Summer Dance Institute: Reflections of the Dominican Republic

This year, Jean Appolon Expressions was fortunate enough to be able to travel to the Dominican Republic for our annual Summer Dance Institute. Thanks to the generous donations from our community, we were able to partner with Kalalú Dance School to bring a vibrant week of movement, destressing, and connection to the young dancers in the DR.

Additionally, thanks to Sunrise Airways, we were able to support the travel of our teen apprentices from Haiti to join in the fun! The teens from Haiti have been working with JAE virtually for an extended amount of time, so to be able to partner up together in person was life changing!

Nadia Todres

This journey would be impossible without our staff on the ground in the DR. Jean Appolon, Meghan McGrath, Nadia Issa, Mcebisi Xotyeni, and our partner Raphaëlle Francois. We will hear from each of their perspectives on their experience in the DR today!

“I have had the honor of traveling to Haiti four separate times in years past, to help lead JAE's Summer Dance Institute in Port Au Prince,” says Meghan McGrath, Executive Director of JAE. “There is something truly magical that comes alive in Jean Appolon when he is teaching in Haiti and it becomes expansive, affecting those around him in such a positive way. I saw that shine through in the Dominican Republic. Since 2018, we have not been able to travel to Haiti, due to the ongoing social and political unrest, paired alongside the pandemic. Coming to the DR this year tied so many critical pieces together from JAE's world.”

Being able to connect with the dance community in the DR and have our teen apprentice guests directly from Haiti is something JAE has not been able to do in several years, so to be able to have had the opportunity to dance together this year was truly special for the team.

“I have been continuously impressed by our five students in Haiti who have been working virtually with us for over a year now.” Meg recounted, “These girls were always so dedicated to getting on zoom with us each Friday, even when extreme weather, spotty wifi, violent armed gangs, and gas shortages sadly got in the way. When I saw all of their faces in person on the street in Santo Domingo, I was honestly in a moment of shock that I was actually about to hug them all. It was a gift that had been a long time in the making. There was one student in the program from the DR, who is of Haitian descent and speaks fluent Spanish and Creole. She took it upon herself to support our girls from Haiti with extra translation and by going above and beyond to make them feel welcome at Kalalú. Watching our girls confidently integrate, share, and collaborate with the students from the DR made it worth the extremely hard work it took to plan for and execute a free international arts education program. We'd do it all again in a heartbeat!”

Nadia Issa, dancer and educator with JAE, also felt the deep impact of working with the students in the DR. “My experience at this year's Summer Dance Institute in the Dominican Republic signified a personal homecoming and rooting practice in my life's-work as a dance educator, especially to Youth. Returning to my maternal-ancestral lands of Ayiti-Kiskeya-Bohio to offer AfroCuban Folklore (Yoruba)/Orisha Dance Technique meant that I was teaching an AfroCuban spiritual-religious dance tradition, a tradition that is getting lost, to Dominican Youth. The work that JAE facilitated in Kiskeya this summer is undoubtedly revolutionary. We offered and built community grounded in spiritual-religious learning, we witnessed the Youth go through a process of destressing where they grew more relaxed and settled into their bodies daily, and they practiced solidarity through loving presence, encouragement, and active engagement in all the movement learning!”

“The impact of bringing the Teen Apprentices from Ayiti to our SDI program in Kiskeya is the critical need for providing a safe, joyous, accessible, and rigorous training program that goes beyond borders!”

Jean also was helped by the wonderful Raphaëlle Francois to connect us to Kalalú Dance School to host and provide dance space for the Summer Institute.

“I have always wanted to work with Jean for years!“ Raphaëlle explained to the viewers of our online SDI reflection on Instagram. “I am grateful and happy, it was so magical and we got to touch so many hearts. We’ve been crying a lot! For me the first days we felt the kids were talking and well, being kids! And over the course of the week they became dedicated, focused dancers. The change occurred in their movements, and in the week they took so much from us. If we had more time they would be prepared for a professional mindset.”

Mcebisi, also a dancer and educator with JAE added “The kids were so receptive to the whole program, we got to connect people from Boston, to Haiti, to the DR. They started knowing nothing and they still wanted to keep going. And the students from the DR were able to make friends with the girls from Haiti! They all got to have fun together.”

Not only were JAE dancers and staff able to connect with students directly in the DR, they were able to bridge the gap between Haiti, Boston, the DR, and continue to do so through our online programming. Jean and the team have big dreams to expand the program and are already planning big changes for next year to foster the connections between these places!

Jean said, “I saw many kids, but there was one girl who was always worried coming into the studio. She was dancing with her head down. And over the past two days I saw her change and be able to express herself, she was so shy and we saw her improvement. I want to bring that to as many children as possible.” 

“We want to bring high quality dance to communities that don’t have access to it. This mission is to elevate young kids and communities, and to bring them healing through movement and dance.”

This year’s Summer Dance Institute was a triumph and is only a stepping stone for the journey yet to come. The team is working hard behind the scenes to make next year in the DR, and many years to come, better than ever. Our Summer Dance Institutes in the Dominican Republic and Lawrence, MA are integral to Jean Appolon’s mission of connecting communities through dance, and we are thrilled to continue to create space for the magic of these programs.

The SDI would be impossible without your generous donations, and we thank each and every one of you who contributed to the experiences of these young dancers this summer. If you would like to contribute towards next summer, you can find our donation page below!



The Traka Interviews: Ellice Patterson

Image: Celebrity Series

To close out The Traka Interviews series, we had the pleasure of speaking with Ellice Patterson, Director of Abilities Dance. Since 2017, Ellice and Abilities have been creating work with a focus on uplifting BIPOC, disabled voices. To learn more about Ellice and her perspective on creating work through a lens of community and healing, read below!

My name is Ellice Patterson. I am the founder and Executive/Artistic Director of Abilities Dance. I approach the healing of collective trauma by first acknowledging the trauma, and educating people on the trauma. There’s a lot of people who are unaware of ableism and especially intersectional ableism for those of us who live with multiple marginalized identities. So that’s the first step is just awareness, and representation, and it’s shaped by the traditions and communities I come from by being a BIPOC and disabled led organization between myself and Andrew who is the director of music. And we both identify as BIPOC and disabled folks, so we both carry the deep understanding of deaf and disabled culture to our work because that is our community. We’re coming from that community, and our decisions are informed by that community. 

I envision collective healing by acknowledging that we are here. And that we’re hurting. And we demand access, or justice, or the liberation really for everyone. Now. And it includes doing that work to get there. Because from awareness then comes advocacy, and from advocacy comes acknowledging the new understanding of how to best support everyone. And it looks like joy, it looks like access, it looks like a breath of fresh air.

Some things that could help the dance community do this work is by acknowledging the disabled artists that are here in the city. Some do not, some think that is not a part of their work and so they will refuse to do their events in ADA compliant spaces, or have ASL interpreters or whatever the access barrier might be. So they can make that access. ANd not just for the audience side, but for the artist and administrative side as well. To have folks in positions of leadership so it can better inform your practice. 


Image: Pete Sutton Photography

And one healing or movement practice I would suggest is just taking a moment to take a breath and feel grounded in whatever way that means for you in the moment, on the floor, in a deep plie, just taking that time to be still and grounded.


To stay up to date on Abilities’ performances, please follow @abilitiesdanceboston and @elliceonpointe on instagram!

The Traka Interviews: Victoria Awkward

The next Boston artist we are talking with in The Traka Interviews is dance maker Victoria Awkward (she/her). Victoria is the director of VLA Dance and has been a profound influence on the Boston dance community. Read further to discover her insight on the themes of Traka, making dance, and bringing together community.

My name is Victoria L. Awkward and I'm the Director of Boston based dance organization VLA DANCE. I'm also a freelance artist and the Visual Arts Coordinator at the West End House Boys and Girls Club. My work often centers on bringing interdisciplinary forms of creation together to create thought provoking performances and educational experiences.

Integral to my artistic process is deep investigation of my identities. I am proud to be part of a lineage of Black, Queer, Women Creators who have used art as transformation. I believe dance is uniquely positioned to help people slow down in order to: connect with self, see others, and respect our environment. The presence required to be a dance artist, and a creator in general, presents immense potential for self inquiry which can flower communities of interconnected individuals who utilize communal care.

Dancer: Aliza Franz and Photo: Melissa Blackall

The potential of artistry to heal is beautiful - yet it can be challenging to produce art on a professional, especially full time, level. Boston based artists and organizations that have come before me and/or work alongside me like Jean Appolon Expressions, pave paths for me to create on the level of freedom I'm able to enjoy now. Creating paths for one another is perhaps one of the beautiful elements of a healing and thriving community.

To stay up to date with Victoria and VLA, check out @victoriaawkward and @dancevla on Instagram.

The Traka Interviews: Lonnie Stanton

Our next artist featured in The Traka Interviews is professional JAE company dancer Lonnie Stanton (she/her). Lonnie will be performing in the premiere of Traka on May 13th and 14th at the ICA in Boston. Currently, Lonnie is working on a project entitled Emotive Land and will additionally be performing as an Art Assembled AiR Artist this summer at the Mystic River. Read further to learn about Lonnie’s experience inside the process of Traka and how she carries these themes through her own work.

Photo Credit: Olivia Moon Photography

Who are you, and what do you do?

I am a dance artist and educator. I am inspired by nature daily, and have a particular passion for site specific dance. My full name is Lonnie Anela O’kalani Neff Stanton. I am biracial and find myself endlessly interested in contrast, contrast within movement, shape, color and texture. I gravitate towards the intersection of differing perspectives. These interests show up in how I frame contemporary movement in my classes, as well as how I like to collaboratively craft movement. 



How do you approach the healing of collective trauma in your work?

With centering generous and conscious breathing and prioritizing inclusiveness in the studio. I work to facilitate spaces where EVERYONE can feel safe and welcomed by encouraging dancers to have autonomy over their bodies. I approach my pedagogy with a somatic lens and encourage movers to take the time to listen to their own body’s internal sensations and honor where they are at in the present moment. 



How is your work shaped by the traditions or communities you come from? 

My work is often connecting to and hoping to honor nature. I want to uplift my deep belief that we are as humans connected to every piece of life on this planet. We are not above any other form of life around us but interrelated. This belief is shaped by my Native Hawaiian roots and the central idea of Aloha Āina. In practice, I have recently written and shared a curriculum that is rooted in the elements. The earth’s flora and fauna are also in focus when I choreograph. Currently I am working on a project: Emotive Land, in which nature’s resilience along urban rivers is uplifted. 



How do you define or envision collective healing? What practices does it include? What does it look and feel like in your community? 

Right now, I envision collective healing as a collaborative effort to hold space for each other and lead any action with love. In our rehearsals this can mean collectively checking in with ourselves and each other in an opening circle. 

Photo Credit: Olivia Moon Photography



What are some things that could help your dance community do this work even better?

Taking the time to connect and check in whether that is with intentional breathing exercises, time for meditation or a verbal exchange.  Setting a collective intention before each rehearsal run would be a nice way to build our connection and trust in each other on stage. Constantly reminding dancer’s of their autonomy over their bodies and the need for self advocacy in regard to injury, is a proactive way to avoid further trauma in dance spaces. 



What is one healing or movement practice you can suggest for others?

Sit with nature and listen. This practice does not need the most tranquil garden. Notice any plant life near you, the birds, the expansive sky or reflection of the sun that can be found even while waiting for a city bus.


Stay up to date with us at JAE through our social media to learn more about Lonnie’s performances with the company and her own work!


The Traka Interviews: Kim Holman

Our next artist of The Traka Interviews is Kim Holman (she/her) of Luminarium Dance. Kim is a long time choreographer and dance maker in the Boston area and focuses on exploring human social narrative in her work and encouraging authenticity in her creative process. We reached out to Kim and asked her about her creative process in relationship to Traka here at JAE.

Who are you, and what do you do?

I am Kim Holman, I lead Luminarium Dance, and make interdisciplinary dance theatre. I like to summarize my creative process and the work that I make as something that explores human social interaction and behavior, both real and fictitious, miniscule instances or broad patterns, through comedic, dark, sensory or abstract narrative. I'm also a personal trainer, amateur boxer, bee keeper, current Boston Dancemakers Resident, and a dog mom!

How do you approach the healing of collective trauma in your work?

As an artist I view my role in society as a storyteller, which includes a lot of listening and finding ways to share what I've learned with an audience. I think about what I can offer from my own lived experiences and observations, attempt to enable and encourage other voices, and present work that asks questions of an audience to inspire small scale change. As someone that works heavily with light, I like the idea of "shining light" upon concepts I feel like I can speak to. My most recent work, 'Contradictions + Casual Self Loathing', was based not only on my own experiences as a woman, existing within the day-to-day and dealing with such topics as shame and violence, but also nearly fifty interviews with other women. While the piece debuted last November, and I do plan on sharing it again, I've felt the primary need to continue the interview practice as so many of my interview subjects found the conversations beneficial to their own health, healing, and thinking. I think a lot about if this is "enough" in considering collective trauma and activism, I don't really have an answer for that, but it is something I can do.

How is this shaped by the traditions or communities you come from? 

As many of us have, I've experienced a lot of individual trauma in my own life. As a listener, I am aware that so many of us are healing from similar situations on the individual scale, let alone the global scale reeling from massive civil rights violations and daily bombardment. Examining community influence on a personal level, my mom is a therapist and I've had the gift of permission to think openly about mental health and trauma for much of my life. Similarly, my grandparents modeled storytelling from their own cultures and lives from my earliest memories. My practice is shaped by my observations, my interactions with the world, and my support system of generous friends and peers.

How do you define or envision collective healing? What practices does it include? What does it look and feel like in your community? 

Collective healing is coming together to understand collective trauma and envision the roads to feeling ok. To me, the spark behind collective healing is good communication—learning how to express oneself, but even more so, learning how to be an engaged active listener. In my own community (I'm also thinking of my rehearsal room) this is built on trust, in setting up a space where everyone feels supported, valued, and respected, and hopefully comfortable enough to explore their vulnerabilities, take risks, and share.

What are some things that could help your dance community do this work even better?

I think the broader dance community needs more opportunities to speak and share space with one another, without any sort of agenda or guidance in the room. To talk about ourselves as humans and actually get to know one another, without feeling the pressure to market ourselves and advocate for our practices. I think this is also true of my own smaller network and in producing my own work—we invite audience members in to interact with our work, but we don't really know who is in the room and what they might bring with them. I think this pratice would generate more engagement, more mutual support, and therefore a wider opportunity to make change with one's work.

What is one healing or movement practice you can suggest for others?

I'm a big fan of any activity that encourages intense internal listening. Authentic movement, slow walking, mindfulness... I especially enjoy the practice of quieting my body, closing my eyes, and internally searching for body parts! One day I might try to check in with my pinkie toes, really trying to put my head in my feet and find the sensation of where my toes meet their external surroundings, another day I might be stuck in a desk chair so I'll take a moment to think about my scapula, and where they meet the back of the chair. It's either this, or getting in the boxing ring—both let me find my limits and bring me physical release in very different ways :)

If you would like to keep up with Kim and Luminarium, you can follow their upcoming performances here:

kaholman.com

luminariumdance.org

Upcoming Performance:

Common Circus: a work in progress showing

Boston Center for the Arts Plaza Theatre

June 10 & 11 2022

The Traka Interviews: Nadia Issa

Photo Credit: Olivia Moon Photography

As Jean Appolon Expressions approaches the premiere of our newest work Traka at the ICA in Boston on May 13th, we cannot help but think about what it means to heal together as a community. Healing, processing, and togetherness are at the forefront of the ideas researched through Traka, and what better way to investigate these themes than to open a discourse with the greater Boston dance community.

JAE has reached out to several working artist/choreographers in the city to ask them their personal experiences with trauma and the restorative power of dance. To start this series, we have interviewed our professional company member Nadia Issa (they/them). Nadia will be performing in Traka at the ICA and will also be facilitating the Traka livestream panel on May 5th before the premiere.

Photo Credit: Olivia Moon Photography

Who are you, and what do you do?

My name is Nadia Milad Issa and I am a Company Dancer and the Cultural Strategist here at Jean Appolon Expressions. In addition, I am a dance educator, writer and poet, researcher, and a Graduate Student in Religious Studies who will be graduating from Harvard Divinity School with a Master of Theological Studies degree this upcoming May!

How do you approach the healing of collective trauma in your work?

I approach healing work on collective trauma through a multitude of modalities that include my scholarship (dance and ethnographic research), poetry, dancing and dance-making, and community work rooted in Afrikan Diasporic spiritual-religious traditions (especially Regla de Ocha-Ifá or Lukumí and Espiritismo) as well as leadings Circle Practices. As of last year, I have been intentionally engaging in collaborative healing workshops with my colleague Allie Dyer (MD/MPH) that address ancestral trauma, hxstorical trauma, collective trauma, and post-traumatic growth for Indigenous and Black and Brown folx specifically.

How is this shaped by the traditions or communities you come from?

My spiritual-religious tradition which informs the socio-cultural climate is that Regla de Ocha-Ifá is nature-based and community-based from its origin. All rituals, ceremonies, and initiations are organized and conducted in community, and we Orisha Practitioners profoundly understand how we are tethered to one another's spiritual, emotional, mental, and physical traumas; a spiritual kinship.

How do you define or envision collective healing? What practices does it include? What does it look and feel like in your community?

I envision collective healing as intentional ritual practices that help calm the parasympathetic nervous system such as spiritual and energetic cleansings, body movement, sound therapy, being at drum ceremonies or being near live music-making, visiting any body of water, breath-work, and setting a spiritual night sleep routine! In terms of how it would feel, I would hope that colonial pollutants are released and there is grounding for my communities.

Photo Credit: Olivia Moon Photography

What are some things that could help your dance community do this work even better?

Engaging in intentional community check-ins before and after dance classes or rehearsals could root us to each other, the space, and what the given dance project requires of us as movers.

What is one healing or movement practice you can suggest for others?

One healing practice that I can suggest to others is ancestral work, however, that looks to one's cultural heritage and lineage. One's intuition will always lead them to how to best honor and give light to those that come before us and who continue to be instrumental in our daily living in a very active and present manner and existence.

To learn more about Traka, please visit the Events page on our site!