IADB Reflections
In January ADAD joined delegates from around the globe in Texas, USA at the IADB 2014 conference to celebrate, exchange information, debate, and network all the name of dance. Judith Palmer, chair of ADAD, and Kemi Durosinmi, dance artist, reflect on their IADB experience.
Words: Judith Palmer
The 26th January 2014 marked the 26th anniversary of the International Association of Blacks in Dance (IABD) conference, although the association itself is 30 years old. The Association is committed to documenting and addressing Black aesthetics in dance. It also educates younger generations about contributions of Black artists in dance. The annual conference offers a national scholarship-training program for dancers as well as a multi-company audition for dancers across America.
Over the years the conference has been held in many states across America and is set for Cleveland Ohio in 2015. This year’s conference was hosted in Dallas, Texas by Dallas Black Dance Theatre led by founder/artistic director, Ann Williams who also announced her retirement this year.
I was really excited to be in the presence of such greats as Joan Myers-Brown, founder of IABD and artistic director of Philadelphia dance Company aka Philadanco. I also attended a choreographic workshop led by Diane McIntyre world-renowned choreographer and Cleveland Arts prize winner.
What interested me most was the sense of solidarity amongst not only the 10-strong board member companies, but amongst the 20 or so, dance companies hailing from across America. There were many speeches from IADB Board members, the founders, the chair, the artistic directors and company managers all giving not only the background to how the association was established but encouraging the young dancers to be ready to step into their shoes. There was a clear sense of legacy and pride towards the contribution made by the founding members. I was in awe!!
Then came the showcases, my first expression was WOW! Youth companies, student companies, IADB member companies and professional companies - the presentations were very impressive. High quality performance and seemingly effortless technique was what came across, however, the energy portrayed by these youngsters was as if their lives depended on it!!
Virginia Johnson artistic director of Dance Theatre of Harlem and Milton Myers, professional instructor for the Alvin Ailey American Dance Theatre (between the two there are many more accolades than this article can hold), were both recognised by the IABD for their contribution to Black dance with a special luncheon ceremony held in their honour.
ADAD is now a member and is seeking collaboration with IABD; our contribution to the conference was in the form of Mercy Nabirye director of ADAD (Maternity Cover) as a speaker on the international dance connections panel, alongside Robert Solomon from Germany and Viviene Scarlett, from Dance Immersion in Toronto. We also presented a collaborative workshop between, myself and Kemi Durosinmi cross-referencing traditional African dance with popular dances from Africa. Our contribution to the conference helped to bring the UK’s contribution to the IABD’s table and firmly stamp the ‘International’ aspect to their name.
By the time I got back home I was inspired to step up our legacy work with respect to recognising the contribution made to our dance development here in the UK. I also decided to push my students to reach for the performance level to die for and some confessed it nearly killed them!!
Words: Kemi Durosinmi
When I think about my experience at the 2013 IABD I feel warm inside. Inspiring, encouraging, supportive, spiritual… are a few words that come to mind.
The IABD is a conference founded in 1988 by Ms.Joan Myers Brown and the Philadanco staff. In the organisations own words, "The International Association Of Blacks In Dance (IABD) preserves and promotes dance by people of African ancestry or origin, and assists and increases opportunities for artists in networking, funding, performance, education, audience development, philosophical dialogue, touring and advocacy.”
The sole purpose of the IABD is to provide a gathering for the Black dance community so its needs can be met. The conference brings together participants from across the USA, South America, Canada, Europe, Africa, the Caribbean and Australia. It is a meeting of generations. You will find dance artist from various stages in their careers in attendance (dancers in training, professionals to company leaders and choreographers). It is a beautiful thing! The conference consisted of informative workshops, discussions, performances, dance classes, masterclasses, collaborations, artistic exchanges and networking socials.
I was invited to IABD to represent myself as a UK based artist, discuss my work and my research and development journey that had brought me to America in the first place.
I collaborated with Judith Palmer in a workshop where we used Pangolo (Ghanaian social dance of the 60's) and Azonto (current social dance craze from Ghana) a style that is very popular amongst African Diaspora communities & more recently being filtered into the mainstream interest across Europe, to demonstrate an example of the developments/interpretations of African dances across generations. Furthermore this exchange was to highlight the fact that contemporary Africa is just as influential as ever in arts and there is a current movement (whether consciously or unconsciously) of looking back to Africa & African cultures for influence & forming new identities through dance. i.e. within the past 10 years or so new dance styles have been formed or reignited all distinctly influenced by African peoples creative expression i.e. New 'Afrobeat', Dancehall, KRUMP, House and more. The workshop was a success and was well received by a mixed group of participants.
It was a total pleasure to have attended the IABD. What struck me the most was the respect each generation had for the other. There was mutual appreciation for those ahead and those coming up. The older generation was accessible to the younger, they were happy to share stories, advice and information. The younger generation could listening, ask questions and give their opinion on topics being discussed. It was very obvious looking at the programme that the organiser’s and considered all those in attendance as there was something for everyone (no matter age, experience or position) to engage with. It felt like family, I felt a genuine sense of community.
IABD was the vision of a few people who understood the importance of legacy. These founders adhered to the internal responsibility they felt has leaders to provide grounding for black dancers of their time but most importantly the need to for nurturing and sustaining the existence of blacks in dance for the future generations. Many of the founding members set up schools & companies in their state's solely to support blacks in dance and develop audiences. Where Black dancers were being marginalised by the secular dance community, African Americans created their own establishments to train black dancers, pass on honest history of black contribution, create, reward and support themselves.
What gives strength to a gathering like the IABD is that every known leading black dance company & leaders contributed to it existence. This year in Dallas we saw performances from leading companies such as Philadanco Dance Company, Ailey 2, Lula Washington Dance Company, Dance Theatre Of Harlem, Dallas Black Dance Theatre, Cleo Parker Robinson Dance, Ronald K. Brown/Evidence performing on the same stage as the youth dance companies who were showcasing.
I was able to mingle with powerhouses of African American Dance and International dance leaders. People that I researched for my finally dissertation in dance college, whose careers and achievements I have admired and successes I would love to emulate such as Ms Lula Washington (choreographer of Avatar) and Dianne McIntyre were accessible to me.
Hearing the founding members talk and share their experience, trials and tribulations gave me honest insight and the encouragement needed for great leadership.
The IABD was a positive experience for me, not just as a black female dancer but also a dancer transitioning from solely performing to creating and facilitating dance.
It was a privilege for me to be surrounded by talented artist who have done or are doing great work - to be surrounded by artist and leaders who are honest and committed to their cause, who strive for excellence. It was an instantly welcoming environment and I felt a genuine sense of openness, sharing & support.
The experience left me feeling more assured of myself and what I stand for. I look forward to keeping in touch with those I met and building on the connections that I have made.
Images: from l-r IADB founders Joan Myers-Brown, Lula Washington, Ann Williams and Cleo Parker-Robinson; international dance connection panel; Judith Palmer and Kemi Durosinmi workshop; IADB delegates
