Departing Dakar, Senegal, on our way to South Africa

February 25, 2010

After a WONDERFUL 10 days in Dakar, Senegal, it is now time for us to venture to South Africa... next stop Johannesburg for a day, Grahmstown for 4 days, and then Durban for 3 days.

Floating over clouds on our way to South Africa

Our tour could not have started in a better place. As I sit in the airplane floating over the clouds, I reflect on all of the beautiful memories and wonderful people we met along the way. Much gratitude goes out to our Cultural Affairs Officers and Assistants (Kristin, Anita, and Aminata). Our interpreter Serigne Diagne, the administrative staff and participants of all of the Cultural Centers we visited at Blaise Senghor Cultural Center, Douta Seck Cultural Center, Pikine Cultural Center. Youssou N'Dour for his generous invitation to visit his private rehearsal, the US Ambassador Madame Marcia Bernicat, Germaine Acogny and the staff at Ecole des Sables, the dancers of Jant-bi, the wonderful crew at the Sorano, the staff at Hotel Le Djoloff and Magic Land, Tracy (our friend who escorted us to Goree Island), Joe Melillo for making this all possible, and Moussa our driver who transported us to our destinations safely.

Welcome to Dakar, Senegal orientation

Thank you Thank you Thank you for making our experience in Dakar, Senegal, so beautiful. We will always remember how gracious everyone was in making sure we had everything we could possibly need... WE WILL BE BACK!

Senegalese flag

-Arcell Cabuag

EVIDENCE visits Goree Island

February 21, 2010

View of Goree Island from the boat

While I was on the ferry ride to Goree Island, I kept wondering what this small island could have that would make country after country try to conquer and keep it. On this trip, I quickly found that answer out. This position of this island made it great for the slaveholders because it was close to the mainland yet far enough away so that the slaves couldn't swim back home. It was perfect for them to get what they needed and sail off quickly.

I went to the island having some knowledge about it but luckily we had a great tour guide, Ali, that gave us great insight into the history of Goree Island.

What surprised me was that there are people still living on the island and calling it home. The island is very colorful, vibrant and alive despite its unthinkable history. Some of the things that were done to slaves was hard for me to comprehend. It's wild to know that humans treated other humans a certain way because of their skin color.

Handcuffs

The 'door of no return' was the part of the tour that really got to me. It was this bleak looking door that lead the slaves to a waiting ship that would take them away from home. Once they passed this point there was no going back.....ever. So many emotions ran through me at that point that I didn't want to feel. It was just an overwhelming sense of helplessness and gloom. You are surrounded by this beautiful view of the ocean with this antique-like doorway. Yet, there's this creepy feeling going through your bones knowing what this view truly held for my ancestors.

Clarice looking out the "door of no return"

I'm glad that I had a chance to see the history of Goree Island, my history, for myself and through my own eyes. No book or television could have ever given me this experience. Although it is an island with a heavy history, the spirit and charm of the people lift it beyond what it was into what it is now...a beautiful island.

-Clarice Young

EVIDENCE visits Toubab Dialaw Ecole des Sables Jant-Bi, February 22-24, 2010

Annique

The company's time in Toubab Dialaw, Senegal, was a worthwhile experience.We were at the home of the professional company Jant-Bi, Ecole des Sables, in which one of the main dance studios is sand. At the time of our visit, there was a seven week program taking place in which different dancers across the globe come to study the developed technique of Germain Acogny. The technique uses motifs of Senegalese lifestyles, dances of Senegalese culture, as well as a sampling of western European dance.

 Germain Acogny and Ronald K. Brown

Evidence's brief introduction to the form was most eventful as we were basically thrown in the sand, which had fluctuating marley and cement characteristics, and just had to follow what the company members were showing us. At times it was confusing, but for the most part it was an exchange of a lifetime! The energy of not only the visiting students, but the company, gave us a continued source of life and joy that helped us camouflage many of our mistakes. The two classes were merely the setup for our last night at the Sabar in the nearby village.

Group photo with members of the Jant-Bi Company

On our last night, we walked to the village where a number of the Jant-Bi members grew up to be welcomed by a plethora of kids that were running about playing tag, doing a little tease of some sabar steps, and delighting in their curiosity by asking us questions and wanting to engage in conversation. Sule, one of our company members created a game called "La Lumiere," which with my no knowledge of the French language, is "light." The kids tried feverishly to catch the light coming from our flashlight; as the kids became excited, WE became more excited and wanted to play more games like "red light, green light." We played games until the drums became more unified and began to beckon everyone to the circle.

One by one, children and adults began to dance sabar to the drums. As the specific rhythms changed, the onlookers/participants belted at the sound—cheered for friends and family as each person exuded their style and flavor. It was AMAZING to say the absolute least! Each woman and man possessed such charisma and personality as they executed the steps with pristine precision. They eventually pulled us to the center to join in the celebration; we were not as graceful, but we did revel in knowing one of the new rhythms known as the Obama—we danced it so HARD. It was a truly a blessing to be there and share in such an awesome event. Toubab Dialaw was just one of the many many highlights of our tour in Senegal. There is a feeling of home in the city and country that made us not want to leave. Without going on with more adjectives to describe our time at the school, I will leave a blank with an "etc." to know that my list goes on and on. _________________etc.

-Otis Donovan Herring

Performance in Dakar, Senegal—Sorano Theater, February 20, 2010

Our first performance in Dakar, Senegal, at the Daniel Sorano Theater was more than what we expected—filled with so much energy, excitement, and love! We were told in advance that people in Senegal love Bob Marley, so we knew the first piece “Order My Steps” would get them off of their feet. They applauded at every moment as if we were doing stunts or tricks!

Francine (Order My Steps)

Personally, I was a bit nervous, just thinking about how much our work includes so much traditional movement, I wondered how it would be received. I guess these were some of the same feelings Ron had when he first began shaping his vocabulary and style. There is definitely that feeling of perception. But I digress… The energy of the audience was through the roof, setting the tone for the night.

They were taking lots of pictures and the press was videotaping… there was one point where my eye caught a photographer at the corner on the stage! Definitely one of those double take moments! It was just very nice to see how we were basically treated like superstars! The one thing that makes our performances here in Africa so special is that they are free of charge and open to the public! It only seems right that we are allowed to have a great range of viewers from all walks of life.

Curtain call

After the show, so many folks wanted autographs, pictures, and interviews. Of course we couldn’t turn them down! After the hype and adrenaline settled down, it hit me that we just performed in Africa! Wow! I mean, when they say art/dance is universal, that is so real. To know that you have touched people worldwide, how can you top that? Truly a blessing!

-Tiffany Quinn

Faded Elegance

February 20, 2010

The Sorano Theater in Dakar, Senegal, has all of the structure and rigging of a great theater space fit for an Evidence Dance performance. However, due to lack of funding, interest and maintenance, many of the peripheral elements were old, tattered, or broken. What was not broken, however, was the spirit, willingness and ableness of the management and crew. After 3 grueling days, we managed to create a beautiful looking show. The crew told me that they learned so much by building our show from scratch and they applauded me with gratitude as the show closed. It made the frustration of Day 3, when I was exhausted and thinking I bit off more than I could chew, melt away. It was challenging, but ultimately rewarding for all.

-Dalila Kee, EVIDENCE Technical Director

Ronald K. Brown and EVIDENCE are invited to Youssou N'Dour's rehearsal

February 18, 2010

I had read that Youssou N'dour would perform at his club in Dakar, usually after midnite. I asked Aminata (our Program Assistant to the Cultural Affairs Officer) to check to see if he would be performing during our trip. One day on the tour bus she was speaking to him, or his manager, and Youssou asked "...is Brown here, I would like to meet him."

EVIDENCE and Cultural Affairs officers with Youssou N'Dour

She asked me if I was interested in meeting him, and I could barely contain myself. The week had already been full and wonderful and going to his club, talking and watching him rehearse was incredible.

Ron Brown and Youssou N'Dour

Humbled, grateful and inspired, forever.

Ronald K. Brown

SABAR party thrown in our honor

Wednesday, February 17, 2010 was a full day on the itinerary. First there were 2 simultaneous dance workshops held at the Blaise Senghor Cultural Center offered to local dancers and musicians, lunch, tour of the performance venue—Sorano Theatre—and a 2 hour rehearsal. All before returning to the hotel to freshen up and head back to Blaise Senghor Cultural Center for an outdoor atmosphere filled with joy, dancing and drumming.

Sabar is a flirtatious social dance of the Wolofs in Dakar, Senegal. Sabar is also the drum family that consists of 5-6 drums played by well skilled and synced musicians. Included with the Sabar orchestra, one will find a talking drum or tama being played as well.

Musicians prepare for the SABAR

We arrived at the center and immediately began to converse with familiar faces from the workshops and were introduced to more from the community. Over several conversations the drummers began to play different rhythms which called the community to the party. Right at sunset, it was a full circle mixed with the young and old, dancers and non-dancers, vendors, and more. All for one purpose: a SABAR PARTY!

 Dancers doing "The Obama"

One change of the rhythm sent young ladies running the full perimeter of the circle of people waiting to see who would dance first. One female after another took turns showcasing their finesse and fancy footwork in the sand. The excitement increased as more dancers took center circle. Seemingly plain but not quite, dancers came over to invite Evidence to take part in the circle. At that time a new rhythm and dance began called “The Obama.” We watched then joined in. I realize in that moment an exchange between the Senegalese and Evidence was taking place. We had a warm welcome since our arrival in the first workshop with the young adult dancers, but what made the exchange special is that I (we) immediately felt like a part of the community. As the night went on males, females, young and old were all celebrating and living in the moment.

Sule-Joel Adams

Reception at the U.S Ambassador's home

February 16, 2010

After a long day of classes, it was time to rush back to our hotel and get cleaned up. We had the honor and privelige of being special guests at Madame Marcia S. Bernicat's home. She is the United States Ambassador of Senegal.

On our way to the Ambassador's home (Sule, Arcell, Dalila, and Aminata)

When we arrived, we were WOWED at how beautiful her home was. We were served many delicious Senegalese hors d'oeuvres and introduced to many diplomats and Fulbright Scholars. We had a ball!

 Group photo with Madame Marcia S. Bernicat and Consulate representatives

Arcell

EVIDENCE teaches master classes in Dakar Senegal Africa

WOW!!! Where do I begin?

We arrived in Dakar Senegal on February 15, 2010. The moment we stepped off of the plane we knew that we were about to experience a tour unlike any other. It was clear that the 4 weeks ahead of us were going to change us as a group and individually in many different ways. Right away, Ron and I, along with assistance from the company members, started teaching workshops to local traditional dance companies and dancers in the community at the Blaise Senghor Cultural Center, Doubta Seck Cultural Center, and the Pekine Cultural Center.

Masterclass at Pikine Cultural Center with Salif Seida Dance Company

Douta Seck group photo

It was INCREDIBLE!!! A true cultural arts exchange indeed. It was an exchange that far exceeded my expectations of what I had anticipated. Although there was a language barrier, it did not get in the way. We all had one thing in common and that was our love and passion for DANCE. These classes did not take place in the your normal dance studio. No mirror, no marley, no ballet barre, and no sprung floor. None of that mattered however. It was a reminder that you do not need an elaborate fully equipped dance studio in order to create and share beautiful work. We had the pleasure and honor of working with a wide range of dancers including children, teenagers, professionals, and elders. Initially I wasn’t sure how they were going to receive what we had to share, but when I would turn around to watch the dancers in class behind me, it was clear. The room was filled with a sea of smiles and eager enthusiasm... they LOVED IT! It blew me away to see that they all shared the same joy for this movement and work as we do. They connected to it right away, and did not want to stop. Some classes became quite vocal because the excitement in the studio was so extreme. I was truly touched.

Clarice and Lilli (Sabar lesson)

The second day, one group brought musicians with them. When it was time for a 10-minute break I turned off the music and the drummers started to play. Instinctually, the dancers jumped up and started dancing the steps that we had shared with them. Shortly after, the music started to build and the dancers started dancing Sabar. It was AMAZING!!! We were witnessing these dancers doing steps that we also do in our repertory in its "true" form. Eventually they pulled us up and started teaching us how to do it. Before we knew it, we had a 45-minute impromptu Sabar class. They were so generous in sharing with us what they love, that it made me a little emotional. It was another true reminder of where some of the work we do originates from, and the feeling of "true joy" that comes along with performing these dances. We had experienced a cultural exchange through dance that we will never forget. We hope that one day we will have the opportunity to come back to connect with these dancers once again… If God permits, maybe one day collaboratively on stage.

 Arcell (Sabar lesson)

-Arcell Cabuag

Evidence on NYTimes.com

The New York Times' cultural blog Arts Beat recently caught up with the members of Evidence, A Dance Company during the South Africa leg of their tour. The piece commends the innovation of DanceMotion USA, noting that it "is the first time in decades that dance has played a major role as an official instrument of cultural exchange." It continues with some background information on Evidence, plus a glimpse at the non-dance-related aspects of life on the road; laundry woes in Dakar, thriving nightlife in Johannesburg, plus roadside zebra, and a visit to the township of Joza.

Click here to read "Evidence in Africa: Dance Troupe as Ambassadors"