The Spirit of Kwanzaa
Continually spreading creative tentacles to serve at-risk and underprivileged youth in the Washington, DC, metropolitan area where access to dance education is limited or non-existent, Fabian Barnes, former dancer with Dance Theatre of Harlem, founded the Dance Institute of Washington (DIW) in 1987.
To celebrate the African American holiday of Kwanzaa, Barnes conceived and directed "The Spirit of Kwanzaa." This lively, varied, reverent and educational pageant of modern and African dance, African drumming, Gospel music and poetry. In its 11th year, this pageant has joined such Washington seasonal offerings as the magical "Nutcracker" ballet and the exuberant "Messiah" sing-along. "'The Spirit of Kwanzaa' show varies every year but can be counted on to deliver the kind of floor-shaking energy and boisterous sound that will scour every last Christmas carol from your mind" (The Washington Post ).
In 1966, in the midst of the Black Freedom Movement, Dr. Maulana Karenga created the Kwanzaa seven-day family-centered cultural celebration inspired by African harvest festivals. In Swahili, a pan-African language, the word Kwanzaa refers to first fruits. The annual holiday, from December 26 through January1, is a way for African Americans to reaffirm their heritage and culture in addition to their bonds to one another as a community. Kwanzaa rituals include candle-lighting, pouring of a drink as an offering to a god, a feast and gift-giving. On stage, "The Spirit of Kwanzaa" explores the seven principles that in Africa honor the ancestors and are adapted to the African American struggle: the Swahili words for the principles mean unity, collective work and responsibility, purpose, self-determination, cooperative economics, creativity and faith. These communal principles are deemed essential for a productive life.
In 1997, DIW's Youth Repertory Company, begun as a summer repertory performing ensemble to showcase students' talents and develop skills, debuted with "The Spirit of Kwanzaa" on the Millennium Stage of the John F. Kennedy Center for the Performing Arts in Washington, DC. The stage is located in the building's Grand Foyer and offers performances free to the public. Barnes desired a program that spoke directly to Washington's African American majority. The celebration is now a two-night event in the 2,500 seat Concert Hall with tickets to be purchased.
Rufus Stevenson created a dramatic stage setting. The backdrop comprised two tiers of beautiful African hangings, about 20 feet high and 10 feet wide, embellished with circular cloths at the top. Drums, keyboards and a table laden with candles and fruits were in the first scene. Senegalese master drummer Madoune Gueye leading a group of seven male and female, child and adult drummers called forth four women who enacted an ancestral libation.
"Spoken Word," embodying the principle of Umoja, unity, was choreographed by Derrick Spears for the Washington Reflections Dance Company. This highly competent company is a special project of DIW that founder/artistic director Barnes began in 2003 to give dancers and choreographers professional opportunities. The dance accompaniment was music by Arvo Part and Kelis as well as speech excerpts by Dr. Martin Luther King, Jr.
"One Busy Day," bringing to life Kujichaguilia, self-determination, was choreographed by Miriana Lausic, DIW school director, to music of Frédéric Chopin. Featuring members of the Washington Reflections Dance Company with the Senior Youth Repertory Ensemble, the dance captures the chaos that envelopes us in our fast-paced contemporary society with its technology, cultural trends and business practices. We also catch glimpses of rest and reflection from immediate gratification. In duets with Norman Tumpkin, student Ashante Greene shined and is certainly a dancer to watch.
The Sankofa Dance Theater's "Sinte Llamba" is a medley about the Sinte people coming together to perform Llamba. This dance reaffirms connections to the ancestors and portrays the principle of Ujima, collective work and responsibility. Kibibi Ajanku and Kauna Mujamal established the Baltimore Maryland-based Sankofa Dance Theater in 1989 to promote traditional African arts. The word "Sankofa" in the Akan language spoken in Ghana means to learn from the past in order to build for the future.
Randee G. "Diamone" Gueye choreographed other African dances performed by the DIW Junior Repertory Ensemble and apprentices, nearly 60 well-rehearsed youngsters between the ages of six and eight. "Domba" ("Steps Toward Glory") is an initiation dance from the Sene-Gambian region of West Africa, and "DJondon" ("Divine Elegance") is a dedication to royalty from Mali. The children's unalloyed joy and dynamic exuberance roused a most enthusiastic audience including family and friends.
Solist Kutia Jawara, of the Washington Reflections Company, in "Afro-Blue," choreographed by Camille Brown, danced with Nia, purpose, and radiance.
Guest artist Ramon Thielen, soloist with the Dance Theatre of Harlem, performing Donald McKayle's "I've Known Rivers" exemplified Kuumba, creativity. Costumed in a silver body suit reflecting water in the moonlight, Thielen danced with an emotional range of mood, strength, subtlety and sculptural elegance.
Actors G. Alverez Reid and Thembi Ducan provided educational narration. Reid also read one of his poems. The Gerald T. Smith and Youth-N-Praise Choir provided gospel music interludes.
The celebration concluded with an embodiment of Imani, faith. The Washington Reflections Dance Company danced "The New Second Line," choreographed by Camille Brown to the music of Traditional Gospel and Los Hombres Caliente.