"ADAD Asks"... Jackie Guy

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

• 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.

• 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.

• 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.

• 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.

• What steps can still be made with the sector itself to build resources including artists’ development?

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.

• 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.

• 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.

• 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.

• 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.

• What advice or ‘words of wisdom’ could you offer to those people 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.