The re-launch of the ADAD Advocates
By Ukachi Akalawu
The original aim of the ADAD Advocates scheme was that a group of people were to be the eyes, ears and mouthpieces of the dance forms existing under the vast umbrella of ‘dance of the African Diaspora’. These advocates were to feed information back and forth in order to promote ADAD to practitioners, help develop and sustain the dance networks, and ensure that ADAD’s work remained relevant to its prime user group. Essential qualities for an advocate were (and still are) an incessant desire to know and find out what’s going on in the arts that affects us as dance professionals, a willingness to share and distribute information, great interpersonal skills, and a positive and proactive attitude around helping ADAD achieve its vision.
The advocates were identified by their experience within dance, in addition to their knowledge of the external factors that shape our practice of dance. I was asked to be an advocate in 2004, along with five other individuals. Each of us represented a dance form African, Caribbean, Jazz, Contemporary, Ballet, and Hip Hop. As advocates, we represented ADAD at events; arranged forums, masterclasses and seminars; and were instrumental in raising the profile of ADAD amongst its different user groups. This was not a simple task as at that time, less than fortunate circumstances had resulted in there being much apathy and mistrust of arts organisations trying to contribute to the progression of dance of the African Diaspora, and many practitioners had reached a stage where they would rather ‘go it alone’ than attend meetings, events or even communicate with organisations such as ADAD. Thus the advocates had to think of new ways to engage practitioners, as well as inspire an upcoming generation. This was done through holding events which had the practise and enjoyment of dance as a central point of focus. The best way to get dancers excited about an event is to create an experience where they can actually dance the dances they want to dance, the dances that they don’t dance nearly enough. ADAD offered practitioners the chance to have inspirational interaction and dialogue with our pioneers, through masterclasses and discussions with reknowned artists such as Germaine Acogny, Othella Dallas, and Jackie Guy. We organised events where dancers had the opportunity to view rarely seen historical footage, of companies such as Les Ballet Negres, and Whitey’s Lindy Hoppers.
Our events explored the areas that would enable us to take charge of what we do, through promoting trust, respect, and an understanding of how to preserve our work. ADAD events have developed a reputation for a warm and welcoming atmosphere which encourages our practitioners to talk to and know each other. Feedback has been positive, interest from old friends has been rekindled, and we have engaged a new generation of practitioners who quite rightly have high expectations about what ADAD can offer them with regards to support and opportunity.
And so we step up to the next level, which heralds this re-launch of the advocates scheme. For the advocates to maintain their effectiveness, we no longer need to be separated into dance categories. Add to that the fact that we have experience and knowledge of each other’s dance forms, and hope to appeal to people who move between the forms just like we do. This is not to say that we won’t shout the loudest about that which we feel most passionately about, as that is the job of an advocate to promote and support one’s area of interest. But the areas of education and training, professional development, profile raising, providing great opportunities for practitioners are aspects that affect us all. So better we all shout in the same direction. This brings me neatly onto Open Stage, which is the first project under the new advocate scheme.
We constantly hear from artists that they don’t get nearly enough opportunities to perform, or try out new ideas safely, or gauge feedback from people who truly understand the form in which they are working. Consequently, Open Stage is to be a regular performance platform for artists working within dance of the African diaspora. We will give these artists (at all stages of their career) the opportunity to present their work in an informal and supportive environment, and to gain constructive feedback. We hope that this will give them the chance to further hone their skills, become accustomed to discussing and having their work discussed, and to network with each other. And we want to give audiences a taste of the exciting delights and gems hovering amongst us that will hopefully one day make it to a larger platform. However, Open Stage is not just about the performer. It is also about the ‘performed to’, in other words the audience. We want to develop a critical mass - a group of people who have the potential to be our reviewers, critics, writers and ultimately our supporters. Where better to begin this than with an Open Stage. This is just one plan out of ADAD’s many plans to be rolled out over the next few years, with the assistance of the advocates.
The advocates group is not static we have had people do great things and move on. We have people who can’t be advocates due to other commitments, but are on call at challenging times. We have young voices wanting to make their experiences matter. That is what makes the scheme so special it’s just us helping ADAD so ADAD can in turn help others.
