Interview…

Making Moves & Creating Opportunity

As ADAD enters another phase of evolution in response to the sector’s needs, we catch up with three members of the Advisory Panel …quot; those backstage movers and shakers who volunteer their time and experience to the cause. We ask, so why are you involved on the work of ADAD? Their answers are here.

When did you join the ADAD Advisory Panel?

‘Well, I joined the ADAD steering committee in 2001. Sheron Wray was chair at the time.’ says Funmi Adewole. ‘Then I managed the organisation from 2003 to 2004. I’ve been chair of the organisation since 2005, however I will be leaving the steering committee in May.’

Francis Angol said ‘I joined the panel 5 years ago but was not very active before the last 18 months’.

Why are you a member?

Ukachi Akalawu replied, ‘For me, I am a member of ADAD because I understand the importance of supporting the only organisation that represents practitioners of African Peoples Dance.’

Francis has another standpoint, ‘I am a member of ADAD because I want to contribute to, and influence change in British dance.’

What do you bring to the organisation?

I offer the organisation my skills as a dance researcher.’ says Funmi. ‘I’ve been able to act as advocate for events and programmes which have taken the discussion about dance in the APD/Black dance sector beyond the debate about definition.’

Francis, an experienced and reputed practitioner adds, ‘I bring the organisation my wealth of knowledge and expertise of working in the arts as well as my knowledge of the African/ British Black dance sector and many national and internationally links and contacts.’

What would you like to achieve in this role for dance?

‘My achievement,’ replied Francis, ‘would be to successfully help to place ADAD in a position where it has an equal voice to that of any other major arts organisation that causes and influences change in British dance.’

Ukachi says, ‘I would like to achieve a raising of the profile of African dance practitioners; the work that they do and the issues they face. I would also like to give them the opportunity to develop themselves through further training such as through the Trailblazer fellowship.’

What are your biggest aspirations for ADAD?

My biggest aspiration for ADAD, is to unite Black dance in Britain.’ says Francis.

Ukachi makes another point, ‘That we become an organisation that is independent of the Arts Council and other organisations which do not always seem to have our best interests at heart.’

She continues ‘That we have our own space so we can hold regular platforms for our choreographers, and have room for our people to come and develop their ideas. That we are able to raise funds so we can pay to have enough full-time members of staff and develop a major central resource centre for the development of the artist and the forms the organisation advocates for.’

What have been the major influences on your work from your cultural and ethic foundations?

A major influence on my work has been my experience of growing up in both Britain and Africa,’ says Funmi. ‘Traditional compounds and urban barracks, in black families and white families …quot; I think this gave me an interest in the role of performance in society.’

‘My major influences have been the experiences that have led me to work/travel abroad (in Europe, Africa and America), thus being exposed to different forms of dance, and having the chance to learn from dance practitioners who are at the top of their game.’ Ukachi offers. But for Francis ‘The major influences on my work are people, culture, the environment, history an current affairs.’

I must also say that it was invaluable to have resources such as Badejo Arts’ Bami Jo Summer School, which for myself and many other dancers, was the one opportunity per year to train in the UK in African dance intensively with internationally renowned professionals.’ continues Ukachi. ‘This and many other experiences (unfortunately all too short) have allowed me to expand my knowledge and skills which has impacted upon my abilities as a dancer, upon my teaching, and upon my understanding of the roots of the many dance forms that are practised here in the UK.

In five years time what would you hope to see in the dance sector of dance of the African Diaspora?

I would like to see a new crop of British dance practitioners making their mark in the theatre and the community in Britain and abroad. With lots being written about them…of course.

Francis says…

1. I hope to see a framework for the development of dance of the African Diaspora.
2. At least 3 place where an individual can undertake a course of study that leads to a professional qualification.
3. A substantial increase in the numbers of professional practicing performance based companies.
4. Increase in the number of trained qualified tutors teaching dance forms of the African Diaspora in Britain.
5. At lease 3 major high profile choreographers working within dance of the African Diaspora.
6. ADAD as the recognized body for the development of Black dance in Britain.

Ukachi says…

1. That we finally have our own building where we can congregate, discuss, practise, and share (congratulations to Irie! Dance Theatre who have managed to secure a building for their organisation. It’s been a long time coming. However, for the whole sector, we need something on a much larger scale).
2. That we have a system of training or a fully developed module that can coherently fit into dance/performing arts courses at recognised institutions.
3. That we manage to develop a full-time two year course in African dance and music (a module is a positive step, but we do need to aspire to have a course that can truly investigate and teach the full range of information under that massive umbrella term ‘African dance’ …quot; NOT African peoples’ dance, as that is too wide, and dance disciplines such as Jazz can be studied to a high level already in this country).
4. That our artists receive a consistent level of sensitive and long-term support to a point where we can start to have functioning African dance companies once more.
5. That the wider dance industry (venues, programmers, festival organisers, writers, funders, teachers of other dance forms, etc), begin to develop a respect and understanding for the work that we do and consequently change their practises which currently marginalise, stereotype, ghettoise, and tokenise us. Although these are strong words, the process of developing the points a - d will work together to forge a depth of understanding from the wider dance industry.