IABD in the News

International Association Of Blacks In Dance Receives Funding From The Andrew. W. Mellon Foundation And The Ford Foundation

Tue, 22 Sep 2026 17:05:57 GMT

The $3,138,500 Mellon Foundation grant will permit distribution of $1,775,000 in MOVE grants to 30 member companies beginning in 2021

Author: Stephanie Wild | Source: BroadwayWorld.com

The International Association of Blacks in Dance (IABD) has announced the receipt of grants from The Andrew W. Mellon Foundation and the Ford Foundation in further support of the Comprehensive Organizational Health Initiative | Managing Organizational Vitality and Endurance (COHI | MOVE). These grants continue relationships that began in 2017 and 2018, respectively.

"On behalf of the IABD Board of Directors, we thank the Mellon and Ford Foundations for their continued commitment to and support of our organization," said Denise Saunders Thompson, president and CEO of IABD. "The companies who received funding were able to leverage their COHI | MOVE participation grants in trajectory-changing ways. After three years, we saw companies double their operating budgets, launch or successfully complete capital campaigns, expand their brick-and-mortar spaces, extend dancer contracts, and so much more. The renewed grants serve to expand IABD's footprint within the Black dance community and allow for greater uplift and hope during these times of great strife."

"COHI is a signature program for the Mellon Foundation that has resulted in enhanced understandings of financial, programmatic, and institutional opportunities and challenges for participating organizations," said Susan Feder, program officer for Arts and Culture at The Andrew W. Mellon Foundation. "These proved to be particularly valuable insights as COHI participants navigated the COVID-19 pandemic and its ensuing challenges. Through continued funding for COHI | MOVE, we hope to alleviate systemic inequities relative to a vitally important but under-resourced sector and help Black dance artists and companies to thrive."

The $3,138,500 Mellon Foundation grant will permit distribution of $1,775,000 in MOVE grants to 30 member companies beginning in 2021. Five member companies, recognized as the INFLUENCERS Cohort, will each receive $150,000 over the next three years, while the remaining 25 companies, recognized as the COLLECTIVE Cohort, will receive more than $40,000 per company over the next three years.

In partnership with the Nonprofit Finance Fund, IABD will offer access to financial coaching so that companies may receive strategic feedback and guidance as they seek to apply the learnings to their organizations. IABD will also underwrite access to discrete consulting engagements over the course of the three-year period.

Through the Ford Foundation, IABD will facilitate broadened access to the COHI | MOVE program resources through the launch of an extension called Building Up: Integrated Learning and Development (BUILD) and distribute of $375,000 to a cohort of 25 additional member companies. The BUILD cohort will have access to the financial and organizational health resources developed during the 2018-2021 COHI | MOVE program. From 2021-2024, the BUILD cohort will engage in virtual and in-person convenings designed to address critical issues and industry-wide concerns; have opportunities for continued professional development, networking opportunities and peer-to-peer engagement; and gain access to vital resources including emergency preparedness planning, emergency relief funding, and fiscal sponsorship. Participating companies will receive $15,000 each over a three-year period.

Ford Foundation funding will also permit distribution of $100,000 towards the continuation of support to each of IABD's founding member companies: Cleo Parker Robinson Dance (Denver, CO); Dallas Black Dance Theatre (Dallas, TX); Dayton Contemporary Dance Company (Dayton, OH); Lula Washington Dance Theatre (Los Angeles, CA); and PHILADANCO! The Philadelphia Dance Company (Philadelphia, PA).

"Ford Foundation recognizes IABD's contributions to the Black dance community and the history, beauty, and excellence of the companies and artists the organization was founded to elevate," said Lane Harwell, program officer, Creativity and Free Expression at the Ford Foundation. "We are proud to invest in its activities and members at this moment of challenge and transformation for the performing arts field and help confront systemic inequality in the distribution of resources to Black dance. We hope this investment will draw attention and resources to IABD and the Black dance community."

The application and selection phase for the COHI | MOVE 2021-2024 COLLECTIVE Cohort is slated to launch on April 26. Applications for the BUILD Cohort are set to follow later this summer. For more information about COHI | MOVE, visit iabdassociation.org/page/cohimoveoverview.

Dance the Continuum: The Black Art Fund in Action

Tue, 22 Sep 2026 03:04:40 GMT

August 2026 Time Keepers of the Flame

“Dance is not just movement; it is our archive, our prophecy, and our power.”

In Maya Angelou’s Wouldn’t Take Nothing for My Journey Now , she writes, “I have found that among its other benefits, giving liberates the soul of the giver. The best thing one can give is that which is appreciated. The giver is as enriched as is the recipient, and more important, that intangible but very real psychic force of good in the world is increased.”

August is Black Philanthropy Month and IABD joins Back Black and a cadre of Black-led and Black-benefitting organizations in this global celebration of Black giving, generosity, and community stewardship. Our ask is simple and direct – GIVE TODAY – as all gifts we receive on the Givebutter platform in the month of August will be matched.

Dance is the ultimate language understood across countries and language barriers. And dance by people of African Ancestry or origin serves as a Diasporic archive carrying our stories of struggle, growth, and joy across generations. It depicts communities alive and living with traditions, hope, and resilience, communities alive with careers and livelihoods built through this art form.

This month we launch ‘ Dance the Continuum: The Black Art Fund in Action ’ - our commitment to Preserving Our Heritage, Commissioning New Canons, and Sustaining the Field. A commitment to raise an initial $20,000 to keep Black dance in motion this month.

By expressing your generosity through a gift today, you are investing in community and expressing your commitment to protecting our art and our history. Larger institutions have failed to recognize our value and systemically worked to underfund, erase, and marginalize the Black dance canon. Together, we take back the stewardship of our own stories across the global diaspora.

Take your place in the Continuum.

Preserving Our Heritage

When you give, you directly safeguard and uplift masterworks across generations, genders, genres, and geographies:

Pioneering Classical Traditions: From West African dance origins in Asadata Dafora’s Awassa Astrige/Ostrich (1932) to Donald McKayle’s Rainbow ‘Round My Shoulder (1959), depicting the emotional and physical struggle of chain-gang prisoners in the American South.
Spiritual & Historical Memory: From Alvin Ailey’s seminal Revelations (1960), exploring religious heritage and Southern roots, to London-based choreographer Dickson Mbi’s Enow (2022), which blends hip-hop and contemporary movement to explore genetic memory and ancestral lineage.
Social Critique & Resilient Truths: From Jawole Willa Jo Zollar’s Shelter (1988), addressing systemic neglect and human endurance, to Belgian-Zimbabwean choreographer Alesandra Seutin’s Giant (2021), a powerful critique of political tyranny and collective silence.
Radical Joy, Romance & Modern Transformation: From Kyle Abraham’s An Untitled Love (2021), a rich love letter to Black culture and kinship, to Bebe Miller’s The Hendrix Project (1991), an exuberant rendering of dance, music, and community built around Jimi Hendrix’s anthem call in “The Star-Spangled Banner.”

Commissioning New Canons

The Continuum doesn’t end with the works we preserve but moves forward through artists creating right now. Chanel DaSilva, the first Black woman to choreograph for Joffrey Ballet’s mainstage and co-founder of MOVE|NYC, continues this work of shaping new stories and new generations. Across the Atlantic, South African-born, London-based choreographer Mthuthuzeli November known for Ingoma , his acclaimed work honoring the 1946 South African mineworkers’ strike extends the diaspora’s reach, proving that Black dance’s archive is being written in real time, on stages across the globe.

Sustaining the Field

None of this exists without the people who show up Black in dance every day – dancers, choreographers, teaching artists, stage crews, and administrators who build their livelihoods in service to this art form. Your gift helps ensure the field itself is sustainable: that a career in Black dance is one an artist or administrator can build a life on, season after season, generation after generation.

The Continuum is not a fixed point in history – it is alive. It carries our past forward, grounds us in the present, and reaches toward everything still to come. It does not sit still, and neither should our support for it.

Dance by people of African ancestry and origin has moved world culture for generations; shaping how the world moves, feels, and tells its stories. When you give, you don’t just support an art form; you increase that “intangible but very real psychic force of good in the world” Angelou speaks of, rooted in a culture that has always given generously to humanity.

Our ask – Be a giver and give today in support of those who give us dance. Your generosity protects our archive, fuels our prophecy, and powers our future. Keep Black dance in motion.

The Spirit of Connection

Wed, 01 Jul 2026 22:12:33 GMT

July 2026 Time Keepers of the Flame

As summer continues, I hope you’re finding time to enjoy the season in ways that restore and inspire you. Whether you’re refreshing your studio, attending an intensive, spending time with loved ones, preparing for the season ahead, or simply embracing a well-deserved moment of rest, I hope this summer is fueling your creativity and purpose.

That spirit of connection was on full display as the International Association of Blacks in Dance proudly hosted our first international The Mixer in London, England. With the support of Kauma Arts and Heather Benson, more than 50 IABD members, artists, administrators, educators, and Black dance enthusiasts gathered for an afternoon of connection, conversation, and community. It was a meaningful reminder that our network extends far beyond borders, united by a shared commitment to advancing Black dance.

Special thanks to our Executive Director, Omar Ingram, and Board leadership, Mercy Nabirye and David Blake, whose support, vision, and commitment continue to create opportunities for IABD to build meaningful partnerships and strengthen our global community.

The momentum continued with The Roundtable, presented in partnership with Pointe Black and Kauma Arts. Twenty invited artists, educators, presenters, producers, advocates, and cultural leaders came together to discuss the needs of our field, strengthen international relationships, and explore how we can collectively support the growth and sustainability of Black dance worldwide. The conversations were thoughtful, energizing, and a powerful reflection of what is possible when we intentionally gather in community.

As we move through the rest of the summer, I’m encouraged by the connections we’ve made and the opportunities ahead. Thank you for being an important part of the IABD community. Together, we continue to strengthen our network, celebrate our artistry, and ensure that Black dance thrives for generations to come.

Here’s to a summer of movement, connection, and inspiration,

Joe Murchison
Membership Director

Freedom Begins in the Mind Before it Reaches the Body

Mon, 01 Jun 2026 22:12:32 GMT

June 2026 IABD Time Keepers of the Flame

Barbecue, watermelon and red soda water. Juneteenth in Houston was packing a cooler across the grass at Hermann Park - heavy with ice, Big Red, Tahitian Treat and potato salad - handle gripped mightily in my two small hands while my father held the other in one.

Juneteenth in Houston was a migration from Galveston to the unwanted swamp land near Buffalo Bayou, and the establishment of Freedmen’s Town by everyday people co-laboring to build community - holding joy, fear, hope, and uncertainty.

Six generations ago, Sam was enslaved as a cook aboard a boat in Galveston. Black mother, white father, sold by Mrs. Waters into the cruelty of the Adams family. Given books in secret by Mr. Waters. Sold to the Price family in Montgomery County, Texas. Sam became a builder, then landowner, and father to a lineage of faith, of learning, of secrets, and me - resilient, hopeful, fighting to stay free.

Waters. Adams. Sherman. And still I enjoy barbecue, watermelon and red soda water.

An Epistle to the Newly Freed of Galveston

From Sam Adams, a Servant of Truth and Liberty

My Beloved Brethren in Galveston,

Grace and peace be unto you on this day of jubilee, when chains fall and spirits rise. I, Sam Adams, who was once sold upon your shores, send these words as testament to what was and what might yet be.

Remember ye this day. Mark it well in your hearts, for the Lord has looked upon our affliction and heard our cries. Though freedom comes late, it arrives not too late for the building of new lives upon solid ground.

In my fourscore and three years, I have learned that freedom begins in the mind before it reaches the body. When I was yet in bondage, I dug a sanctuary beneath the earth to hide my precious books. By flickering light, I fed my spirit with knowledge no master could claim. Therefore I say unto you: Guard your learning as a treasure beyond Price. Let wisdom be the oil that fills your lamps in darkness.

Seek out your kindred who have been scattered like seed upon hard soil. Learn the names of your kin. Write them down. Speak them aloud. For the bonds of family are sacred threads that, woven together, create a tapestry no hardship can easily tear asunder.

Tend to the earth with the work of your hands. Steward the land that has known your sweat and your tears - not for possession's sake, but that your toil might shape a home for generations yet unborn. I have set aside ground for worship and remembrance, knowing that a people must have both sacred space to praise the Lord and hallowed earth to honor ancestors.

Build with your gifts what your heart knows is needful. These hands have laid stone upon stone, raising dwellings and sanctuaries even while my own body was not yet free. Your skills, whether in wood or word, soil or song are manna for our wandering people.

Born Waters, sold as Adams, I carried the name of those who purchased me rather than claim my father's name, so deep was my wound. Cast away the bitter Waters that threaten to drown your newly freed spirit. Unforgiveness is a chain we forge ourselves, binding the spirit when the body has already been freed. Let not the bitter Waters quench the fire of your newfound liberty.

Cherish the children who will never know the lash or auction block. My unknown babes, fifteen in number, taken from the breast of my beloved Louise. Now behold the babes in freedom, their eyes unacquainted with fear, minds unshackled to dream. They are the true measure of our deliverance. Each child who grows in liberty is a monument carved in healing, and more lasting than marble.

Beloved, this proclamation marks not the end but the beginning of a long journey. Many will seek to bind with paper what iron can no longer hold. To enslave with fear, what truth has set free. Be as wise as serpents and harmless as doves. Stand together as one body with many members, each supporting the other.

May God strengthen your hearts and hands for the work ahead. May your children speak of this day as the glorious beginning of a new testament written in justice and truth.

Go forth from Galveston not merely as freed men and women, but as architects of a new covenant with this land that has known you bruised and remembers you steadfast.

In faith,

Sam Adams

Excerpt from Our Road Home

Written to and shared with those who create and preserve spaces and practices of freedom, autonomy and healing.

by Jakari Sherman

Creativ. Director

[Jk]creativ.

Houston, Texas

More Than Teaching, It's Ministry in Motion

Fri, 01 May 2026 22:12:07 GMT

May 2026 Time Keepers of the Flame

THE SERMON: THE CALL, THE REPETITION

To be an educator is not simply a profession, it is a calling. It is a call that lives in the body as much as it does in the mind, a call that requires alignment: spine, breath, intention. In this work, we are never only one thing. We are guides and strategists, facilitators and disciplinarians, nurturers and protectors. We are called to stand in the gap, holding space for bodies that are still learning how to arrive fully at themselves.

To educate within a liberative and embodied practice is to move beyond instruction. It is to guide students into understanding, and from understanding into embodiment. In this work, knowing is not complete until it can be executed, repeated, sustained, and trusted in the body. Theory becomes practice, practice becomes repetition, repetition becomes memory, memory becomes instinct, and instinct becomes freedom. This is the choreography of learning.

Every class is a rehearsal of becoming. Every correction is an invitation into deeper alignment. This work requires space in the joints, in the breath, and in the spirit. To teach is to make room for expansion while holding the container steady enough for growth to take place.

These callings can carry tension. There will be moments when the body resists, when alignment feels unfamiliar, when the dancer cannot yet access what is being asked. There will also be moments when what is offered does not settle in the body, shaped by experience or survival, and cannot release into the work. In those moments, the responsibility is not to force, but to remain, to witness, to adjust the entry point, and to meet the body where it is while still calling it forward.

As bell hooks reminds us in Teaching Community: A Pedagogy of Hope, the classroom can function as a counter-hegemonic space housing a site of resistance within a dominator culture. ¹ In the studio, this resistance is carried in the body. Students may long to move freely and be seen fully while also holding the imprint of systems that have taught them to shrink or conform. In that tension, the body often chooses what feels safest.

What is the work, you ask? It is to teach the body that it can release, to teach the voice that it can sound, and to teach the spirit that it can expand. This is not neutral practice. It is liberative, political, and spiritual. Because of that, it will not always be affirmed, rewarded, or even welcomed. At times, it may be resisted by those we are called to serve. And still, the work continues.

Because there is no fixed blueprint. The room shifts, the rhythm shifts, the bodies shift. But what remains is the lineage and the imprint of those who trained us, corrected us, and stayed with us until the work lived in our bodies. I carry that lineage.

Growing up in New Orleans, I was shaped within an educational experience where learning was embodied, where rhythm, voice, repetition, and presence were inseparable from knowledge. One of the educators who formed me was my sixth-grade academic teacher at Henry W. Allen Elementary School, the late Ms. Betty Steward. She was not my dance teacher, yet the structure of her pedagogy continues to inform how I teach across disciplines. Her approach affirmed that the principles of learning, discipline, repetition, embodiment, and presence transfer across all forms of study.

Ms. Steward taught through structure, rhythm, and presence. Repetition was her method. We stayed in it until the words settled into the body and until we could carry them, speak to them, and perform them. She would not move forward until we could demonstrate what we knew. She made us speak clearly, confidently, and out loud. It was breath work. It was projection. It was training us to trust our voices. She stayed with us until the task was fulfilled.

She modeled embodiment, precision, intention, excellence in how she carried herself. I watched her not only as a teacher, but as a Black Southern Woman in full alignment with who she was. She was direct, disciplined, unwavering, and always rooted in care. Her corrections called us into alignment with what she knew we could hold. Now, I recognize it clearly: I have embodied what I was taught. I carry her rhythm, her insistence on repetition, and her commitment to staying until understanding lives in the body. I honor Ms. Betty Steward, and I continue the phrase she began.

This is the work of education: to set the intention, to mark the movement, to repeat until it lives in the body, and to hold the space until transformation occurs. You may not reach them all, but when one body releases, when one voice emerges, when one student stands fully in their alignment, that one becomes evidence. Evidence that liberation can be embodied. Evidence that the work is alive.

This is more than teaching. This is ministry in motion. A ministry that covers, guides, corrects, and calls the body back into itself. Though the work may be demanding, and at times isolating, it remains necessary. Because even when you cannot yet see it, the work is in the body, in the spirit, in the breath, and in the repetition. In time, it will rise, it will move, it will testify. To whom much is given, much WILL be required. Continue On In Grace!

Asè.
Amen.
And so it shall be.

Michelle N. Gibson, MFA

Division of Dance

Professor of Practice in Dance, Culture, & Life

Meadows School of the Arts

Southern Methodist University

bell hooks, Teaching Community: A Pedagogy of Hope (New York: Routledge, 2003).

The Audition is Not the Job

Wed, 01 Apr 2026 22:11:34 GMT

April 2026 Time Keepers of the Flame

Professional auditions can feel like the single moment that determines your future. The room is full, the energy is tense, and every dancer is trying to be seen.

But here is the first piece of straight talk I can give dancers:

The audition is not the job!

It is simply the introduction.

Over the years I have sat on both sides of the audition process, first as a dancer walking into rooms filled with uncertainty, and later as an artistic director observing hundreds of artists hoping for an opportunity.

Directors are asking a deeper question:

Who can live inside the work?

Strong training is essential, and preparation matters. Technique will get you into the room. Artistry, presence, and professionalism are what make us remember you.

One of the most common mistakes dancers make in auditions is trying to perform for approval rather than simply dancing with clarity and honesty. When dancers become consumed with “being perfect,” the performance often loses its humanity. What directors want to see is not perfection, we want to see who you are inside the movement.

Another reality that is not often spoken about is that directors are observing far more than your dancing. We are noticing how you enter the room, how you listen to corrections, how you interact with other dancers, and how you carry yourself during moments when you are not dancing.

Professionalism speaks loudly.

Are you present?
Are you adaptable when the choreography changes?
Can you stay grounded when things do not go exactly the way you planned?

These qualities matter because the audition is also a glimpse into what you will be like in rehearsal every day.

Remember that auditions are also about fit. A company is a living organism with its own artistic voice, culture, and working rhythm. Sometimes a dancer may be extremely talented but simply not the right fit for that particular moment in the organization. That is not failure. It is alignment still finding its way.

So, my encouragement to dancers entering audition season is this:

Prepare deeply.
Know your body.
Understand the company you are auditioning for.
But once you step into the room, release the pressure to prove yourself.

Dance fully.
Dance honestly.
Dance with generosity.

Because the dancers who stayed with directors long after the audition ends are the ones who were not trying to be impressive, they were simply present and alive in the work.

And that is the kind of artist every director hopes to find.

- Nycole Ray

On the Shoulders of Female Giants

Sun, 01 Mar 2026 22:12:39 GMT

March 2026 Time Keepers of the Flame

The IABD: A Catalyst for Change

Preserving History. Creating the Future.

Reflections by Stephanie S. Hughley and Denise Saunders Thompson

Stephanie S. Hughley:

I came of age in the 1960s, shaped by the Black Power Movement and a generation unapologetically committed to voice, visibility, and self-determination. We believed deeply that people of African descent had the right to define ourselves, tell our own stories, and claim space in every cultural arena. That conviction was never about separation, but about equity. I have always believed that all people are equal, that all cultures are equal, and that no culture should be denied access to audiences, funding, or institutional support. That belief has guided my work throughout my life and continues to shape everything I do.

That worldview shaped my relationship with the International Association of Blacks in Dance and the broader ecosystem of Black dance advocacy. In 1988, I—together with a stellar team of staff, consultants, artists, funders, and an incredibly supportive community—launched the first National Black Arts Festival, with dance as a central pillar. That inaugural festival honored Katherine Dunham, affirming Black dance as a history, a scholarship, and a cultural inheritance. Her children’s company performed, underscoring the importance of legacy and transmission. Joan Myers Brown was present, and Alvin Ailey offered the introduction for the Dunham tribute. Those days were filled with creative energy and shared purpose—conversations about preservation, sustainability, and responsibility were everywhere.

Denise Saunders Thompson:

I grew up in Tolland, Connecticut, a small New England town close to the Massachusetts state line. (Yes, Black people are everywhere.) Well—four Black families. My mother, Jeannette, was a high school music teacher in the Hartford Public School system for more than 40 years, and my father, Edward, was a self-taught mechanic, an Air Force veteran, and later the owner of E&J Body Shop a few towns over.

My mom says I started dancing when I was little, so she signed me up for classes at the Richard Risley Dance Studio in Coventry, CT. It was there that I fell in love with dance and decided I wanted to be a dancer and performer like those in the Ailey Company. I pursued that dream and was eventually accepted to my mother’s alma mater.

I arrived on Howard University’s campus in August 1987—a young woman eager to leave Connecticut behind, ready to find her Blackness, ready to show the world who she was (not just the Black girl who “spoke really well”), and ready to begin her performance journey as one of the first Musical Theatre majors in the College of Fine Arts, Department of Drama. Dance wasn’t a major at Howard when I arrived; classes were offered as part of the performance curriculum and through the Physical Education program. In a small dance studio behind the Fine Arts building, Dr. Sherrill Berryman-Miller was also teaching dance, and it was through her that I first heard the name The International Association of Blacks in Dance.

—

The Birth of IABD:

Circa 1987, when the Blacks in Dance Conference began, there were only two large dance companies comprised primarily of Black performers and artistic staff—and both were in New York: Alvin Ailey American Dance Theater and Dance Theatre of Harlem. A small number of smaller companies and independent choreographers existed in New York and across the country. As freedom of expression reshaped social, moral, civil, and political attitudes, so did the aesthetics of dance evolve. For a number of years, concert and folk dance saw an enormous surge in support from audiences, dancers, teachers, and funders.

You’d think that decades after the Civil Rights Movement, things were changing—right? Yet the world of dance remained exclusionary, with closed doors and forgotten histories. Even though the dance field was growing, many of the issues and aesthetic interests of Blacks in dance were not being adequately addressed by the presenters, managers, funders, and artistic directors who controlled most of the available resources. A national dance service organization formed years earlier was already showing signs of focusing primarily on servicing the largest and most popular companies—none of which were Black-founded or Black-led.

For many Black dancers, this growth in concert dance brought new opportunities to perform, conquer old stages, and establish new ones. But not all elements within the field grew at the same rate—and this imbalance catalyzed the birth of IABD to address long-standing, deeply rooted issues.

Systemic challenges plagued companies, history books, funding systems, artistic opportunities, and more. In response, Black dance artists created a space for themselves. “Let’s just build our own damn table.”

And in 1988, Joan Myers Brown, Founder and Executive Artistic Director of Philadanco!, along with her staff, launched the 1st International Conference of Black Dance Companies, supported by a Pew Charitable Trusts grant. Eighty professionals attended in Philadelphia, PA. Ms. Brown believed that convening the Black dance community would serve not only her needs but also the needs of other Black dance professionals. The gatherings continued in Philadelphia (Philadanco!) and Denver (Cleo Parker Robinson Dance). In 1991, at the conference hosted by Dayton Contemporary Dance Company, The International Association of Blacks in Dance (IABD) was formalized, and an Emergency Fund for artists and companies was established.

—

Stephanie S. Hughley:

Although I formally met Joan Myers Brown during the National Black Arts Festival, I had known of her long before. When I danced with the Dance Theater of Boston under Billy Wilson, her name was spoken with deep respect. Billy, also from Philadelphia, understood her influence and leadership. Still, it was through shared work overtime that our relationship deepened.

That fuller connection came in 1997, during my tenure at the New Jersey Performing Arts Center. In collaboration with 651 Arts—where Mikki Shepherd conceived the project—Laura Greer at Aaron Davis Hall, and with support from Baraka Sele and Linda Walton, we presented Dance Women: Living Legends, a tribute to five African American pioneers who founded distinguished modern dance companies with deep roots in Black communities. Through this initiative, I grew to truly know Joan Myers Brown, Jeraldyne Blunden, Cleo Parker Robinson, Lula Washington, and Ann Williams—not only as icons but as institution builders, educators, and stewards of cultural memory. The project spanned multiple communities through performances, panels, and classes and received recognition from critics, including Anna Kisselgoff of The New York Times.

Denise Saunders Thompson:

In 1994, I moved to Atlanta after earning my Master of Fine Arts in Arts Producing and Management from UCLA. My first jobs were as Box Office Manager for Horizon Theatre Company and Project Coordinator for the Atlanta Dance Initiative run by Several Dancers Core (SDC). Arts Action Research served as consultants for an initiative to convene Atlanta’s smaller dance companies. I worked with SDC for several years, eventually leaving my role as General Manager in 1995 to work for the Olympic Arts Festival in 1996 and later becoming the first African American Development Associate—eventually promoted to Development Events Manager—at the Alliance Theatre.

In the spring of 1997, I received a call from Al Freeman Jr., Chair of the Howard University Department of Theatre Arts. He had heard about the work I was doing in Atlanta and offered me a faculty position as Lecturer in Theatre Arts Administration. It was a one-year appointment (now nearly 30 years later), aimed at overhauling the struggling program after leadership changes. This was the very program through which I earned my BFA.

During my time at Howard as a student, I had changed my major from Musical Theatre to Theatre Arts Administration after confronting deep-rooted colorism and recognizing that my path to Broadway would not be without obstacles. I knew I didn’t want a life of constant gigging; rejection was hard for me, and I loved working behind the scenes. I thrived first as a technician, then as a production stage manager (AEA), and ultimately as a staunch Black woman arts administrator. I learned where the real power in the performing arts lies—with the producer, the person responsible for the artistic, technical, and administrative decisions, and ultimately, the finances.

Upon my return to Howard, a petite, stern, no-nonsense, highly educated woman—one who took no prisoners and might call you before 8 a.m.—entered and took root in my life: Dr. Sherrill Berryman-Johnson. I would eventually buy her sister’s home, volunteer for IABD for years, and in 2010 be appointed the third Chairperson/Executive Director, following Sherrill. A few months later, we unexpectedly lost my mentor. I vowed to elevate IABD, safeguard the Howard University Dance Program (the first HBCU to offer a BFA in Dance), and expand the dance field’s knowledge and respect for Black dance and its contributions. They say when one door closes, another opens. They said we couldn’t—but we did. We are our ancestors’ wildest dreams.

—

Building a National Movement:

For more than 35 years, IABD has uplifted and celebrated dance companies, artists, scholars, administrators, educators, and others within the dance ecosystem. In its early years, IABD attracted companies in various stages of artistic and institutional development. Through the conference, funders had an opportunity to understand the field of Black dance, and the field in turn gained deeper insight into funders.

IABD also created showcasing opportunities—now a full festival—for companies, dancers, teachers, and choreographers to perform before potential presenters, leading to collaborations and partnerships. In this way, IABD educated presenters about the breadth of Black dance. The organization was built to bridge gaps. Even the name signaled that the challenges faced by Blacks in dance were not limited to African Americans but extended to all people of African descent.

—

Denise Saunders Thompson:

I was passed the “Timekeepers of the Flame” torch and began a journey that transformed my life and this institution—wedding-vow style: in sickness and in health, for better and for worse, for richer and for poorer, and in… (well, I wasn’t subscribing to that last part). Sherrill Berryman-Johnson believed in me, and so did Joan Myers Brown.

It began with a promise to secure the organization’s 501(c)(3) status so we could pursue all forms of funding. That led to an appointment to the Dance/USA Board of Directors, where I was ready to stir things up again. A chance encounter with consultant Baraka Sele confirmed she was the person I needed to help stabilize IABD and deepen community relationships. Soon after came a $500,000 Mellon Foundation grant that took IABD to the homes and dance spaces of our constituents. From there came partnerships, opportunities, a groundbreaking report that reframed the narrative, resources to build a sustainable budget exceeding $7 million, and—icing on the cake—the National Medal of Arts, presented by President Joe Biden. The highest arts honor in the United States.

Can You Hear Me Now?

I knew when it was time to step aside and let the next generation lead. But I must acknowledge the simple truth: the Founding Members had already developed the blueprint—I simply followed it. Today, many of the conditions that sparked IABD’s founding have evolved. Where the initial focus was on networking among professional dancers and companies, the organization now includes many students, schools, and semi-professional groups. This growth reflects the aspirations of many who wish to stand on the shoulders of those who came before. This continued interest proves that there was—and still is—a profound need for what IABD provides: the Black Dance experience.

Stephanie S. Hughley:

Looking back, I see a clear and intentional through line. The founding of IABD, the National Black Arts Festival, the work of 651 Arts and Aaron Davis Hall, the National Black Theatre Festival, and so many other institutions—alongside the vital work of educational spaces such as Howard University, the Atlanta University Center, and HBCUs nationwide—together formed an ecosystem of cultural stewardship.

This work created pathways: from classroom to stage, from student to professional, from legacy to future vision. It insisted on equity where exclusion had long been normalized and helped ensure that Black artistry would not be temporary or peripheral but permanent and foundational. Seen together, these efforts represent more than institutions—they represent a movement rooted in community, sustained by shared values, and committed to safeguarding culture so that future generations inherit not silence, but voice.

—

IABD’s Lasting Impact:

One of the greatest outcomes of IABD’s existence has been its role in bringing together the field of Black Dance. Conference panels created space for discussion, critical assessment, and problem-solving. Master classes offered exposure to some of the most talented artists in the field. Workshops highlighted resources and surfaced new perspectives.

IABD has given us opportunities to capture and honor ourselves as no one else would—to acknowledge our contributions to the creation and preservation of dance performed, created, and produced by people of African ancestry and origin around the world.

Stephanie S. Hughley

2026 Joan Myers Brown “Keeper of the Flame” Legacy Awardee

Artist, Curator, Educator, General and Company Manager, Presenter, Producer, and Performing Arts Consultant

Denise Saunders Thompson

President and CEO, IABD (2018 - 2023)

Assistant Dean for Administration

Howard University

Chadwick A. Boseman College of Fine Arts

Welcoming in 2026 with IABD's New Membership Director

Thu, 01 Jan 2026 22:12:37 GMT

January 2026 Time Keepers of the Flame

As we step into 2026, I’m honored and truly excited to introduce myself as your new Membership Director at the International Association of Blacks in Dance. Joining IABD feels less like starting a new role and more like coming home… just with a new title, a longer to-do list, and a deep sense of purpose for the year ahead.

My journey in dance and my understanding of IABD began in Dallas, Texas, through the Dallas Black Dance Academy and DBDT II at Dallas Black Dance Theatre, where I learned excellence, discipline, and legacy… and very quickly learned that showing up late was not an option. Those early years taught me not only how to move, but how to carry myself with pride, humility, and responsibility to the lineage I was stepping into lessons I’m still unpacking (and deeply grateful for) today.

That foundation carried me into what became a defining chapter of my life: more than a decade with Step Afrika! As a performer, I had the privilege of touring nationally and internationally sharing Black American and South African dance traditions on stages around the world (yes, even with jet lag). As an administrator, I gained a deeper appreciation for what it takes to sustain mission-driven organizations: building programs, managing systems, supporting artists, and keeping all the moving parts moving. I learned that the work behind the curtain is just as important as the work on stage.
Dance has given me far more than a career - it has given me community, clarity, and countless reminders that Black dance is both an art form and a lifeline. It has shaped me as a professional and, just as importantly, as a human being. Through dance, I’ve learned leadership, collaboration, and how to listen deeply.

That belief in the power of Black dance is what brings me to IABD.

As Membership Director, my goal is simple: to lead with intention, keep things clear and accessible, and center the people who make this community what it is. Membership isn’t just a box to check - it’s a relationship, and I take that seriously. Whether you’re a student just beginning your journey, an independent artist forging your own lane, or an institution stewarding decades of legacy, you belong here.

Looking ahead to 2026, I’m excited to strengthen connections, improve systems, and create space for meaningful dialogue—with transparency, care, and a little bit of [Black boy] joy along the way. This year holds so much possibility, and I’m grateful to be moving forward in it with you.

Thank you for the warm welcome. I can’t wait to get to work—with you.

In rhythm and community,
Joe Murchison
Membership Director, International Association of Blacks in Dance

The Worthiest Work Centers on People

Mon, 01 Dec 2025 22:12:35 GMT

December 2025 Time Keepers of the Flame

As we enter the holiday season and look ahead to the new year, we wish you moments of peace and comfort amid life’s challenges; meaningful connections with family and friends, the warmth of cherished holiday memories, and glimpses of the joy that continues to shine beneath the surface.

Challenging times remind us of the importance of community and gratitude for those who help carry us through the year. We are deeply thankful for your continued support of our mission. Your partnership makes our work possible.

Please note that IABD will be closed for the holidays beginning Monday, December 22, 2025, through Friday, January 2, 2026. We will respond to emails and phone messages upon our return on Monday, January 5, 2026.

We wish you and your loved ones continued safety, good health, and peace this holiday season. Season’s Greetings!

Photo credit: Justin Knight (Toran X. Moore, IABD Programs Director not pictured)

I have to say thank you, for choosing to be in community with all of us here at IABD. On behalf of our Board of Directors, staff, the entire membership, and myself, our work would not be possible without your support and contributions to the legacy of Black dance.

As I reflect on 2025 and what we’ve been able to achieve this year, I start with acknowledging those who have transitioned and those who have become ancestors – Charles Augins, Marquis T. Floyd, Tyveze Littlejohn, Toni Pierce Sands, Therrell Smith , and all those memory fails me in naming. May their spirits dance forever and may their legacies guide our work.

The biggest lesson in life that continues to ring true is that the worthiest work we will do centers and is for people.

At the top of this year, while we witnessed the rollback of federal funding, removal of diversity, equity, inclusion or justice programming and work, a general uneasiness in how we could do our work, and the looming fear of what’s next, IABD focused on building community.

At the office that meant saying thank you to team members that left in pursuit of new opportunities and welcoming new people to the team: Chiamaka Ede-Ifeobu (she/her), Development Director; Joe Murchison (he/him), Membership Director; and Malik Gomes Cruz (he/they), Programs Manager. It also meant being willing to listen and learn and not letting mistakes overtake our goals. Building community meant making sure that our team is solid, stepping away from reactionary responses and into intentional messaging. And for me it meant not getting lost in achieving a particular result but ensuring that the people are always viewed as human beings.

We also built community in communities. I convened a roundtable in Johannesburg over the summer with fifteen dance artists and company representatives from around South Africa. We produced a panel, Art for the Soul of Black Folx, for the start of Cleo Parker Robinson Dance’s 55th Anniversary season in Denver. I sat with the students at Alabama State University to talk about their futures and be inspired by their choices in Montgomery. We attended TU Dance’s season opener in Minneapolis. I popped in on the dancers at Dallas Black Dance Theatre just to say hi and watch class in Dallas. We visited Sole Defined for the premiere of their new work in Columbus. And I even stage managed for Hill Dance Academy and Ronald K Brown/EVIDENCE in Pittsburgh and cooked a meal for the dancers.

While building community, we also accomplished some tactical objectives this year: completing our strategic plan, updating financial audits, reducing organizational shortfalls, and increasing the number of individual donors. We launched a new program, The Black Art Fund for Dance and provided general operating support to twenty-five individuals and organizations with budget sizes of less than $500,000 that are doing work in their community. And we launched our largest campaign to date, doubling down on the significance of the contributions of Black people and our art in American culture - BLK IS AMERICAN ART .

What a difference a year makes… As we close out 2025 and prepare to gather in Atlanta, we know that we still have our work cut out for us. And I hope that you consider IABD for your end of year giving . Your support makes it possible for us to visit dance companies, train the next generation of arts administrators, implement our strategic plan, and even provide scholarships to the conference and festival. But most importantly, your support of any amount makes it possible for us to proudly proclaim that Black dance by people of African ancestry and/or origin will remain in the consciousness of all people.

I say thank you to Jeraldyne and Joan, and to Ann, Cleo and Lula. Because their collective vision continues to flourish and shape the association into a place of shelter, refuge and community for Black dance artists. But I also say thank you to a war chest of Black women - Ayisha, Candace, Charmaine, Darby, Debbie, Kellee, Lauren, Lisa, Wendy, Yvonne, and many more where memory fails me again – who answer calls, texts, emails and exchange glances that remind me that the work continues, and communities thrive.

With gratitude and looking forward to our next year,

Omar Ingram

P.S. There are two ways to stand in community with us as we close out the year: Join us in Atlanta this February, and/or make a year-end gift to support the sustainability of Black dance. Whatever you choose, thank you for being part of this “war chest” that keeps IABD moving forward.

Recalibrating Our Thoughts On Gratitude

Sat, 01 Nov 2025 22:12:40 GMT

November 2025 Time Keepers of the Flame

What if we were taught, as young artists, at the start of each dance class or rehearsal, to stand close to the mirror, stare in our own eyes, and say, “You can do it.”

What if we created a habit, after thanking our instructors and rehearsal directors at the end of a session, to also thank ourselves?

Imagine what kind of mindset we would have if we began with encouraging ourselves as well as reminding “us” we worked as hard as we could and how proud we are of the work “we” have done.

The importance of showing gratitude when someone has done something for us, given us something, or provided tools and lessons as we continue to build and grow our personal strengths, is a tremendous gift to the person we are acknowledging and thanking.

BUT… what about us?

Didn’t we earn a thank you from and to ourselves?

In 2020, I retired as a performer. I could no longer show up for my work in the same ways I did when I was younger, with fewer injuries. Some days it was hard just getting out of bed, not to mention making it to the stage to present and perform at my highest level. Although my retirement closed a chapter to one important part of my life, there was more. More, however, was frightening. Not sure of what was next scared me beyond belief. I even said out loud to some friends, “Wow, now I have to punch my own time clock, wake up for me, and choose me.” If the work was going to happen, I was the only one who would be able to do it. So I began to make plans, set benchmarks and goals for my future.

What I forgot to do was say thank you to me.

I woke up, logged on to Zoom for meetings, hired dancers, found studio space, wrote grant proposals, taught, choreographed, and began to build a community of artists to support my creative needs and feel empowered and encouraged to do their best work. But I forgot me, I forgot to check the mirror. I forgot to send love to the one who was doing what no one would see.

The growth and changes made were what I had dreamed of for so long, and it was hard. Not all challenging efforts are a sacrifice. Growing my artistic voice and a business has been a choice I would make again and again. I would, however, add a few things to my daily routine and schedule: purposeful self-encouragement. It began when I rearranged my words. Not just speaking kindness with truth to the students and dancers in front of me, but also speaking those things for and to myself. When I create something I like, or give instructions now, I congratulate myself out loud…’That was good, Hope,’ and ‘I should write that down,’ even I love it when I’m right. LOL

It seemed strange at first, but shouldn’t I be allowed to be proud of my work; not my sacrifice, but my commitment to my goals? Isn’t there space to give myself grace when needed and personal applause to honor my hard work? YES!

These last 5 years as a solo-preneur, educator, creator, director, mentor, and dance-maker, have shown me I have a place and the call to guide young artists who have dreams like I had and have. I am grateful to stand in spaces to provide as much information to as many who will listen. I am also learning to treasure the roads I have taken, and work to re-map and re-focus those routes for the upcoming dance artists and leaders in our community. Most importantly, I am working to love on all of me. So, just before bed, I look in the mirror and say, “ Well done today, Hope .”

Join me in this recalibration of thoughts on gratitude, including you, us, and we in the many thanks we give each day.

Hope Boykin

Fall-ing Back With Purpose

Mon, 01 Sep 2025 22:12:41 GMT

September 2025 Time Keepers of the Flame

Fall has always felt like a gentle invitation to return to ourselves, to routine, to intention. Where summer often encourages escape and exploration, autumn asks us to come home. The calendar may tell us the year is winding down, but in many ways this season offers a fresh start. School resumes, projects pick back up, performances return to the stage, and we’re reminded of the quiet power and comfort that comes from repetition, structure, and discipline.

As September unfolds and summer quietly slips away, there’s a familiar shift in the air, not just in temperature, but in rhythm. The long, unstructured days of summer give way to something more grounded. Mornings feel crisper. Evenings arrive earlier. The pace begins to settle. Perhaps we’ll return back to the intentions we set at the top of the year, or create new ones that meet us where we are now.

There's also a quieter truth as we reenter the hustle. This season asks for rest. The trees know it. They begin to let go. Not in defeat, but in preparation. There’s wisdom in their release, like the pause between phrases, shedding what’s no longer needed. Conserving energy for what’s ahead.

We’d be wise to follow their lead. To take stock of our progress, and root ourselves into our goals.

After a summer of outward exploration, travel, activity, light, it’s okay to turn inward. To prioritize restoration, reflection, and even routine. Not as punishment for having fun, but as a means of sustaining ourselves. Because the end of the year is still a season in itself, and it deserves and demands our full presence.

So as the leaves change and the days shorten, let’s slow down with purpose. Let’s build routines that support rather than drain us. Let's create space for stillness, even as our calendars fill. Most importantly, let’s take this time to remind ourselves that the journey belongs to us.There is no competition, no need to rush, or prove anything that may no longer align with who we are now.

So let’s return to our regularly scheduled programming with a calming focus, and the hope of ending this year not burnt out, but grounded, restored, and ready. Goodbye summer. Thank you for your light.

-The IABD Comms Team

Tiffany Pittman, Marketing Manager & Anaya Hicks, IABD Fellow

IABD Announces Appointment of Omar Ingram as Executive Director

Fri, 28 Feb 2025 17:20:03 GMT

(Washington, DC – February 28, 2025) – The International Association of Blacks In Dance (IABD)announced today the promotion of Omar Ingram, current Co-Executive Director of IABD, to Executive Director effective March 1.

Since becoming co-executive of IABD, Ingram has co-lead IABD’s growing team of changemakers in delivering vital arts programming and support that includes the annual conference and festival, Comprehensive Organizational Health Initiative Managing Organizational Vitality and Endurance (COHI MOVE), FRWD, and The Equity Project: Increasing the Presence of Blacks in Ballet. In addition, he serves as board chair for the Performing Arts Alliance, a member of the DC Artistic Advisory Board for MOVE|NYC|, a member of the advisory council for Arts Education Partnership, and represents IABD as a partner with the Intercultural Leadership Institute.

“As IABD now transitions to a single executive director organizational model, as board chair, I am confident that Omar Ingram will provide the leadership needed to continue to move IABD forward as a sustainable and thriving international arts organization linking IABD's mission topreserve and promote dance by people of African ancestry or origin while being intentional in assisting and increasing opportunities for members,” said Ayisha Morgan-Lee, EdD, MAM, Founder, CEO & Artistic Director of Hill Dance Academy Theatre.

Dr. Natasha R. Moreland Spears is stepping down as Co-Executive Director effective February 28, 2025. Spears led strategic initiatives in development, membership, and marketing communications during her tenure to drive organizational growth. Additionally, Spears secured a multi-year unrestricted gift, significantly enhancing financial resources for the organization. Under her leadership, she was elected Co-Chair of the Performing Arts Alliance, reflecting a strong commitment to leadership in the arts community.

“On behalf of the entire IABD Board, I want to thank Dr. Moreland Spears for her vision and leadership. During her tenure as Co-ED, with a focus on Development, Dr. Moreland Spears served the organization well in aligning IABD's fundraising needs to support the 2025 Conference and Festival in Pittsburgh, PA. As co-sponsor for the conference, Hill Dance Academy Theatre's (HDAT's) fundraising team and IABD's team, under Dr. Moreland Spears’ leadership, created new sponsor partnerships for the 2025 Conference and Festival in Pittsburgh and hopefully for IABD as the flagship arts organization for the artistry of Black Dance” said Ayisha Morgan-Lee, EdD, MAM, Founder, CEO & Artistic Director of Hill Dance Academy Theatre.

“I am incredibly grateful for the opportunity to serve such an iconic organization and to be part of the legacy birthed by five revolutionary women - Joan Myers Brown, Lula Washington, Jeraldyne Blunden, Cleo Parker Robinson, and Ann Williams. Collaborating with this dynamic team, leading alongside my friend and colleague IABD Executive Director Omar Ingram, and engaging with our members—true champions of Black dance and prolific culture bearers—has been a life-changing experience. Over the past 20 months, I have been inspired by the passion, tenacity, and resilience that define Black dance. It has been an honor to serve, and I will continue to support Black dance and IABD in the future,” said Dr. Natasha R. Moreland Spears.

Ingram joined IABD in 2017 as Special Assistant of Programs, then Programs Director in 2018, and became Co-Executive Director in 2022. For more than 10 years, Ingram has worked in both the commercial and not-for-profit arts sectors with leading global influencers that include The Public Theater, STOMP/NYC, and Woolly Mammoth Theater Company, to support and unlock new opportunities to advance one of the world’s leading arts influences – diversity in the arts.

“Black Dance is American art! At a time when advocacy and allyship among and for the global Black Dance community are so needed, I am excited and humbled by the trust to lead the association in this season of growth. IABD has championed creativity, inclusion, and equity for decades before they were mainstream narratives. Now, IABD is positioned to be the bridge that acknowledges its history and takes those learnings to propel us into a future celebrating and engaging in diversity in performance, equity in artistry, and inclusion of all people. The global lineage that contributes to Black Dance is essential to the American tapestry, and we are fully committed to making and taking up our space,” said Omar Ingram, Executive Director of IABD. “I sincerely thank Dr. Natasha R. Moreland Spears for being both my friend and colleague as we worked together and served in championing Black joy, Black resilience, Black people, and Black art through Dance.”

Ingram's focus and passion have led to work with living legends, including Debbie Allen, George Faison, and Phylicia Rashad, serving IABD in several capacities and nationally as a consultant, facilitator, and non-profit board member and advisor.

The International Association Of Blacks In Dance Receives New Grants

Tue, 20 Jul 2021 18:45:22 GMT

International Association of Blacks in Dance Receives Grants to Develop COHI | MOVE Further

A body in motion speaks its own language. Through art, we give this vocabulary color and light, but through dance, in particular, we comprehend all its wonder. The role of the Black dancer is parallel to that of the intellectual and the storyteller. With grace, Black dance brings forth a world of traditional African heritage and Black cultural consciousness. The International Association of Blacks In Dance (IABD) ensures that this recovery of tradition is protected from the Eurocentric standards that threaten its very possibility.

In collaboration with the Nonprofit Finance Fund (NFF), the International Association Of Blacks In Dance developed the Comprehensive Organization Health Initiative (COHI | MOVE). COHI | MOVE has preserved the financial and organizational wellness of the IABD community. The program’s foundation was curated from 2017 to 2018; this planning stage involved a thorough analysis of IABD’s weaknesses and challenges to better improve the organization’s function and core purpose.

MARK DeGARMO DANCE AWARDED TWO-YEAR GRANT BY THE NEW YORK STATE COUNCIL ON THE ARTS

Mon, 29 Mar 2021 18:49:02 GMT

MARK DeGARMO DANCE AWARDED TWO-YEAR GRANT BY THE NEW YORK STATE COUNCIL ON THE ARTS

Mark DeGarmo Dance received a major two-year grant from the New York State Council on the Arts (NYSCA). Multi-year grants are extremely rare in the arts world. The grant supports MDD’s program Partnerships in Literacy through Dance and Creativity©. MDD has always fulfilled its BIPOC (Black, Indigenous, People of Color) mission of bringing this program to New York City’s least-resourced elementary schools, serving 75 - 98% children of color and children with disabilities, living in under-resourced school districts and disenfranchised communities. MDD has provided this program free of cost to grades pre-k to 5 students in these disproportionately under-funded public schools and districts since 1991.

NYSCA cites MDD’s “ongoing commitment to supporting your community and persevering throughout this most challenging year. The arts are central to the health of our state’s economy and individuals, and over these last eleven months, we have been nourished by a resilient arts sector that continues to sustain us in the face of isolation and fear. From pivoting to...digital programming, to...strengthening vital community services, the innovation of New York’s arts and culture sector is truly inspiring. Your organization is one of many that makes New York State the cultural capital of the world, and we are committed to working together...as we look forward to the reopening of arts and culture organizations across the State.”

Partnerships in Literacy through Dance and Creativity© is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

About Mark DeGarmo Dance

Founded in 1987, Mark DeGarmo Dance is a nonprofit organization that educates New York City communities and children; creates, performs, and disseminates original artistic work; and builds intercultural community through dance arts. MDD commits its resources to serving anti-racism, social justice, diversity, equity, inclusion, and sovereignty across multiple fronts through dance arts in New York City, USA, and internationally.

About Mark DeGarmo

Mark DeGarmo, Ph.D., B.F.A. is a New York City-based dancer, choreographer, writer, and researcher. They are Founder, Executive & Artistic Director of Mark DeGarmo Dance, New York City; Dance Director of Indigenous P'urhépecha Crossing Bridges International Artist Residency, Michoacán, Mexico; and Creative Agent with Creative Agency, Melbourne, Australia. Their 2020 peer-reviewed publications explore “Activating embodied imagination during COVID-19: A performative reflexive autoethnography” (Qualitative Inquiry journal) and “Transdisciplinary performative improvisation” (University of Colima, Mexico).

https://markdegarmodance.org, Follow Mark DeGarmo Dance on Facebook, Instagram, and Twitter

Our programs are supported, in part, by private funds from Friends of Mark DeGarmo Dance and by public funds from the NYC Council Member for District 1, the Honorable Margaret Chin; the NYC Council Member for District 2, the Honorable Carlina Rivera; Mid Atlantic Arts Foundation CARES relief funding supported by National Endowment for the Arts; National Endowment for the Arts; the New York City Department of Cultural Affairs in partnership with the City Council and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

DANCE IQUAIL! Announces First Full-Time General Manager Gwendolyn Coleman

Mon, 22 Mar 2021 18:54:20 GMT

Administrator helps 14-year-old organization expand programming into Black and Brown Historically Divested Communities in Philadelphia

PHILADELPHIA – DANCE IQUAIL!, the dance and social justice organization based in the Mantua neighborhood of Philadelphia, is pleased to announce the appointment of Gwendolyn Coleman as General Manager. Coleman becomes the first full-time leader who will work in tandem with Iquail Shaheed, the organization’s Founding Executive Artistic Director. This appointment marks a significant milestone for the 14-year old organization who continues to expand its programing to Black and brown historically disinvested communities in Mantua and throughout Philadelphia. Coleman began working for the company Monday.

Coleman began her career as a dancer with PHILADANCO! and continued into a successful commercial career performing in Atlantic City, touring with the Greatest Show on Earth, and performing in Las Vegas. Coleman returned to Philadelphia where it all began and became the General Manager for PHILADANCO!. She later went on to consult for Contemporary West Dance Theatre in Las Vegas. Most recently Coleman had duo roles at Freedom Theatre as Managing Director for Publications & Special Events and Interim Director of the School for Arts & Education. She has mentored and continues to mentor many dancers that have gone on to become professionals in their field and some have even started their own dance companies. “DANCE IQUAIL!, Iquail and I have a deeper connection other than dance,” said Coleman. “I grew up in Mantua/The Bottom, so I know this community well, along with knowing its needs.
DANCE IQUAIL! has and will continue to change the lives of the Mantua community. I will be there to support his efforts. It is important for me to give back.”

DANCE IQUAIL!’s Board of Directors and I are extremely delighted to welcome ‘Gwen’ as he organization's first General Manager,” said Iquail Shaheed. “For years, she’s been a true advocate for dance in Philadelphia and for DANCE IQUAIL!. She brings with her a wealth of experience and knowledge of the dance ecology that will certainly allow our organization to enhance the impact of our social practice, artistic productions and community engagement programs. We are truly blessed to have her wisdom and leadership.”

Added Coleman, “DANCE IQUAIL!, has a solid foundation for its artistic excellence. As we gradually return to theaters next year, my plan is to move the company to be recognized on national and international levels. I will support the work that DANCE IQUAIL!, will be doing in the Mantua community with hopes it will be the model for other communities in Philadelphia and cities around the country.”

About DANCE IQUAIL
Founded in 2007, DANCE IQUAIL! (DI!) presents original dance works and community
educational programs that engage issues of social justice, that enriches, heals and transforms through dance. DI! is a hub for innovative and inclusive arts and cultural programming for historically discriminated Philadelphians, providing arts access as the sole dance provider in the Mantua neighborhood (19104). Iquail Shaheed founded DI! desiring to tell stories of struggle motivated by his experiences in West Philadelphia where he was born and raised battling racism and homophobia. DI! initially operated as a concert company supporting emerging dance artists of color, and diversifying the stories from marginalized communities seen onstage. Iquail expanded DI's mission tying art creations and community engagements more intimately with Black and brown associates. DI has toured extensively in its 14-year history to U.S. cities from Baltimore to Los Angeles, and New York City. DI’s international destinations have included Brussels, Sydney, Kingston, and Cape Town. DI recently traveled to Rwanda and Mauritius in 2019 on a month long east African tour. DI’s touring activities historically ranges from performances in traditional concert halls to assemblies in inner-city public schools, as well as, lecture demonstrations, master classes, and community discussions.