African Dance in Britain

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African Dance in Britain

By Laura Griffiths

On Saturday the 18th November 2006, ADAD indulged in a celebratory and nostalgic reflection of African Dance in the UK. The development of African dance in Britain was portrayed through two masterclasses, a film showing and a discussion led by ADAD chair Funmi Adewole. The use of varying mediums to articulate the progression of African Dance offered scope for a wide range of attendees, which was taken advantage of by flocks of people throughout the day.

The day began with a masterclass from Afro-Caribbean dance expert Jackie Guy. Guy has been teaching/lecturing such dance disciplines in Britain for decades. With his extensive experience and development of his ‘JaGuy’ technique (1990) Guy led the class in an execution of ‘Dance from the gut’ for which he referenced Latin American/Merengue dance.

For some, this was not the first occasion in which Guy had led them in a masterclass. For many it was a day of remembrance echoing past and first experiences of Dance of an African Diaspora. Guy used detailed explanations of the movements he was teaching, and providing the dancers with imagery and dimension enabled them to fully engage in the actions required. Also, Guy employed a contemporary angle upon the work he taught, using ballet terminology and rooted movements in a layered warm up which transcended into a rigorous repertoire of dance. The dances Guy taught were traditional and educational, enriching the notion of culture and its significance to Afro-Caribbean dance. He explained that when in a place, cultural awareness is heightened, creating a spirit, which inspires the movement. The class went through many stages, from intense upbeat undulating actions, to sitting and chanting and singing. Guy used personal experience and information he has ‘collected’ in a sense to portray such ‘cultural spirit’ to the students.

After a break, the dancers embarked upon a second masterclass, this time with Judith Palmer; a practitioner for decades, during which time she was principal dancer for Adzido Pan-African Dance Ensemble. Palmer led the dancers in a practical history as it were, dances that members of Adzido had taken from their country of origin and re-designed for the stage in the UK. The first of which was a dance named ‘Bowa’ from the upper western region of Ghana, the dance mimicked cricket-pedalling actions, which occurred in opposition to the rhythm of the drums. Palmer explained the importance of such a feature as the movement is designed to contribute to the overall rhythm. The drum and the dance build a united rhythm. To reinforce this, the dancers performed the action facing the drummers confirming this relationship. After this the dancers were introduced to an initiation dance from Tanzania, celebrating the coming of age of young people. Typically flat footed, leading with the hips, incorporating shuffling actions and climatic breaks. Learning original Adzido repertoire was a reminder that drums can narrate movement, and characteristically grounded, isolated and emphasising the capabilities of the torso.

The intense classes were followed by a screening of Rufus Orisayomi’s film, which focuses on the history of African dance companies Adzido, Kokuma and Badejo Arts between 1976-2004. In the first instance Peter Blackman explains that Dance Africa (2004) illustrated the relevance of personality development within young black people born in the UK, and how such experiences supplement these qualities, Carol Pemberton explains that in essence it is a coming together. Lola Anderson of Ekome reinforces that people during this time were only really aware of Ipi Tombi due to their commercial advantages, also the use of caricature and stereotypical representations, which attracted audiences. Once funding became a lesser evil for practitioners in the UK, companies such as Adzido, Kokuma and Badejo Arts reached a peak towards the late seventies/early eighties. The now improved access to such companies encouraged people to learn movement characteristic of African Dance. Participants were keen to explore how the African dancing body is used, the bent knee, torso and elbow etc. In opposition to ballet, not trying to defy gravity, rather embracing its qualities.

During this time, a forum for black dance in Britain was established which contributed to the recognition of African Dance as a social facility. Shortly after which academia kicked in and the emphasis was magnified into African ‘Classical’ culture (with encouragement from the arts council) in association with an ethnic arts initiative.

The film is a brief but nevertheless informative document of a short history of Black dance (highlighting the lack of such resources in the UK). It boasts an accessible insight and a source of primary research through its inclusion of certain figures that have helped to shape the history being celebrated at such an occasion.

Discussion with Peter Badejo and Jackie Guy

Led by ADAD chair Funmi Adewole

What is their heritage?

Guy and Badejo arrived in the UK as fully-fledged artists; the training they received in their own countries (Jamaica and Nigeria) was adapted to the UK and both practitioners have been based in Britain for a large proportion of their careers. Both practitioners are leaders within the realms of Black Dance in Britain, each having developed their own techniques and actively researching into the foundations of their practices.

Guy was born in Jamaica, in the fifties within a lower middle class area and at the age of nineteen became an accountant. Whilst working Guy was a social dancer within his local community, within which typical practices were to imitate biblical stories through dance as a medium. Guy explains that ballet technique prevails in Jamaica and is where Guy joined the country’s National Dance Theatre Company in 1962. During this time Guy acknowledged that his body was a physical hindrance when trying to articulate ballet technique, and describes himself as a ‘courageous, stubborn person’ with a post-colonial attitude which somewhat clashed with the fundamentals of ballet.

Guy founded Kokuma Dance Company (1983/84) and describes a highlight of which was the invitation of IRIE! Dance Company to the United Kingdom in 1985, Guy joined IRIE! in 1987 for their summer school. Kokuma began to struggle in the UK realising what they had given up in Jamaica. Guy highlighted the element that West African and Caribbean dance forms were not enough, and that synthesising the traditions of the dances created a new aesthetic. Suggesting it was a ‘letting go’ of the essence of its purpose rather than the dance itself. This inspired guy to combine traditions with dance, such as involving drummers and musicians in the movement. Incorporating constituents of body, music, word, dance, and theatre into one entity to recreate a confused authenticity of such forms of African Dance.

Much of Guy’s working experience in the UK took place in Birmingham (Kokuma) and much of the talent of the time remains there. However, as Guy explains there is no leadership, and to be successful it is essential to have guidance and encouragement.

Badejo on the other hand was raised in Nigeria where social levels of dance were dominant in lifestyle. Badejo had a colonial upbringing within the continent and fully participated in the social dances of the community. Initially studying mechanical engineering in the 1960’s he ‘stumbled across the dance, drama and theatre department’ and began to participate in such studies. It was during this time that Badejo was offered an opportunity to compete in a dance competition in Paris, France. After receiving first place he states he became ‘a hero’ in Nigeria and reiterates that it was the enjoyment of dance that gave him determination and dedication. Badejo passionately explained that in Nigeria ‘everyone has the right to dance and appreciates the experience of participation’.

Embarking upon his dance career at the place, Peter Badejo was given a scholarship to study. Taught by the likes of Robert Cohan and Ninette De-Valois his experience was varied and strict. In 1987, Badejo returned to Nigeria and was asked to travel in a manner of research, in order to choreograph ‘shows’ as he referred to them. With funding from the British Council, he returned to the UK with a show he had dedicated his energies to entitled ‘New Earth’. This was performed at The Place Theatre and at the Albany. Badejo explained that his work was driven by an interrogation into the aspirations of the people, a vision of young people hungry for an identity. Their search and naivety enabled Badejo to develop work on the basis that identity can be located through dance. Developing from the foundations, just as a learnt behaviour. ‘A dance so as to develop a behaviour’.

Where and how can people develop?

Guy reinforced Badejo’s notion of identity through the idea that analysis resonates within the development of African People’s Dance. He explained the importance of entrusting and sharing knowledge with the ‘next generation’. Also suggesting that more bursaries should be granted to artists committed to the development of African peoples dance in the UK. Other ideas thrown in were those of cultural exchange, taking ‘energy from the earth’, echoing the concept of cultural richness introduced in the master-class. Finally stating that African dance needs a laboratory in which to thrive, moreover, a place to ‘call home’.

In addition, Badejo highlighted the concept that ‘success’ is exclusive, that it will only be granted if it is wanted. It is conditional that ‘we know ourselves as learners, before superstars’. Badejo also expressed the need for a centre of excellence, suggesting that by 2010 African People’s dance will be institutionalised if there is enough support from people. In order to achieve this goal he claimed that, as people, African dance practitioners need to be indestructible, both their selves and their art. All experiences should be utilized, creating a continual generation of work and evaluation. Changes in practice and approach should ideally be embraced and sustained into future representations.

He asked several rhetorical questions, which most dancers/performers will have asked themselves during their careers, which stimulated thought within the audience;

- Why do we dance?
- Where does it lead?
- What do we get out of it?

When in his experience many leading African dance performers have gone on to be cleaners, Badejo states there is an enormous gap in training and education with relation to African People’s dance. When as contradictory as it seems, people can learn from everyone. The ‘Bamijo’ tour (in association with Badejo Arts, 2004) provided summer schools, attended by twenty/twenty-five people at a time that had ‘no idea why they were dancing’. This supported Badejo’s concern for the lack of education available on African People’s dance, suggesting that more people need to be exposed to such genres of dance. Explaining that he enjoys working with children, Guy articulated the idea that a person can be anybody on stage, which is something he enjoys developing with young people.

Guy advocates to others to be proud, to have clear goals and remain true to them and finally to embrace other cultures in order to validate individual work. The final suggestion being salient due to the lack of appreciation and evaluation of Black Dance in Britain, it is important to distinguish successful work and to celebrate such achievements. Badejo adds that a ‘sense of value’ is imperative, respect and value equals power. Both figures identified the lack of resources in a practical and educational sense, a need to ‘be in the system’.