NRWashington, D.C.’s Dance Magazine

Nov/Dec 2016

www.ngomareader.org

Commerical Dance Talent Agency Arrives in DC

Musical Theatre Performer Dani Ebbin Speaks of Her Love of Dance

Dance Till Us Part: Marriage and Dance

NR 2015 Holiday Show List

Fall Dance Photoshoot

Instagram + Dance

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Locations:Atlas Performing Arts Center 1333 H St. NE, Washington, DC 20002

Joy of Motion Dance Center, 5207 Wisconsin Ave NW, Washington, DC 20015

Dissonance Dance Theatre is the professional dancecompany of 501(c)3 arts organization Ngoma Center for Dance. Now in its ninth season, Dissonance uses dance to challenge what audiences assume about the human experience, and to develop contemporary and classicallytrained artists. WWW.DDTDC.ORG WWW.NGOMA-CENTER-FOR-DANCE.ORG

Dance Noir Works inspired by the dark musical scores Jack Guidone Theatre, Joy of Motion Dance Center Saturday, October 17, 2015, 8pmSunday, October 18, 2015, 7pm Tickets starting at $15 WINTERSTEPS Presenting new works by dance artists Tony Thomas and DDT Principal Choreographer Shawn Short Jack Guidone Theatre, Joy of Motion Dance Center Saturday, January 16th, 2016 8pm Tickets starting at $15 Heads or Tails Dance examining personal connections between strangers, friends and loved ones called “Bae”. Atlas Performing Arts Center February 2016Tickets starting at $22 Black to Silver: A Black LGBT Experience Multidisciplinary arts production that examines and explores interpersonal relationships, identity and love within the African-American LGBT community Saturday, April 16, 2016 Sunday, April 17, 2016 Tickets starting at $15

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Dance Metro

DC

Your Dance Community

Auditions, News, Performances and more...

Ngoma Reader Magazine Partner

www.dancemetrodc.org

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Ngoma Reader__Table of ContentsVolume 2 Issue 6

Feature 7 Strengthening commercial dance through the development of a new talent agency, Katrina King talks to us about the new King Empire Entertainment LLC. By Donovan Johnson 10 D.C.’s Dance Sweethearts Ama and Chris Law speak about marriage and their dance careers. By Shawn Short

12 NR Magazine staff compiles our annual holiday show list. By Staff Photography Feature14 Jump in Fall with our latest “Fade Into Fall” photoshoot By Shawn Short Opinion 21 Instadance A perspective on Instagram’s usage with dance. By Katie Norton-Bliss

27 VA now NYC dancer/ choreographer Johnny Mercer takes NYC by storm and presents new work. By Dereke Clements Dancer Spotlight 24 Musical Theatre performer Dani Eddin speaks about dance and her love of theatre. By Donovan Johnson

Cover Photography by Shawn Short Dancers: Moyston Henry and Shanon Evans

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NREditor In Chief/Publisher Shawn Short sshort@ngoma-center-for-dance.org

Editor Damon Foster

dfoster@ngoma-center-for-dance.org

Staff Photographers Jeremiah Jones

Jade Enders Shawn Short

Sergey Apasov

For advertisement information and news submissions, please email:

NRmagazine@ngoma-center-for-dance.org

Contributing Writers and Editors Stephen Clapp

Derek Clemente Damon Foster Ingrid Graham

Donovan Johnson Tyler Lewis

Tehreema Mitha Shawn Short

Washington, D.C.’s Dance Magazine

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Katrina King is an actor, model, choreographer and dancer that have appeared in commercials, print, TV and music videos for Mya, Tanu, and Sean Paul. She has toured with the Armed Forces Entertainment and with R&B singer Monica. She has danced for Jawole Zo Wallar, Maru Montero, Chuck Davis, Andre Fuentes, Terry Creach, Liz Impe-rio, Shiela Barker, Claire Porter, Gianinni and Leeco, Luam, Tim Roberts and Bev Brown to name a few. Her train-ing in jazz, laban movement, improvisation, ballet, ethnic, modern, and hip hop exuded while dancing with Culture Shock Dance Troupe, Maru Montero Dance Company, NBA Washington Wizards Dancers and Capitol Movement Dance Company and now as the founder for her talent agency, King Empire Entertainment, LLC. Katrina is a mem-ber of Dance Masters of America and has choreographed and taught master classes in the DMV area including a former director for the WNBA Washington Mystics Mayhem.

Dance Steps, Life, and Visions: Katrina King Interview by Shawn Short

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1. Where are you from originally? Cleveland, Ohio

2. How would you describe the dance scene in DC? The dance scene in DC is very diverse with a mixture of ballet, lyrical, contemporary, jazz, modern, hip hop and ethnic dance styles. Students seeking to train in any of these dance forms have numerous studios to select from in the DC area. Not all studios train these dance styles the same way, so it is truly up to the individual to obtain the dance quality they desire.

3. Tell us about the hip hop scene here in your opinion specifically? The hip hop dance scene in DC has grown tremendously over the past several years and has become a huge popularity. Several studios in the DMV area of-fers dance classes. One can find an abundance of hip hop dance crews and troupes that have developed including breakdancing in the nation’s capital. It is truly amazing to see the various age groups that seek hip hop dance classes, dance showcases and competitions. Unfortunately, the his-tory of hip hop and the real art form of hip hop is not prop-erly taught or taught at all in these classes and students are misinformed of what hip hop (whether dance and/or rap) truly is. Real mentors, teachers and educators must teach the true art form of hip hop and not what is just considered “cool” or based on YouTube likes.

4. What do you feel you bring to the scene? King Em-pire Entertainment, LLC (KEE) is the first dance and cho-reography talent agency in the DMV area. This non-ex-clusive agency will identify talented individuals that need representation and do not necessarily have the means to live in California or New York, and to “make it as a per-former”. Many individuals learn and are programmed that in order to make it in the industry that one must live in California or New York. KEE is trying to break that pat-tern. Any gifted individual can make it anywhere if they truly have the heart, ambition, dedication and desire to do so. It can be done! 5. How can your agency King Empire Entertainment help D.C. area dancers? KEE is excited to seek and work with talent in the DMV area through adequate and correct training and mentorship. The agency has brought well known dance choreographers to the area already that have not taught master workshops in the DMV. KEE believes dancers and aspiring choreographers need access to these teachers that truly know their history of dance and will share their knowledge (not just choreography) with students. KEE will also enlighten talent with motivation-al speakers, seminars with celebrity makeup artists and

stylists as well photography. KEE is offering more than representation of dance but a full picture of the entertain-ment industry.

6. What are your expectations? My expectations are to have KEE grow with undiscovered, diverse and educated talent. We live in the Washington, DC metropolitan area that has the president of the United States, congress, amaz-ing monuments, museums, movies and television series filmed, research, and a melting pot of culture! It is time to have DC recognized for entertainers including dancers to where directors and production teams are seeking dance and choreography talent directly in the DMV area. KEE will assist with finding and providing the talent!

7. Do you have connections to New York and Los Ange-les? Yes

8. Any advice for aspiring dance artists? All aspiring artists should have belief in themselves and chase their dreams. The entertainment industry is definitely hard and one must have the stamina and strong will to overcome barriers and obstacles that will be thrown at them! My parents instilled in me to pursue multiple degrees. So I pursued my love for dance and science. To this day, I am fulfilling both of my careers at the same time.

9. Any projects coming up? Yes. KEE is currently work-ing with additional choreographers to teach upcoming master workshops, a showcase and a meet-n-greet.

10. Where can folks find you to take class? I encourage everyone to follow KEE’s Instagram page at KingEmpireEntertainment and Facebook page at KingEmpireEntertainment, LLC to stay up-to-date with the latest events.

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Dance Till Us Part: D.C. Area Married Dance Duo Chris and Ama Law Speak about Dance and Doing it While Married Interviewed by Shawn Short1. Did you both grow up in the Washington, D.C. area? Chris - I grew up in the P.G. County (Maryland) area and Ama lived in Montgomery County (Maryland) until high school. 2. How did you guy’s meet? Did you meet on the dance floor? Chris - I guess you can say we met on the dance floor. I was headed into my junior year at Parkdale High School and was apart of a performing arts group called “COLOURS”. COLOURS was performing at the in-coming greshman orientation and it was my job to get audience members up to dance with us on stage. Amongst the many people I saw, Ama imediately stood out from eveyone. She had the biggest smile ever and was already dancing from her chair. I figured why not ask her to dance. And we’ve been dancing together ever since. Ama - Thats sorta how it went down. We did meet at my freshman orientation during one of Chris’ performanc-es. He actually reached out for my mother’s hand, but she thought it would be best to pass him off to me. He grabbed my hand to bring me on stage and I believe the song that was playing was “Cup of Life” Ricky Martin. Not the most romantic song at all. After orientation I no-ticed that Chris was poppuing up in every venue and after school activity that I was apart of. One example of this was when I joined the volleyball team and all of the sud-den he became the team equipment manager. We became closer friends after I joined the COLOURS performing arts troupe. 3. How long have you guys been married? Chris - We’ve been married for three years now. 4. What’s your zodiac signs? Chris - Libra, Ama - Can-cer 5. I hear many artists say that marriage happens AFTER a career in dance, does being married add any strain on being a working dance artist? Ama - I don’t think so. We actually work really well together. We often collaborate on projects and share many common interests being that we’ve performed together

ever since high school. I feel like it’s a blessing that we are both working artists becuase we share an understand-ing and support for each other that would not be easily achieved had either of us been with someone who wasn’t a working artist. For instance, late night rehearsal and long trips are never tensions points in our marriage. We often travel together, and are able to advise each other on our separate endeavours as well. 6. You are a great looking couple and you dance, how do you deal with unwanted admirers? Chris - I think it all boils down to trust. Ama and I are very in tune with our goals and love for each other. We both understand that we’re together because ultimately nobody else can offer us anything that we haven’t already given each other . Once you realize this, you don’t have to invest time or energy into unwanted admirers. People feel this energy from us and they already know not to try it. Ama - But don’t get it twisted. I’ll still fight for what is mine. Chris - Of course. 7. In dealing with professional development, how do you guys find time to get better at your craft? Ama - We both feel it’s imporant to keep an open mind about opportunities that come our way. We’ve always welcomed challanges because you’re most likely to learn when you push yourself to go outisde of your comfort zones. Above all, we hold each other accountable for all pursuits and endeavours that we intend to put into play. Everyone knows that it’s not enough to just talk about doing something. You have to find the motivation within yourself to initiate actions. The one advantage that we have is that we can be a source of support and motivation for each other. Especially during times when its hard to self motivate. Chris - I couldn’t agree more with what Ama said. We genuinely care about our individual and collaborative goal and acknowledged that they are ultimately synony-mous with our happiness in being together. Ama’s success equates to a victory for me as well and vise versa. By simply keeping this in mind, we’re able to help each other grow and get better.

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8. Are you guys working on any professional mile-stones currently? Chris - I am currently a second year MFA Candidate at the University of Maryland for studies in dance. By pursuing my masters I hope to continue teaching on a colligate level while also performing and showcasing self-produced works throughout the D.C. area and beyond. Ama - This is my second year as an adjunct faculty at Howard Community College. I love teaching college students and hope to continue to do so. I’m also still a member of Kick Rocks Crew, and have been working with my fellow crew members to take our youth group Kick Pebbles to the next level. Our vision is to help in the development of not only strong dancers, but strong women and future leaders. 9. Could you tell us a short story where you came through for each other in a dance situtation that really was significant? Ama - Last year during preparation for Howard Com-munity College’s faculty concert, I decided at the last minute to change the theme of a duet that I submitted for Chris and I to perform. The concert fell around the same time as the Michael Brown/Ferguson incidient. I was angry with our judicial system and felt the need to present something that would at least spark awareness and dislouge on thei matter. Chris showed me a clip of Melissa Harris Perry’s MSNBC tribute to unarmed black men killed by police. Many of the names men-tioned in this tribute included Oscar Grant, Micahel Brown, Trayvon Martin and many more. Chris and I both agreed that using this tribute as our musical score was necessary. With everything that was going on around that time, I just couldn’t see us performing another hype, fun Hip-Hop piece. I’m just thankful that Chris supported me in this decision. Given the time restraints and the fact that he was adjusting to his new life as a graduate student, it meant a lot to me that her immediately jumped on board to help me develop this idea I had. We titled the piece “The More Things Change, The More The Stay The Same”, and we plan to further develop this work in the near future. 10. Any advice to give to dance love birds? Ama and Chris - Always remember to make time for

things that exist outside of dance. Fueling the creative process is important, but it’s also important to feed and develop your friendship/relationship. 11. Any projects coming up? Chris - I’m in the early stages of developing my thesis concert. Most of my research has been in regards to generational disconnections within Hip-Hop commu-nities and the work that must occur in order to bridge older and younger generation of Hip-Hop artists. This work is scheduled to go up in fall of 2016. Ama- Project Nyla...It’s top secret lol. I’ll keep you posted. 12. Where can folks find you guys to take class or see you perform? Chris - I currently teach the Hip-Hop movement classes for Univeristy of Maryland College Park’s Theatre, Dance and Performance Studies Department at The Clarice Center for the Performing Arts (The Clarice). I don’t currently have a regualr walk-in class, but I’m always open to teaching workshops and com-munity classes. My fellow MFA collegues and I are highly invovled in the making of many productions that The Clarice is offering this season. Please feel free to visit www.theclarice.umd.edu to view the event calendar. You can contact me directly at my email claw@umd.edu or follow me on Facebook and IG; Chris Law, @clawman83. Ama - I teach both Hip-Hop movement classes and lecture at Howard Community College. Otherwises, follow me on social media for info on workhops and upcoming shows. Facebook; Ama Law, Kick Rocks Crew, IG; @isthaturhair, @kickrockscrew.

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Jingle Bells and BeyondDance Highlights the Holidays in the DMVThe holiday season offers a prime opportunity for a variety of dance throughout Washington D.C., from Clara dreaming of a magical nutcracker prince and sugar plum fairies in Tchaikovsky’s The Nutcracker, to the toe-tapping euphoria of tap legend Savior Glover in his self-produced Holiday Spectacular to bare feet blaz-ing in the spirit in Coyaba Dance Theater Kwanzaa Celebration. Here are shows premiering in local venues.

The Joffrey Ballet: Joffrey’s The NutcrackerJohn F. Kennedy Center for the Performing ArtsWed, November 25 thru Sun, November 29Robert Joffrey’s awe-inspiring staging of the perennial classic boasts larger-than-life Victorian America scen-ery and costumes, entrancing storytelling, Tchaikovsky’s beloved score, and invigorating dancing that could only be found in a dream.

Ticket Infohttp://www.kennedy-center.org/calendar/event/BQBSC?promotionno=204372

The Hip Hop NutcrackerPresented by: StrathmoreThu, December 3

A holiday mash-up for the whole family, The Hip Hop Nutcracker re-imagines Tchaikovsky’s classic score through explosive hip-hop choreography. A dozen all-star dancers, an on-stage DJ, and an electric violinist bring the traditional Nutcracker story to life in contemporary New York City.

Ticket Info:www.strathmore.org/events-and-tickets/hip-hop-nutcracker

Savion Glover: Dance Holiday Spectacular

Presented by: George Mason University’s Center for the ArtsSat, December 19

Celebrate the magic and wonder of the holiday season with this tap prodigy and preeminent choreographer whose footwork is nothing short of miraculous. Savion Glover captured the public’s attention at an early age with his show-stopping Broadway appearances in numerous musicals, but it was his Tony Award-winning show in 1996, Bring in ‘Da Noise, Bring in ‘Da Funk, that revealed the full depth of his extraordinary talents. His acclaimed work also includes film, and countless appearances on television.

Ticket Infohttp://cfa.gmu.edu/calendar/2008/

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Black Nativity by Langston Hughes: A Concert VersionVenue: CenterStageWed, December 2

This re-telling of the Christmas story from an Afro-centric perspective is infused with rich gospel, blues, funk, jazz, and dance with griot-style storytelling. The result is a deep exploration of cultural identity, pride, and unity that brings a fresh voice to this holiday classic.

Ticket Infohttp://www.restoncommunitycenter.com/attend-shows-events-exhibits/event-detail/2015/12/03/default-calen-dar/black-nativity-by-langston-hughes-a-concert-version

Matilda the MusicalPresented by: John F. Kennedy Center for the Performing ArtsTue, December 15 thru Sunday, January 10, 2016

Based on the beloved novel by Roald Dahl, Matilda the Musical is the story of an extraordinary girl who, armed with a vivid imagination and a sharp mind, dares to take a stand and change her own destiny.

Ticket Infohttp://www.kennedy-center.org/calendar/event/TQTSD?promotionno=204372

Kwanzaa CelebrationCoyaba Dance TheaterSat, December 12 thru Sun, December 13

Welcome the holiday season with Dance Place’s annual Kwanzaa Celebration! Gather family and friends to join Coyaba Academy, Coyaba Dance Theater and special guests celebrate the seven principles of Kwanzaa.

Ticket Infohttp://www.danceplace.org/performances/kwanzaa-celebration/

STEP AFRIKA!’S MAGICAL MUSICAL HOLIDAY STEP SHOWStep AfrikaAtlas Performing Arts CenterDecember 10-22

Who wants to sit still and be quiet for the Holidays? Join the amazing artists of Step Afrika!, their furry friends from the Arctic Kingdom and DJ Frosty the Snowman and share the spirit of the festive season with family and friends.

Ticket Infohttp://www.stepafrika.org/performances/washington-dc/

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Fade Into Fall

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Model: Shannon Evans

Model: Demetria Charles & Damon Foster

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Model: Damon Foster

Model: Demetria Charles

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InstaDance

Written by Katie Norton-Bliss

Opinion

(C)Getty Images

A couple weeks ago, I did something totally radical… I deleted my Instagram. Instagram is a social network, which can be downloaded as an Application on smart phones. Users post pictures or short videos for their “followers” to see. When I told my friends about this (so that they could realize how cool and unique I am) one of the main points they brought up is that Insta-gram is useful for your career and networking. This got me thinking about the way dancers, and dance companies utilize social media, specifically Instagram.

With so many forms of entertainment available from the comfort of people’s homes, it is more important than ever that dance companies create and maintain a fan base. Instagram could definitely be a useful tool in engaging fans – specifically younger audiences. Instagram reaches far beyond the dance community, so ideally it could introduce dance companies to a much broader spectrum of people. I re-downloaded Insta-gram to investigate the ways dance companies and dancers were using the app.

One of the most successful uses of Instagram is by BalletNext, a smaller, New York City based company. Founded in 2011, by former American Ballet Theatre dancers, BalletNext used Instagram to make a name for themselves. When Executive Director Elizabeth Johanningmeier joined the company she began regu-larly posting to Instagram, creating a drastic increase in followers. This showed a large boost in ticket sales, as well as earning a Capezio dancewear campaign featuring the company dancers.

Looking at larger companies, American Ballet Theatre appears to have the largest fan base with 102k follow-ers, compared to New York City Ballet’s 11.5k and San Francisco Ballet’s 45.6k. I was surprised by this gap, mostly because New York City Ballet’s photos are more eye catching and their account seems to be run very artistically. ABT has one very clear advan-tage – company dancer, Misty Copeland, arguably the biggest name in dance at the moment. Her personal account has an impressive 785k followers. This says a lot, not only about her popularity, but also about what is popular on Instagram in general. Instagram is very much about the individual. It is very personal. Following a dance company may not be as appealing as following a specific dancer. People want to follow celebrities to feel closer to them, or to emulate their lifestyle.

American Ballet Theatre Principal dancer, Misty Copeland has used her role as a dancer to become a

public figure even outside of the close-knit dance cir-cle. She has shed a lot of light on diversity in dance, and has brought great exposure to the ballet world in general. Copeland is everywhere- on tour with Prince, in a stunning Under Armor campaign, recently on TV teaching Jimmy Fallon how to plie. Other dancers, and companies could try to follow her lead by using social media to make their dancers role models outside of just the dance community. It is possible to become a star simply through the use of Instagram, and many have done so. One of these people is Jen Selter who used her account to go from gym front desk worker to celebrity. She simply began posting photos of her fitness results, gained thousands of followers, became an inspiration to many, gained endorsement deals, and was able to quit her day job. If someone like Selter can use Instagram to so drastically change her life, companies could possibly gain many new followers and fans by casting their dancers as Instagram stars in their own right. Company Instagram pages could focus more on dancers as people and artists, so that they are more personal and less business like. Making dancers more relatable might encourage people to buy dance tickets to see their favorite artists. Instagram could be a stepping stone to revive the idea of dancers as true stars.

Instagram users, of course, do not merely look at Instagram, but are active by posting images them-selves. In my break from Instagram, I found myself putting on an outfit and asking myself what’s the point if I couldn’t take a picture of it? People do things “for the Gram.” This begs the question; are dance perfor-mances Instagram-able? A video of a local musician performing in a bar or coffee shop, or a #artsy picture of someone looking at a sculpture at a gallery opening certainly help people cultivate their Instagram cool-ness. At dance performances, traditionally, audienc-es are required to turn off their cell phones. Dance doesn’t, as obviously, allow people to “do it for the Gram.” Less traditional performances often allow for more Instagram-able moments, but traditionally struc-tured performances should be able to survive too.

The Bunker Presents series shatters traditional audi-ence/performer relationships. Presented in warehouse spaces, audiences are allowed to take pictures, talk to each other, walk around, and use their phones. Despite the relaxed atmosphere, audiences are very engaged. Can this type of atmosphere be brought into a more traditional theatre? Should dance companies adapt to modern audiences phone addictions, or is seeing a ballet or dance performance the break from a

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screen that everyone needs?

After my stint away from Instagram, I highly appreci-ate dance for the way it forces people to be completely engaged with the current moment, but I also realize the power of an Instagram image. As such an aesthet-ically stunning art form, dance has so much possible power to harness in the Instagram realm. Instagram has 400 million users with that number likely to con-tinue increasing. Ideally these are 400 million people whose attention could be captured by dance. Once dance companies have this virtual fan base, they can get these people to physical theatres and pull them away from their smart phones for at least a couple of hours. Dance is more than capable of holding an audience’s attention, it just may need the help of social media to reel in the Instagram generation.

Katie Norton-Bliss is a dancer and writer currently based in the DC area. In May of 2015, she graduated from the University of Cincinnati’s College Conser-vatory of Music with a BFA in Ballet and a minor in English. She is currently in her first season as an Apprentice with Dissonance Dance Theatre. Katie grew up in Providence, Rhode Island where she began training with Mary Paula Hunter. She went on to train at Central Pennsylvania Youth Ballet as well as spending summers at the San Francisco Conservatory of Dance. Katie is working to continue her growth as a dancer, writer, and choreographer, and hopes to contribute to the growing DC dance scene.

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Dancer Spotlight:Dani Ebbin Dancer

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1. Where are you from?

I am originally from Frederick, MD where I studied dance at Dance Unlimited and then moved to Washington, DC to attend high school at Duke Ellington School of the Arts.

2. How old are you and what's your zodiac sign? I am 19 years old and I was born on the cusp of Sagittarius and Capricorn – December 21st. It’s also the winter solstice!

3. Where do you dance currently?I currently take classes as a part of my studies in Musical Theatre at The Catholic University America.

4. What's in your dance bag?WAY TOO MUCH AND I CAN NEVER FIND THE OTHER SHOE!!!! Every kind of jazz shoe, ballet shoe, character shoe, four pairs of tap shoes, dance paws, therabands, and two tennis balls.

5. iPhone or Android? iPhone! Even though my phone just cracked. (I dropped while I was dancing…typical.)

6. Who inspires you in the dance world? Do you have a dance mentor?My most current inspiration is Andy Blankenbuehler - he is an American dancer, choreographer and director. His most well known work is choreography for In The Heights, Bring it on: The Musical, and Hamilton. His work is eclectic and he merges musical theatre dance with jazz and hip hop- creating an exciting style that is new to the Broadway stage. In many interviews he has admitted to not being trained in hip hop or street dance at all but has spent years studying people in order to create authentic choreography for these characters particular-ly in In The Heights. He says that he had to wear the clothes, talk, and act like these characters before creating movement of people he knew nothing about. (I’m a fan of his methods.) As far as a dance mentor, due to my many interests not only within dance as an art form but in other forms of performing, I do not have necessarily just a dance mentor, but I have been blessed with incredible teachers/mentors within the arts and they have been instrumental and continue to be so in my life. They are always there to give advice, feedback and encourage me to think outside the box.

7. What's your favorite dance style?Contemporary Jazz!

8. What's your dream company to work with?I’ve never had one particular company in mind, but the “dream company” is Broadway - whether that’s a tour or in Chicago or a show in New York. To work at that level and be surrounded with artists who are that dedicated to the craft is a dream.

9. Sneaker, Boots, or High Heels?Boots. I wear boots almost every day no matter the season. They are comfortable and if you get the right pair, they are flexible and fashionable!

10. Single or Dating?Single (because honestly, where is the time?)

11. Him or Her? Him

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12. What would be your funniest dance moment? I laugh at everything. But when I was younger, I would laugh through the entire petite allegro—not really sure why, but apparently it was the funniest thing to 9 year old Dani.

13. What is your take on musical theatre and concert dance? Do you feel that the worlds are merging?There is a lot to be said for both. Depending on the choreographer, I do not believe one is more difficult than the other. For example, Jerome Robbins choreographed for both the ballet stage and the Broadway stage and demanded the same caliber of movement from his musical theatre performers as he did from his ballet company members. They both require accurate technique and active story telling. The worlds are completely merging. So many musicals now on Broadway are asking for technical dancers and therefore have started hiring dancers from professional dance companies or even SYTYCD. This makes dance calls in the musical theatre world that much more competitive.

14. Any advice for emerging artists?Be curious! Find out what resonates with you as an artist, that makes you think for days and weeks. Find that, and never loose sight of it- it will remind you why you do what you do through the countless hours in the studio and late rehearsal nights.

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A Fresh Voice: Johnnie Cruise MercerWritten By: Dereke Clements

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Johnnie Cruise Mercer is among the fresh wave of dance artists boldly offering unapologetic narratives. He’s taken his Virginia roots to New York as a Brooklyn-based artist and is making strides towards offering the dance world a choreography that is “raw, uncensored and uncomfortable.” He is a rare breed of dance makers placing disquieting contemporary topics at the forefront of their creative inquiry and a reason why we should all be watching.

These bold conversations take center stage with his Johnnie Cruise Mercer/The RED Project, a fearless collab-orative of dancers creating space for examining the limits of black expressivity, cultural bias, and the frustration that accompanies being “young, black and trapped in America.” This is a frustration he knows all too well and has held his interest as a young black man experiencing growing up in the cultural shock dueling between pre-dominantly black and white spaces. This past May, he was presented at the Richmond Dance Festival’s Thrive, where he offered Pillow Talk: A Conversation Between Lovers that furthers the undoing of the chasm between Black America and White America and the subdued voice of young black people in this country.

As the idea of ‘culturally-specific’ work buzzes around art-presenting circles and funding spaces, it often speaks to the comfortable presentations of expected cultural offering: a West African dance workshop, a Black Histo-ry performance about Dr. King, anything about 1920-30s Harlem. The idea is usually centered in conversation and narrative we’ve all agreed to. But a wider range of trailblazers are taking space like Sidney L. Mosley, Iyun Ashani Harrison, Wanjiru Kamuyu, Michel Kouakou and others, people leaping and taking risk.

Johnnie Cruise Mercer is taking risks. Developing work that is ‘culturally-specific’ in a time where it often goes overlooked and underfunded, this risk appears to be at the root of his choreographic process and artistic instinct. More correctly than ‘culturally-specific,’ his work is on the pulse, in conversation with the contemporary and cultural happenings of communities of color, and in effect a broader America. It’s this type of risk that, other-wise, makes art not matter. What’s exciting about his work is that it is not only being welcomed, but celebrated in this moment where the necessity of uncomfortable dialogues as witnessed by the Black Lives Matter Move-ment and progress in LGBT and Transgender equality becomes centered. He recently presented work in June as Co-Curator of Brother(hood) Dance at the Denmark Arts Center in New York. His upcoming performances November 12-14 at Brooklyn’s Center for Performance Research will offer a savvy pairing of choreographers including Paul Singh, Susan D. Polat, Doug LeCours, Mirenka Cechova, In Kyung Lee for a 3-day program for Center for Performance Research’s Fall Movement 2015.

Be sure to check out this bright voice. There will be three evening shows (7:30pm) located at 361 Manhattan Avenue, Brooklyn, NY 11211. Tickets are $10 at http://www.brownpapertickets.com/event/2365166. You can support his work further at https://www.gofundme.com/tRpblacklivematter Dereke Clements is a transnational dance maverick living and working between the U.S. and Europe. He is a professional dancer and skillful arts administrator--a global citizen. His pursuits span dance and theatre per-formance, music, linguistics, cultural competencies and creative industries consulting. He has been a schol-arship student with the Martha Graham School for Contemporary Dance, an apprentice with Ballet Preljocaj (France), a Benjamin A. Gilman Scholar with the U.S. Department of State, a U.S. Congressional Intern, and he holds an American Bachelor of Arts in Dance and French. He is a vocal advocate for the Business of Art and the Industry of Dance.

African-American Managed Dance Companies

African Dancers and DrummersMelvin Deal, Founder1320 Good Hope Rd Southeast Washington D.C 20020202-399-5252www.facebook.com/africanheritagedc

Cacho Dancers and DrummersBonita Cacho, Founder/Artisitic Director202-607-0164

Coyaba Dance TheatreSylvia Soumah, Founding Artistic Director3225 8th Street NortheastWashington, D.C 20017(202) 269-1600 www.coyabadancetheater.org

Dissonance Dance Theatre Shawn Short, Founding Artistic DirectorResident Company of Ngoma Center for Dance P.O. Box 2377, Washington D.C 20013202-540-8338www.ddtdc.org

EdgeWorks Dance TheatreHelanius J. Wilkins, Founding Artisitic DirectorP.O.Box 73396 Washington D.C, 20056(202) 483-0606 www.hjwedgeworks.org

Farafina KanMahiri Fadjimba Keita, Founding Artistic Director3802 34th Street, Mt Rainier, MD 20722http://www.farafinakan.com Just Tap/Sole Defined Quynn Johnson, Ryan Johnson Founding Artistic Director www.quynnjohnson.com

KanKouran West African Dance CompanyAssane Konte, Founding Artistic DirectorP.O. Box 1338 Washingto D.C, 2013202-518-1213www.kankouran.org

Lesoles Dance ProjectLesole Z. Maine, Founding Artistic Director3802 34th street. Mt. Rainer, MD240-744-6694www.ldpdance.org

Memory of African CultureAkua Femi Kouyate, FounderMAC, Inc. P.O. Box 50045, Washington, D.C. 20091(202)210-7120www.memoryofafricanculture.org

Step AfrikaBrian Williams, Founding Excetive Director133 4th street NE Washington, D.C 20002202-399-7993 ext. 112www.stepafrica.org Vision Contemporary Dance Katherine Smith, Artistic DirectorP.O. Box 48087 Washington, D.C 20002 301.909-VCDE (8233)www.visioncontemporarydance.org

Urban Artisty Junious Brickhouse (Founder)8001 Kennett Street Silver Spring, MD 20910202-431-4202www.urbanartistry.org

The National Hand Dance AssociationP.O. Box 70006Washington, D.C. 20024www.nationalhanddanceassociation.org

Community Directory World Dance Companies

D.C Contemporary Dance TheatreMiya Hisaka, Founding Artistic Director P.O.Box 9796 Washington, D.C 20016202-316-5277www.teatrodedanza.org Furia FlamencoEstela Velez ( Director)Joy of Motion Dance Center5207 Wisconsin Ave NW Washington, D.C 20015(703) 568-4404www.furia-flamenca.com Jayamangala8600 Waterside Ct, Laurel, MD 20723 (301)617-2712www.jayamangala.org Maru Montero Dance Maru Montero, Founder admin@marumontero.com www.marumontero.com Nomad DancersChristel Stevens( Co Director)Adriane Whalen (Co Director)4166 South Street, Arlington, Va, 22206(703) 799-0282www.nomaddancers.com Silk Road Dance CompayDr. Laurel Victoria Gray, Founder and Artistic DirectorP.O. Box 11346 Takoma Park, MD 20913301-585-1105www.silkroaddance.com Tehreema Mitha Dance Founding Artistic Director 8509 Pelham Rd, Bethesda, MD 20817(301) 581-9520 www.tmdancecompany.org

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Community Directory

Dance Schools and Institutions

Angel of Hope Ministries, Inc Rev. Claudia H. Harrison Developing the Physical through Dance and Health Awareness www.angels-hope.org

Coyaba AcademySylvia Soumah, Founder and Artistic DirectorDance Place3225 8th Street NortheastWashington, D.C 20017 (202) 269-1600”www.coyabadancetheater.org Dance DimensionsDakyia Lambert (Artistic Director)7979 Parston Dr District Heights ,MD 20747301-420-1567www.dimensions-inc.com

Dance Institute of WashingtonFabian Barnes, Founder and Artistic Director3400 14th street NW, Washington, D.C202-371-9656www.danceinstitute.org Dance Makers INCMs. Robin Angelica Pitts, Executive Director9901 Business Parkway, Suite L Lanham, Maryland 20706 301-731-0003www.marylanddancestudio.com District Dance Arts Cristine Davis, Director Classes held at the Capoeira Spot 2008 Rhode Island Ave NE Washington, DC 20018 www.districtdancearts.com Divine Dance Institute Amanda Standard, Founding Director 505 Hampton Park Blvd., Suite RCapitol Heights, MD 20743 301-333-2623 www.divine-dance.com

Duke Ellington School of the Arts Charles Augins, Dance Chair3500 R street NW , Washington, D.C202-282-0123www.ellingtonschool.org Howard University Theatre Arts Dept - Dance 2400 Sixth St NW, Washington, D.C 20059 howarduniversitydancemajor@yahoo.com 202-806-7050/7052 www.coas.howard.edu/theatrearts/dance

Jones-Haywood Dance SchoolSaundra Fortune-Green, Artistic Director1200 Delafield Place NWWashington D.C 20011202-441-1099www.joneshaywood.com Making Moves Dance Collective IncAmber L. Comer, Artistic DirectorKellie N. Sellers, Artistic Director5640 Sunnyside Avenue, Suite E Beltsville, MD 20705301-220-1500www.makingmovesdc.org Ngoma Center for Dance Shawn Short, Founding Artistic DirectorP.O. Box 2377 Washington D.C 20013202-540-8338 www.ngoma-center-for-dance.org

Northeast Performing Arts CenterRita Jackson (Founder)3431 Benning Rd NE Washington, D.C 20019202-388-1274www.nepag.org Suitland High School Center for the Visual and Performing Arts 5200 Silver Hill Road Forestville, MD 20747 301.817.0092 www1.pgcps.org/suitlandhs

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The Davis CenterBeatrice E. Davis-Williams6218 3rd Street N.W. Washington D.C 20011202-277-6110www.thedaviscenter.net Ubuntu Nankama Dance Studio3802 34th Street, Mt Rainier, MD 20722

Words, Beats, & Life Inc.1525 Newton Street, NWWashington, D.C 20010202-667-1192www.wblinc.org

Baltimore Area Morton Street Dance Donna L. Jacobs, 3600 Clipper Mill Road, Ste. 108Baltimore, MD 21211410-235-9003www.mortonstreetdance.com Baltimore Dance Tech Stephanie Powell, Director, 5130 Greenwich Avenue (Near Route 40 West) Baltimore, MD 21229 410-233-1101 www.baltimoredancetech.com Connexions School for the Arts 2801 N. Dukeland StreetBaltimore, MD 21216Phone:(443) 984-1418/1419/1420Fax:(410) 669-4418www.csfta.org Dance & Bmore Cjay Philip, Director danceandbmore@gmail.com www.danceandbmore.com Coppin State University Vanessa Coles, Chair - Dance Physical Education Complex Rm 212 2500 West North Avenue, Baltimore, MD 21216-3698 dance@coppin.edu www.coppin.edu/dance

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RH BODYWORKS240-462-9954rhfitnessfactor90@gmail.com www.rhbodyworks.comOfficial Massage Therapist of Dissonance Dance Theatre

Services:

Standard 60-Min Deep Tissue Massage $120Standard 60-Min Swedish Massage $100High Quality-70 min Deep Tissue Massage $125 High Quality-70 min Swedish Massage $125

Spa Add Ons:Hot Stone $1030 min Add On ONLY $40 Extra

RH BodyWorks is a luxury mobile spamassage therapy service that offers the most relaxing treatments in the D.C., Maryland and Virginia area.

RH BODYWORKS240-462-9954rhfitnessfactor90@gmail.com www.rhbodyworks.comOfficial Massage Therapist of Dissonance Dance Theatre

Ngoma Reader is looking for committed, and enthusiastic writers to join its team. Is that you? The Ngoma Reader (NR) is a bi-monthly online publication that gives literary voice to the minority dance artists of Washington, D.C.Are You Flexible?

Internships

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Experience the thrill and rewards of working in Ngoma Center for Dance and its programs! Whether you’re a high school student looking for summer employment, or a college or graduate student seeking a substantive internship supporting the arts in D.C., there’s no limit as to how far our opportunities can take you. At Ngoma Center for Dance, you’ll have the opportunity to gain insight into a budding dance organization, explore new career avenues and acquire lifelong skills.

Our two programs, (1) Production, and (2) Administration, enable students to obtain job experience in a in the theatre and in the back office.

The opportunities are endless—and they all start right here. Begin by finding out which program is right for you, or speaking with our director about an internship with Ngoma Center for Dance and its programs. Contact Shawn Short, Director at sshort@ngoma-center-for-dance.org for more information. Check out more at www.careersushi.com/ngomacenterfordance

Ngoma Reader is looking for committed, and enthusiastic writers and photographers to join its team. Is that you? The Ngoma Reader (NR) is a bi-monthly online publication that gives literary voice to the dance artists of Washington, D.C. QUALIFICATIONS:Current major/Interest in Journalism, Communications, dance, or EnglishStrong news judgmentQuick and accurate editing/writing skillsThorough attention to detailKnowledgeable in the local DMV dance scene and/or other arts-related eventsThe ability to multi-task with little-to-no supervision

A strong work ethic and motivation to succeedA positive, good-natured, energetic attitudeA commitment to unbiased writingKnowledgeable of AP Style guidelines

Interested writers send your writing sample and resume to: NRmagazine@ngoma-center-for-dance.org (In the subject line type: Potential Writer for NR Magazine) WWW.NGOMAREADER.ORG WWW.NGOMA-CENTER-FOR-DANCE.ORG

NRA WASHINGTON, D.C. Magazine for Minority Dance

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