The conference filled me with excitement. After listening to speakers such as Brenda Dixon-Gottschild, watching an amazing Performance at Lilian Baylis featuring the work of companies such as Taviziva Dance, ADiaspora Collective, Pair Dance, Movement Angol and participating in two dance workshops, one a traditional Caribbean-Contemporary fusion taught by Chris Walker and the other an Afro-Urban Contemporary workshop taught by Vicki Igbokwe of Uchenna dance, I remember thinking to myself "this is exactly what I want to be doing right now!"
When it was the turn of Rosie Lehan and Beverly Glean to give an Education Seminar on how after establishing Irie! Dance Theatre they then went on to write the Foundation Degree in Dance in partnership with London Metropolitan University, Irie! Dance theatre and City and Islington college, I felt surprisingly emotional. (although I kept it together of course). I felt proud to have been part of something that largely determined how my future would turn out as well as the future of Black dance in general.
Glean and Lehan had travelled the world to research the diversity of dance. As directors, they wanted to answer a question of equality. Why have African and Caribbean dance forms never been viewed in the same context of more established forms of Ballet and Contemporary dance?
Through the Foundation Degree they are managing to make young adults aware of traditional and contemporary dance techniques which celebrate the Afro-Caribbean culture. This is so important for the growth of diversity within dance and as a Foundation Degree graduate and a Dance Tutor for Irie! Dance Theatre it has made me aware of just why I want to pursue my idea of teaching African and Caribbean dance techniques within schools and the community, if these techniques are not carried forward or continuously taught, they will disappear and its fair to say that's a big piece of cultural heritage to just vanish.
This can be said for the whole Re:generations experience. Looking back on it now, I can see I was reflecting-in-action. As each practitioner spoke I took notes and even whilst taking notes I was already thinking, "right, so how am I going to use all of this information?" I was processing the talks, the verbal comments and questions and my mind was ticking, I actually couldn't wait to come away and put my thoughts into action.
Taking part in the practical workshops was a big deal for me. On reflection I realize I was nervous and lacked confidence in my ability to dance along side people, some of whom were a lot more experienced than me.I don't feel I danced my best and I was almost a bit awkward, if you can imagine that. Negative thoughts about my own personal technique let me down and I was constantly trying to head for the back but somehow always managed to end up right at the front (front line, openly available to the full scrutiny of others). The fact I was wearing bright green socks I had taken from my last flight on Virgin did nothing to help the situation. Despite these minor set backs, I did enjoy the workshop. I learnt that dancing in the presence of others who are technically better can only be seen as a positive thing. If I always dance with those on the same level, how will I ever improve? I need something better in front of me so I can excel towards it.
Reflecting on the Afro-Urban Contemporary workshop, I know I was more in my comfort zone. I walked into the studio ready because I felt confident that my technique was stronger with an Urban style. I was excited and there was a noticeable different between my attitude in this workshop compared to the first. I didn't mind standing at the front I didn't even mind that there was an audience I just wanted to get into the vibe and enhance my technique. Although I have had a few House dance classes, Waacking and Vouging were a styles I had frequently heard of but had never tried and I thoroughly enjoyed every minute of it. I took note of Vicki Igbokwe's laid back but firm teaching style, it was effective and although my arms were getting pushed to beyond their pain threshold through "REPETITION!" I felt that I had exceeded and this was a new technique that I would eventually take time to learn more about.
I look back on the Re:generations Conference and I think I wish the young people I teach could have been there. I wish they discovered, like I did that day, just why the teaching of African- Caribbean dance techniques should be taught equally alongside other forms such as Ballet, Contemporary, Street, Hip-hop, Jazz, Tap, to name a few. Many dance forms take from Afro-Caribbean techniques but few are aware. Before i attended the conference i had an idea. The idea came to me after completing the Foundation Degree in Dance at London Met and my idea was to begin teaching Afro-Caribbean dance classes alongside the classes I already teach in Street and eventually open up a facility that will provide this option to young people and adults within the community. I had this idea but I didn't realize the importance of it or why it would be so beneficial to the growth of diversity in dance. I do now, upon reflection.
