight (USA, 2014), choreographed by Danielle Russo in the lobby downstairs. This contact improvisation was a full-bodied masterpiece of chaos and calm.  

ACT 2 was fast moving full of energy, excitement, cultural politics, and fusion forms representing some of Trinidad’s premier dance companies. “I Was Walking” (Two Excerpts) (T&T, 2023) choreographed by Dave Williams began with the dancers interacting with each other and connecting with square boxes offering support and connection.  The image on the scrim was unclear and dark throughout the entire first section. When the section ended, the image became clearer the audience let out a collective “ah.” There was a sense of familiarity as the image on the scrim was revealed, showcasing beautiful locs. During the piece there was a heaviness/sadness. The dancers touched, embraced, and caressed their hair. The personal was political as it was later revealed that the piece addressed an issue pertaining to students being punished for their wearing their hair loc’d as school. I would have liked to see a smoother transition into the second work which would offer a sense of cohesiveness from one piece to another. 
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Hana Delong performed “Journey Unknown” (USA, 2023). This beautiful Black woman devoured the stage. Sis ate and left no crumbs. She mesmerized the audience with her virtuosity, pristine technical prowess, and the articulation of her body, arms, feet, and chest. It was scrumptious. Delong carved space like an artisan sculpting a prized artifact. This piece was a contemporary, urban funk fusion that was liquid gold. 
 
“Reciprocal” (Excerpt/USA, 2022) choregraphed by Katie Gutmann made the audience gasp when the dance film began, I guess they were like “oh no not another dance film!” The video mirrored the duet of the dancers. The movement was Cunningham-esque which was inclusive of points in space, directional changes, reaching, and pointing. The male dancer reminds me of David Dorfman in the ways that he uses his body. 
 
“Inside Out—A Journey Not Finished” (T&T, 2023) choreographed by Shakeil Jones was a fusion of modern and Caribbean styles with great use of space and creative variations and juxtaposition of movement and timing.
 
Mariposa De Papel (USA, 2023) choreographed by Eloy Barragan is another political work. In my interview with Barragan, he stated that this work is an excerpt of a larger work that he set on a company in Mexico.  He revealed that in Mexico, young women and girls bind their chest so that they won’t be captured, and the piece is exploring this. The piece is about transformation which explains the butterfly metaphor which is demonstrated when the dancer unwraps herself in fabric as she enters the stage. The dancer beautifully translates this tragic issue with her flawless artistry. 
 
The last two pieces of the evening Faderles (T&T, 2023) choreographed by Matthew “UGK_Matt” McClean and HER! (T&T, 2023), choreographed by Zidane Roopnarine were FANTASTIC fusion forms that included Classical Indian, African, Jazz, Hip Hop, and Ballet. The Faderless piece included 7 dancers. They offered a very funky and cultural version of Papa Was A Rolling Stone.” The red back drop complimented their fiery movement. The dancers were young but oh so strong and fierce!
 
HER! (T&T, 2023) was the perfect ending to the fabulous evening of dance. This work was more traditional in terms classical Indian movement and also their costume which featured bright yellow, orange, pink, and fuchsia colors. The 6 dancers served a Baratynatyam/Mohiniyattam fusion that was unmatched. The hips circled and swayed. The transitions were seamless and the choreography was engaging. The articulation of the arms and feet were immaculate. I appreciated the choices made in terms of spatial patterns, which added to the ebb and flow of the movement. The high energy, deep expressions and ferocity of the choreography and execution of the movement captivated the viewer. MORE PLEASE! 
 
Images

1. Faderles
2. How We Danced Our Way Back Home
3. Terminè
4. Signals
5. Dust to Dust
6. 4 Women
7. Her!
8. Mariposa De Papel 

After watching this performance (in my REQUIRED all black) at the Julius Littman Performing Arts Theater, I can’t get Slick Rick’s “Hey Young World” from his album The Adventures of Slick Rick, released in 1988 out of my head.  I am particularly referencing the chorus:
 
Hey young world, the world is yours
Hey young world, the world is yours
Young world, young world, the world is yours
Young wo-oh-oh-urld
 
This melodic mantra is indeed a message to not only the dancer’s but the audience as well. These dancers were in their own world…more like galaxy—and yes, the “world is yours.” The performers are the captains, co-captains, and supporting crew of this SUPASONIC vessel and we are the passengers travelling with them through the ages, celebrating 20 years of SUPA dance education and performance. Founder, CEO, Dancer, Choreographer, Educator, Rapper, Delta Diva, Model, Entrepreneur, Designer, Philanthropist, Wife, and SUPA BLACK GIRL Traci Young-Byron stated that “The pieces from Friday all came from years 2023-2014. The remainder 2013-2004 will be done in June” (Young-Byron 2024). Okay, thanks. Let me book my flight neowwwow!
 
Phenomenal dancing, choreography, lighting design, costume, music selection and performance quality are the dominant variables in this spectacular showcase of Black talent, culture, and identity but, it must be noted that there is something to be said about her ability to work with amazing talent but couple that with the large amounts of bodies on stage at the same time, with seamless transitions, listen, SHE BAAAD! Her intricate use of space as well as the creative spatial patterns are a skill, rather, an expertise. The dancers were not just taking up space or walking across the floor as a filler, they were daaancing. Jamaican dancer, educator, scholar, choreographer, and the originator of L’Antech dance technique Dr. L’Antoinette Stines articulates that there is a difference between dance/daunce and daaanc[ing]. Though she references this in a Caribbean context, this differentiation is applicable here: Daaance is a  “medium of communication" globally…, [this includes] body "language and culture" and body "language and structure"…[there is a] relationship [with]…the body's 'nation language’” (Stines 2005, 36) and this includes a variety of movement forms which allows for “processes of evolution and revolution and result[s] in hybridisation, creolization” (Stines 2005, 36) resulting in a “Supazination”(I made this word up) technique which Young-Byron describes as “a movement aesthetic that is hyper-feminine, energetic and percussive. [The] technique is always the focus, I[t] explore[s] the whole body…mov[ing] it in ways that may be deemed unconventional or even unacceptable at times for Black women; [the] aesthetic is also fueled by musicality” (Young-Byron 2024).
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Conversely, “'Daunce' on the other hand refers to the movement structures dominated by the vocabulary of European Classical Ballet. This hegemonic training procedure provide[s] the genesis of and the training methods of Modern Contemporary Dance. 'Daunce' reflects the culture of Europe from which it originated” (Stines 2005, 36), and to be clear THIS IS NOT WHAT IS HAPPENING AT YCDT! The dancer’s play with energy, sensuality, culture, Blackness, identity, virtuosity, and expression. They are risk takers, from the YoungBucks (the babies) straight up the Rep dancers. The movement vocabulary is a kaleidoscope of genres and styles such as Horton technique, Hip Hop, Jazz, African, Booty Shaking, Miami Bass, and Ballet while maintaining Young-Byron’s signature aesthetic that includes attitude, confidence, femininity, power, and strength. And can we talk about the #SupaStrut? I don’t have the space to discuss that but please look it up!

There is so much to say about each piece and If I did, I would be writing a second dissertation so, I will approach this review thematically. 

“For Your Glory” and “Worthy” choreographed by Young-Byron set the atmosphere, very Ailey-esque with clean lines and shapes. It was emotive and rooted in Horton technique. The dancers wore white short flowing dresses with a black ribbon tied around the collar, which gives the effect of gospel/church while centering their youthfulness.
 
“A Touch From You” featured the YoungBucks (the little ones) and choreographed by Ms. Thurston demonstrated Young-Byron’s aesthetic and pedagogy. 
 
“Rolling Stone,” “How Does it Feel, and “A Tribute To Stevie Wonder” choregraphed by Young-Bryon were all crowd pleasers and definitely showcased the dancers pristine technical competence. There was booty popping, struts, jazz walks, active backs and torso’s but there were also jeté’s, bison jumps, 2nd position split leaps, grandiose battements, tilts (6’o clocks), triple pirouettes, hip rolls, contractions, attitude turns, fouetté turns, brisé’s (for those who have no idea what I’m talking about, think leap, jump, kick, turn, and spin) and many other movements in my Technical Manual and Dictionary of Classical Ballet book.
 
“Revival” was reminiscent of “Ron K. Brown/Evidence: A Dance Company” from the flowing white pants/costumes to the movement vocabulary of smooth fusions of styles, effortless flow, and riding of the rhythm, and then those infamous floor patterns, entrances and exits. 

“A Song For You”: In Honor of the Late Mr. Christopher McKennon was a tear jerker, pulling on the heart strings of all who were invited to take a peek into her relationship and journey with her dear friend Mr. Chris. Young-Byron captured his idiosyncrasies in movement, style, and personality. The most poignant moment for me was the section where the dancer/soloist put on the blue coat. She daaanced her interpretation of this profound human. This section signified his final moments, accepting his fate and taking his rest as he laid in the coffin. Thank you for allowing us to celebrate and remember him through this very beautiful tribute.
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I asked Young-Byron to describe her teaching pedagogy, she stated “Lead with the heart and the body will follow. With the right mindset, a dancer can learn anything. My approach is to ignite the brain and heart. Once that is achieved, growth occurs” (Young-Bryon 2024). I have learned so much from watching this performance, speaking with her, as well as reflecting on her teaching style that I observed over 20 years ago and I can say that what Young-Bryon offers her students is a pedagogy of performance BUT she is also rupturing stereotypes about black women’s beauty, the negative connotations about black culture, and more specifically the misnomer that Black dancers don’t have “technique.” Baybay! These dancers will and can dance circles around some of the dancers that I have seen in conservatory dance programs. And this is not just concerning their ability to masterfully execute movement but more so their performance quality and that is a skill that is not “taught” in dance programs in higher education. This is not a course or class. It is not a line item on the syllabus. You either do or you don’t and YCDT do! This is what a pedagogy of performance looks like.
 
I would be remised I didn’t mention Mrs. Adrienne, “She's 50 years old and a former dancer” (Young-Byron 2024).  She started out as a parent whose daughter danced with Young-Byron for many years and “She eventually asked [Young-Byron] if she could join the company. She started with YCDT at age 44 or 45 I believe. She loves it and has no shame dancing next to and with children half her age” (Young-Byron 2024) and Mrs. Adrienne set the stage on fiyah! This is clear example of the love, support, and nurturing that are offered at YCDT as well as that SUPAPOWER that is all up and through this academy. 
 
Conclusion: What happens when these kids leave this nurturing environment and enter predominantly White Colleges and Universities who do not offer this level of technique and artistry, do not celebrate or recognize their culture, don’t value the information that they offer, and don’t see their Black girl magic and attempt to dim the light that Young-Byron and her team  Ja’Naye Thurston (YoungBucks), Nivia Woodard (Youngsters) and Misha Michel (YCDT) has ignited? Parents, if your kids decide to further their interst and love for dance in college, ensure that your kids are entering dance programs that have faculty that look like them and offer some of the same characteristics and aesthetic qualities that you have experienced with YCDT. 
 
Production Team:
Nicole Tyler—costume manager
Lighting Designers—Apon Nichols and Raaheem
 
YCDT Paraphernalia/Digital Media
Darryn Def Designs Ferguson
Ketra Alexander
Janae Turner
 
L'Antoinette Stines (2005) Does The Caribbean Body Daaance Or Daunce? An exploration of Modern Contemporary Dance from a Caribbean Perspective, Caribbean Quarterly, 51:3-4, 35-54, DOI: 10.1080/00086495.2005.11672275 

​My plus one and I attended the production “The Attack on Funk City” by Live in Color at the African American Research Library on Sistrunk Blvd in Fort Lauderdale. It was an easy sell when I shared with him that it was about “superheroes.” He was captivated by the program which was in graphic novel style. He looked at it, read it, wanted to hold it, and claim it as his own. I observed him throughout the show analyzing what was happening on stage in terms of how these characters that he knows and watches religiously on screen and reads in books, wondering how it is possible to transpose this information onto the stage and communicate a narrative kinesthetically. 
 
In an interview on HOT 105 with Rodney Baltimore, co-founders Zedric Bembry and Apon Nichols, who is also the lighting design maestro for the show discussed the performance, sharing what the audience could expect stating that for this production he was tasked with “coordinating the lighting scheme…to provide more concert lighting along with dance special mood lighting to create different styles and schemes for the scenes…” (Nichols 2024).  Bembry called the show “HIP Hop on Broadway” and I would certainly agree that this show has the potential. Bembry surmises that “Attack on Funk City” is an interdisciplinary production that is not just inclusive of “…the costumes and dance but the lights, some acrobatics and science fiction. We came up with [the theme] about superheroes. We partner with a plethora of superheroes to fight a band of villains who attempt to attack the citizens town that is known for the Super Bass. So, we have all the superheroes coming together with costume and everything to fight to get the bass back so we could do our block party” (Bembry 2024).
 
This production was certainly LIVE and IN COLOR. It was fast paced, high energy, and visually and aurally stimulating. The lighting design added to the architecture of the production, illuminating both the dancer’s technical prowess as well as the brilliant and true to form costumes which depicted some of our dearest Marvel Characters, like Wonder Woman, Cat Woman, The Riddler, The Joker, Harley Quinn, Poison Ivy, Superman, Batman, Spiderman, and the Green Goblin. The costumes were designed by Bembry’s mother who is “a great costume designer” as well as Melissa George of “Random Star Couture.”
 
Choreographers Zedric Bembry, Taurean Devoe, Wendy Watson, Anthony Velasquez, Tawanna Hall and Alex Werble did that thang. We saw Bembry’s signature “Urban Funk” which is a fusion of African, ballet, hip hop, breaking, Miami bass/booty shaking, scrub the ground (and and and and!!). The dancers are versatile and technically proficient in each genre, and this is displayed in the dancers voracious funkdafied flow. We saw collective FUNK as well as individual FUNK. There was young FUNK and seasoned FUNK. Bembry showed us that he still gat it. In the middle of the show, he entered dressed in yellow/orange sweatshirt and matching camouflage pants to remind us who he is (Okayyyy!). He positioned himself center stage, assumed the position and released the beast. His hips thrusted and his torso undulated, shifting, and isolating. His feet shuffled and turned, rotating, travelling across the floor (circle slide). He took it to the hole!
 
I appreciated the women, Wonder Woman and Cat Woman, specifically holding space with divine power, agency, and sensuality. There was a woman in blue (let’s call her Avatar), bay bay….who is dis? She was killing it…lines, clarity, strength, fiyah! The production featured 10 scenes (that moved quickly with brief breaks) and The FINALE which featured some of the next generation LIVE IN COLOR dancers. They were awesome! 
 
The production was great and it is something that should be workshopped to include touring schools and an educational piece that addresses certain themes. There should be a visual component like a collection of images of the dancesr to create a graphic novel that can be purchased. But most importantly, there should be some technical support in terms of an acting coach to push the performers to the next level because some to the lip syncing is not clear. This coaching will also assist in translating Bembry’s narrative so that it is clear(er) to the audience. Thank you for this FUNKY, FUNKDAFIED, FUNKALICIOS production. 
 
 
 
 

I’m still ruminating on all the pearls of wisdom dat was brought forth. Yawwwww, it was like a celebrity scholar event. I have included both women’s scholarship in my qualifying exam (for my phd program) and mi bookshelf full up of all ah dem books and ting. I can’t believe that I had this opportunity! Well, as soon as mi pull up to di Perez Art Museum Miami, di Dancehall music was lickin’ off. I couldn’t wait to get inside and feel di vibz. I smiled deeply as I parked my car and started choregraphing my entrance.  I walked up the stairs and the bass got deeper and deeper. When I cut the corner, I bumped into Marie Vickles, The Senior Director of Education at the Perez and asked her whatagwan, when she informed me that it was dead, I was gagged. When I walked over, I saw the selector and cultural curator Jason Panton killin’ it but he was spinnin’ to an empty house. I was in disbelief. How dem a waste dis gud music? SHAMEFULL. There were a handful of people outside. Two Black women were standing, dancing, and filming themselves. There was a table of men and women just sitting there; wah dis fada? Then, I saw a waiter walk out of the restaurant to do a dip and bounce. I had seen enough and headed to the talk inside the museum.
 
I walked in the auditorium, surveyed the space, and looked for a familiar face. I saw Jamaican-American Filmmaker Alicia G. Edwards (see my post on Walshy Fire: Pull Up) and Kei Miller, Jamaican Professor and Creative Writer, I sat next to him. Dr. Hope and Dr. Saunders were introduced by Vickles and then it began. Nuggets upon nuggets were dropped. The discussion began with a breakdown of the title of Saunders’ first chapter “Is Not Everything Good to Eat, Good to Talk.” Then Saunders decimated di place when she stated “Popular culture is sophisticated and well informed, more so than academia” (Saunders 2024). And those that know know…mic drop!
 
They discussed consumption, agency and how women “have the power to demand and command their power” YASSS! Saunders referred to Vybz Kartel as the pum pum laureate and both Hope and Saunders went into a deep analysis of his work, lyrics, tattoo culture, and the skin bleaching phenomenon. They were tag teaming each other with their brilliance and knowledge. I really connected to the ideology of “using the body as a canvas”, “taking control of the narrative and reclaiming power,” “resisting and rejecting power through the body”, “controlling the narrative”, and “telling your story through the canvas of the skin [and movement]”. I was literally in a knowledge candy store! ALL OF THIS IS CONNECTED TO MY DISSERTATION RESEARCH!!!
 
Saunders shared videos off Dancehall artist Vybz Kartel, Jamaican visual artist Ebony Patterson, and Dancehall artist Spice. Kei Miller closed with a reading of Ebony G. Patterson’s “While The Dew Is Still On the Roses”, a video played in the background which featured three shirtless Black men performing various gestures, getting dressed and fixing their hair. It was powerful piece which Kei read with both pride and tenderness, drawing us into the spectacle and spectacular Black male body. 
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The floor opened for questions and then book signings and pictures. I have two Buyers Beware… books already so you can purchase one. It will change your life. I gifted myself with Dr. Hope’s latest offering Dancehall Queen: Erotic Subversion which she coedited with Carla Lamoyi. The book is written in both English and Spanish. Gawd is gudt!!
 

​Sweet Wata: A Succulent Sensory Sanctuary of Artistry and Ancestral Spirit. My son and I attended the grand opening of this curated art exhibition at The Martin and Pat Fine Center for the Arts at Miami Dade Kendall Campus, which featured images, video, and artifacts that capture the striking embodiment of ancestral movement memory of several performances in the repertory of Olujimi Dance Collective (professional) and Jubilation Dance Ensemble/JDE (Miami Dade College Kendall Student Company) both are directed by Michelle Grant-Murray.

Ancestral Movement Memory is the choreographic and pedagogical practice of Grant/Murray and this project showcases the visual representation of the divine ancestral spirit through the alter spaces, musical instruments, fabric, imagery, sounds, and video. Olujimi dancer, Shanna Woods performed “Sweet Wata” and musician Yasmine Santos accompanied her dance story, and it was nothing short of phenomenal. The regal entrance, her entanglement with her cascading blue fabric, and the sculpting and carving of the space with her wildly proficient technical vocabulary that is rooted in the ancestral world was satiating…Sis ate…

Lisbet Moquet, JDE dancer performed “Ineffable Water” and wowed the audience with both her beauty and powerful expression and advocacy representing the woes and pride of Black hair. I will write more about this exquisite evening soon but I wanted to share my immediate thoughts. Thank you Dr. Alexandra Gelbard who moderated the event (and she is the talented photographer for the images). It was absolutely amazing! You moderated and held space with a thoughtful consciousness that demonstrated not only your knowledge of the work but the deep connection and relationship you have with the artists, artwork,  and artifacts. This is definitely just the beginning!

​My family grew up as Saxon Superstar’s. I’m sure most have changed their allyship but as a Global Dance Writer and Cultural Critic, I have no favorites because my lens must remain neutral. I am surveying multiple elements and view each group as it relates to strengths and weaknesses in terms of costume design and construction, organization of the group in the performance, choreography, music, rhythm, dynamics, crowd participation, and connection to their character as well as the audience. 
 
Junkanoo culture is something that I hold near and dear to my heart. As a dance educator, professor, and the originator of CaribFunk dance technique, I have developed a curriculum that includes elements of Junkanoo in terms of the history as well as modeling the group structure as it relates to the students’ final project which includes them organizing themselves as a group (costumes design and build, music, and choreography) and performing.  I am also working on codifying some of the Junkanoo movements and have added them in the technique. 
 
Every year, post COVID, I have watched the live broadcast of the parade on YouTube, primarily on Aliv Network. I must confess that I do not wake up at 2am when the parade begins, I normally catch the tail end of it. This year was no different. I was a bit tired after just getting back from my family cruise (which I have written about—please see previous posts on FaceBook) so, I was extra late waking up this year. When I arose from my slumber, I was able to catch the last 20 minutes of the Saxon Superstars hyped up performance on Rawson Square, the central point of the parade. The spirit of Junkanoo was alive! My son woke up shortly after me, and we watched and discussed the parade. I was amped up and desired more of the pulsating rhythm and kaleidoscope of colors, so I decided to watch the rebroadcast which was about 7 hours long.
 
Jerome Sawyer hosted the event along with 4 other female reporters who were stationed at various points on Bay Street. They interviewed Junkanoo leaders, street vendors, and patrons—visitors and natives. Current Prime Minister Philip Davis was in the crowd and offered words of encouragement for the new year and former prime minister Hubert Minnis’s wife, Mrs. Sybline Patricia Minnis was smack talking telling the Valley Boy’s they had no chance and that dey did look bad. 
 
The co-hosts shared pertinent information about the structure of the Junkanoo parade which includes the “Rest area,” “Gatorade/water stop,” “The holding spot/the hole” and how the participants get dey belly full and grounded for the parade—eating chicken souse. They also discussed the intricate and time-consuming elements of getting the groups mobilized, being sober versus drinking “hard water/iced tea” and how that affects or impedes performances, as well as the evolution and the shifts that need to happen to accommodate the large groups as well increasingly growing crowd.
 
Local comedians Sawyerboy and Mz Giggles assisted with keeping the crowd engaged with trivia and hilarious commentary. There were give aways and Bahamian rake n scrape music playing in between the groups, allowing for the upcoming groups to get set up with their massive group members, costumes, and musical instruments. 
 
The costumes, music, and dancing does not disappoint, but there is an overt difference between the more seasoned/senior groups like the Saxon’s and Valley Boy’s.  The Saxon Superstars theme was “People of the Islands: Let’s Explore The West Indies.” Their music was phenomenal, and their formations were brilliant. The dancers were in sync and moved up and down, through and in between each other with such precision, never missing a beat. When they made their way down the road, the crowd was on their feet and jamming! It was pure fiyah—majestic. The ancestral spirit was bussin’ t(h)rough di place and the heartbeat of the drumming and the horn section was beyond anything earthly. The orchestra of sound was mind blowing: Horns (trumpet/saxophone/trombone/tuba); Drums (goat skin and oil barrel); Whistle; Cow bells; Scrappers; and all kinds of creative assortments of horns and bells. My son and I were trying to mimic the beat of the drumming (unsuccessfully) on our mini djembe drums; he now wants to rush so, I gat to go figure dis ting out nah! 
 
I was most attuned to costumes, interrogating the notion of aesthetics versus functionality and safety. I had some questions about the footwear of some of the dancers. I was concerned about the shoes of several of the female dancers while they engaged in rigorous and fast paced movement while dancing on concrete parading and marathoning. I also saw a male dancer who was barefoot on the concrete, slithering and contorting his body effortlessly.
 
Some of the movement of groups that performed at the beginning of the parade seemed too fast and out of sync. Arms were either flailing or not fully extended which didn’t allow for a fullness that mimicked the music. For some, the energy was low, particularly for the group with the Dallas Cowboys Cheerleader costume. Some of the formations were not clear/clean, and the foot work was dissimilar when it should be in unison. I am not sure if the elements had anything to do with this performance because, it was cold, which is a factor. Maybe there was not enough time to warm up. This was addressed by one of the interviewees. Overall, it was an amazing display of culture, offering an array of Indigenous, African, and Western influences. Most themes celebrated or acknowledged Bahamian history, independence, and future(s).
 
Final Thoughts:
This is a multigenerational, mixed ability, and inclusive parade—women and men of all ages, races, nationalities, classes, and sizes bring it to Bay Street and shut it down. Even our former Prime Minister Perry Christie was rushing with his group the Valley Boys, dressed in his Sunday best doing the “Christie Shuffle.”
 
A member of the differently abled group The Chosen One’s discussed the need for (more) inclusion for people with disabilities and how Junkanoo is for everyone; to be invited to participate is not enough. Things must be put in place to accommodate the group members needs as well as those who want to enjoy it as an observer.  
 
 It was also great to see both the A and B groups performing together (one after the other), not segregated so that everyone gets an opportunity to shine and be seen. 
 
Overall winners Saxons on Bay Street during the New Year's Junkanoo Parade. 
Photos: Moise Amisial from The Tribune.
 

Introduction
Professor Kieron Sargeant invited me to the 15th annual COCO Dance Festival in Trinidad and Tobago as the Dance Writer in Residence, a position made possible by the Skidmore College Travel to Read Grant. Kieron and I spoke in June about the possibility of me reviewing his work at the Festival. During the conversation, we addressed the state of dance writing in the United States, which included 1. the lack of quality dance pre/reviews that articulated the breadth, depth, and nuances of dancers/dances of the African Diaspora and 2. the complete avoidance and erasure of the work of these artists by local/regional reviewers. We also shared what I could offer the Trinidadian community in terms of my dance writing and cultural critique. When Kieron messaged me in September to confirm the trip, I began to think deeply about what I wanted to write about, how that information would be disseminated, and how this project demonstrated a new model of dance writing, one that includes traveling to countries in the Caribbean Diaspora and engaging in autoethnography/ethnography to include participant-observation, interviews, tours, shopping, food, and culture. I was elated at all the possibilities!
 
I quickly realized that this trip was going to be rich. I was overwhelmed and immediately began strategizing how to get the information (ethnographic details, historical references, dance writing, interviews, and cultural critique) out in real time without sacrificing all the details. I decided that I would publish my daily ethnographic notes on my Facebook page and publish the dance writing in 5 editorial pieces. The articles will feature interviews with Trinidadian artist/scholar Kieron Sargeant, Co-founders of COCO Dance Festival Sonja Dumas, and Dave Williams, The President of The National Dance Association of Trinidad and Tobago, Ms. Emelda Lynch-Griffith, and American artist/scholar Trent Williams Jr. as well as dance reviews of the two performances at The National Academy for the Performing Arts. 

Who is Kieron Sargeant?
My interview with Kieron took place over Zoom and as per usual, it was lively, funny, and thoughtful. I asked Kieron several questions ranging from his background and dance and family history to the state of dance education and support (government and community) in the country. Kieron shared his challenges growing up in a rough or marginalized community, the gender politics concerning male dancers, bullying he endured leaving the “rehearsal center to head home” (Sargeant 2023), and the support his grandmother offered during these incidents, “She used to go out in the road and cuss dem stink” (Sargeant 2023). Kieron’s humor, coupled with his transparency created a flowing, effortless conversation. I learned about the Prime Minister's Best Village Trophy Competition and his role as dance instructor and performer (dancer and drummer). With his strong folklore roots under his belt, he received a scholarship from the government to study dance and dance education at UWI (University of the West Indies). After the completion of his studies there, he was employed with the ministry as a dance education teacher and remained there until 2017 when he entered the graduate program in Dance at Florida State University in Tallahassee.

Kieron provided a deep analysis about his experiences as a professor at Florida Atlantic Mechanical University (FAMU) in Tallahassee and The University of Iowa as well as his observations attending conferences nationally and internationally. He discussed the colonial behaviors that dictate a certain decorum in the studio which does not lend itself to inclusion, feeling welcomed, and the sense of freedom and community that he felt during his training at home in Trinidad. These experiences influenced his teaching philosophy which includes “disseminating the traditional dance forms of the Caribbean to the space” (Sargeant 2023).
 
As a traditionalist, Kieron shared an ideology or technique that is based on “aged bodies,” where he claims that “there is a particular way that the body moves. So, I have adapt[ed] that way of moving and that is how I teach. The kind of like old way. Cause when I use the skirt. I don’t use the skirt like everyone else in Trinidad. I have a way how I use the skirt because it’s from the teaching of elders. No young person didn’t teach me it. Elders taught me. And they were the ones who put me to sit down and have conversation[s] with [them] and talk about the form and how the form is done, and I continue with that, and it works for me in the space and even internationally [as well]” (Sargeant 2023).

Kieron’s passion for dance is evidenced in his very colorful perspective concerning the appropriation of Caribbean dance stating, “You give di people dem dey credit” (Sargeant 2023) as well as the lack of authenticity which brings up questions such as: what is Caribbean dance, who is qualified to teach it, the issues concerning traditional versus fusion forms, how Caribbean dance is described as a course in academia, and just all di wrong tings! 
 
As an advocate for dance education in Trinidad, while at Florida State, he “wanted to find a way for the university to come to Trinidad to present work” (Sargeant 2023) and dancers to come to the university to pursue graduate degrees, but this idea also posed several challenges, which included students securing a visa which impacted them attending the audition. Through tremendous support at FSU, the exchange program began in 2018 to conduct an international audition during the COCO Dance Festival. This lasted for 2 years but due to COVID it stopped and wasn’t reinstituted. 

Prior to this, his relationship with COCO commenced in 2013, beginning as a guest artist performing traditional dances, then later becoming an instructor teaching master classes. He decided he wanted to broaden his involvement so, while teaching at the University of Iowa in 2022, he decided to submit a work for the first time. This year was important for several reasons, 1. it was the 15th year celebration of COCO, 2. A critic and dance reviewer was invited to write about the festival; and 3. this was a great opportunity for Jaruam Xavier, the Brazilian co-collaborator to share his work “Ori” on an international stage. 

“Ori” Review
Kieron shared the first time he saw Jaruam perform “Ori” at The University of Iowa where Jaruam is a graduate student, and how he was immediately intrigued by Jaruam’s physical prowess and the context of the piece. They discussed the premise of the work which focuses on the seven sketches and the similarities between Brazilian Candomblé and the Orisha’s in Trinidad. Together, a partnership was developed. Kieron offered his insight, helping him abstract elements of the work and assisting with choreographic sequencing. 

After viewing the piece, I immediately understood Kieron’s interest. Here is my review:
 
Dancer, Jaruam Xavier begins “Ori” stage left wearing a white loose top and flowing pants. The lighting is dim and red. As the music envelops, chimes and the bells set the tone, calming the spirit. Jaruam is crouched over saluting the earth. He gently touches the floor with his hand, elbow, and then his head. He transitions into a seated position, touching the ground with his forehead, then alternates his hands to touch his crown. Lowering his body to a seated position with his legs extended downstage left, he reaches behind himself. Our eyes follow intensely. This beautiful ritual is captivating, drawing the viewer into the sacred and personal expressions of worship. As an elegant gazelle, Jaruam shifts his body side to side, never neglecting his hand/head motif. Carving space, searching for, and receiving the ancestral spirit—he is anointed.

His movement is soft, and fluid juxtaposed with a rich fullness that includes Brazilian capoeira, tai chi, yoga, contemporary, and release techniques. As the sound increases, the instrumentation shifts, reminiscent of a Brazilian rain forest. I hear thunderclap, horses neighing, rain falling, and jaguars and leopards growling, defending their territory. 
 
Jaruam is agile and focused. His big circular movements are clean and precise as he accesses the ancestors, clearing pathways. When the spirits are connected, the energy is high; he jumps, leaps, turns, spins, rolê: (roll), and Aú (cartwheel) across the floor. As the ancestors assemble, there is a shift in energy and focus. 
 
Standing, facing stage right, he cleanses his body, brushing down and out, sending the energy away into the atmosphere. As he concludes his ritual, the floor turns a beautiful shade of blue. He travels the course straight across the stage as if he were a boat skipping across the beautiful Caribbean Sea binding him to the Orisha’s in Cuba.

The tone and texture of both the movement and sound shifts, indicating that Jaruam may have entered another realm or accessed another spirit. He contorts, sweeps, unfolds, and explodes, bringing the energy in and releasing it seamlessly. The cleansing, brushing down and out movements return, this time he is facing the audience. His movement slows, and he embodies an animal. Concaving on the floor, his chest undulates while his head snakes side to side like new born mammal searching for the warmth of its mother. And, in the next breath, he transforms to an angelic ethereal being, spreading his divine holy particles into the atmosphere. Arms flailing, chest open, legs extended to the ceiling in a handstand, our breath is paused, we are listening with our eyes and ears. My skin tingles as the image of the statue of Christ the Redeemer appears ascending to the heavens while he moves through the space. The light dims. This man is a conduit, overseeing and transcribing the orders of the saints through his body. 

Conclusion
We concluded our interview discussing the importance of dance writing and the state of dance education and performance in Trinidad and Tobago. This included the need for professional development for teachers: continuing education, attending conferences nationally and internationally, presenting papers, teaching at conferences, inviting people into the space to talk about dance and providing workshops for dance educators, going to see local dance groups, and going to other countries to observe their dance culture.

 
With great conviction, Kieron expressed the need for government support, “we need to get the support from the Ministry of Culture in Trinidad and Tobago. You need to get support from them…to help the space to develop. I think that the lack of support is what’s causing this space to kind of collapse. We have a diverse pool of dance that we want to share to the world, and we need the support to share it” (Sargeant 2023).”
 
Final Thoughts
One of the goals that I have as a dance writer and cultural critic is to pique the interest of the community so that people become interested in dance, are going to see dance consistently, prioritizing dance, WRITING about it, talking about it, and are supporting it monetarily.  
 
Part 2 coming soon!
 
Image Credits:
Head Shot: Maximo Media
Ori: Karen Johnstone’s Photography
Dance Workshop: Karen Johnstone’s Photography


 

 

​Attending the Sunday Grand Parade and Concert for Miami Broward Carnival is part of my yearly ritual of events. This year was no different. I received free tickets (yass God!) from one of my CaribFunk Fitness students so, things were off to a very good start. At this event, I always jump in and out of the role as participant-observer as I am the constant ethnographer, observing how women respond to music with their bodies and engage in erotic performance (my dissertation research!). 
 
I decided that I would test out my new Canon camera at this event so that I could up the ante on my dance and culture reviews and reflections by having bettah lookin’ pictures. Listen, another tutorial was needed because not a friggin’ picture took, even though I was snapping away. I ended up using my good ole faithful iPhone to capture all the amazing images of beautiful men and women walking, eating, dancing, wuking up, chippin’, or laid out on the grass; I did look professional with my Canon bag though. 
 
I arrived at the event at 5:45pm, parked at Publix, which is across the street from the event site, the Miami Fair Expo Center on the campus of Florida International University.  I parked, went inside Publix to use the bathroom, and purchased some gum to prepare for my “mile and a half” hike to the entrance. As I made my way to the fete, I could hear the music getting louder. Reggae tunes were lickin’ off, then Burna Boy’s Last Last was next on the playlist. A series of sweet Soca medleys followed. The curated sounds made the walk a little easier to tolerate. 
 
While on my marathon hike, I heard newbies complaining about the long walk in their various Caribbean accents. I observed vendors selling flags representing a host of countries (my Bahamian flag was attached to my camera bag), waist beads, rum punch, tequila, conch salad, and fresh coconut water. There were ladies fixing feather shoulder pieces and one woman was lotionin’ off her legs and arms. The “Herbalists” were in full effect, smoking carefree in the unregulated space—the air was ripe with the recognizable aroma that soothes the soul, heals the body, and regulates the mind (so dem say). 
 
I finally made it to the entrance at 6:10p.m. (25 minutes later!). As I presented my ticket, walked up to the first security guard to be searched, and then the second security guard to scan my body for metals and other tings, I was glistening and needed a drink. I survived the marathon hike and was ready to see all the things. I surveyed the land, navigating the terrain to determine my strategy of capturing the best images. I noticed that the attendance was lower than the previous year. I also observed the energy was mild. Soca Queen Alison Hinds was on stage singing her infamous “Faluma”; she had the crowd going but it still seemed a little low energy from the cowd. I stood in the concert area for a while, then decided to walk around to the food truck section which was a little sparse considering last year’s number of attendees. Last year it was tick. I saw many revelers sitting at tables eating, drinking, and resting. There were also some seated on the grass. I surmised that maybe dis was di rest time. 
 
I walked through the grounds snapping images (on my iPhone), capturing pictures that informed, educated, and entertained.  I asked most people if I could take their picture, many obliged with a smile. Some revelers saw me snapping and just posed enthusiastically. One woman I asked for a pic said “Auntie, I’m way to drunk, but I will take yours instead,” then proceeded to tell me why she used the term “Auntie.” I graciously let her take my picture and thanked her. 
 
I walked closer to the thickness of the crowd and felt the bass reverberate through my spine from the music pumpin’ off the massive trucks. This was a visual and oral treasure trove. The crowd was alive. I made my way back to the concert stage; Edwin Yearwood was on singing his hits. I felt the energy shift, the people dem was in it, full throttle. I guess they had enough rest. Next, artists from Antigua and Barbuda took the stage. Ricardo Drue represented his country well. St. Lucia was up in the di line up and didn’t disappoint. There were several other artists who performed and they mashed it up. 
 
At one point, a series of drones lit the sky up, the audience was captivated at the beautiful lighting, then bammmmm. The lighting read, “Will You Marry Me? Shivani.” Ummmm. Dear Future Hubby. The bar has been set boo. It’s giving big tings a gwan. You light up my life and you are out of this world. That the model…Please and Tanks! After the public display of this person’s love and desire, the audience transitioned back to gettin’ on bad seamlessly. The Soca hits were poppin’, flags were waving, water was flingin’, waistlines were rollin’, and no behavior commenced. The night was fantastic, I even managed to get a little wine from a tall Kittitian (St. Kitts) gentleman. Thank you, sir. Until next year!
 

​This summer marks my one-year anniversary of membership with the Miramar Pembroke Pines Chamber of Commerce. It has been a wonderful year of growth, stretching, questions, and opportunities. I am excited to begin this next year and grow my business and network community. Today, I attended my first event of this new season, “The Modern Woman Business Summit.” This year’s theme was “Defining Power” and  they posed the questions What is Power and What does it Mean to be a Woman in Power?”  
 
Haitian American Emonde Prosper, Educator, Curriculum Specialist and Poet spoke life into the audience before she even began her lyrical performance. She offered the poem “Muted Woman” which was an indictment on dimming your light. She stated “…do not shrink yourself…” and “claim your true identity, don’t be afraid to speak.” Her second offering was a poem about her beautiful homeland Ayiti. She interwove creole and English beautifully sharing her love for her country and how “[She’s] tired of people not understanding what it means to be Haitian.” 
 
The next speaker to “buss di place” was Vice Mayor of Miramar Alexandra P. Davis who danced up to the podium to what sounded like an Afro beat riddim. She discussed her British and Jamaican heritage and how growing up in Jamaica helped shaped her positive image of Black women in leadership. She offered tools concerned with “finding what your passion and purpose [are]…and “when you find it, it doesn’t feel like work.” 
 
Hon. Catalina Avalos of Broward County followed. She shared her Latin American heritage and how those humble beginnings led to the great appreciation she has for this country which she instills in her family. Her poignant offering was “If not me then who?”
 
Author, Activist, Singer/songwriter, and survivor of the Pulse Nightclub shooting (in Orlando) Patience Murray closed the presentations. She shared her testimony during that awful day stating, “I am nothing w/out my faith in God no matter what it looks like.” What a powerful testimony. Murray blessed us with several points focused on how to cultivate power:

1. Anchor your faith…get crystal clear…in the midst of chaos. 
2. Don’t be surprised…some trials come to prove our vision. What are you willing to push through for that vision? And, …it’s not meant to stop us, it’s there to shape us.
3. People are counting on you…if you feel the challenges are too much, think about the people [and]…you never know who is connected to your journey. 
4. Get over yourself (give hope, love, and joy…that’s what fills me up) …never accept defeat…no matter what it looks like…anything can change…no matter how unlikely it may seem…
5. It’s ok to pivot on your path…you have all the permission in the world to change.
6. Don’t skip the stepping stones. 
7. Own your power and voice…don’t be afraid to be who you are.
8. Show up as your best self…become the huge person that is inside of you.
9. How are you inspiring the next generation to become their best selves?

The women closed the panel discussion with these nuggets:

1. “Kindness, assertiveness, and preparation” (Judge Avalos)
2. “Believe who you are in the private moments” (Prosper)
3. “Be around people who bring the best out of you” (Murray) 

 
What an amazing day of inspiration, encouragement, and support. I am fueled to continue my journey on this path of entrepreneurship, understanding that giving up is not an option. I must also remember to keep my faith central to my practice and that my gift is powerless if I don’t believe in myself. Thank you, panelists and the Miramar Pembroke Pines Chamber of Commerce, for a wonderful event. 
 
I won one of the raffles from “Jonah’s Birth” which is a company focused on “hynobirthing, a technique and philosophy that allows women to achieve a calm, peaceful, and gentle birthing experience” (https://www.jonahsbirth.com/services). This makes perfect sense cause I’m birthing something HUGE!!! Yasssss….Manifestation…..GOD!!!
 
Images:
Image 1: Panelists: Edmonde Prosper, Hon. Catalina Avalos of Broward County, Vice Mayor of Miramar Alexandra P. Davis, and Patience Murray
 
Image 2: Patience Murray
 
Image 3: Edmonde Prosper and AC
 
Image 4: Edmonde Prosper and Jennifer Lee Marcus (Legal Shield Independent Associate)
 
Image 5: Nathalie Delaine (nVibeTribe Life Coaching) and AC
 
Image 6. AC