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Eclectic weekend dance performances at the Dance Complex in Cambridge, MA, portrayed the diversity of talent and culture that is embedded in lifestyle, here, during the 21^st Century.  The Dance Complex itself, formed in 1991, in order to secure the historic Odd Fellows Hall as a means to “promote, advance, sponsor, facilitate, and nurture creative and artistic work,” is a creation born of democratic, intellectual, and aesthetic ideals.  A physical locality coupled with a visionary mindset where “securing a community of artists is a higher priority than establishing an organizational bureaucracy,” the Dance Complex is the perfect venue for producer Honey Blonder to promote mixed genres of hip hop, ballet, modern, jazz, disco, street funk, belly dancing, step, gymnastics, and an all-male cast of full contact, jazz-funk dancers dressed in Santa Claus hats. 

Rainbow Tribe, Kelley Donovan, B Side, Contemporarily Out of Order,

Disco Brats, Derrick Davis, Brookline Academy of Dance, Deepa Srinath, Bright Pearl Dance Company, Johara and Jim Banta, and Legacy Dance Company, marked the line-up for two evenings chock-full of synchronized, soulful, innovative and interesting choreographies. Some of the most memorable contrasts included:

Men dancing in sneakers, while executing 180 degree dips and flawless turns (Rainbow Tribe); perfect spirals, arabesque layouts and Graham contractions (Brookline Academy); Egyptian costuming and shimmies (Johara and Jim Banta); the effortlessly flowing hands, “petite winged arms,” and repetitive circles (conducted with bowl on the side of her angled head) by (Bright Pearl Dance Troupe); spectacular sparkling outfits, hot pants, and disco white boots (with taps), and full body lifts (Legacy Dance);  the all-maleness of Bside; and amazing modern physical feats by Samantha Wilson and Laurel Reveley (Kelley Donovan and Dancers). 

These were, of course, in accordance with inherent nature of all tensions associated with the art of dance and of the Christmas holidays, punctuated by a stilling, maybe even disquieting performance by singer Steffani Bennet of “winter Song, written by Sara Bareilles and Ingrid Michaelson, and “Have Yourself a Merry Little Christmas,” written by Hugh Martin and Ralph Blane. Her beautiful yet haunting voice reminded me of our human frailties and imbalances, in the face of a holiday marked by rejuvenation, reconciliation, and renewal of spirit. 

Similarly, the opening 30 minutes was characterized by Alissa Johnson, a frozen white ballerina (stockings, leotard, skirt), accented by silver bands on her thin arms, a silver Tiara, and lone silver ball held lethargically in both hands, while she sat motionless on a box, her feet not properly crossed in the “fifth position” perfect mode. No breath or heart rhythms could be detected. Shadows cast from one bright light behind her right shoulder only intensified the ambiguousness of her being – at once childlike and innocent – evoking the holiness, peace and spirit of the season – while simultaneously detached and disassociated from any body or (seemingly) any emotion. 

Quieted in that moment, I couldn’t help feel the tightening in my temples, the crinkling of my brow, and the slow squeezing of warm tears out of my eyes’ corners, as memories of those loved and lost blurred my vision of that unmovable, meditative figure that resolved into the contemplations of my mind.  In acknowledgment of the emotional, spiritual, and aesthetic pleasures of the season and the night to come, I thanked God for the opportunity to celebrate a personal and collective humanness with an audience from Cambridge, Massachusetts, and 12 Dancers Dancing.  Hats off to Honey Blonder for a job very well done.

Saturday evening, January 8, 2011, marked the final performance of “Mama” Fatou N’Diaye and the company she founded in 1981, “Silimbo D’Adeane,” at least with her as its full-time artistic director in the City of Cambridge.  As master dancer, choreographer, and cultural arts educator for over 30 years in African and the U.S., she returns to her roots in Senegal this week to continue her work in a warmer climate.

Having begun her professional career at age 17 in her native Adeane, Senegal, Fatou N’Diaye rose quickly to stardom, performing in the Daniel Sorano National Theatre of Dakar, “National Ballet of Senegal,” traveling with the president of Senegal on official visits to countries – including China, later in popular television productions, with special appearance in “L’lle de Diama,” (Michael Douglas), and as a featured role in WGBH-TV Basic Black (documentary on dance’s healing power in cultures around the world). (http://www.silimbo.com).

Moving to the U.S. in 1991, she toured most major cities with “Silimbo,” then organized

La Adiyana Bamtamba Courocoto, West African Dance and Drum Conference, 1996.  She received grants from the NEA and D.C. Commission on the Arts and Humanities, supporting her art in the Washington locale.  Mama Fatou has taught in Boston, Cambridge public schools, at Harvard University, the French Library, and countless community and arts centers throughout Massachusetts and the entire country. 

Her mission, as mentor and dance historian, is to bring all levels of dancers to the stage, helping to spread the culture and craft of her Senegalese dance, drumming, and songs pan-nationally, through workshops, conferences, weekly classes and company rehearsals, so that the folklore and traditions of Senegal, in their original forms, can be shared. 

Passionate to the core, she instills the love of her rich heritage, enabling each of us through understanding of Senegal’s rituals, ceremonies, and daily living events. Learning through her is easy because she tells the story behind the dance, ensuring that we understand the meaning behind the movements, the drumming, and songs sung in her native language.

From a personal perspective, as one of her students and company members of  “Silimbo,” I must point out that Mama Fatou is much larger than any of her accomplishments.  With her wide, inviting smile, penetrating eyes – perceptive, wise, and compassionate, her polished skin – inviting and warm, and deep, honey-toned voice, we are reassured from the moment Mama steps into the dance studio. 

Her appearance is one of respect and awe, always composed, professional, direct, intuitive and able to pull diverse ages and backgrounds together.  Like mother earth, her wholesome, centered-ness, like the Feng Shui “nourishment,” provides solidarity and a foundation for all living elements and beings, of which there can be no harmony or life in its absence (http://www.fengshuicrazy.com). 

Or like the proton – positively charged, subatomic particle – which resides in the nucleus of the atom – the basic unit of all matter, she is stable, indivisible, “uncuttable” – attracting and bounding the other particles through an unseen electromagnetic force (http://www.wikipedia.org).

Fatou N’Diaye-Davis speaks the universal language and art form called “Love.”  She embraces arts for humanity, fellowship, inclusion, and wields an undying resolve to spread the word of dance from the Diaspora to people everywhere.  Her enchantment with life, people, and performing arts is contagious, bounding free from any barriers that the unenlightened should attempt to orchestrate. 

Her leaving is all but unbelievable, and its reality has surely not resounded at the deepest level.  I cannot speak of life and dancing without her without exuding an enormity of gratitude and emotion.  All’s I can really do is wait in joyful contemplation of our next meeting.

With MUCH LOVE and GRATITUDE to Mama Fatou N’Diaye-Davis.

Please visit her here: http://www.facebook.com/profile.php?id=100000745554956