Dance of the African Diaspora in the UK, a dancer’s perspective:

Dance of the African Diaspora should be brought into focus in higher education courses

by Rozelle Kane

The deep and infectiously rhythmic resonance of African drums has the ability to spark movement in the most static of bodies. From the African-derived rhythms of samba to the melodious and passionate drumming of the African West coast, dance of the African Diaspora (DAD) is unlike any other dance form in its dynamic motions, symbolism and expressive potential.

It is for these reasons that, my initial and continued involvement with DAD led me to a strong (and unexpectedly challenging) resolution: I decided to pursue professional dance training in African dance following a first academic degree. How difficult could it be to find a reputable course fusing my love of African dance with contemporary techniques such as a Cunningham and Graham? Answer: very.

I would like to present, here, my perspective on the challenges facing the DAD sector and the compelling arguments to change this situation. This has been informed by a search for professional education and opportunities within the sector.

My definition of dance of the African Diaspora (DAD) is: the richly diverse dance (and music) originating from the African continent, which was spread to Cuba, Haiti, Brazil and Jamaica, among other countries. The geographical relocation of African people was driven primarily by the slave trade, and later by post-Word War II migration. As a result of these movements, African heritage has become integrated with new cultures, peoples and traditions. The unyielding life force of DAD is evidenced in its persistence and also, crucially, in the inventiveness of its fusion. Traditional African dance sequences and rhythmic drumming patterns can be found in Brazil’s glittering samba, Cuba’s narrative dance and Haitian traditional dance to name a few.

One relatively overlooked site for this cultural reinvention is the United Kingdom. With literally hundreds of Samba and African drumming bands and amateur dance groups, the UK has an exciting scene. However, such activities remain at the fringes of mainstream society, yet to be embraced in their full potential. I would argue that the United Kingdom with, relatively speaking, one of the largest African immigrant populations in the world could be a very exciting locus for modern African dance and music fusion and invention.

If this is true, why then is this richness of potential not mirrored by the syllabi of our most established and revered dance institutions? The UK has some fantastic training academies that provide high level education in classic forms, ballet and contemporary dance. They even offer integrated courses such as LCDS’ contemporary and Asian one year diploma. Even the universities are opening up to the academic interest in DAD �" SOAS paired with Roehampton University in 2002 to form a centre for cross-cultural research into Asian and African dance and music.

Yet, to date, not one (in my investigation) higher education body offers a course with specific teaching that provides a foundation for professional involvement in DAD. This is a glaring hole. This hole has left me searching further a field to courses in The United States and Africa.

I may be painting a rather dark picture. The UK is far from creatively lacking in African dance. In fact, the absence of formal institution courses has perhaps provided greater impetus to smaller independent groups and dance companies. There are companies such as Irie! Theatre Dance Theatre, who have worked tirelessly to create education programmes and professional development opportunities. Furthermore, a shining light has emerged from the efforts of Akosua Boakye, an ADAD Trailblazer who has founded a new course at Kensington and Chelsea College London, specifically offering African Contemporary training. This is a fantastic step in the right direction.

If we are serious about diverse arts promotion in the UK, I believe that DAD must be embraced by the education sector. Of course, education is only one route by which this goal can be achieved; investment in individual funding opportunities, teachers, artists and in dancers themselves is critical.

Surely we don’t want to omit the rich palate of music and dance of the African Diaspora from wide public audiences.

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