Ford Proposal Notes

 

What is the mission of your entity?

 

Many popular dances of the western hemisphere owe their birth to creative and talented people of African origin. As early as the 17th century, dances such as the Pigeon Walk, Buck, Tap, Frog, Ring Shout, Cake Walk, Charleston, Black Bottom and others, up to and including Swing Dance/Lindy Hop, have been a part of the American lexicon. These dances are collectively known as vernacular dance. Due to many social, economic, and political influences over the last few decades, the African American cultural connection to these art forms has been virtually lost or forgotten

 

The goal of our dance company is to reintroduce people—most especially the African American community—to vernacular dance in an effort to build awareness and appreciation of this art form, and the country that made them possible, by presenting an experience through dance that relates the birth of this country’s dance culture that emerged from plantation spirituals to Le Jazz Hot, Charleston, the Swing years of Jitterbug through Hip Hop, which covers the historical period from slavery to the modern era.

 

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Many popular dances of the western hemisphere owe their birth to creative and talented people of African origin. As early as the 18th century, dances such as the Pigeon Walk, Buck, Tap, Frog, Ring Shout, Cake Walk, Charleston, Black Bottom and others, up to and including Swing Dance/Lindy Hop, have been a part of the American lexicon. These dances are collectively known as vernacular dance. Due to many social, economic, and political influences over the last few decades, the African American cultural connection to these art forms has been virtually lost or forgotten

 

We are The Central Avenue Dance Ensemble.  We take our name from the historic community which was the center of Black business, culture and entertainment in Los Angeles for the first half of the 20th century.

 

The goal of our dance company is to reintroduce people—most especially the African American community—to American vernacular dance history in an effort to build awareness and appreciation of this art form by presenting an experience through dance which relates the birth of this country’s dance culture that emerged from plantation spirituals to Le Jazz Hot, Charleston, the Swing years of Jitterbug and today's Hip Hop, and which covers the historical period from slavery through the Modern era.

 

These are dances which are virtually never represented by contemporary dance companies.  While these are our original American dances, neither the dances, nor their histories, are taught in our public schools, colleges or universities.  It is our hope to keep this dance history alive by presenting it to the American public as entertainment.

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We have performed this show in and around the Los Angeles area now for 5 years. It is a show which engages it's audiences culturally and historically as well as artistically. People always walk out of our show with the same comment: “I didn't know that!” We have inspired many people to learn more and even take up dancing themselves. We want to expand this experience to a larger audience, and the Ford Theater Partnership Program appears to provide that opportunity which does not appear to be readily available to us anywhere else.

 

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Describe proposed event

 

HBDA is a multimedia dance show which presents the history of African-American inspired dances that have been popularly danced in the U.S. This retrospective begins with a dance from Africa, moves to the plantation dances of slaves in America, continues with the work songs and spirituals of the reconstruction era. At the turn of the 20th Century, there are the early ragtime dances which give way to the Charleston in the 1920s, which begat the Lindy Hop and Swing dances of the 30s and 40s. Also, in the 1940s and 50s we see the introduction of African inspired Latin dances: Rumba, Samba, Cha Cha and Mambo. In the 1950s, Swing morphs into Bop, then slowly loses favor with the American public as the popular music begins to change again. We get a series of fad dances in the 1960s, but in the 1970s, a new form of Swing develops: Disco Dancing (Hustle). Also in the 1970s, we get a new form of Mambo: Salsa. Various forms of body popping/locking develop through the 1980s, first in Break Dancing, then into a new form of dance called “Hip Hop”. There are also during this period a whole range of new fad dances which are danced primarily in Black communities across the United States and broadcast to the world via a television program called “Soul Train”. At the turn of the 21st Century, we have dances that have evolved from Swing danced primarily American Blacks: Detroit Ballroom and Chicago Style Step. There is also a resurgence of perhaps the oldest social dance: Argentine Tango.

 

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HBDA is a multimedia dance show which presents the history of African-American inspired dances that have been popularly danced in the U.S. This retrospective begins with a dance from Africa, moves to the plantation dances of slaves in America, continues with the work songs and spirituals of the reconstruction era. At the turn of the 20th Century, there are the early ragtime dances which give way to the Charleston in the 1920s, which begat the Lindy Hop and Swing dances of the 30s and 40s. In the 1940s and 50s we see the introduction of African inspired Latin dances: Rumba, Samba, Cha Cha and Mambo. In the 1950s, Swing morphs into Bop, then slowly loses favor with the American public as the popular music begins to change again. We get a series of fad dances in the 1960s, but in the 1970s, a new form of Swing develops: Disco Dancing (Hustle). Also in the 1970s, we get a new form of Mambo: Salsa. Various forms of body popping/locking develop through the 1980s into a new form of dance called “Hip Hop”. There are also new fad dances which are danced primarily in Black communities and broadcast to the world via a television program called “Soul Train”. Into the 21st Century, there are new Black dances that have evolved from Swing: Detroit/Urban Ballroom and Chicago Style Step. And the oldest social dance with African roots:  The Argentine Tango. The history of the dances is introduced by video narration.  There will also be live singing and an MC/Comedian to keep the show fresh.

 

Featured Artists

 

Chester Whitmore is a world renown Tap and Lindy Hop dancer/instructor/choreographer. He studied under the greatest vernacular jazz dance artists of all time, like The Nicholas Brothers and Katherine Dunham. His original company, Black Ballet Jazz, toured the first HBDA around the world several times. The concept of the new show was based on his original work. He continues to participate as artistic director and guest artist.

 

Reginald Thornton is a singer, dancer and actor who is not only a principal dancer in the show, but also toured with Chester with the original show. He was also a regular, featured dancer on the original “Soul Train” program.

 

Ron Parker is the Director of the Central Avenue Dance Ensemble and has written, produced and directed every presentation of “The History of Black Dance in America” since 2011. After 20+ years as a successful businessman he started as a ballroom dancer, and eventually became interested in vernacular jazz dance and it's history. He helped to form the Central Avenue Dance Ensemble and spent a year and a half raising funds, organizing and training dancers, researching history, writing the narratives and producing the first HBDA show.

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Chester Whitmore is a world renown Tap and Lindy Hop dancer/instructor/choreographer. He studied under the greatest vernacular jazz dance artists of all time, like The Nicholas Brothers and Katherine Dunham. His original company, Black Ballet Jazz, toured the first HBDA around the world several times. The concept of the new show was based on his original work. He continues to participate as artistic director and guest artist.

 

Reginald Thornton is a singer, dancer and actor who is not only a principal dancer in the show, but also toured with Chester with the original show. He was also a regular, featured dancer on the original “Soul Train” program.

 

Ron Parker is the Director of the Central Avenue Dance Ensemble. After 20+ years as a successful businessman he started as a ballroom dancer, and eventually became interested in vernacular jazz dance and it's history. He helped to form the Central Avenue Dance Ensemble and spent a year and a half raising funds, organizing and training dancers, researching history, writing the narratives and producing the first HBDA show. He has written, produced and directed every presentation of HBDA since 2011.

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Chester Whitmore is a world renown Tap and Lindy Hop dancer/instructor/choreographer. He studied under the greatest vernacular jazz dance artists of all time, like The Nicholas Brothers and Katherine Dunham. His toured the original HBDA around the world several times in the 1980s/90s. He has been HBDA artistic director since 2011.

 

Beatriz Vasquez is an acclaimed dancer and choreographer with her own dance company, 3-19 Dance Art. She has been a principal dancer with HBDA from the beginning. She has also helped in the evolution of it's artistic vision.

 

Reginald Thornton, principal dancer since 2011, is a singer, dancer and actor who toured with the original show in the 1990s. A regular, featured dancer on the original “Soul Train” program he is the Heart of the Ensemble.

 

Ron Parker is the Director and founding member of the Central Avenue Dance Ensemble. He raised funds, organized and trained dancers, researched the history, wrote the narratives and produced the first HBDA show in 2011, and every presentation since.

 

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Chester Whitmore is a world renown Tap and Lindy Hop dancer/instructor/choreographer.  He studied under the greatest vernacular jazz dance artists of all time, like The Nicholas Brothers and Katherine Dunham.  He toured the original HBDA around the world several times in the 1980s/90s.  He has been HBDA artistic director since 2011.

 

Beatriz Vasquez is an acclaimed dancer and choreographer with her own dance company, 3-19 Dance Art.  An HBDA principal dancer since 2011,  she has also helped in the evolution of it's artistic vision.

 

Reginald Thornton, principal dancer since 2011, is a singer, dancer and actor who toured with the original show in the 1990s.   A regular, featured dancer on the original "Soul Train" program he is the Heart of the Ensemble.

 

Ron Parker is the creator, writer, producer, director of and principal dancer in HBDA since 2011.

 

Barbara Morrison is a well-known and much-beloved local Jazz singer who will bring an earthy, vintage charm to her live accompaniments.

 

Harry Bowens is a popular local singer and HBDA cast member since 2015.

 

Verrane Mitchell is a local comedian who will MC (and cover for delayed acts).  He unsuccessfully auditioned as dancer for 2016 show.  He created a hilarious comedy routine from this experience. 

 

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Ron Parker is the Director and founding member of the Central Avenue Dance Ensemble.   He raised funds, organized and trained dancers, researched the history, wrote the narratives and produced every HBDA since 2011.

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Chester Whitmore, world renown Tap and Lindy Hop dancer/instructor/choreographer.  He studied under the greatest vernacular jazz dance artists of all time, like The Nicholas Brothers and Katherine Dunham.  He toured the original HBDA around the world several times in the 1980s/90s.  He has been HBDA artistic director since 2011.

 

Beatriz Vasquez, acclaimed dancer and choreographer with her own dance company, 3-19 Dance Art.  An HBDA principal dancer since 2011,  she has also helped in the evolution of it's artistic vision.

 

Reginald Thornton, principal dancer since 2011, is a singer, dancer and actor who toured with the original show in the 1990s.   A regular, featured dancer on the original "Soul Train" program he is the Heart of the Ensemble.

 

Barbara Morrison is a well-known and much-beloved local Jazz singer who will bring an earthy, vintage charm to her live accompaniments.

 

Harry Bowens, popular local singer and HBDA cast member since 2015.

 

Verrane Mitchell, local comedian who will MC (and cover for delayed acts).  He unsuccessfully auditioned as dancer for 2016 show.  He created a hilarious comedy routine from this experience. 

 

Carmen de Lavallade, Honoree, Dance Legend.

 

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Up until the latter part of the 19th century and early into the 20th century, most dances that Americans danced were from other countries, mostly Europe. The styles of dance that originated in America were collectively known as American Vernacular dances. And most of these dances were created by the descendants of African slaves.

 

The styles of dance that originated in America are collectively known as Vernacular dances. A great many of these dances are social dances that were created by the descendants of African slaves and which went on to be popularly danced by White Americans during their eras. We presents this history.

 

About HBDA

The History of Black Dance in America will be a multimedia dance show which presents the history of African and African-American inspired dances that have been popularly danced in the United States. This retrospective begins with a dance from Africa, moves to the plantation dances of slaves in America, continues with the work songs and spirituals of the reconstruction era. At the turn of the 20th Century, there are the early ragtime dances which give way to the Charleston in the 1920s, which begat the Lindy Hop and Swing dances of the 30s and 40s. Also, in the 1940s and 50s we see the introduction in America of African inspired Latin dances: Rumba, Samba, Cha Cha and Mambo. In the 1950s, Swing morphs into Bop, then slowly loses favor with the American public as the popular music begins to change again. We get a series of fad dances in the 1960s, but in the 1970s, a new form of Swing develops: Disco Dancing (Hustle). Also in the 1970s, we get a new form of Mambo: Salsa. Campbell Locking is also developed in the 1970s. This form of body popping/locking continues to develop through the 1980s, first in Break Dancing, then into a new form of dance called “Hip Hop”. There are also during this period a whole range of new fad dances which are danced primarily in Black communities across the United States and broadcast to the world via a television program called “Soul Train”. At the turn of the 21st Century, we have dances that have evolved from Swing danced primarily by middle-aged American Blacks: Detroit Ballroom and Chicago Style Step. There is also a very strong resurgence of perhaps the oldest non-ballroom social dance: Argentine Tango.

 

The goal of the History of Black Dance in America will be to educate the general public on the history of these dances in an exciting and entertaining way. This is a very important national work because while many of these dances are recognized as an intregal part of American history and culture, very few Americans have ever seen them danced live, and fewer still actually know the history. For example, while many people may have heard of the cakewalk, few have ever actually seen it danced, and fewer still realize that it began as a plantation dance danced by slaves to mimic high society Whites. The dance was so amusing that plantation owners held competitions, and the winning slaves would receive cake as their prize. Thus the name “Cake Walk”. Also, while there is debate as to whether it was Harry Fox or Vernon Castle who introduced the “Foxtrot” dance, there is no debate that the man who arranged the Foxtrots for the Castles (who ultimately popularized the dance in the United States) was James Reese Europe, a Black American and World War I veteran.

 

Most of the dances to be presented in this show are social dances. That is, they were, and some still are, danced socially by Americans. Taking advantage of the high interest in social and vintage dancing in the United States today, the History of Black Dance in America program will include a series of workshops designed to teach these dances before the performance.

 

Key Personnel

Ron Parker – Writer, Producer, Director

Paulette Brockington – Production Consultant (advising since 2011)

Rosa Harris – Assistant Producer (assisted Ron on past two shows), Dancer

Charles Douglass – Production Manager

Chester Whitmore – Artistic Director, Guest Artist

Beatriz Vasquez – Artistic Director (if Chester is not available), Principal Dancer

Brendell Stewart – Stage Manager (since 2012)

Reginald Thornton – Dance Captain, Principal Dancer (since 2011)

Livia Squires – Publicist (since 2011)

Rodney Saulsberry – Narration (professional voice-over artist)

TaRonce Allen – Costumes (since 2011)

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Ron Parker - Writer, Producer, Director

Paulette Brockington - Production Consultant (advising since 2011)

Rosa Harris - Assistant Producer (assisted Ron on past two shows), Dancer

Charles Douglass - Production Manager

Chester Whitmore - Artistic Director, Guest Artist

Beatriz Vasquez - Artistic Director (alternate), Principal Dancer

Brendell Stewart - Stage Manager (since 2012)

Reginald Thornton - Dance Captain, Principal Dancer (since 2011)

Livia Squires - Publicist (since 2011)

Rodney Saulsberry - Narration

TaRonce Allen - Costumes (since 2011)

3-19 Dance Art - Guest dance artists

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Ron Parker - Writer, Producer, Director

Paulette Brockington - Production Consultant (since 2011, will assist in production 'scale-up' )

Rosa Harris - Assist Producer (past two shows), Dancer

Charles Douglass - Production Manager

Chester Whitmore - Artistic Director, Guest Artist 

Beatriz Vasquez - Artistic Director (alternate), Principal Dancer

Brendell Stewart - Stage Manager (since 2012)

Reginald Thornton - Dance Captain, Principal Dancer

Joe Vinson - Lights

Livia Squires - Publicist

Rodney Saulsberry - Narration 

TaRonce Allen - Costumes (since 2011)

3-19 Dance Art - Guest dancers

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Technical elements of event

The HBDA is a Black Box production – essentially all that is needed is a stage to dance on. It has been performed with as few as 4 dancers, and as many as 20. It has videotaped narration which necessitates a projector, DVD player and projection screen. We need a sound system connected to the DVD player. Most of the dances are performed to recorded music, which is on the same DVD used for the narrations (to make it simple). In fact, the whole show runs from the DVD. We occasionally employ live singing, (acapella or with recorded background music) which would necessitate a microphone. Stage lighting beyond basic on and off is optional – but really nice for helping to set time, place and atmosphere. All props used in the show are carried on and off by dancers (canes, parasols, etc...). No sets or backdrops are required other than images provided in and projected by video.

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HBDA has historically been a Black Box production – essentially all that is needed is a stage to dance on. It has been performed with as few as 4 dancers, and as many as 20. If accepted to the Ford, we envision a program with 12-15 dancers. It has videotaped narration which necessitates a projector, DVD player and projection screen. We have a 3200 Lumens projector, but the Screen will have to be rented. If accepted to the Ford, we also intend to improve the production quality of the videos, bringing in professional editing and narration. We need a sound system connected to the DVD player. Most of the dances are performed to recorded music, which is on the same DVD used for the narrations. In fact, the whole show runs from the DVD. We employ live singing in some numbers, (acapella and with recorded background music) which necessitates at least one microphone. All props used in the show are carried on and off by dancers (canes, parasols, etc...). No sets or backdrops are required other than images provided in and projected by video. We use these images, in addition to the Ford's lighting capabilities, to help set time, place and atmosphere.

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HBDA has historically been a Black Box production. It has been performed with as few as 4 dancers, and as many as 20. Our program will have 12-15 dancers and include Beatriz Vasquez's 3-19 Dance Art company dancers. The show has videotaped narration which necessitates a projector, DVD player and projection screen. We have a 3200 Lumens projector, but the Screen will have to be rented. If accepted to the Ford, we also intend to improve the production quality of the videos, bringing in more professional editing and narration. We need a sound system connected to the DVD player. Most of the dances are performed to recorded music, which is on the same DVD used for the narrations. In fact, the whole show runs from the DVD. We utilize live singers in some numbers, (both acapella and with recorded background music) which necessitates at least one microphone. All props used in the show are carried on and off by dancers (canes, parasols, etc...). No sets or backdrops are required other than images provided projected by video. We use these images, in addition to the Ford's lighting capabilities, to help set time, place and atmosphere.

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HBDA has historically been a Black Box production.  It has been performed with as few as 4 dancers, and as many as 20.  Our program will have 12-15 dancers and include Beatriz Vasquez's 3-19 Dance Art company dancers.  The show has videotaped narration which necessitates a projector, DVD player and projection screen. We have a 3200 Lumens projector, but the Screen will have to be rented.  If accepted to the Ford, we also intend to improve the production quality of the videos, bringing in more professional editing and narration.   We need a sound system connected to the DVD player.  Most of the dances are performed to recorded music, which is on the same DVD used for the narrations.  In fact, the whole show runs from the DVD.  We will utilize live singers in some numbers (Barbara Morrison and Harry Bowens, both acapella and with recorded background music) which necessitates at least one microphone.   All props used in the show are carried on and off by dancers (canes, parasols, etc...).  No sets or backdrops are required other than images provided projected by video. We use these images, in addition to the Ford's lighting capabilities, to help set time, place and atmosphere.

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HBDA has historically been a Black Box production. Our program will have 12-15 dancers (including Beatriz Vasquez's 3-19 Dance Art company).  The show's videotaped narration necessitates a projector, DVD player and projection screen.  A 5000 Lumens projector and 14’ wide screen will have to be rented.  We intend to improve the production quality of the videos, bringing in more professional editing and narration.   We need a sound system connected to the DVD player.  Most of the dances are performed to recorded music, which is on the same DVD used for the narrations.  The entire show basically runs from the DVD.  We will utilize live singers in some numbers (Barbara Morrison and Harry Bowens, both acapella and with recorded background music) which necessitates at least one microphone. We will also utilize an MC occasionally between numbers.  All props used in the show are carried on and off by dancers (canes, parasols, etc...).  No sets or backdrops are required other than images provided projected by video. We use these images, in addition to light design by Joe Vinson (former lighting director at NBC), to help set time, place and atmosphere.  We will require marley flooring.

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Our dance program will have 12-15 dancers (including Beatriz Vasquez's 3-19 Dance Art company).  The show's videotaped narration necessitates a projector, DVD player and projection screen.  A 5000 Lumens projector and 14’ wide screen will have to be rented.  We intend to improve the production quality of the videos, bringing in more professional editing and narration.   We need a sound system connected to the DVD player.  Most of the dances are performed to recorded music, which is on the same DVD used for the narrations.  The entire show basically runs from the DVD.  We will utilize live singers in some numbers (Barbara Morrison and Harry Bowens, both acapella and with recorded background music). We will also utilize an MC, local comedian and dancer Verrane Mitchell, occasionally between numbers. We will need at least 2 microphones.  All props used in the show are carried on and off by dancers (canes, parasols, etc...).  No sets or backdrops are required other than images projected by video. We use these images, in addition our light designs, to help set time, place and atmosphere.  We will require Ford crew for 1 Tech/Focus, 1 rehearsal and 1 show.  Also need marley flooring.

 

Technical Proposal Quote

 

Mr. Towbridge estimated that we need the following resources:

 

• Tech / Focus
  6 people, 6 hrs

• Dress Rehearsal
  8 people, 8 hrs

• Show
  8 people, 8 hrs

 

4 people x 8 hrs x 33/hr x 2 days = 2112

4 people x 8 hrs x 23/hr x 2 days = 1472

3 people x 6 hrs x  33/hr x 1 day = 594

3 people x 6 hrs x 23/hr x 1 day = 414

 

Total = 4592

 

Who is our Audience

 

Our "core audience" is comprised of several different demographics, as evidenced by the attendance at our previous shows.  People interested in Black History.  Social dancers (Lindy Hop, West Coast Swing, Disco, Ballroom, Salsa, Tango, etc...) who are curious about the history of the dances they dance.  Senior citizens who were young at the time of some of these dances and recall these histories through their own experiences.  People who are particularly interested in the evolution of American vernacular dances.  And, of course, people who are generally interested in dance and/or American history.  

 

For the 2017 show, we add the the famous and legendary Jazz singer Barbara Morrison, who is very popular in Southern California with the Jazz, Swing and Blues crowds, both young and old.  She sings at many local Lindy Hop events, which will attract young dancers already interested in vintage dances.  She also sings at many Jazz clubs and festivals, which will attract older dancers and non-dancers who follow Jazz and Blues (whose histories are touch upon in our show).

 

We believe that the prestige and history of the Ford, along with the history and unique content and presentation of our show will combine to entice larger numbers of our cores audience to the Ford.

 

And, as ours is a family-friendly show with a unique blend of entertainment, education and social relevance, we hope to expand beyond our traditional audiences to attract average citizens who want to know more about the history of the world, and the country they live in.

 

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Our "core audience" is comprised of several different demographics, as evidenced by the attendance at our previous shows.  People interested in Black History.  Social dancers (Lindy Hop, West Coast Swing, Disco, Ballroom, Salsa, Tango, etc...) who are curious about the history of the dances they dance.  Senior citizens who were young at the time of some of these dances and recall these histories through their own experiences.  People who are particularly interested in vintage dances and/or the evolution of American vernacular dances.  And, of course, people who are generally interested in dance and/or American history.  

 

For the 2017 show, we add the the famous and legendary Jazz singer Barbara Morrison, who is very popular in Southern California with the Jazz, Swing and Blues crowds, both young and old.  She sings at many local Lindy Hop events, which will attract young dancers already interested in vintage dances.  She also sings at many Jazz clubs and festivals, which will attract older dancers and non-dancers who follow Jazz and Blues (whose histories are touch upon in our show).

 

Also for the 2017 show, we will honor a well-known dance legend.  In 2016, we honored hip-hop dancer/choreographer MaDonna Grimes.  In 2017 we hope to honor Carmen de Lavallade.  We contacted here about appearing in our 2016 show, but she was unavailable.  If she is unavailable next year, then we will try to get Ben Vereen or tap legend Arthur Duncan (“Lawrence Welk Show”).  Having one of these living legends as a guest at our show will ensure an even larger turnout of those who are interested in Black History and specifically Black Dance History, not to mention their own local legions of fans.

 

We believe that the prestige and history of the Ford, along with the history and unique content and presentation of our show will combine to entice larger numbers of our cores audience to the Ford.

 

And, as ours is a family-friendly show with a unique blend of entertainment, education and social relevance, we hope to expand beyond our traditional audiences to attract average citizens who want to know more about the history of the world, and the country they live in.

 

Professional History and Major Accomplishments

 

The Central Avenue Dance Ensemble (CADE) was formed in Los Angeles in the 2003 by a group of volunteer dancers. The Ensemble is led by world renown dance instructor, choreographer and historian Chester Whitmore, with its goal to educate the community on the Black roots of historical vernacular jazz dances (Black Bottom, Charleston, Lindy Hop, etc...) through social dances, workshops and performances. Achievements so far:

 

2003 to present: Performed at a variety of local community events such as the LA Kwanza Festival, LA African Marketplace, Santa Monica Tango Festival, Downtown on Ice at Pershing Square, USA Dance LA Chapter Ballroom Dances, Association of Black Women Physicians and the Cicada Club in Downtown LA. Television appearances include Disney's That's So Raven, HBO,s Golden Globe, SAG and Emmy award winning Lackawana Blues and Oprah Winfrey's production of Their Eyes Were Watching God starring Halle Berry. 2004 and 2005: Gave a series of monthly live Big Band Swing dances in South Central Los Angeles titled "Swinging in the Hood", the first such dances in that community in decades. 

 

2005: Revived Chester Whitmore's "History of Black Dance in America" show (first performed in 1980s) at the UCLA Festival of African American Music. 

 

2007: Produced the "Tribute to Norma Miller" (she is a surviving member of Whitey's Lindy Hoppers, one of the first Black dance groups to appear in major American movies in the 1930s) at the Nate Holden Theater in LA. 

 

2008: Group members helped to choreograph and performed in "A Tribute to Katherine Dunham" at the Madrid Theater in Canoga Park. This contribution was unique in that it showed Ms. Dunham's vernacular jazz background which is often not portrayed in tributes to her. 

 

2009: Ron Parker, a founding member and local dance instructor/historian, took over as director of the group and began auditioning new dancers to put on a new show, "The History of Black Dance in America" (HBDA). Under this new leadership, the group would expand it's dance repertoire beyond Vernacular Jazz to include classic Ballroom (Foxtrot, Rumba, Samba) and Social (Salsa, Disco) dances which also have African slave (or their descendants) roots. He would also make the group more inclusive by actively recruiting non-Black dancers. 

 

2010: To fund production of this new show, then re-scheduled for 2011, the group began holding a series of community-based dance workshops titled "Diversify Your Dance" which was designed to teach new dance styles to people who would not normally venture out into other neighborhoods to learn. Also, ArtSpectrum of Detroit, Michigan which has run the American Lindy Hop Championships for the past several years came on board as the group's Fiduciary Sponsor to provide it with  official non-profit status. Paulette Brockington, the Director of ArtSpectrum and also an accomplished dancer/choreographer and actor/director, came on as an advisor to CADE and HBDA.

 

2011: As part of its ongoing effort to educate the community on the history of vernacular jazz dance,  CADE  presented “The History of Black Dance in America”  (HBDA) to critical and commercial success at the Crozier Performing Arts Theater in Inglewood,  CA.  The audience was hugely entertained, but also greatly and appreciatively educated on history they had never heard of before.

 

CADE also  performed “Candombe / Milonga” at the Santa Monica "Tango on the Streets" festival.  This is significant as it was the first time a public performance demonstrated the direct historical link between Africa and the Argentine Tango to a large public audience.  And certainly the first time such a performance had been done by a largely African-American dance group.

 

2012: Presented the "History of Black Dance in America" at the Santa Monica Bay Women's Club in Santa Monica, CA.

 

2014: Presented HBDA at Campbell Hall in North Hollywood, CA.  Also performed the "Origins of Black Dance" at Barnsdall Theater in Los Angeles, CA.

 

2015: Presented HBDA as 150th Juneteenth Celebration at the California State University at Dominquez Hills, CA.

 

2016: Recruited and trained new cast for HBDA presentation at El Camino College in Torrance, CA.

 

What Audience can expect

 

The History of Black Dance in America is be a multimedia dance show which presents the history of African and African-American inspired dances that have been popularly danced in the United States. This retrospective begins with a dance from Africa, moves to the plantation dances of slaves in America, continues with the work songs and spirituals of the reconstruction era. At the turn of the 20th Century, there are the early ragtime dances which give way to the Charleston in the 1920s, which begat the Lindy Hop and Swing dances of the 30s and 40s. Also, in the 1940s and 50s we see the introduction in America of African inspired Latin dances: Rumba, Samba, Cha Cha and Mambo. In the 1950s, Swing morphs into Bop, then slowly loses favor with the American public as the popular music begins to change again. We get a series of fad dances in the 1960s, but in the 1970s, a new form of Swing develops: Disco Dancing (Hustle). Also in the 1970s, we get a new form of Mambo: Salsa. Various forms of body popping/locking develop through the 1980s, first in Break Dancing, then into a new form of dance called “Hip Hop”. There are also during this period a whole range of new fad dances which are danced primarily in Black communities across the United States and broadcast to the world via a television program called “Soul Train”. At the turn of the 21st Century, we have dances that have evolved from Swing danced primarily American Blacks: Detroit Ballroom and Chicago Style Step. There is also a very strong resurgence of perhaps the oldest social dance: Argentine Tango.

About HBDA

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The HBDA is a multimedia dance show which presents the history of African-American inspired dances that have been popularly danced in the U.S. This retrospective begins with a dance from Africa, moves to the plantation dances of slaves in America, continues with the work songs and spirituals of the reconstruction era. At the turn of the 20th Century, there are the early ragtime dances which give way to the Charleston in the 1920s, which begat the Lindy Hop and Swing dances of the 30s and 40s. Also, in the 1940s and 50s we see the introduction of African inspired Latin dances: Rumba, Samba, Cha Cha and Mambo. In the 1950s, Swing morphs into Bop, then slowly loses favor with the American public as the popular music begins to change again. We get a series of fad dances in the 1960s, but in the 1970s, a new form of Swing develops: Disco Dancing (Hustle). Also in the 1970s, we get a new form of Mambo: Salsa. Various forms of body popping/locking develop through the 1980s, first in Break Dancing, then into a new form of dance called “Hip Hop”. There are also during this period a whole range of new fad dances which are danced primarily in Black communities across the United States and broadcast to the world via a television program called “Soul Train”. At the turn of the 21st Century, we have dances that have evolved from Swing danced primarily American Blacks: Detroit Ballroom and Chicago Style Step. There is also a resurgence of perhaps the oldest social dance: Argentine Tango.

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HBDA is a multimedia dance show which presents the history of African-American inspired dances that have been popularly danced in the U.S. This retrospective begins with a dance from Africa, moves to the plantation dances of slaves in America, continues with the work songs and spirituals of the reconstruction era. At the turn of the 20th Century, there are the early ragtime dances which give way to the Charleston in the 1920s, which begat the Lindy Hop and Swing dances of the 30s and 40s. In the 1940s and 50s we see the introduction of African inspired Latin dances: Rumba, Samba, Cha Cha and Mambo. In the 1950s, Swing morphs into Bop, then slowly loses favor with the American public as the popular music begins to change again. We get a series of fad dances in the 1960s, but in the 1970s, a new form of Swing develops: Disco Dancing (Hustle). Also in the 1970s, we get a new form of Mambo: Salsa. Various forms of body popping/locking develop through the 1980s into a new form of dance called "Hip Hop". There are also new fad dances which are danced primarily in Black communities and broadcast to the world via a television program called "Soul Train". Into the 21st Century, there are new Black dances that have evolved from Swing: Detroit/Urban Ballroom and Chicago Style Step. And the oldest social dance with African roots:  The Argentine Tango. The dance histories are introduced by video narration.  Also: live singing, a live MC/Comedian and segment honoring a guest dance legend.