Response 8: African Dance in New York City

JJ Janikis
DANC 163

New York City is the home for many great artists and performers including those in African Dance. Maricia H. Heard and Mansa K. Mussa present the influence of African dance in New York City through a historical perspective. The tradition of African dance was kept alive through the passing of technique from teacher to student. While the teacher was the source of education and training, many of their students created their own companies and studios based on the technique of the teacher fused with their own style of African dance.
Heard and Mussa suggest that African dance became popularized in New York City in the 1920’s- 1930’s primarily with the work of Asadata Dafora. Dafora, born in Sierra Leone, had a profound influence on African concert dance and the introduction of African drum rhythms. His company would train future African dancers such as Katherine Dunham and Pearl Primus.
The civil rights movement in the 1950’s- 60’s had a profound impact on African dance. Heard and Mussa explain that “the Black Power movement […] brought many African American youth in search of self-discovery to the music and dances of Africa” (145). Therefore, African dance became further popularized a vehicle of “recognizing” ancient cultural roots. Dancers such as Guy Warren introduced records of African music for dancing such as his “Africa Speaks, America Answers!” album. Many students were continually creating their own style and starting their own companies such as Ladji Camara who is known from bringing the d’jembe drum to the U.S. (149). More and more black dancers were taking action in the education and culture of African dance.
Today many African dance companies based in New York are internationally recognized. Dance companies such as, Forces of Nature, directed by Abdel Salaam continue to be a powerful influence in the foundations of African dance techniques and traditions. Beginning with Dafara in the 1930’s, Heard and Mussa suggest “dances of Africa hold enormous potential for the modern concert stage” (152).

JJ Janikis