CERTIFIED TEACHERS
Certified Umfundalai Teachers are credentialed to teach Umfundalai at professional levels. They share the technique and its traditions at locations throughout the United States. Click on any of the images below to see if a Certified Umfundalai teacher is working near you.
Stafford C. Berry, Jr., MFA
INDIANA
Stafford C. Berry, Jr., MFA, is an accomplished artist, educator, activist, and scholar of African-rooted dance, theatre, and aesthetics with an extensive background in arts and education. He has studied performing arts in the US and in Guinea West Africa, and he has toured nationally in the US, and internationally to London, England, and the Caribbean. He is a certified teacher of the Umfundalai Contemporary African Dance Technique and a licensed Zumba® Instructor. Mr. Berry was Associate Artistic Director of Baba Chuck Davis' internationally acclaimed African American Dance Ensemble (AADE) for 14 years; Assistant to the Choreographer of Kariamu & Company: Traditions in Philadelphia for 5 years; former Co-Director of The Berry & Nance Dance Project; and former Faculty at the American Dance Festival.
Mr. Berry’s artistic work has toured internationally and is concerned with black male discourse, black folks’ embodied epistemologies, and “making space” for African American, Lgbtqia+, “weirdos,” and disempowered communities. He has won several choreographic and residency grants from: Durham Arts Council (NC), North Carolina Arts Council (NC), Greater Columbus Arts Council (OH), Taft Museum of Art (OH), Bloomington Arts Commission (IN). In addition, Mr. Berry has served on various arts boards nationally.
Stafford C. Berry, Jr., MFA, is an accomplished artist, educator, activist, and scholar of African-rooted dance, theatre, and aesthetics with an extensive background in arts and education. He has studied performing arts in the US and in Guinea West Africa, and he has toured nationally in the US, and internationally to London, England, and the Caribbean. He is a certified teacher of the Umfundalai Contemporary African Dance Technique and a licensed Zumba® Instructor. Mr. Berry was Associate Artistic Director of Baba Chuck Davis' internationally acclaimed African American Dance Ensemble (AADE) for 14 years; Assistant to the Choreographer of Kariamu & Company: Traditions in Philadelphia for 5 years; former Co-Director of The Berry & Nance Dance Project; and former Faculty at the American Dance Festival.
Mr. Berry’s artistic work has toured internationally and is concerned with black male discourse, black folks’ embodied epistemologies, and “making space” for African American, Lgbtqia+, “weirdos,” and disempowered communities. He has won several choreographic and residency grants from: Durham Arts Council (NC), North Carolina Arts Council (NC), Greater Columbus Arts Council (OH), Taft Museum of Art (OH), Bloomington Arts Commission (IN). In addition, Mr. Berry has served on various arts boards nationally.
Bianca Bonner, M.Ed.
NORTH CAROLINA
Bianca Bonner was born and raised in the Bronx, New York where she began her dance training at Ruth Williams Dance Studio. She later trained with Mary Barnett, former Associate Artistic Director of Alvin Ailey American Dance Theater, in ballet, jazz, modern and African dance. Bonner has also studied under Melba Lucas, Aziza, Rae Ross Sandifer, Ann Vachon, Ruth Williams, Laura Williams, Bruce Hawkins, Kariamu Welsh, and the late Charles “Chuck” Davis. Bonner holds a BA in Broadcasting, Telecommunications and Mass Media and a M. Ed. in Dance from Temple University in Philadelphia, Pennsylvania where she taught. While at Temple, she also taught in various schools, studios and camps including The New Freedom Theatre and National Youth Sports Program. Bonner has toured with Chuck Davis’ African American Dance Ensemble to national and international venues, sharing African dance with American families in artist residencies, lecture demonstrations, and community outreach programs. She has served on the board of Charlotte Dance Festival and was named Best Choreography at the Charlotte Emerging Dance Awards in 2009. During that same year, she received a choreography award from the North Carolina Theatre Conference for Studs Terkel’s Working. In 2012, she was awarded the John W. Parker Award for Excellence in Directing from the North Carolina Theatre Conference for Ntozake Shange’s For Colored Girls Who Considered Suicide When the Rainbow Is Enuf. For six years, Bonner has choreographed main stage theatre productions with the Union County Performance Ensemble under the direction of Larry Robinson. Bonner served as dance educator for seven years at Central Academy of Technology & Arts in Union County Public Schools. Currently, Bonner is the Director of Education and Community Engagement at Charlotte Ballet.
Bianca Bonner was born and raised in the Bronx, New York where she began her dance training at Ruth Williams Dance Studio. She later trained with Mary Barnett, former Associate Artistic Director of Alvin Ailey American Dance Theater, in ballet, jazz, modern and African dance. Bonner has also studied under Melba Lucas, Aziza, Rae Ross Sandifer, Ann Vachon, Ruth Williams, Laura Williams, Bruce Hawkins, Kariamu Welsh, and the late Charles “Chuck” Davis. Bonner holds a BA in Broadcasting, Telecommunications and Mass Media and a M. Ed. in Dance from Temple University in Philadelphia, Pennsylvania where she taught. While at Temple, she also taught in various schools, studios and camps including The New Freedom Theatre and National Youth Sports Program. Bonner has toured with Chuck Davis’ African American Dance Ensemble to national and international venues, sharing African dance with American families in artist residencies, lecture demonstrations, and community outreach programs. She has served on the board of Charlotte Dance Festival and was named Best Choreography at the Charlotte Emerging Dance Awards in 2009. During that same year, she received a choreography award from the North Carolina Theatre Conference for Studs Terkel’s Working. In 2012, she was awarded the John W. Parker Award for Excellence in Directing from the North Carolina Theatre Conference for Ntozake Shange’s For Colored Girls Who Considered Suicide When the Rainbow Is Enuf. For six years, Bonner has choreographed main stage theatre productions with the Union County Performance Ensemble under the direction of Larry Robinson. Bonner served as dance educator for seven years at Central Academy of Technology & Arts in Union County Public Schools. Currently, Bonner is the Director of Education and Community Engagement at Charlotte Ballet.
Erin Bryce Holmes, M.S., LCAT, BC-DMT
NEW YORK
Erin Bryce Holmes, MS, LCAT, BC-DMT, graduated from Temple University and Pratt Institute. She has apprenticed with Urban Bush Women, was a principle dancer with Kariamu & Company: Traditions, African American Dance Ensemble, Tania Isaac Dance, Dance Theatre X, Denovo, Ephrat Asherie Dance, Ase Dance Theater Collective and worked with Bill T. Jones developing FELA! She traveled to West Africa to study the culture and has taught classes at Dance New Amsterdam, NY, Dance Theater of Harlem, Carlsbad High School, CA, Central Academy of Technology and Arts, NC, and has been a welcomed guest lecturer at both her alma maters as well as UNC at Charlotte, NC and College of New Rochelle School of New Resources, NY. Catching Subira, a collaboration with Mara Rivera and Niko Leboy, was requested as a plenary event at the American Dance Therapy Association and National Dance Educators Organization conference and she presented at the Expressive Therapies conference with drummer Dan Walsh. She is currently the Senior Activity Therapist in Dance at Maimonides Medical Center, a certified Umfundalai teacher for professional learners, and continues to collaborate as a member of Black Batey. She volunteers with the Alzheimer’s Association Brooklyn Walk Committee, while teaching as a visiting professor at Pratt Institute, and directing Bryce Entertainment, LLC, a therapeutic services company.
Erin Bryce Holmes, MS, LCAT, BC-DMT, graduated from Temple University and Pratt Institute. She has apprenticed with Urban Bush Women, was a principle dancer with Kariamu & Company: Traditions, African American Dance Ensemble, Tania Isaac Dance, Dance Theatre X, Denovo, Ephrat Asherie Dance, Ase Dance Theater Collective and worked with Bill T. Jones developing FELA! She traveled to West Africa to study the culture and has taught classes at Dance New Amsterdam, NY, Dance Theater of Harlem, Carlsbad High School, CA, Central Academy of Technology and Arts, NC, and has been a welcomed guest lecturer at both her alma maters as well as UNC at Charlotte, NC and College of New Rochelle School of New Resources, NY. Catching Subira, a collaboration with Mara Rivera and Niko Leboy, was requested as a plenary event at the American Dance Therapy Association and National Dance Educators Organization conference and she presented at the Expressive Therapies conference with drummer Dan Walsh. She is currently the Senior Activity Therapist in Dance at Maimonides Medical Center, a certified Umfundalai teacher for professional learners, and continues to collaborate as a member of Black Batey. She volunteers with the Alzheimer’s Association Brooklyn Walk Committee, while teaching as a visiting professor at Pratt Institute, and directing Bryce Entertainment, LLC, a therapeutic services company.
Dina-Verley Christophe, MFA
NEW JERSEY
Dina-Verley Christophe is a dance artist, educator and fitness professional. Dina's path to dance started in Philadelphia, PAat the historic New Freedom Theatre where she had the honor to study under Patricia Scott-Hobbs. During this time Dina also began her lifelong artistic relationship with Dr. Kariamu Welsh, as a student of the Umfundalai Contemporary African dance technique and a member of Kariamu & Company. These two experiences formed the basis of what would become a diverse dance journey and have made Dina a rare and unique talent, being fluent in both Western and African derived concert dance forms. While attending the University of the Arts (BFA) Dina was a member of Philadanco's second company, D/2. Dina's passion for choreography led her to continue her studies at Temple University (MFA), during this time she began dancing with Charles O. Anderson's dance theatre X. After leaving graduate school Dina completed a Post Grad Fellowship at Dickinson College, teaching in the Department of Theater and Dance and continued dancing professionally with Matthew Westerby Company. In 2017 Dina began studying and performing Merian Soto's improvisational Modes. Dina’s teaching and choreography credits most recently include Temple University, Rutgers University, Iona College and Sacred Heart University. Dina's varied dance technique experience and fitness background have laid the foundation for her educational mission: to share the rich tradition of the Umfundalai technique of contemporary African dance, and to help dancers better understand the biomechanics of movement in order to prevent injuries and extend the longevity of their dance careers.
Dina-Verley Christophe is a dance artist, educator and fitness professional. Dina's path to dance started in Philadelphia, PAat the historic New Freedom Theatre where she had the honor to study under Patricia Scott-Hobbs. During this time Dina also began her lifelong artistic relationship with Dr. Kariamu Welsh, as a student of the Umfundalai Contemporary African dance technique and a member of Kariamu & Company. These two experiences formed the basis of what would become a diverse dance journey and have made Dina a rare and unique talent, being fluent in both Western and African derived concert dance forms. While attending the University of the Arts (BFA) Dina was a member of Philadanco's second company, D/2. Dina's passion for choreography led her to continue her studies at Temple University (MFA), during this time she began dancing with Charles O. Anderson's dance theatre X. After leaving graduate school Dina completed a Post Grad Fellowship at Dickinson College, teaching in the Department of Theater and Dance and continued dancing professionally with Matthew Westerby Company. In 2017 Dina began studying and performing Merian Soto's improvisational Modes. Dina’s teaching and choreography credits most recently include Temple University, Rutgers University, Iona College and Sacred Heart University. Dina's varied dance technique experience and fitness background have laid the foundation for her educational mission: to share the rich tradition of the Umfundalai technique of contemporary African dance, and to help dancers better understand the biomechanics of movement in order to prevent injuries and extend the longevity of their dance careers.
Julian Darden
GEORGIA
Josephine-Heard Deans
PENNSYLVANIA
Josephine Heard Deans has danced with and been adminsitratively associated with Kariamu & Company: Traditions for since 1997. She holds a BA in Integrated Arts with a focus on Theatre and Dance from the Pennsylvania State University where she danced with the Nommo Dance Company under direction of Dr. Myrna Munchus. She currently teaches Umfundalai at the Esther Boyer College of Music and Dance at Temple University in Philadelphia, Pennsylvania.
Josephine Heard Deans has danced with and been adminsitratively associated with Kariamu & Company: Traditions for since 1997. She holds a BA in Integrated Arts with a focus on Theatre and Dance from the Pennsylvania State University where she danced with the Nommo Dance Company under direction of Dr. Myrna Munchus. She currently teaches Umfundalai at the Esther Boyer College of Music and Dance at Temple University in Philadelphia, Pennsylvania.
Jessica Featherson, MFA
MARYLAND
Shaness Kemp, MFA
MARYLAND
Shaness Kemp is a native of Nassau, Bahamas and holds both a Bachelor of Fine Arts degree and a Master’s of Fine Arts degree from Temple University. She is a certified Umfundalai teacher and has taught at various institutions, festivals and intensives. She has trained with several notable artists and professional dance companies, including Deeply Rooted Dance Theater, Kariamu &Company: Traditions, Kun-Yang Lin/Dancers, Eleone Dance Theatre, Philadanco! The Philadelphia Dance Company, Urban Bush Women, Complexions Contemporary Ballet, Rennie Harris Puremovement, The Katherine Dunham Seminar and The American Dance Festival. She was the 2015-2016 recipient of the Ellen Forman Memorial Award and her work has been presented nationally and internationally. Shaness was an original member of the Clothesline Muse Theatre production and performed at its premiere at the Painted Bride in Philadelphia in 2014.
Shaness Kemp is a native of Nassau, Bahamas and holds both a Bachelor of Fine Arts degree and a Master’s of Fine Arts degree from Temple University. She is a certified Umfundalai teacher and has taught at various institutions, festivals and intensives. She has trained with several notable artists and professional dance companies, including Deeply Rooted Dance Theater, Kariamu &Company: Traditions, Kun-Yang Lin/Dancers, Eleone Dance Theatre, Philadanco! The Philadelphia Dance Company, Urban Bush Women, Complexions Contemporary Ballet, Rennie Harris Puremovement, The Katherine Dunham Seminar and The American Dance Festival. She was the 2015-2016 recipient of the Ellen Forman Memorial Award and her work has been presented nationally and internationally. Shaness was an original member of the Clothesline Muse Theatre production and performed at its premiere at the Painted Bride in Philadelphia in 2014.
Zakkiyah Lyons, M. Ed.
PENNSYLVANIA
Zakiyyah-Joyce Lyons is a doctoral candidate at Capella University. He research focuses on curriculum development as it pertains to early childhood education. She has earned a M. Ed. in Elementary Education/Business Administration from Strayer University and BFA in Dance frm Templ University. Lyons is the artistic director and founder of Persona Zenobia Dance Ensemble Reparatory Company, a Master Choreography and Dance Educator for Vita Saana African Martial Arts ,and a certified instructor of the Umfundalai African Dance technique. As much as she loves the arts, she also shares a love for writing. She is a published author and is about to release her children’s series.
Zakiyyah-Joyce Lyons is a doctoral candidate at Capella University. He research focuses on curriculum development as it pertains to early childhood education. She has earned a M. Ed. in Elementary Education/Business Administration from Strayer University and BFA in Dance frm Templ University. Lyons is the artistic director and founder of Persona Zenobia Dance Ensemble Reparatory Company, a Master Choreography and Dance Educator for Vita Saana African Martial Arts ,and a certified instructor of the Umfundalai African Dance technique. As much as she loves the arts, she also shares a love for writing. She is a published author and is about to release her children’s series.
Tina Mullone, MFA
Rhode Island
Myrna Clarice Munchus, DSPS, MFA, CRMC
NORTH CAROLINA
DR. MYRNA CLARICE MUNCHUS began her dance studies at age 4, declared her love of dance at age 6, and entered the dance world as a classical ballerina in l959, under the tutelage of Marion Durham Cuyjet, of Philadelphia, PA. Cuyjet described young Myrna as a prodigy and took her to NYC to study privately with Mr. George Chaffe' and at The American Ballet Theatre, Balanchine’s school, to expand her studies and widen her exposure. In 1973, at age 22, Munchus co-founded a dance school where she taught ballet & modern and was exposed to African & Jazz dance by her studio partner. She went on to study, teach & perform across North America, throughout the Caribbean, the Pacific, Europe, Africa and Asia as a solo artist, a teaching artist & principal dancer in several companies. Her career spans six decades with credits from classical ballet, to world traditions, to dance as a medium of healing; from stage, to television, to The White House. She was a pioneer of liturgical or sacred dance in worship settings in the early '70s, before it became popular; and she taught in studios, conservatories & universities from the late ‘70s until her departure to Africa in 1998. Munchus was one of the first two professional students of Mama Kariamu Welsh at Temple University, and Mama sat on her MFA Committee, 1989-90. Mama enjoyed the first public performance of her work in Philadelphia, as a guest artist on Munchus’ MFA Concert. Munchus was a teacher of the Umfundalai Technique during the Philadelphia Phase, from 1986-1990, until she left Temple to join the dance faculty at The Pennsylvania State University at University Park.
Among her many accomplishments are having walked the historic, year-long Interfaith Pilgrimage of the Middle Passage: Retracing the Journey of Slavery, from the U.S., to the Caribbean, S. America, and W. Africa (1998-99); having co-initiated the International African AIDS Pilgrimage: A Walk for Global Healing, a two-year walk for HIV/AIDS Education & Prevention (S. Africa, Swaziland, Mozambique; 2003-2005); and having lived and worked in humanitarian service on the continent of Africa for nearly a decade (1999-2008). She carried Umfundalai with her through all these transformative experiences and emerged from Africa and her shamanic studies as ‘Amai, Butterfly Dancing Heart, Soaring Eagle, Changing Woman.’ Amai is currently writing her first book for publication on her lived experiences in Africa; including her initiations into shamanic spirituality and as an Ancestor Whisperer; and her deeply moving, inspirational, and personal story of trauma, transformation, & triumph.
Dance is her first love and passion. Amai holds the Doctor of Shamanic Psycho-Spiritual Studies (DSPS), 2014; the Master of Fine Arts, 1991; and the Cultural Resources Management Certification, with double major in Dance & Religion, 1983. Her current work includes ritual & ceremony, sacred dance & multi-cultural spirituality, healing dance & shamanic breathwork soul journeys, and facilitation of personal & spiritual empowerment and transformational processes.
DR. MYRNA CLARICE MUNCHUS began her dance studies at age 4, declared her love of dance at age 6, and entered the dance world as a classical ballerina in l959, under the tutelage of Marion Durham Cuyjet, of Philadelphia, PA. Cuyjet described young Myrna as a prodigy and took her to NYC to study privately with Mr. George Chaffe' and at The American Ballet Theatre, Balanchine’s school, to expand her studies and widen her exposure. In 1973, at age 22, Munchus co-founded a dance school where she taught ballet & modern and was exposed to African & Jazz dance by her studio partner. She went on to study, teach & perform across North America, throughout the Caribbean, the Pacific, Europe, Africa and Asia as a solo artist, a teaching artist & principal dancer in several companies. Her career spans six decades with credits from classical ballet, to world traditions, to dance as a medium of healing; from stage, to television, to The White House. She was a pioneer of liturgical or sacred dance in worship settings in the early '70s, before it became popular; and she taught in studios, conservatories & universities from the late ‘70s until her departure to Africa in 1998. Munchus was one of the first two professional students of Mama Kariamu Welsh at Temple University, and Mama sat on her MFA Committee, 1989-90. Mama enjoyed the first public performance of her work in Philadelphia, as a guest artist on Munchus’ MFA Concert. Munchus was a teacher of the Umfundalai Technique during the Philadelphia Phase, from 1986-1990, until she left Temple to join the dance faculty at The Pennsylvania State University at University Park.
Among her many accomplishments are having walked the historic, year-long Interfaith Pilgrimage of the Middle Passage: Retracing the Journey of Slavery, from the U.S., to the Caribbean, S. America, and W. Africa (1998-99); having co-initiated the International African AIDS Pilgrimage: A Walk for Global Healing, a two-year walk for HIV/AIDS Education & Prevention (S. Africa, Swaziland, Mozambique; 2003-2005); and having lived and worked in humanitarian service on the continent of Africa for nearly a decade (1999-2008). She carried Umfundalai with her through all these transformative experiences and emerged from Africa and her shamanic studies as ‘Amai, Butterfly Dancing Heart, Soaring Eagle, Changing Woman.’ Amai is currently writing her first book for publication on her lived experiences in Africa; including her initiations into shamanic spirituality and as an Ancestor Whisperer; and her deeply moving, inspirational, and personal story of trauma, transformation, & triumph.
Dance is her first love and passion. Amai holds the Doctor of Shamanic Psycho-Spiritual Studies (DSPS), 2014; the Master of Fine Arts, 1991; and the Cultural Resources Management Certification, with double major in Dance & Religion, 1983. Her current work includes ritual & ceremony, sacred dance & multi-cultural spirituality, healing dance & shamanic breathwork soul journeys, and facilitation of personal & spiritual empowerment and transformational processes.
Jumatatu Poe, MFA
PENNSYLVANIA
I am a choreographer and performer based between Philadelphia and New York City who grew up dancing around the living room and at parties with my siblings and cousins. My early exposure to concert dance was through African dance and capoeira performances on California college campuses where my Pan-Africanist parents studied and worked, but I did not start “formal” dance training until college with Umfundalai, Kariamu Welsh’s contemporary African dance technique. My work continues to be influenced by various sources, including my foundations in those living rooms and parties, my early technical training in contemporary African dance, my continued study of contemporary dance and performance, my movement trainings with dancer and anatomist Irene Dowd around anatomy and proprioception, my sociological research of and technical training in J-sette performance with Donte Beacham. Through my artistic work, I strive to engage in and further dialogues with Black queer folks, create lovingly agitating performance work that recognizes History as only one option for the contextualization of the present, and continue to imagine options for artists’ economic and emotional sustainability.
I produce dance and performance work independently, as well as in collaboration with idiosynCrazy productions, a company I founded in 2008 and now co-direct with Shannon Murphy. Most recently, the company serves as a resource to produce public dialogues around the integrations of art into society, and the social responsibility of the artist. Collaboration is often essential for my work, and for the past several years I have worked collaboratively with J-Sette artist Jermone Donte Beacham on a series of visual and performance works called Let ‘im Move You. Previously, I have danced with Marianela Boán, Silvana Cardell, devynn emory, Emmanuelle Hunyh, Tania Isaac, Kun- Yang Lin, C. Kemal Nance, Marissa Perel, Leah Stein, Keith Thompson, Kate Watson-Wallace, Reggie Wilson, Jesse Zaritt, and Kariamu Welsh (as a member of Kariamu & Company). As a performer, I also collaborate with Merián Soto. From 2009-2018, I was an Assistant Professor of Dance at Swarthmore College.
I have performed my work in various cities around the US and in Europe, and I have received various awards including: a 2010-2011 Live Arts Brewery Fellowship (Philadelphia), 2010-2012 and 2017 annual Pew Center for Arts & Heritage Performance Grants, a 2011-2013 Community Education Center Residency Fellowship (Philadelphia), a 2012 Pew Center for Arts & Heritage Fellowship (Philadelphia), a 2013 NRW Tanzrecherche Fellowship (Germany), a 2013 New York Live Arts Studio Series residency with Jesse Zaritt (NYC), a 2016 Independence Fellowship (Philadelphia), a 2016 18th Street Arts Center creative residency (Santa Monica), a 2017 Rocky Dance Award (Philadelphia), a 2017 Sacatar Residency Fellowship (Bahia, Brazil), a 2017 MAP Fund award with Jermone Donte Beacham, a 2017 NEFA National Dance Project Production Grant with Jermone Donte Beacham, a 2018 MANCC residency, three Swarthmore College Cooper Foundation grants for presenting other artists (Swarthmore, PA).
I am a choreographer and performer based between Philadelphia and New York City who grew up dancing around the living room and at parties with my siblings and cousins. My early exposure to concert dance was through African dance and capoeira performances on California college campuses where my Pan-Africanist parents studied and worked, but I did not start “formal” dance training until college with Umfundalai, Kariamu Welsh’s contemporary African dance technique. My work continues to be influenced by various sources, including my foundations in those living rooms and parties, my early technical training in contemporary African dance, my continued study of contemporary dance and performance, my movement trainings with dancer and anatomist Irene Dowd around anatomy and proprioception, my sociological research of and technical training in J-sette performance with Donte Beacham. Through my artistic work, I strive to engage in and further dialogues with Black queer folks, create lovingly agitating performance work that recognizes History as only one option for the contextualization of the present, and continue to imagine options for artists’ economic and emotional sustainability.
I produce dance and performance work independently, as well as in collaboration with idiosynCrazy productions, a company I founded in 2008 and now co-direct with Shannon Murphy. Most recently, the company serves as a resource to produce public dialogues around the integrations of art into society, and the social responsibility of the artist. Collaboration is often essential for my work, and for the past several years I have worked collaboratively with J-Sette artist Jermone Donte Beacham on a series of visual and performance works called Let ‘im Move You. Previously, I have danced with Marianela Boán, Silvana Cardell, devynn emory, Emmanuelle Hunyh, Tania Isaac, Kun- Yang Lin, C. Kemal Nance, Marissa Perel, Leah Stein, Keith Thompson, Kate Watson-Wallace, Reggie Wilson, Jesse Zaritt, and Kariamu Welsh (as a member of Kariamu & Company). As a performer, I also collaborate with Merián Soto. From 2009-2018, I was an Assistant Professor of Dance at Swarthmore College.
I have performed my work in various cities around the US and in Europe, and I have received various awards including: a 2010-2011 Live Arts Brewery Fellowship (Philadelphia), 2010-2012 and 2017 annual Pew Center for Arts & Heritage Performance Grants, a 2011-2013 Community Education Center Residency Fellowship (Philadelphia), a 2012 Pew Center for Arts & Heritage Fellowship (Philadelphia), a 2013 NRW Tanzrecherche Fellowship (Germany), a 2013 New York Live Arts Studio Series residency with Jesse Zaritt (NYC), a 2016 Independence Fellowship (Philadelphia), a 2016 18th Street Arts Center creative residency (Santa Monica), a 2017 Rocky Dance Award (Philadelphia), a 2017 Sacatar Residency Fellowship (Bahia, Brazil), a 2017 MAP Fund award with Jermone Donte Beacham, a 2017 NEFA National Dance Project Production Grant with Jermone Donte Beacham, a 2018 MANCC residency, three Swarthmore College Cooper Foundation grants for presenting other artists (Swarthmore, PA).
Tabatha Robinson-Scott, EdM
CALIFORNIA
Jamie Shakur, MA
NORTH CAROLINA
AMIE SHAKUR, MA is a dance educator, scholar and former performer from Brooklyn, NY with over twenty years of experience. She has certifications in K-12 Dance and Umfundalai African Dance. Shakur has served as dance faculty at several dance schools in NYC, Philadelphia and the Raleigh/Durham area. Some of her performance credits include Kariamu & Company: Traditions, African American Dance Ensemble and Urban Bush Women Dance Company. Shakur was a grant recipient of Tony Bennett: Exploring the Arts, Capezio Ballet Makers, and Arts Achieve. She chartered National Honor Society for Dance Arts Chapters at two Wake County Public Schools. Shakur has presented dance workshops and scholarly research at NDEO, Collegium of African Diasporan Dance and Dancing Our Africa conferences. She is also the contributing author of Iwe' Illanan: The Umfundalai Teacher's Handbook.
AMIE SHAKUR, MA is a dance educator, scholar and former performer from Brooklyn, NY with over twenty years of experience. She has certifications in K-12 Dance and Umfundalai African Dance. Shakur has served as dance faculty at several dance schools in NYC, Philadelphia and the Raleigh/Durham area. Some of her performance credits include Kariamu & Company: Traditions, African American Dance Ensemble and Urban Bush Women Dance Company. Shakur was a grant recipient of Tony Bennett: Exploring the Arts, Capezio Ballet Makers, and Arts Achieve. She chartered National Honor Society for Dance Arts Chapters at two Wake County Public Schools. Shakur has presented dance workshops and scholarly research at NDEO, Collegium of African Diasporan Dance and Dancing Our Africa conferences. She is also the contributing author of Iwe' Illanan: The Umfundalai Teacher's Handbook.
Cheryl Stevens, PhD
NORTH CAROLINA
Cheryl M. Stevens, Ph.D. is a dance faculty member in the Visual and Performing Arts Department at North Carolina A&T State University in Greensboro, NC and a physical therapist assistant. Stevens assists and continues to perform with The E. Gwynn Dancers of NC A&T SU where the dance company performs a diverse repertory of dances forms from Africa and the African Diaspora. Stevens is also the Director of the Saturday Dance and Drumming Academy, the Visual and Performing Arts dance program’s community outreach for children ages 4-14. For over thirty years, Stevens has taught health and physical education, interdisciplinary dance education, modern dance, beginning ballet, West African dance, Umfundalai African dance technique, Dunham technique, and a variety of wellness and fitness based classes from kindergarten through the university level. Stevens’ research focus and continuing education is in dance education, cultural dance forms, holistic wellness and fitness, integrative physical therapies, and she is studying dance and Parkinson’s disease.
Cheryl M. Stevens, Ph.D. is a dance faculty member in the Visual and Performing Arts Department at North Carolina A&T State University in Greensboro, NC and a physical therapist assistant. Stevens assists and continues to perform with The E. Gwynn Dancers of NC A&T SU where the dance company performs a diverse repertory of dances forms from Africa and the African Diaspora. Stevens is also the Director of the Saturday Dance and Drumming Academy, the Visual and Performing Arts dance program’s community outreach for children ages 4-14. For over thirty years, Stevens has taught health and physical education, interdisciplinary dance education, modern dance, beginning ballet, West African dance, Umfundalai African dance technique, Dunham technique, and a variety of wellness and fitness based classes from kindergarten through the university level. Stevens’ research focus and continuing education is in dance education, cultural dance forms, holistic wellness and fitness, integrative physical therapies, and she is studying dance and Parkinson’s disease.
Danzel Thompson-Stout
(HE/HIM/HIS)
ILLINOIS
ILLINOIS
Sheila A. Ward, PhD
VIRGINIA
Dr. Sheila A. Ward is presently a tenured Professor in the Department of Health, Physical Education and Exercise Science at Norfolk State University. She is Co-Director of and performs professionally with Eleone Dance Theatre of Philadelphia, PA. She holds a B.S. in Physical Education with an emphasis in Dance from Indiana University, M.Ed. and Ph.D. in Exercise Physiology from Temple University, and MPH with a concentration in Epidemiology from Eastern Virginia Medical School. She is a licensed PreK-12 Virginia Educator in Dance Arts, Health and Physical Education, and Health and Medical Sciences. Integration of her degrees in exercise physiology, epidemiology/public health, and dance has served as the foundation to promote, ‘Health Empowerment through Cultural Awareness,’ the guiding principle from which she conducts scholarly activities related to chronic disease prevention and management. She is a Fellow of the American College of Sports Medicine (ACSM), a Registered Kinesiotherapist, and a Certified Instructor for both the Umfundalai African Dance Technique and the Katherine Dunham Technique. She is currently on the Editorial Board of the Physician and Sportsmedicine, a reviewer for JOPERD, and Chair of Grants & Research for Black Women in Sport Foundation. She is the Project Director for the NSU Health and Wellness Initiative for Women, a Roster Artist for the Virginia Arts in Education Residency Program, Virginia Commission on the Arts, and Past-VP of Dance, Virginia Association of Health, Physical Education, Recreation, and Dance. She has served as a reviewer for the Virginia Commission on the Arts Virginia Arts on Tour and most recently, a panelists for two New Jersey State Council on the Arts programs, general program support for professional dance organizations and an arts education special initiative.
Dr. Ward has successfully received state, federal, and private funding for research and program implementation including authoring and implementing twelve (12) dance-related grants such as $40,000 from the Pew Center for Arts & Heritage through Dance Advance Award for the reconstruction of “Americana,” a signature work of the legendary Ms. Katherine Dunham and $96,000 to acquire and present a new work by Dianne McIntyre. Her presentations and publications on the international, national, state, and local levels are extensive and varied such as the publications of African-centered Dance: An Intervention Tool for HIV/AIDS Prevention, Health and the Power of Dance, and African Dance Aesthetics in a K-12 Dance Setting: From History to Social Justice. She was the recipient of Norfolk State University’s Distinguished Faculty Award for Scholarship and most recently the recipient of a Virginia Department Health/Centers for Disease Control and Prevention grant related to High Impact HIV Prevention Efforts, Monitoring, and Evaluation in Hampton Roads.
She began dancing with Robert Pemberton, Jr. and Rodney Williams in Richmond, VA. She performed and trained with The Philadelphia Dance Company (Philadanco) and Philadanco II. At Indiana University, she was a member of the African American Dance Company and the IU Dance Theater. Dr. Ward was featured in Dance Teacher Now and Upscale Magazine and was an Honoree of the Virginia Peninsula ACT-SO Program and the recipient of Mayoral Citations from the City of Philadelphia for her contributions to the Philadelphia arts community. Dr. Ward is a Herman C. Hudson Alumni Award Recipient, African American Arts Institute, Indiana University for her “outstanding career as a dance artist, educator and scholar.”
Dr. Sheila A. Ward is presently a tenured Professor in the Department of Health, Physical Education and Exercise Science at Norfolk State University. She is Co-Director of and performs professionally with Eleone Dance Theatre of Philadelphia, PA. She holds a B.S. in Physical Education with an emphasis in Dance from Indiana University, M.Ed. and Ph.D. in Exercise Physiology from Temple University, and MPH with a concentration in Epidemiology from Eastern Virginia Medical School. She is a licensed PreK-12 Virginia Educator in Dance Arts, Health and Physical Education, and Health and Medical Sciences. Integration of her degrees in exercise physiology, epidemiology/public health, and dance has served as the foundation to promote, ‘Health Empowerment through Cultural Awareness,’ the guiding principle from which she conducts scholarly activities related to chronic disease prevention and management. She is a Fellow of the American College of Sports Medicine (ACSM), a Registered Kinesiotherapist, and a Certified Instructor for both the Umfundalai African Dance Technique and the Katherine Dunham Technique. She is currently on the Editorial Board of the Physician and Sportsmedicine, a reviewer for JOPERD, and Chair of Grants & Research for Black Women in Sport Foundation. She is the Project Director for the NSU Health and Wellness Initiative for Women, a Roster Artist for the Virginia Arts in Education Residency Program, Virginia Commission on the Arts, and Past-VP of Dance, Virginia Association of Health, Physical Education, Recreation, and Dance. She has served as a reviewer for the Virginia Commission on the Arts Virginia Arts on Tour and most recently, a panelists for two New Jersey State Council on the Arts programs, general program support for professional dance organizations and an arts education special initiative.
Dr. Ward has successfully received state, federal, and private funding for research and program implementation including authoring and implementing twelve (12) dance-related grants such as $40,000 from the Pew Center for Arts & Heritage through Dance Advance Award for the reconstruction of “Americana,” a signature work of the legendary Ms. Katherine Dunham and $96,000 to acquire and present a new work by Dianne McIntyre. Her presentations and publications on the international, national, state, and local levels are extensive and varied such as the publications of African-centered Dance: An Intervention Tool for HIV/AIDS Prevention, Health and the Power of Dance, and African Dance Aesthetics in a K-12 Dance Setting: From History to Social Justice. She was the recipient of Norfolk State University’s Distinguished Faculty Award for Scholarship and most recently the recipient of a Virginia Department Health/Centers for Disease Control and Prevention grant related to High Impact HIV Prevention Efforts, Monitoring, and Evaluation in Hampton Roads.
She began dancing with Robert Pemberton, Jr. and Rodney Williams in Richmond, VA. She performed and trained with The Philadelphia Dance Company (Philadanco) and Philadanco II. At Indiana University, she was a member of the African American Dance Company and the IU Dance Theater. Dr. Ward was featured in Dance Teacher Now and Upscale Magazine and was an Honoree of the Virginia Peninsula ACT-SO Program and the recipient of Mayoral Citations from the City of Philadelphia for her contributions to the Philadelphia arts community. Dr. Ward is a Herman C. Hudson Alumni Award Recipient, African American Arts Institute, Indiana University for her “outstanding career as a dance artist, educator and scholar.”